Starfleet Academy: Meet the Cadets

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Starfleet Academy Season 1. Spoilers are also present for the following Star Trek productions: The Next Generation, Discovery, and Section 31.

I promised you last time that I was sharing my “final” preview of Starfleet Academy ahead of its premiere, which is now just a couple of weeks away. But since then, we’ve learned a little more about some of the cadets thanks to Skydance/Paramount’s marketing campaign. I have to say that, on the whole, Starfleet Academy hasn’t gotten a particularly impressive marketing push so far, but there’s still a little time left for that to change. I certainly hope that, even if the show isn’t “my thing,” it’ll manage to reach its teen/young adult target audience in a big way. Star Trek definitely needs new viewers, and Starfleet Academy could be the last show of the current streaming era.

But that’s enough about that for now! I wanted to look at the main cadet characters in turn, and share my thoughts on how they seem and what could lie in store for them across the show’s first few episodes. I’m basing all of this on the trailers, interviews and comments from the actors and producers, and the show’s general marketing material. I do not have any “insider information,” and anything I say about these characters or where their storylines could go is speculation, and nothing more!

Promo images highlighting the main Star Trek: Starfleet Academy cadet characters; compilation.
Let’s take a look at the cadets.

It also goes without saying that all of this is *subjective, not objective,* so if you think I’ve missed the point, got it all wrong, or you just hate my take… that’s okay! There’s plenty of room in the Star Trek fan community for polite discussion and differences of opinion, and all I’m doing is offering my take on these characters at this very early stage. I could be wide of the mark or completely wrong, but I hope it’ll be interesting and perhaps a bit of fun to talk about Starfleet Academy once more before the series hits our screens.

I’ll be looking at the cadet characters only, not the senior officers, villains, or supporting cast. We know several of those already, and I don’t really have a lot to say about the likes of Captain Ake or Nus Braka that I haven’t already said across my other preview articles.

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

Promo image of the Star Trek: Starfleet Academy bridge.
The bridge of the USS Athena.

First, a general point. This is something I hadn’t considered until I started writing this piece, but I can’t shake the feeling at this preliminary stage that one of these characters is destined to be killed off – perhaps as early as the first or second episode. We saw this in Section 31, where the Deltan character Melle was a big part of the film’s marketing campaign, but only lasted a couple of minutes and got a grand total of one or two lines before being vaporised.

It can be a good ploy for a series that plans to go all-in on action, mystery, and tension. By setting up a group of characters, only to kill off one of them at an early stage, it raises the stakes in a pretty big way. And with these characters all being brand-new, it leaves us as the audience with the impression that *no one* is safe; that Nus Braka and his band of pirates(?) could attack at any moment, and our favourite cadet could be next on the chopping-block.

Paul Giamatti as Nus Braka in a still from the second Star Trek: Starfleet Academy promo clip.
Nus Braka.

Another reason why I feel this could be possible is that there are a couple of cadets who feel kinda… samey. Genesis and Darem are both on the command track, both want to be captain, and both seem to come from a demanding family background. Then Darem and Caleb almost seem interchangeable to such an extent that I forgot who was who when watching the trailers and reading their bios. They are, obviously, distinct characters… but Darem in particular just doesn’t seem to have as much to say as some of the others.

So could an early death be on the agenda? And if so, will it succeed at raising the stakes? For what it’s worth, I think that basic idea wasn’t the worst part of Section 31, and there was shock value in seeing a hyped-up main character killed off within the first few minutes. Whether it would work as well in Starfleet Academy is unclear, and if I’m already potentially expecting something like that… maybe it won’t land as hard. But I’ll be curious, at least, to see if I’m even close to being right!

Still frame from the Star Trek: Starfleet Academy trailer showing the main cadets.
Will everyone survive the opening few episodes?

Caleb, to me, seems like he’s being set up as kind of a deuteragonist, along with Captain Ake. He certainly seems to be the most-developed of the cadets narratively, and the character who seems to have the biggest connection to the show’s overarching story – barring any surprises from the others, that is. Caleb seems to be being positioned as the “main” cadet, perhaps even taking on a role not dissimilar to Michael Burnham in Discovery. Burnham was that show’s principal character, and it was her development, relationships, and story that was in focus a lot of the time. Starfleet Academy could be doing something similar with Caleb.

Of all the cadets, Caleb seems like the one most impacted by the aftermath of the Burn, too, and that’s something I hope Starfleet Academy will be able to make more of than Discovery ever did. I wrote a while ago that Discovery’s “post-apocalyptic” setting didn’t really stick the landing for me, and a big part of why is because of how quickly the Burn, its impact, and its aftermath were ignored after Season 3. Most characters we met and most storylines we saw either made the barest of references to the Burn or sidelined it entirely, and that just wasn’t very satisfying.

Still frame from the Star trek: Starfleet Academy trailer showing Caleb being rescued.
How was Caleb’s life influenced by the Burn and its aftermath?

Caleb, coming from a difficult background outside of the rump Federation, seems to have experienced the worst of the post-Burn galaxy firsthand, presumably prior to the discovery of the dilithium nebula and the restoration of much of Starfleet. That backstory is genuinely interesting, and through Caleb’s eyes we might get to see a bit more of what the galaxy looked like before Burnham and the USS Discovery began to put things right.

This could also tie into Caleb’s “undeclared” speciality at the Academy. I picked up on this a while ago, when all of the other cadets had their specialities (or majors, if you prefer) mentioned when we were introduced to them. “Undeclared” doesn’t necessarily mean that Caleb hasn’t yet chosen a speciality – command, science, medical, engineering, and so on. It *could* mean that he knows what track he’s on, but for some reason he can’t make it public. That could indicate he’s on some kind of security or intelligence course, which could be interesting.

Still frame from a Star Trek: Starfleet Academy promo clip showing Caleb.
Caleb.

If so, would that connect to his backstory as an orphan with a difficult upbringing? Could Caleb have an agenda for enrolling at the Academy – perhaps hoping to use his new Starfleet security and military skills to help the people he left behind? That could be interesting – all of the other cadets are there by choice, but maybe Caleb, who seemed to have his arm twisted into enrolling by Captain Ake, has a hidden agenda. Given modern Star Trek’s love for Section 31, Caleb’s “undeclared” major could also connect with that.

Romantically, Caleb seems to be linked with Tarima, a character we know very little about and who may not be as big a part of the show. A romantic entanglement definitely fits the whole “teen drama” thing that Starfleet Academy is going for, and if anyone was going to get a (presumably) rocky or complex romantic relationship, it makes sense that it would be the main cadet! I expect we’ll see something comparable to Burnham’s relationship with Booker in Discovery, but with more of a young adult/teen flavour.

Still frame from the Star trek: Starfleet Academy trailer showing Tarima and Caleb holding hands.
A romantic entanglement…

Tarima, who isn’t included as one of the “main” cadets in most of the show’s pre-release marketing, is described as being a “daughter of the president of Betazed,” which opens up a few interesting possibilities. There’s a remote chance, perhaps, that we’ll get a link back to Lwaxana and Deanna Troi, or just a reference to those characters. We could learn more about the Betazoids – I never knew, until now, that Betazed was a republic. Lwaxana’s very regal-sounding titles (Daughter of the Fifth House, Holder of the Sacred Chalice of Rixx, Heir to the Holy Rings of Betazed) always felt like they implied, to me, some kind of aristocracy at the very least, if not a theocratic or monarchical system.

Having a Betazoid character also opens up telepathy and empathic storylines, with Tarima perhaps able to “read” people the way Deanna Troi did in The Next Generation. She might be able to sense Nus Braka’s approach, for instance, or help guide Caleb (and others) with their own fears and feelings. Tarima says at one point that she’s “not like other Betazoids,” which is interesting, and I also noted that she isn’t wearing a typical cadet’s uniform in any images or clips we’ve seen of her so far, so she may not be a full cadet. A Betazoid character is also a nice callback to The Next Generation era, and even if Tarima isn’t a major player in the series, her inclusion is one of those threads of continuity that helps keep Star Trek together.

Still frame from a Starfleet Academy promo clip showing Tarima.
Tarima says she’s “not like other Betazoids.”

Sam (or SAM, in all caps?) confuses me. Why go to all the trouble of creating a sentient hologram – an A.I. – only to make them… go to school? I hope we’ll learn what the point of that was; previous holograms, from the Doctor to Professor Moriarty, emerge fully-formed, or at least equipped with the knowledge and skills they need to perform the roles they’re assigned. The Doctor, in Voyager, wasn’t created as a kid and forced to go to medical school; the whole point of making an A.I. (in Star Trek as well as in the real world) is that they can perform tasks humans can’t or supplement human skills. So… why create a holographic teenager and send her to school?

Also from Sam’s backstory we learned something a bit… I dunno. Disappointing, I guess. Sam will be the first-ever hologram to attend Starfleet Academy. But this is coming more than eight centuries after the Doctor first began to establish the idea of holograms having rights, and after Picard and the crew of La Sirena overturned a ban on synthetic life-forms. For so much time to have passed with no holograms being admitted to the Academy feels like it’s something that requires an explanation.

Still frame from a Starfleet Academy promo clip showing Sam.
Sam… or SAM.

One thing that interests me about Sam – and this could also apply to the Doctor, too – is how there’s the possibility to look at the development of artificial intelligence through Star Trek’s sci-fi lens. As far back as The Original Series, with episodes like The Ultimate Computer, the Star Trek franchise tackled the growth of automation, of A.I. “misalignment,” and through characters like Data and the Doctor, the idea of synthetic life as being akin to organic life. Sam’s inclusion in the series could set up similar storylines.

With A.I. being such a big deal at the moment – generating a ton of money, a ton of interest, and a ton of backlash – you could have hardly picked a better time to tell a story about a young, “newborn” A.I. system coming online, and having to learn how to interact with humans and other organic beings. There’s the potential, at least, for some very interesting allegorical storytelling through this character. And, as I said before when we first learned that Sam is a hologram, her interactions with the Doctor will be of particular interest.

Still frame from the Starfleet Academy trailer showing SAM and the Doctor.
Sam with the Doctor.

Jay-Den is an interesting name for a Klingon, isn’t it? Is that meant to be a joke; a silly reference to the name of someone on the production team? Or could there be more to the idea of a Klingon having a human-inspired first name? As far as I know, Jay-Den is a full Klingon – not like Nus Braka or Lura Thok, who are partial Klingons with other ancestry. And he’s also attending Starfleet Academy – a traditionally human-centric school based on the human homeworld. Is his name a clue to some kind of human ancestry or human-supporting Klingon faction, perhaps?

One thing that disappointed me after Discovery shot forwards in time was the lack of attention paid to the state of the galaxy at large. There are several major factions that we met across Star Trek’s history who were never even mentioned, leaving it totally unclear whether they even still existed as independent powers. The Klingon Empire was first amongst them. It seems, thanks to Jay-Den’s role in Starfleet Academy, that there’s the potential to learn a lot more about the Klingons in this era, and that can only be a good thing. It’s also interesting to note, in a time period populated by a lot of hybrid characters who are half-one species, half-another, that Jay-Den appears to be a full Klingon.

Still frame from the Starfleet Academy trailer showing Jay-Den Kraag sitting in a window.
Jay-Den aboard the USS Athena.

My two biggest questions would be whether the Klingon Empire eventually joined or merged into the Federation, or whether it remained an independent power. And secondly, what happened to the Klingons – independent or Federation members – during and after the Burn? One storyline that could have been interesting in Discovery, that the show never even attempted to tackle, would have been the reaction of other interstellar powers to the Federation being the source – and arguably the *cause* – of the Burn. It was a Federation member’s ship, operating under Starfleet orders, that was the epicentre of the Burn, and a Federation citizen who (unknowingly) instigated it. How would the Klingon Empire react to that information?

And more broadly, what happened to the Klingons after the Burn? Given that we didn’t see a single Klingon in Discovery, we could assume that they weren’t full Federation members, right? But then… how is Jay-Den a Starfleet cadet? Would Starfleet really give priority to a non-Federation citizen right as the Academy re-opens, when surely there would be millions of Federation citizens who’d want to apply? Those are interesting ideas that this character could explore. At the very least, the status of the Klingons, their Empire, and their possible Federation membership will all be points that Jay-Den’s storylines could touch on.

Still from a behind-the-scenes promo clip for Star Trek: Starfleet Academy showing Karim Diané's uniform test.
Actor Karim Diané during a costume test.

Genesis is the cadet who left the least significant impression on me. The only thing I put in my notes about her is that she’s the daughter of a Starfleet admiral, and she’s on the command track, which seems to lead her to butt heads with Darem at one point. The only Starfleet admiral we’ve met and who we know has a role in the series is Vance – and we know, from Discovery, that he has a wife and daughter. Those characters looked human when we caught a glimpse of them, so unless there’s a retcon, I doubt Genesis is meant to be connected to Admiral Vance… but it’s not impossible, I guess.

Through Genesis, we could get a story about living in the shadow of an illustrious parent – something a *lot* of Hollywood writers, producers, and performers have experience with! We could get a story about overcoming those connections, perhaps with Genesis trying to make a name for herself on her own terms, or having to combat the idea that she is, for want of another term, a “nepo baby.” Maybe we’ll even learn that her admiral parent pulled some strings to get her into the Academy ahead of other candidates… that could be interesting. A kind of “Operation Varsity Blues,” Star Trek edition.

Still frame from a Starfleet Academy promo clip showing Genesis.
Genesis.

Honestly, though, I don’t really have a lot to add about Genesis. Her species, the Dar-Sha, appear to be new to the franchise, and despite some apparent visual similarities, don’t appear to be connected to the villainous Nus Braka, who’s described as part-Klingon, part-Tellarite. Maybe it’ll be interesting to learn about her people; if one of her parents is a Starfleet admiral, the Dar-Sha could be longstanding Federation members, perhaps.

Darem, as mentioned, seems to be a character who has some traits similar to Genesis and Caleb. He’s the second command track cadet, along with Genesis, and aside from potentially pitting them against each other, I’m not really sure what that will add to the series. If I had to pick one cadet for my “killed off early to raise the stakes” theory, I think it’s gotta be Darem.

Promo photo for Star Trek: Starfleet Academy showing cadets in the cafeteria.
Darem with the other cadets.

At one point, we seemed to hear other cadets chanting his name, which could mean he’s popular among his peers – another point in favour, perhaps, of my “kill him off” theory! And Darem, supposedly from a wealthy background, could have something to say, perhaps, about wealth inequality in the university admissions process. Darem isn’t human, he’s a Khionian, which seems to be another new species created for the show. Though there are two similarly-named species – one extinct and one made of pure energy – that we’ve seen in Star Trek before.

One question I’d have about Darem, or rather his family, is where their wealth comes from. If they’re Federation members, surely they conform to the “no money” idea that’s been present in Star Trek since the beginning. But in the post-Burn galaxy, it seems like the way to get rich probably isn’t by behaving ethically. So there’s that – and there’s the same kind of question I had with Genesis: did wealth have any bearing on the admissions process when Darem wanted to attend the Academy?

Still frame from a Starfleet Academy promo clip showing Darem.
Am I right about Darem?

So I think that’s all I have for today.

Starfleet Academy is only a couple of weeks away from its premiere, and I will certainly be reviewing the two-part start to the season. I still haven’t decided whether I’ll do individual episode reviews after that, or whether I’ll review the entire season in a single piece. I think it’ll depend on whether I feel there’s a lot to say, whether I have theories I want to write, and so on! But at the very least, you can expect a review of the premiere in a couple of weeks’ time, and a review of the season as a whole after it wraps.

I hope this has been interesting. After Skydance-Paramount produced those little vignettes about the cadets, and teased a little more information about them, I wanted to talk about what we learned, speculate, and preview where some of their character arcs might go. I could be totally wrong with all of it… but it’s still a bit of fun to spend a bit more time in the Star Trek galaxy! Be sure to join me for that review of the premiere, and until then… Live Long and Prosper, everyone!


Star Trek: Starfleet Academy will premiere on the 15th of January 2026 on Paramount+ in countries and territories where the service is available. The Star Trek franchise – including Starfleet Academy and all other properties 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.

Starfleet Academy: The Final Preview

A Star Trek-themed spoiler warning

Spoiler Warning: There are spoilers ahead for Star Trek: Starfleet Academy. Spoilers are also present for the following Star Trek productions: Discovery, Picard, and Prodigy.

At time of writing, we’re just over five weeks away from the premiere of Star Trek: Starfleet Academy! Paramount/Skydance has begun ramping up the show’s marketing, with interviews, a new poster, and most recently, a new clip from the show. I thought we could take a look at those today, as well as look back at earlier trailers and teasers, and just talk a little about my thoughts, fears, and hopes for the Star Trek franchise’s newest series.

First of all… I still feel, based on what we’ve seen and heard since the Skydance takeover, that Starfleet Academy will be the final Star Trek series, at least for the foreseeable future. And unless it were to truly explode in popularity, storming the streaming charts to genuinely compete with the likes of Wednesday, Squid Game, and Stranger Things, I also feel increasingly confident that the two already-announced seasons will be all the show will get. This is not one of Skydance’s pet projects, and I get the impression that – as with Strange New Worlds – Star Trek’s new corporate overlords will fulfil their contractual obligations, but won’t pursue any kind of continuation for the series beyond what had already been lined up. I could be wrong – and I hope Starfleet Academy will prove such an overwhelming hit that it prompts a rethink in the Paramount-Skydance boardroom! But that’s where I feel the show, and the wider franchise, are at right now.

Still frame from the Star Trek: Starfleet Academy promotional clip showing the USS Athena.
The USS Athena.

And from that negativity to… some more negativity. Sorry.

I… did not think very much of the new clip, to be blunt. Don’t get me wrong: there are some interesting things and some great acting performances, and it was wonderful to see the Doctor back in live-action for the first time. But there are also some pretty disappointing things to see, one of which ties into something I’ve been saying about Starfleet Academy since before the show was even officially announced: this didn’t need to be a serialised story with another galaxy-threatening, over-the-top villain.

Paul Giamatti is *fantastic.* I loved him in the miniseries John Adams a few years ago, and this is a man who’s won three Golden Globes, an Emmy, and been nominated for two Academy Awards. Giamatti was talking about Starfleet Academy at a recent promotional event, and he seems genuinely enthusiastic about Star Trek, recalling watching the show as a kid, and even talked positively about Deep Space Nine. Which makes it such a shame that, from everything I’ve seen of his performance in the previous trailer and now in the new clip, he seems flat, one-note, over-the-top to a totally unnecessary degree, and just… boring.

Still frame from the Star Trek: Starfleet Academy promotional clip showing Nus Braka laughing.
Do you see what I mean?

Star Trek *can* do great things with bad guys who get under your skin and really chew the scenery. Khan was like that, if you think about it, and yet fans adore both Space Seed and The Wrath of Khan to this day. But in this modern era, after we’ve had Discovery’s Klingons, the Control AI, the Zhat Vash, Osyraa and the Emerald Chain, various Borg Queens, the Diviner Vadic, Moll, and… whoever else I can’t call to mind right now, do we need *yet another* villain in that mould? After we’ve had so many “villain with a mysterious connection to a main character,” and “villain seeking revenge against Starfleet/a main character” storylines across the past decade… do we need to go down that road again?

To me, Starfleet Academy seemed like the perfect vehicle to do something different. The show would benefit, in my opinion, from following the Strange New Worlds style – leaning much more heavily on episodic storytelling, and leaving things like a main villain and galaxy-ending threats behind. Star Trek, in its prime, was the best kind of episodic television, and while there’s always been room for sequels, character growth, and ongoing story and character arcs… a show like Starfleet Academy, with its focus on a new generation of up-and-coming officers, just seems like it should be perfectly placed to bring back that style of storytelling.

Still frame from a Star Trek: Starfleet Academy promo video showing Paul Giamatti in the makeup chair.
Paul Giamatti in the makeup chair.

Maybe, if Nus Braka didn’t seem so cartoonishly over-the-top, I’d be a bit less critical. And despite what I’ve said, I really will try to give the character – and Starfleet Academy – a fair shake in January. I’m not going to turn up for the show wanting to have a bad time, just so I can say “I knew it” later on. But when one of the things that had excited me the most about Starfleet Academy, before we knew anything else about the show, had been the casting of Paul Giamatti… I’m decidedly unimpressed with what I’ve seen from him so far.

If there’s more subtlety and nuance to the character of Nus Braka in Starfleet Academy, I will happily take back everything I’ve had to say about the character and the performance. And I’ve been wrong before – going into projects with low or no expectations only to be left genuinely impressed. Heck, I was not on board with the idea of re-casting Pike, Spock, and Number One for Discovery’s second season… and look how that turned out! So if I’m wrong, I’ll gladly hold up my hands and admit it. But… if I *am* wrong, and this character isn’t the one-note, scenery-chewing villain stereotype that he seems to be, it’ll leave me wondering why the clips and trailers were cut in such a way as to leave me with that impression!

Promotional photo of Paul Giamatti as Nus Braka in Star Trek: Starfleet Academy.
Nus Braka.

The second performance from the recent clip that’s giving me pause is Gina Yashere’s. Yashere plays the role of Lura Throk – an interesting character on paper, as she’s half-Jem’Hadar, half-Klingon. But the way she delivered the couple of lines she had in the clip really just felt amateurish to me. I’m only familiar with Yashere’s work as a comedian; several of her stand-up specials were televised here in the UK, and she also appeared a few times on a comedy panel show called Mock the Week.

Lura Thok *looks* great – there’s some fantastic prosthetic makeup that’s really brought the character to life. And I’m genuinely intrigued at the possibility of learning more about the Jem’Hadar – and by extension the Dominion, perhaps – in this new 32nd Century era. But the way she delivered her lines left me incredibly wary and unconvinced; it felt like I was watching a fan film, when Lura Thok was in focus. Again, these are short moments, and the performance may come across way better in the finished product. But… this is Starfleet Academy’s big push, and the show should be putting its best foot forward to attract as wide of an audience as possible. Performances like that are not the way to do it.

Still frame from the Star Trek: Starfleet Academy promotional clip showing Lura Thok and Captain Ake.
Lura Thok with Captain Ake.

After criticising those two performances, I find myself wrangling with Starfleet Academy’s status and its place in the franchise. When I’ve spoken about two other Star Trek projects in the past – Prodigy a few years ago and Scouts earlier in 2025 – I went out of my way to note that they’re productions aimed at a younger audience. That, by definition, changes how we approach them and where we might choose to be critical. In short, Prodigy and especially Scouts aren’t really being made for the likes of you and I – adult fans who’ve been Trekkies for a long time. They’re aimed at children, with a view to expanding the Star Trek franchise beyond its usual niche.

Is Starfleet Academy in the same camp? Or, to put it another way, am I being too harsh on the show already under the mistaken impression that, because it’s in live-action not animation, it should be held to the same standards as the likes of Strange New Worlds?

Still frame from the Star Trek: Starfleet Academy promotional clip showing Captain Ake in the captain's chair.
Nahla Ake in the captain’s chair.

This gets to a deeper question, I guess. What’s the purpose of Starfleet Academy? Is it to give Trekkies and sometime fans of the Star Trek franchise another show to enjoy? Or is it aiming to attract a younger audience – tweens, teens, and young adults, the kinds of folks who’ve shown up in droves for the aforementioned Wednesday and Stranger Things? And if it’s the latter… should we be a bit more forgiving about some of the things we don’t like?

Some entertainment products which are supposedly made for kids or aimed at a younger audience end up going way beyond their target demographics. I have a neighbour who’s in his 80s, and in a random conversation with him he brought up that he’d watched and enjoyed Wednesday, having been a fan of The Addams Family decades earlier. And speaking for myself, I greatly enjoy some films and TV shows aimed at a younger audience: just this year I’ve watched and enjoyed Phineas and Ferb, for instance, and the film KPop Demon Hunters. So I don’t necessarily think that the argument “it’s for kids, dumbass” can or should be used to cover any and all flaws; there’s good and bad kids’ entertainment, just as there’s good and bad entertainment made for adults. But, at the same time, Starfleet Academy’s marketing material has shown me pretty clearly that, as someone in their 40s, I’m not really the target audience for a show about young adults at their equivalent of university. And I’m okay with that!

Still frame from Star Trek: Scouts showing the three main characters.
Star Trek: Scouts is a new web series aimed at a preschool audience.

I want to judge Starfleet Academy as fairly as possible, and meet it where it is, on its own terms. This is something I’ve said before on multiple occasions – earlier this year, for instance, I wrote that Star Trek: Section 31 felt, to me, like a perfectly adequate B-movie; not great, not terrible, the kind of mindless action flick that’s the television equivalent of “easy listening” and that doesn’t demand much thought or attention. When I realised that I was watching a B-movie, I kind of went with it. While I get that there was a lot of disappointment in the fan community around Section 31, on its own terms, it was okay. Not the best thing I’ve ever seen the franchise put out… but in context, it was fine.

So… shouldn’t I try to be consistent and hold Starfleet Academy to that same standard?

Rather than judging Starfleet Academy by the standards of Picard and Strange New Worlds, I think – based on what I’ve seen so far – we need to compare it to something like… Dawson’s Creek or The O.C. It’s clearly being pitched to younger folks as a “teen drama” set in the Star Trek universe, not a Star Trek show which just happens to have young adult characters. And maybe that means we’ll get storylines about first loves, skipping class, overly-strict teachers, and all of the tropes that come with that kind of television. That isn’t usually my cup of tea… but I will try to keep that in mind when I talk about Starfleet Academy and the stories it aims to tell.

Still frame from the Star Trek: Starfleet Academy trailer showing the cadets.
The main cadet characters, as seen in the first trailer.

The recently-released poster also leaves that impression. I’ve seen some Trekkies online complaining about or criticising the poster – which depicts the cadets in a casual pose, lying on the grass, presumably in between classes! It evokes a kind of carefree schooldays feel, as if the characters are taking a break from their lessons and whatever personal conflicts or drama may be brewing.

Again, trying to keep in mind who Paramount-Skydance is trying to appeal to… I think that’s probably a good way to go. If the objective is for Starfleet Academy to be a teen drama first and a Star Trek show second, this kind of promo is *exactly* what I’d have suggested. It doesn’t mean we’ll get to see the poster recreated in the show itself, but rather the sensation or feeling that the designers and marketers wanted to create is one of carefree youth. Hopefully it’ll reach the right eyes and convince some new folks to tune in.

Promo poster for Star Trek: Starfleet Academy (landscape version).
The new promotional poster.

To get back to the latest clip, I’m glad we got to see the Doctor in action. Robert Picardo seems to have slid effortlessly back into the role, and I’m really keen to see what this new take on the character will look like. We’re catching up with the Doctor centuries after we last saw him, though I got the impression from a recent interview that *maybe* the Doctor’s holo-programme hasn’t been running continuously for all of that time. Don’t quote me on that, it’s as much a guess as a “theory,” at this stage!

Although the Doctor will clearly have some kind of role as an educator, the clip showed him back in action, tending to and potentially treating wounded cadets and Starfleet personnel after the attack on the USS Athena. Even if that’s the only time the Doctor plays that kind of role… I’m still glad to see it! As an artificial life-form, the Doctor should retain all of his knowledge and skills, even after all this time. I hope the Doctor’s role won’t just be a succession of short cameos, though. There are only ten episodes in the new season, and we’ve got a whole new cast of characters to meet and new storylines to follow. But if Star Trek is gonna do this – bring back another legacy character – they have to be handled with care, and given enough time in the spotlight to feel like they’re there for a purpose. Otherwise… it’s just a nostalgia play to get grumpy old gits to tune in for this new kids’ show!

Still frame from the Star Trek: Starfleet Academy promotional clip showing the Doctor assisting an injured colleage.
The Doctor… and the patient.

We didn’t see very much of the cadets in the recent clip. A scene on the bridge with Captain Ake was interesting – and we’ve learned fairly recently that she’s a Lanthanite. The Lanthanites are a long-lived humanoid species, of which Pelia, from Strange New Worlds, is the only member we’ve met so far. I wonder if there’ll be a connection between them, or some kind of reference to Pelia in the new series.

Holly Hunter, the Academy Award-winner who plays Captain Ake, was far and away the standout performer in the recent clip. She seems to have perfectly brought to life this character who’s both a captain and a teacher, ancient and wise yet constantly surrounded by children. There wasn’t much of Pelia’s light-heartedness in Captain Ake’s characterisation, but that’s fine. I don’t think that, just because one member of a species acts a certain way, every subsequent character must do the same! I’m not sure how I feel about her choosing to wear glasses, though – but perhaps it’ll be explained that that’s a quirk she’s retained after centuries of life? I dunno.

Still frame from the Star Trek: Starfleet Academy promotional clip showing Nahla Ake.
Captain Nahla Ake.

I’m not *wild* about the design of the USS Athena. To be fair, I don’t think what I’ve seen of the exterior of the ship is atrocious, and it’s probably in line with other 32nd Century Starfleet designs that we saw in Discovery… but I wasn’t especially keen on those, either. Inside, the bridge still feels to me like a redress of the USS Discovery bridge set, rather than a totally original creation. Combined with an exterior that doesn’t feel all that special, the USS Athena just doesn’t strike me as being particularly memorable. When I think about some of the best starship designs, my mind goes to iconic vessels like the Excelsior-class, Galaxy-class, or Intrepid-class. All I can say is that I hope the Athena will grow on me over the course of the show.

One thing I did like, though, was the design of Braka’s ship. Three separate pieces seem able to break apart and come together. It reminded me of a cross between Booker’s ship, which we saw in Discovery, and the USS Prometheus from Voyager, which also had a three-part separation sequence. Perhaps there was also a dash of the Shrike – Vadic’s ship from Picard – thrown in there, too. Certainly a more memorable design than the Athena!

Still frame from the Star Trek: Starfleet Academy promotional clip showing a villain's spaceship.
Nus Braka’s three-part ship.

The callback to Discovery’s programmable matter was interesting – but I hope this will be developed a bit more in the new series. In Discovery, programmable matter was basically a glorified macguffin, used to fill holes in a few storylines but without ever really being explained. Star Trek’s technobabble has always been like that, but if programmable matter is as important to Starfleet in this era as it appeared in Discovery, and is going to be used by the villain of this story, I hope we get to look at it in a little more detail this time.

One thing I noted in the clip was that Caleb – the cadet we saw being rescued by Captain Ake, and who seems to have a mysterious connection to Nus Braka – didn’t know what this programmable matter attack was. Does that tell us something, perhaps, about his life prior to enlisting in Starfleet? I thought it was potentially interesting that, of all the cadets who could’ve filled that role, it was Caleb who was the one to get the “what is that?!” line. It could be nothing of consequence, though, if Starfleet Academy ends up following Caleb’s story more closely than those of the other cadets.

Still frame from the Star Trek: Starfleet Academy promotional clip showing Caleb and Kraag.
Does this moment mean… anything?

I think that’s everything I had in my notes for today.

This time last year, I said that I was sceptical about the Section 31 TV movie. I felt that it was targeting a younger audience, raised on action and superhero flicks, and that that kind of film might not be to my taste. But I tried to set appropriate expectations and gave the film as fair a shake as I could. I will endeavour to do the same for Starfleet Academy, which likewise feels like a project that may not be “my thing.”

I hope this has been interesting, and I hope I didn’t come across as too harsh, unfair, or overly negative. I really will try to be fair to Starfleet Academy when it premieres next month, and to go into the show with an open mind. Even if it is the kind of teen drama that I’m assuming, based on its marketing material, that doesn’t, by default, mean it will be unenjoyable! The clip may not have impressed me, and I do have some concerns about the show’s villain and a potential return to serialised storytelling. But I’m also crossing my fingers and hoping that – finally, belatedly – *this* will be the project to bring a new generation of fans to the Star Trek franchise.

Still frame from the Star Trek: Starfleet Academy promotional clip showing the programmable matter attack.
The programmable matter attack…

In January, I plan to review Starfleet Academy’s premiere, which I think I’m right in saying will be two episodes. After that, I will make a decision about whether or not to review individual episodes or the season as a whole – that’s not something I want to commit to until I’ve got more of a feel for the show. But regardless, I will review Starfleet Academy in some form in the new year, so I really hope you’ll join me again for that.

And until then, I’ve still got a couple of other reviews from 2025 that I’m working on, and later in the month there’ll be my annual End-of-Year Awards, in which I’ll hand out some imaginary trophies and made-up statuettes to some of my favourite entertainment experiences of the year. Hope to see you for some of those!

Live Long and Propser, friends!


Star Trek: Starfleet Academy will premiere on the 15th of January 2026 on Paramount+ in countries and territories where the platform is available. Star Trek: Starfleet Academy is the copyright of the Skydance-Paramount corporation. This preview contains the thoughts and opinions of one person only and is not intended to cause any offence.

A New Star Trek Film Has Been Announced (Again!)

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Wrath of Khan, The Next Generation, First Contact, Into Darkness, Beyond, Discovery, Picard, Lower Decks, Prodigy, and Section 31.

Just the other day, we covered a rumour/leak from Skydance that the next Star Trek film would “move on” from the Kelvin timeline, and I shared my thoughts on that. Following on from that news is the announcement from Skydance/Paramount that the film they hinted at is officially going ahead. I thought we could get into the details today, as well as talk about what this announcement might mean for the Star Trek franchise overall.

If you want to check out my piece on the apparent end of the Kelvin timeline, you can find it by clicking or tapping here.

So first of all, this is not the first time in recent years that Star Trek’s corporate overlords have announced a new film. It’s not the first time that a writer/director has been attached to a new film, either. There was a film supposedly on the schedule for 2023 penned by Short Treks and Discovery writer Kalinda Vazquez. There was Noah Hawley’s film. There was an absolute mess surrounding the Beyond sequel, which had to be rapidly un-announced after it became clear that Paramount didn’t have everything in place. There was an “origin story” which may have been connected to the Kelvin timeline. There have been other rumours and pitches, too, including from famed director Quentin Tarantino. Sir Patrick Stewart even teased that a Picard movie could be in the offing after that show wrapped up.

Still frame from Star Trek: The Motion Picture showing Kirk addressing the crew of the Enterprise.
Look, it’s everyone who’s officially announced a Star Trek movie over the last few years.

I mention all of these for one simple reason: for almost a decade now, Viacom, Paramount, and the re-forged Paramount Global tried and *repeatedly* failed to get a new Star Trek film out of development hell for all manner of reasons. And just because new owners Skydance have announced this project and attached the filmmaking duo of Jonathan Goldstein and John Francis Daley to it… that doesn’t mean we’ll ever even hear about it again, let alone see the finished product in cinemas in the years ahead. Maybe you’ll say it’s unfair now that the Star Trek brand is under new management, but Skydance/Paramount have a lot to do to convince me that they have even the most basic filmmaking competence, at this point!

If you know me, you’ll know Marvel and comic book films aren’t really my thing, so I’m not familiar with Daley and Goldstein’s work on Spider-Man: Homecoming. I also haven’t seen their Dungeons and Dragons film, though I think it’s worth noting that both pictures got solid reviews, even if Honor Among Thieves was considered a bit of a disappointment in terms of the money it made at the box office. As far as I can tell, neither Daley nor Goldstein has worked with the Star Trek franchise before – which isn’t necessarily a bad thing, but it’s worth being aware of.

Posters for Spider-Man Homecoming (left) and Dungeons and Dragons: Honor Among Thieves (right).
Daley and Goldstein previously worked on Spider-Man: Homecoming and Dungeons and Dragons: Honor Among Thieves.

As we discussed when the Skydance merger had gone through, this announcement seems to embody Skydance CEO David Ellison’s preference for film over TV. With a swath of cancellation announcements for every Star Trek series save Starfleet Academy, and now this new film getting an official announcement, I think we’re catching the first glimpse at what a new era for Star Trek is going to look like. Star Trek is being reimagined as a cinematic franchise first, and while I haven’t given up on the prospect of Star Trek remaining on the small screen… that looks less likely in the medium term, once the current crop of shows come to the end of their runs.

And I have to be honest: I’m pretty disappointed about that.

Look, I’ll be the first to concede that not every modern Star Trek project has gone well. Picard’s awful second season, Discovery’s increasingly repetitive storytelling, Prodigy struggling to find an audience… there have been many mistakes made by the former Paramount corporation and the folks in charge of creating new Star Trek stories. But for me, Star Trek’s home is and always will be on television, not at the cinema. That’s where Star Trek has the freedom to dip its toes into different genres and storytelling ideas, and it’s really the only way it can “seek out new life and new civilisations.” Being constrained to the cinema in the years ahead restricts the kinds of stories Star Trek will be able to tell.

The new Skydance/Paramount logo (white on a navy blue background).
The new film will be the first original Star Trek project for the new Skydance/Paramount corporate entity.

Additionally, it means we’re going to be seeing a lot less Star Trek! Now, I’ve taken Paramount to task in recent years for oversaturating the brand and for allowing the dreaded franchise fatigue to set in. But there’s a balance somewhere between broadcasting more than fifty new episodes in a single calendar year and releasing one film every few years. Even if we just had one Star Trek series at a time, running for truncated ten-episode seasons, that would be preferable – in my opinion – to Star Trek doing what it did in the Kelvin timeline era.

It makes sense to me, as I wrote last time, for Star Trek to move on from the Kelvin timeline, though, and I think that’s a net positive as we look at this announcement. The Kelvin films were fun for what they were, and the 2009 reboot in particular was arguably just what the franchise needed at that moment to avoid slipping away altogether. But almost a decade on from Beyond, and with so much else having been on our screens in that time, I think a new approach is warranted – and I’m happy to see Skydance going in a different direction.

Still frame from the final moments of Star Trek: Beyond showing the new Enterprise-A.
The Enterprise-A at the end of Beyond.

It also makes a lot of sense from the new corporation’s perspective. Why go back to something that someone else made when you could tell your own story? The Star Trek universe is vast, and there are so many different time periods, alien factions, and planets to explore… being restricted to the same handful of re-cast characters over and over again begins to feel small and repetitive after a while. As we look ahead and try to be optimistic about Star Trek’s future prospects, building a new foundation instead of trying to revive one from almost twenty years ago is the smart move.

I just hope it pays off… because after what has been a clearly underwhelming performance (in financial terms) on streaming over the past few years, and with an ageing fan community that hasn’t significantly expanded in a long time, Star Trek doesn’t feel like it’s in a great place, to be honest with you. Not when considering the future, at any rate. If this film doesn’t impress Skydance’s leadership and investors… I could absolutely see Star Trek as a whole going on hiatus, if not being permanently brought to an end.

So no pressure, eh?

Behind-the-scenes photo from the set of Star Trek: The Motion Picture showing William Shatner (Kirk) and Leonary Nimoy (Spock) having a chat on set.
William Shatner and Leonard Nimoy during the production of The Motion Picture.

Next, I’d like to briefly talk about what I think this new film might look like… as well as what I’d *like* it to look like if I were in charge!

Firstly, if you’re hoping for some kind of in-depth TOS-style “morality play,” or something a bit more esoteric and weird, you’re going to be bang out of luck. We’re almost certainly going to get a picture which lands a lot closer to the “action” side of “action/sci-fi.” But that doesn’t have to be a bad thing. Ask most Trekkies – and a general audience – which Star Trek films are the best, and you’re almost certain to hear The Wrath of Khan and First Contact ahead of the likes of The Motion Picture or Insurrection. But just based on the writers/directors attached to the project, and their previous works, I’m almost certain this new Star Trek film will be going down that route.

Secondly, it sounds as if we’re going to get an all-new cast of characters this time, which could also mean we’re going to get a new setting and even a new time period. Unless the new film does something silly like trying to re-cast Picard and the TNG characters, it really sounds like it’ll be going in a totally new and fresh direction, which I think is a hugely positive thing. Think about it: basically everything we’ve gotten in this era of streaming Trek is either a direct prequel or sequel, and many characters have either been re-cast or simply brought back to the franchise. Getting something genuinely *new* is going to feel like a treat after so much recycling!

Still frame from Star Trek: The Next Generation Season 1 showing the Enterprise-D at warp.
The Enterprise-D.

Finally, I expect this project will be somewhat comparable in terms of tone and audience appeal to Star Trek ’09. After a decade on streaming, this is Skydance brushing all of that aside and saying: “here’s a reboot.” Perhaps it won’t be as blatant as Star Trek ’09’s “alternate reality,” but make no mistake about it: this is another attempt to streamline and simplify Star Trek, and to reach out to a much wider audience. As a Trekkie, that might feel somewhat alarming; after all, don’t we all want Star Trek to be “made for the fans?” But I’m kind of taking the same approach as I did in the late 2000s, seeing this film – and any potential sequels – as a stepping-stone to something bigger and better. As I said in the run-up to Section 31′s launch at the start of the year: it doesn’t matter if the film isn’t for me if it succeeds in its objectives of expanding the fan community and shoring up the brand.

To me, that’s what this new film should be attempting to do. It needs to reach out to folks who may have watched First Contact and Into Darkness, but who haven’t subscribed to Paramount+, don’t know who Captain Pike is, and prefer to watch things like Spider-Man. And it needs to convince them that this weird, convoluted, nerdy franchise is something worth getting invested in. Section 31 was meant to do that, too, by the way, but I think the verdict there is that it failed.

Promo image for Star Trek: Section 31 showing Empress Georgiou holding a sword.
This new film needs to succeed where Section 31 failed.

If I were in charge, I think I’d want a film set sometime after the Picard era – in a new, fresh, unexplored time period, but still within the prime timeline. There’d be scope, perhaps, for one familiar character to have a cameo, something akin to Leonard Nimoy’s role in Into Darkness, perhaps, just to tie things together but without overwhelming the story. And then? I’d set the new characters a challenge that might be connected to previous iterations of Star Trek, but which doesn’t depend on any pre-existing knowledge.

The Borg arguably fit the bill!

We want the new film to have a distinctly “Star Trek” identity, meaning it can be a gateway for new fans that isn’t totally disconnected from everything else that the franchise has done. But it mustn’t be *too* closely tied up with what came before, because that risks putting off the very casual audience that we’re trying to attract. It needs to be explosive and exciting while still being true to Star Trek. And I really can’t think of a better fit than the Borg, to be honest with you.

Still frame from Star Trek: First Contact showing a Borg drone in their alcove.
Should this new film feature the Borg as a major antagonist?

I know the Borg have been back a little too often in modern Star Trek, appearing in all three seasons of Picard as well as in Prodigy and Lower Decks. But the last time the Borg were seen *at the cinema* was in 1996 – and that came in what is still, to this day, one of the best-remembered and highest-rated Star Trek films. So… why not bring back the Borg for another round? Have a new cast of characters facing off against a familiar foe, but one that’s easy for non-fans to understand? You don’t need a lot of background about the Borg to realise they’re a horrible danger!

Furthermore, despite what I said about this new film not being a “morality play” type of story, we’re right in the middle of a potential A.I.-led transformation of at least some parts of society. What could be more timely than a film about the Borg: cybernetic beings, all hooked up to one hive mind? The Borg, since their inception, have been a warning of a reliance on technology gone awry, and I think there’s even more potential in that idea in 2025 than there was thirty-five years ago when the Borg debuted.

Promo photo for Star Trek: Deep Space Nine showing Sisko with Picard.
Picard and Sisko.

So that’s what I’d argue for if I were in the room!

But in any case, a new Star Trek film has been announced and seems to be going ahead. Skydance is now in full control, and it’s my hope that the new leadership team will be more competent than the previous crop of executive idiots who’ve mismanaged Star Trek over the past few years. Though I’m still disappointed to lose Strange New Worlds – and to see Star Trek potentially disappearing from the small screen in the years ahead – it does at least give me some room for optimism that Skydance has faith in the franchise. A new film wouldn’t have been my choice; I’d have commissioned a new TV show if I had the opportunity. But it’s better than nothing, and I will do my very best to support it as it develops.

If and when we get more news on this film, like story details, casting announcements, or a trailer, I hope you’ll join me as I daresay I’ll have plenty to add! And when it’s finally ready for release – perhaps in 2028, 2029, or 2030 – I’ll definitely check it out and write a review! Until then, though, there are still two more seasons of Strange New Worlds to come, as well as Starfleet Academy, and more. I’ll be talking about all of that in the weeks and months ahead, but until then… Live Long and Prosper!


The Star Trek franchise – including all films, TV programmes, and other properties discussed above – is the copyright of Skydance/Paramount. Most of the Star Trek franchise is available to stream now on Paramount+ in countries and territories where the platform is available, and is also available on DVD, Blu-ray, and video-on-demand platforms. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The End of the Kelvin Timeline?

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of minor spoilers for the Kelvine timeline films and Strange New Worlds.

In a little over six months from now, it’ll be ten years – an entire decade – since Star Trek Beyond hit cinemas. Beyond is the most recent film in the Kelvin timeline – the Star Trek spin-off films set in an alternate reality. There have been multiple attempts in the nine-plus years since its release to get a sequel off the ground, including a couple of years ago when Paramount announced – and then had to rapidly un-announce – a film that wasn’t ready. That was a clusterfuck, eh?

Every so often, if you follow some of the big Star Trek fansites and social media pages, an interview will pop up with a member of the Kelvin cast, and they always make the right noises, sounding positive and hopeful about one day returning and making another film. But if recent reports are to be believed, the newly-merged Skydance/Paramount corporation is ready to “move on” from the Kelvin timeline. While a new Star Trek film is supposedly being planned, it won’t involve the Kelvin timeline or the cast of the rebooted series. I thought we could discuss that today.

Still frame from Star Trek 2009 showing the main viewscreen on the bridge.
The bridge in Star Trek ’09.

I know the Kelvin films weren’t every Trekkie’s favourite part of the franchise – to put it mildly! Heck, I *still* know people who refuse to even watch them because of how upset they were at both the recasting of classic characters and the more action-heavy storytelling. But we should all be able to acknowledge what the films – and the 2009 reboot in particular – did for Star Trek at a time when the franchise had been cancelled after more than fifteen years on the small screen.

We wouldn’t have seen Discovery, Picard, Lower Decks, Strange New Worlds or really any of the Star Trek productions we’ve enjoyed over the last decade were it not for the success of the Kelvin timeline films. Star Trek ’09 demonstrated to investors that, despite declining viewership on TV in the 2000s, there was still life in the Star Trek franchise, and still new stories to be told. These films carried the torch for Star Trek during what could’ve been its darkest hour, and they set the stage for the franchise’s revival.

Behind-the-scenes photo from the set of Star Trek Into Darkness showing director JJ Abrams.
Director J.J. Abrams on the set of Star Trek Into Darkness.

With all that being said, regular readers will undoubtedly remember me saying that I don’t believe there’s a place for a new Kelvin timeline film. I wrote about this in 2020 and 2021, and while my original reasons for saying that have now shifted in light of the spate of cancellations this year… I stand by the original point. I know Beyond seemed to tease a sequel in its closing moments, and there will always be a part of me that wants to see reboot Kirk’s adventures aboard the Enterprise-A. But given the changes not just to Star Trek over the past ten years, but the entertainment landscape as a whole… I’m not sure a 2009-style film is the right fit any more. After almost a decade, audiences have moved on and expectations have changed.

Then there’s Strange New Worlds. What was the original idea behind Star Trek ’09? It was to show “young Kirk” and “young Spock” at Starfleet Academy, then undertaking their first missions together. Well… we’ve seen that. And thanks to Strange New Worlds, we’ve also seen the prime timeline version of that, too. Strange New Worlds has introduced several other legacy characters, and thanks to being able to develop those characters a lot more because of the extended runtime a television show permits, I’d argue it’s done a lot more with some of those characters than the entire Kelvin trilogy did.

Two still frames from Star Trek 2009 stitched together, with Cadet Kirk on the left and Commander Spock on the right.
Kirk and Spock at the Academy in Star Trek ’09.

At this point, if we returned to the Kelvin timeline a decade after Beyond, we wouldn’t be seeing “young Kirk” and “young Spock” on one of their first missions. We’d be seeing Kirk and Spock on their five-year mission – or perhaps even *after* that, in the latter part of the 23rd Century. There are things that the Kelvin timeline could do with that idea, sure… but we’ve already seen plenty of Kirk and Spock at this point, haven’t we? Between TOS, the Kelvin films, Strange New Worlds, and the rest of Star Trek, we’ve spent a lot of time with these characters already. So… what could a new Kelvin film do that we haven’t already seen?

This leads me to my most fundamental point: Star Trek needs to move on. Not just from the Kelvin timeline, but from the 23rd and 24th Centuries in general. Since the turn of the millennium, we’ve had Enterprise, Discovery, Strange New Worlds, and the Kelvin timeline – all of which were prequels. Then we had Prodigy and Picard, which were direct sequels to Voyager and The Next Generation. The closest Star Trek came to originality was Lower Decks, ironically enough! And that show called back to The Next Generation era over and over again, and brought in numerous guest-stars.

Still frame from Star Trek: Picard Season 3 showing the Titan/Enterprise-G in orbit of a star.
What *new* adventures might lie ahead for the Star Trek franchise?

A new film at this point should have the freedom to go in a totally different direction, and shouldn’t be too tied up with what came before. That doesn’t mean it can go breaking all of the rules of canon, of course, but after so many sequels, prequels, and spin-offs, it’ll be nice to get something truly original for once. Won’t it?

If Star Trek continues to look backwards at its own history, and keeps trying to bring back characters from the past, that limits the franchise’s potential to grow and expand. I became a Trekkie in the early 1990s not because of Kirk, Spock, and Dr McCoy, but because of Picard, Riker, and Data. If Star Trek, in the ’80s, had doubled-down on The Original Series and those classic characters, we’d have missed out on so much – not only The Next Generation, but Deep Space Nine, Voyager, and more. After such a long time, and with so much having happened since Beyond was in cinemas… a new film taking a new approach just feels like the best option.

Behind-the-scenes photo from Star Trek Beyond showing Simon Pegg, Justin Lin, and others.
Simon Pegg (Scotty) and director Justin Lin on the set of Star Trek Beyond.

There are risks, of course. Into Darkness remains the cinematic Star Trek franchise’s high-water mark in terms of financial success, and all three of the Kelvin films turned a profit. Creating something brand-new, with a new director and a new cast of characters, might not achieve the same level of success as a Beyond sequel. Figuring out how to attract audiences who turned out for Into Darkness – but who may have skipped *everything* Star Trek has done since – will be the biggest challenge Skydance faces when it comes to pitching the new film.

And there’s kind of limited room for manoeuvre here. In 2009, a lot of people who hadn’t watched the likes of DS9 and Enterprise showed up specifically because Star Trek was billed as a reboot. The universe was going to be reset, you didn’t have to have followed any of the increasingly convoluted storylines from the previous fifteen-plus years… this film was its own thing. But can you re-reboot a franchise and achieve the same level of success a couple of decades later? Does the name “Star Trek” carry the same weight it did in 2009, after not really managing to reach out to a big new audience on streaming? I think those are valid questions as this new film may be getting underway.

Cropped promo image for Star Trek 2009 showing the USS Enterprise in sillhouette.
A silhouette of the Enterprise was one of the first teaser images released for Star Trek ’09.

I don’t lament the demise of the Kelvin timeline. It laid the groundwork for Star Trek’s return to its small screen home in 2017, which I truly appreciate, but then it kind of lost its place – at least for me as a Trekkie. By the time Pike and Spock joined Discovery a couple of years later, and we were getting news of new projects featuring Picard, Section 31, and a new animated series, it really seemed like Star Trek was back. Strange New Worlds, with its focus on many of the same characters as those in the Kelvin films, occupies a very similar space, and I’m just struggling to see what a new Kelvin film could really have to say after five seasons of Strange New Worlds and everything else Star Trek has done over the past nine-plus years.

At the same time, there’s a sense that Star Trek’s executives never took *full* advantage of the alternate reality that the Kelvin films presented. We could’ve seen, just as one example, Captain Kirk taking on the Borg – something that would be impossible to do in the prime timeline. Or we could’ve done more with the idea of a crossover from the prime timeline, bringing in William Shatner and George Takei alongside Leonard Nimoy. That can’t happen now.

Cropped promo poster for Star Trek Into Darkness showing the USS Enterprise crashing into the atmosphere of a planet.
The Enterprise.

But the Kelvin films – or perhaps we should start saying “the Kelvin trilogy” – have a place in the history of Star Trek. They carried a torch for the franchise at a time when total cancellation and annihilation seemed not only likely, but were actively happening, and they set the stage for several great streaming shows that expanded the franchise in new ways. That isn’t a bad legacy by any means.

And as we look to the future? Star Trek seems set to enter a fallow period as the 2020s come to a close. After Strange New Worlds finishes its run, all we know for sure is that Starfleet Academy is getting a second season – and then there’s this potential new film. Star Trek XV – or whatever we’re going to end up calling it – has a lot to live up to in some ways, as it may have to pick up the mantle from the Kelvin timeline and keep Star Trek alive at a time when there might not be anything else going on. But this new film, thanks to being its own thing, has almost limitless storytelling possibilities, and won’t be constrained by what came before. That worked well in 2009, and it set the stage for bigger and better things. I’m going to keep my fingers crossed that this new film, in whatever form it ultimately takes, will be much more like Star Trek ’09 and less like the unfortunate Section 31.

So I hope this has been interesting. Part of me wonders if, in another ten or fifteen years, we may yet get a belated Kelvin timeline revival. Who knows! But nostalgia can be a big deal in entertainment, and if there are enough Kelvin fans clamouring for it… never say never, right? I will keep my ear to the ground and if there’s any news about a new Star Trek film in the weeks and months ahead, I daresay I’ll have more to add, so be sure to check back from time to time. And if you want to see what else I’ve had to say about the Kelvin timeline over the years, you can check out my dedicated Kelvin timeline page by clicking or tapping here. Until next time, friends!


Star Trek ’09, Star Trek Into Darkness, and Star Trek Beyond are available to stream now on Paramount+ in countries and territories where the platform is available. All three films are also available on DVD and Blu-ray. The Star Trek franchise – including all films and other properties 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.

More Star Trek Narrative Clichés: Which Ones Should Stick Around?

A Christmassy spoiler warning.

Spoiler Warning: Beware spoilers for the following Star Trek productions: The Original Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, the Kelvin films, Discovery, Picard, and Strange New Worlds.

A few days ago, I wrote a piece about more than a dozen narrative clichés in the Star Trek franchise. That article was inspired by a post on Tumblr (which had been re-posted by a Star Trek fan page on Facebook, where I saw it) and it really got me thinking! Star Trek has its own tropes and little sub-genres; many episodes and storylines can be characterised as “another Borg episode,” “a holodeck story,” and so on. In addition to the eleven clichés presented by the original poll, I added a few of my own – but it turns out that I barely scratched the surface!

So, just like last time, we’re going to take a look at a few more potential “clichés,” and ask a simple question: is it time for them to be retired? Or, to put it another way, has Star Trek taken these story concepts as far as they can reasonably be stretched? Should any of these stick around if more Star Trek is produced in the years ahead?

Thanks to Tumblr user “quasi-normalcy” for coming up with the original poll (which I’ve linked to below). And thanks to the Star Trek fan page on Facebook for dropping it onto my timeline! This idea has been a lot of fun, and a great way to spend a bit more time thinking about the franchise.

Early concept art of the USS Discovery from Star Trek: Discovery.
Early concept art of the USS Discovery.

I always like to give the same caveat whenever we’re about to jump into some potentially controversial Star Trek opinions: everything we’re talking about here today is subjective, not objective! If you hate all of my ideas, think I’ve totally got the wrong end of the stick, or just vehemently disagree with me about what makes for a good or bad Star Trek cliché, that’s okay! The Star Trek franchise is massive, and fans can and will disagree about what the best and worst episodes are. That’s the way it should be – we can still enjoy Star Trek, and remain friends, even if we don’t always agree about everything. I share this piece with the fan community in that spirit.

I’ll go through each cliché (or potential cliché) one by one, then give my verdict on whether it should stick around as part of the Star Trek franchise.

If you want to see my first piece on this topic, which contains the original eleven clichés from the Tumblr poll (and a few of my own), you can find it by clicking or tapping here. And this is your final chance to nope out if you don’t wanna read some potentially controversial Star Trek opinions!

Cliché #1:
Vulcans (or Androids) Are Invulnerable to the Problem-of-the-Week

Still frame from Star Trek: The Next Generation showing Data on the bridge.
Data, alone on the bridge.

Everyone aboard the Enterprise catches a disease – except for Spock, whose Vulcan physiology makes him immune. The crew is being targeted by a salt-siphoning “vampire” – except for Spock, who, as a Vulcan, doesn’t have enough salt in his system for the creature to feed. Aboard the Enterprise-D, the crew’s DNA is changing – except for Data, who has no DNA. Everyone is rendered unconscious by aliens who want to remain hidden – except for Data, who, as an artificial life-form, can’t be knocked out by their technology. And on it goes!

Especially in The Original Series and The Next Generation, writers would find ways for Spock and Data to be invulnerable to whatever was going on. Additionally, they were depicted as being physically stronger, smarter, and with quicker reflexes than the rest of the crew – making them pretty overpowered from a storytelling point of view. This could work exceptionally well, but sometimes it could feel like the writers were pulling yet another technobabble excuse out of nowhere or lazily throwing together a deus ex machina ending to a story. When Spock or Data (and later Tuvok and T’Pol, too) would suddenly have a never-before-referenced magical ability that made them invulnerable to whatever was happening aboard the ship, it could start to feel stale. *Especially* if that trait or ability was never mentioned again.

My Verdict: Vaporise It With A Disruptor!

Cliché #2:
Vasquez Rocks (and the Toronto Quarry)

Still frame from Star Trek: The Original Series showing Kirk and the Gorn.
Vasquez Rocks was where Arena was filmed.

I think I’m right in saying that Vasquez Rocks – a national park in California, relatively close to Los Angeles – has appeared in five Star Trek TV shows and three films. Perhaps its most iconic appearance is still Arena, but it’s also stood in for the planet Vulcan, including in the Kelvin timeline, and as Raffi’s home in Picard’s first season. Since production moved to Canada when Discovery was commissioned, there’s a quarry somewhere in the Toronto area which has likewise appeared multiple times in that series and Strange New Worlds. And… after a while, it becomes kinda obvious, doesn’t it?

I said this a lot during Picard’s first season, but there’s nothing wrong at all with using a sound stage – or Paramount’s new AR wall – to create alien landscapes. Outdoor filming shoots can be great, and can convey a sense of scale that indoor sound stages lack. But if you go back to the same location over and over again, pretending it’s a different place or a different planet each time, viewers can and do pick up on that. Kirk’s fight against the Gorn captain is iconic – but the only time Star Trek should return there is if we’re getting another episode set on that same planet. The same applies to the Toronto quarry: decide what planet it represents and stick with that. Then, either use sound stages or different outdoor locations to depict other settings.

My Verdict: Vaporise It With A Disruptor!

Cliché #3:
The “Badmiral”

Still frame from Star Trek: Insurrection showing the admiral.
A “badmiral.”

The “badmiral” – a portmanteau of the words “bad” and “admiral” – has become a stock villain in the Star Trek franchise. The typical badmiral is a high-ranking Starfleet flag officer who has an ulterior motive, is selfish, or simply doesn’t reveal everything they know, coming across as a roadblock for our heroes. There are some more nuanced badmirals – look at Layton in DS9, for instance – but others can fall into the trap of being pretty flat and one-note.

At this point, you’d be forgiven for thinking that *every* Starfleet admiral has fallen to the dark side, since it seems to happen so often! In fact, “good” admirals – like DS9′s Ross or Discovery’s Vance – are less commonly seen in the franchise than the bad ones! Because badmirals (and bad captains and commodores) can effectively pull rank and force our heroes to comply, there’s something a bit different about them when contrasted with a non-Federation enemy like the Klingons. In a lot of stories, this works exceptionally well. While I wouldn’t want Star Trek to lose the “badmiral” stock character, with today’s shows running to four or five relatively short seasons at the most, I think this kind of character has to be handled carefully and not over-used.

My Verdict: Keep It!

Cliché #4:
“We’re the Only Ship in Range!”

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

How many times has some variant of this line been used? For a state as massive as the Federation… they sure don’t seem to have very many ships! Perhaps the most egregious example of this is Generations (depicted above), where the brand-new Enterprise-B – which doesn’t even have weapons systems or a tractor beam – is literally the *only* starship within several light-years of Earth. How does something like that even happen? Imagine if the only military unit within a hundred miles of Washington DC was a single tank without its gun barrel.

Again, I get it: this line can set up a tense and exciting story with heroism, desperate last stands, rescue missions, and so on. There are some really fun stories that being “the only ship in range” has set up over the years. But it’s also true that it’s become a trope of the franchise. As with any cliché, over-use is the problem, and reducing the number of times it gets used in the future wouldn’t be a bad thing. I don’t think it’s strictly necessary to say it should be outright banned from all future episodes, but I could stand to see less of it!

My Verdict: Keep It!

Cliché #5:
Sole Survivors

Still frame from Star Trek: The Original Series showing Kirk discovering Decker.
Commodore Decker.

A starship has been destroyed by a planet-killing superweapon. Another ship has been swarmed by the Gorn and crashed. An unknown assailant is destroying space stations one by one. A research vessel flies into a gravitational wave. What do all of these (and more) have in common? Afterwards, there was one single survivor to tell the story. This one leans on tropes way older than the Star Trek franchise – the marooned or shipwrecked sailor has been a part of fiction for centuries. But it is undeniably a cliché, and when you’re talking about starships, space stations, and entire planets, sometimes, having one sole survivor of a cataclysm can feel like it’s stretching my suspension of disbelief.

That being said, I can’t really pick out any examples where a “sole survivor” story has been out-and-out *bad* in the Star Trek franchise. Conversely, quite a lot of these are handled really well, with the survivor conveying what happened to our heroes in an interesting way. And who could forget the incredible Commodore Decker – one of The Original Series’ best one-off characters? He was a sole survivor, and yet I’d rank The Doomsday Machine as one of the best episodes of the entire show. So there’s room for sole survivors… sometimes.

My Verdict: Keep It!

Cliché #6:
Artificial Gravity Never Fails

Still frame from Star Trek: Strange New Worlds showing the badly-damaged USS Farragut.
The badly-damaged USS Farragut.

No matter how badly damaged a starship or space station gets, artificial gravity always seems to be the last system standing. Ships will lose life support – literally breathable air and a survivable temperature – before they lose artificial gravity! There are only two or three times I can call to mind where a damaged ship saw its artificial gravity fail, and pretty much the only time it was plot-relevant was in The Undiscovered Country. So… how come artificial gravity is the most robust system on a ship, surpassing even life support?

I know there’s a production-side reason for this one: it would be prohibitively expensive to wire up everyone on the cast and all of their props and have them floating around. Especially in The Original Series, when budgets were tight, that kind of thing was off the table. But it’s pretty silly, if you think about it, when you see ships take a real battering, losing key systems, with their hulls buckling and broken… but everyone can still walk and run around like nothing had happened. Given the advances in technology, and modern Trek’s higher budgets, maybe we could see a few more stories where a ship loses its gravity, and where that becomes a story point.

My Verdict: Vaporise It With A Disruptor!

Cliché #7:
God-like Aliens Who Become Obsessed with One Random Human

Still frame from Star Trek: The Next Generation showing Q.
Q.

Q has literally all of time and space to explore and play around in. Yet he becomes fixated on Jean-Luc Picard – a random 24th Century human. The Borg Queen has trillions of drones under her sway, controls thousands of star systems, and can assimilate whole populations at the drop of a hat. Yet she’s weirdly obsessed with Seven of Nine – another random human from the 24th Century – as well as Picard. When someone like Trelane came along, it was clear that Kirk and the crew were just his latest playthings. But Q, the Borg Queen, the Douwd known as “Kevin,” and others either fall in love with or become obsessed over one of our heroes. Which doesn’t really make a lot of sense, if you think about it.

Imagine having a favourite ant in your back garden. There are thousands of them living in an anthill, but you decide that *one* is special. That’s not a million miles away from what it’s like for the Borg Queen or Q when they decide to fangirl over their favourite humans. Star Trek can, from time to time, tell interesting stories this way, and the idea of Q in particular setting puzzles and “testing” Picard was used well most of the time. But it’s definitely become a cliché at this point, and I think it’s probably been taken as far as it can be.

My Verdict: Vaporise It With A Disruptor!

Cliché #8:
Everyone Breaks the Temporal Prime Directive

Still frame from Star Trek: Picard showing Picard and Agent Wells.
Picard breaking the Temporal Prime Directive.

In practically *every* story involving time travel, someone breaks the Temporal Prime Directive! The general order from Starfleet says that no one should interfere with any historical events, and must maintain the integrity of the timeline. But even those who claim to be dedicated to this cause – like Enterprise’s Crewman Daniels – routinely violate the Temporal Prime Directive, and often without good reason.

Time travel stories aren’t usually my favourites in Star Trek (especially if they involve visiting modern-day Earth), but even in the episodes I happen to really enjoy, there are countless violations of what is supposed to be one of the guiding principles of the Federation. Often, our heroes are on the side of preserving the timeline as much as possible – and that’s good. But even when that’s their stated aim, they don’t go about it in a stealthy way! How many times have characters befriended (or even fallen in love with) people from a different time period? And how often have they exposed themselves, telling people about the future? Giving characters an “unbreakable” rule, then forcing them to work around it, can make for a tense and engaging story. But when the same so-called rule is broken time and again (pun intended), it can lose some of its impact.

My Verdict: Keep It!

Cliché #9:
Conveniently-Situated M-class Planets

Still frame from Star Trek: Discovery showing a first-person view of Burnham crash-landing.
Impact imminent!

Michael Burnham arrives in the 32nd Century, but loses control of her suit and crash-lands. Where? Not on a barren rock, an asteroid, or into the corona of a star. But on one of Star Trek’s abundant conveniently-situated M-class planets! Almost any time a ship malfunctions, a shuttle crashes, or a transporter beam goes awry, our heroes find themselves on such a world. Just travelled through a wormhole to a mysterious location? Convenient M-class planet. Warp drive failing? Convenient M-class planet. Shuttle is spiralling out of control and about to crash? Convenient M-class planet!

Space is pretty big, actually. And if you think about it, most of the time our heroes spend on their ships won’t be in star systems – let alone in the habitable zone, where M-class planets can form. Most of the time they’ll be in deep space, and if they happen to be in a solar system, there are going to be way more uninhabitable rocks and gas giants than planets with breathable atmospheres and liquid water. I know M-class planets (and similar inhabitable words) are and always will be a core part of Star Trek. But once in a while it would be genuinely interesting to see a shuttle crash onto a lifeless moon, a ship caught in the gravity well of a gas giant, or something like that.

My Verdict: Keep It!

Cliché #10:
Caves and Caverns

Still frame from Star Trek: Voyager showing an away mission to a cave.
Oh look, they’re in a cavern.

During The Next Generation era, Paramount must’ve used and re-used the same “cavern” set dozens of times! So many different alien locales were depicted using this same set, from the Romulan homeworld to the nameless planetoid AR-558. In The Original Series, too, there were many different cave or cavern locations visited. Thankfully, since Enterprise, the cavern set has been retired, and modern Star Trek stories don’t visit caves anywhere near as often.

Perhaps it’s because modern Star Trek doesn’t spend much time in caverns, but this could be a rare cliché that I’d actually be happy to see *more* of going forwards! There’s something just a little nostalgic, perhaps, about an away mission set in a cave, bringing up fond memories of older Star Trek shows. Even with that caveat, though, I think they have to be used sparingly – and if we were only talking about Star Trek shows from before the turn of the millennium, I’d absolutely say that caves and caverns have to go!

My Verdict: Keep It!

Cliché #11:
“It Was Only Trying to Communicate!!1!”

Still frame from Star Trek: Voyager showing a spacial distortion.
Twisted from Voyager’s second season.

A strange life-form (or alien monster) attacks the ship, hurts or threatens our heroes, drains the power, and then… in a shocking turn of events, it’s revealed that they weren’t *really* being aggressive, nor are they actually dangerous! Say it with me, folks: “They were only trying to communicate!” Perhaps they wanted to warn Starfleet of some imminent threat, or maybe our heroes had accidentally encroached on their territory. In any case, once everyone understands what’s going on, the threat dissolves, and we can all go on our merry way. How many Star Trek episodes play out exactly like that?

One thing Star Trek has been justifiably criticised for is that too many alien races fall into the “nose or forehead brigade,” and the franchise isn’t always great at creating alien races that feel truly otherworldly. This cliché – and it *is* a cliché – often comes up in episodes where writers and designers have genuinely tried to create a totally different, non-humanoid type of alien. It can work well, though the “big reveal” that the supposed aggressor or monster just wanted to have a chat or share some useful information has been seen often enough as to be predictable. As with a few entries above, it’s something that future Star Trek projects don’t need to totally abandon, but should use sparingly from this point on.

My Verdict: Keep It!

Cliché #12:
Ancient Aliens Visiting Earth

Still frame from Star Trek: The Animated Series showing Kukulkan.
Kukulkan.

Chakotay’s “Sky Spirits.” Kukulkan from The Animated Series. Q. The Skagarans. The El-Aurians. The Borg. The whale probe. The Briori. The Vulcans (multiple times). The Devidians. The aliens who pretended to be the gods of Ancient Greece. What do all of these – and many more – have in common? They visited Earth in the past, prior to the establishment of the Federation. At this point, there’s hardly a single period in Earth’s history where aliens *weren’t* visiting us! Perhaps I should look out of the window… maybe there’ll be a Cardassian, or something.

I think the problem here is that Star Trek has been running for such a long time that this “ancient aliens” trope has kind of gone beyond what’s plausible. Each of the individual cases above made for an interesting one-off episode or story, but if we’re to take Star Trek as a coherent, lived-in world… it begins to stretch my suspension of disbelief when there are just *so many* of these extraterrestrial visitors in humanity’s past. As individual stories, these kinds of things can work well, and some have been genuinely interesting explorations of the line between religion or mythology and real history, for example, or showing how far humanity has come in Star Trek’s optimistic vision of the future. But I can’t help but feel this trope has been taken as far as it can go, and adding yet more ancient alien visitors would be too much.

My Verdict: Vaporise It With A Disruptor!

Cliché #13:
The Infalibility of the Universal Translator

Still frame from Star Trek: The Next Generation showing two bridge consoles and a Sheliak on the viewscreen.
Communicating with an alien.

Wherever Starfleet goes – the Alpha, Beta, Gamma, or Delta Quadrants, or even beyond the galaxy – everyone can understand each other. The universal translator is presented as basically akin to magic, able to instantly translate brand-new languages it’s never been exposed to before. And that’s great… if you don’t think about it too much! But the universal translator is almost too good to be believable, sometimes, and it could be fun if – just for once, or on rare occasions – it *didn’t* work. Perhaps the universal translator just straight-up can’t interpret an alien language, leaving the crew to try to translate it the old-fashioned way. Or, as a more interesting idea, perhaps the universal translator is damaged or stops working, leaving the crew to realise they all speak different native languages and have to find ways to communicate and work together. Either of those could make for wonderful stories.

The universal translator is one of those “don’t think about it too hard” pieces of magical tech that facilitates other Star Trek stories. It wouldn’t be very interesting, for instance, if every episode started with the crew having to piece together an alien language before the rest of the story could get going! But there were some genuinely interesting moments in Enterprise with Hoshi as the ship’s communications officer/linguist, and I think we could get occasional episodes or plot points where the universal translator doesn’t work as intended.

My Verdict: Keep It!

Cliché #14:
Breaking Out of the Brig

Still frame from Star Trek V showing Scotty breaking into the brig.
“Do you not know a jail break when you see one?!”

Whether it’s a main character wrongly imprisoned or a villainous rascal who’s been caught in the act, one thing is all but guaranteed: if they’re in a Starfleet brig, they’re gonna break out! In a recent Strange New Worlds episode, we saw Gamble/the Vezda escaping from the brig with ease. In The Final Frontier, Scotty famously helped Kirk, Spock, and Dr McCoy escape the Enterprise-A’s brig. Thanks to the Battle at the Binary Stars, Burnham was able to break out of the Shenzhou’s brig. And the list goes on!

A “prison break” story, or a story about hunting down an escaped villain, can be fun – and Star Trek has used this concept pretty well over the years. Because “escaping from the brig” can go in a lot of different directions depending on what kind of story we’re talking about, I don’t think I’d say it should *never* be re-used in Star Trek again. But it is undeniably a bit of a trope at this point, to such an extent that whenever a character is confined to the brig… you’re never sure if they’ll still be there a few minutes later!

My Verdict: Keep It!

Cliché #15:
Hitting the Self-Destruct Button

Still frame from Star Trek III showing Scotty, Chekov, and Kirk activating the self-destruct sequence.
Activating the Enterprise’s auto-destruct sequence.

Starfleet captains sure do order their ships to self-destruct a lot, huh? To be fair, *most* of the self-destructs that we see captains ordering in Star Trek don’t actually take place, and the order can sometimes be given as a feint or ruse to catch an enemy off-guard. But ever since it was first used in The Search for Spock, we’ve seen captains setting the auto-destruct sequence on quite a few occasions.

As a mechanism of last resort, automated self-destruction makes a lot of sense in-universe. Starfleet wouldn’t want their advanced vessels falling into enemy hands, and there are some instances where setting a ship to destroy itself can be used as a weapon or to make a last stand. These have usually happened at tense moments in dramatic stories – Kirk’s destruction of the Enterprise, for instance, or Picard ordering the Enterprise-E or Stargazer to self-destruct when faced with what seemed to be imminent assimilation by the Borg. All of these, in their individual stories, make sense and work well. As above, this is something Star Trek mustn’t over-use, though!

My Verdict: Keep It!

Cliché #16:
Aliens Being Indistinguishable from Humans

Still frame from Star Trek: Discovery showing Cleveland Booker.
Booker, a Kwejian.

Betazoids, El-Aurians, Kwejian, Betans, Iotians, Onlies, Kelvans, and many more. What do they all have in common? Despite supposedly being “aliens,” they’re physically indistinguishable from humans. Even the Klingons in The Original Series were like that, before they finally got prosthetic makeup beginning in The Motion Picture. As a limitation of 1960s budgets and prosthetics, it wasn’t really noticeable at first. But as time goes by, it becomes more and more obvious that the galaxy is populated with these identical species.

I have a pet theory which says that many of these supposed “aliens” – the Betans, Onlies, Iotians, and so on – are actually lost human colonies from the early days of pre-Federation human spaceflight. But that’s not how most of these planets and their inhabitants are presented on screen, and we’re meant to take at face value that they are, in fact, alien races. I don’t buy it! And frankly, given advances in technology, in terms of physical makeup, puppets, and now CGI, there’s no excuse for modern Star Trek creating a race like the Kwejian any more. We really ought to see more “alien-looking” aliens from this point on.

My Verdict: Vaporise It With A Disruptor!

Cliché #17:
Tiny Fleets

Still frame from Star Trek: Picard showing a fleet.
A Federation fleet in Picard Season 2.

I know I’m not the first person to point this out, but almost every time we see a fleet of ships in Star Trek… it’s too small. Think about it: there are around ten billion people just on Earth in Star Trek’s 24th Century, and the Federation spans hundreds of planets and colonies. Yet, when threatened by the Borg, the most Starfleet can muster is 40 starships, some of which were old and no longer in service. Even during the Dominion War, which saw some of the franchise’s best fleet battles, the scale of the Federation Alliance and Dominion/Cardassian fleets felt way too small compared to the interstellar empires they’re drawn from.

There are good explanations for this, of course. At first it was a budget thing – making physical models of hundreds of ships, then filming them in motion, was prohibitively expensive. And then there’s the complexity that massive fleets would add to a story for the audience; just keeping track of a spaceship battle involving thousands of vessels would be confusing. But I still feel that Star Trek could do more with larger fleets, and that some of the fleets we’ve seen on screen don’t line up with what we know of the Federation and other interstellar empires. To be blunt, they need more ships!

My Verdict: Vaporise It With A Disruptor!

Cliché #18:
Easily-Hacked Alien Computers/Tech

Still frame from Star Trek: Strange New Worlds showing La'an using a Gorn computer.
La’an hacking a Gorn computer.

I know that Starfleet officers are well-trained. But if you’ve never been aboard an alien vessel before, don’t know their language/writing system, and have limited or no experience using their computer interfaces… you shouldn’t be able to just tap a couple of buttons and seize control of their ship! Maybe someone like Data can get away with this, because of his inhuman abilities, but we often see human characters performing these seemingly miraculous feats. As I’ve said before, even if they just took an extra few seconds, sometimes, to acknowledge the difficulty of interfacing with a brand-new type of technology… that would at least be *something*.

Because deciphering an alien computer system isn’t usually the focus of the story, these moments tend to be raced through to allow other narrative beats to play out. And that can be okay… if you don’t stop to think about it for too long, I guess. Perhaps this is a bit of a nitpick, and you could certainly make the case that Starfleet trains its officers well, and that perhaps the basic way computers function is consistent across most alien races in the 23rd/24th Centuries. But even so… sometimes, I’d like to see someone struggling with this!

My Verdict: Vaporise It With A Disruptor!

Cliché #19:
Transported to the Other Side of the Universe (but Back Home in Time for Tea)

Still frame from Star Trek: The Next Generation showing the viewscreen and galaxies.
Flying past galaxies…

In many different stories, our heroes find themselves accelerated far beyond warp 10, teleported to a far-flung star system, or even in a whole different galaxy. But then, forty-five minutes later, they’re back home again! The only real exception to this is Voyager, which took this trope of the franchise and asked the obvious question: “what if there wasn’t a fast way home?” I really liked that idea!

Because some of these stories play out quite differently from each other (The Final Frontier is radically different from Where No One Has Gone Before, for example), I guess it doesn’t feel like a particularly egregious or overdone cliché in the way that some of the other entries above do. But it is still a bit of a trope of the Star Trek franchise to see our heroes transported to a faraway place… only to make it home before the credits roll.

My Verdict: Keep It!

Cliché #20:
The “Friendly” Visitor with a Dark Secret…

Still frame from Star Trek: DS9 showing Arissa.
Who could this be?

How many seemingly friendly characters show up, only for it to be revealed that they’re harbouring some kind of dark secret? I know that this one isn’t just a Star Trek thing; we see countless examples of this kind of stock character throughout all of fiction, really, and especially on episodic television. But just because it isn’t unique to Star Trek, that doesn’t make it any less of a cliché!

Because these kinds of stories can feel very different, depending on which show we’re talking about and even which individual characters are involved in the story, I’m inclined to give it a pass. There’s a big difference between, say, The Next Generation’s Man of the People and Voyager’s Ex Post Facto, which both feature apparently friendly characters who have some kind of secret. So there are ways to keep this kind of story feeling fresh and engaging, even while using the same basic character archetype.

My Verdict: Keep It!

So that’s it!

Still frame from Star Trek: The Next Generation showing the warp core.
The Enterprise-D’s warp core.

We’ve taken a look at some more of Star Trek’s narrative clichés, and decided whether or not they should be allowed to stick around in the future!

I hope this has been a bit of fun, or at least interesting. The original Tumblr poll (linked below) really hit me and gave me a ton of ideas. There may be more “clichés” to talk about in the future, too, but I think two long pieces on the topic is sufficient for now! But watch this space, because I might revisit this in the future, either with more potential clichés or to dive deeply into some of the ones we’ve already discussed. There are a few that could definitely be the subject of a longer article or essay one day!

Thanks for checking out my thoughts on all of these… and Live Long and Prosper!


You can find the original Tumblr poll (which has since closed) by clicking or tapping here, and my first piece on this subject by clicking or tapping here.

Most of the Star Trek franchise – including films and television series discussed above – is available to stream on Paramount+ in countries and territories where the platform is available, and is also available on DVD and/or Blu-ray. The Star Trek franchise – including all properties 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.

Which Narrative Clichés Would I Remove From Star Trek?

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware spoilers for the following Star Trek productions: The Wrath of Khan, The Next Generation, Deep Space Nine, Voyager, Into Darkness, Discovery, Picard, Prodigy, Strange New Worlds, and Section 31.

I hope you all had a lovely Halloween! October was a busy month for me, but I did manage to put out a few Halloween-y posts, so I hope you’ll scroll back and check out some of those; they were a lot of fun to write!

Onward to the subject of today’s piece, then.

I was scrolling Facebook when I noticed a Star Trek fan page had posted a screenshot of a Tumblr poll (because that’s all social media is these days: screenshots of the same handful of pages being endlessly recycled!) But the original post, first shared on Tumblr by user “quasi-normalcy,” was one that I thought could be very interesting to address. In short, it asked the question “which clichés do you most wish you could remove from Star Trek?” followed by eleven options that form the basis of a number of Star Trek episodes.

Screenshot of Tumblr showing a poll.
The original Tumblr poll upon which this piece is based…
Screenshot of Tumblr showing the results of a poll.
…and the eventual results.

The original Tumblr poll has now concluded, but I’ll drop a link to the post below in case you want to see it or check out the original poster’s page – this is not a unique idea and I am not claiming to have come up with it! But I am going to do something a little different than just clicking or tapping on a poll! I’m going to address all eleven of “quasi-normalcy’s” Star Trek narrative clichés, explain what I like or dislike about them, and perhaps add one or two of my own, too!

So thank you “quasi-normalcy” on Tumblr, and random Star Trek fan page on Facebook, for introducing me to this idea. I think it’ll be interesting to talk about some of the narrative frameworks that Star Trek has used, in some form, on multiple occasions – and maybe a little controversial, too! My usual caveat applies: everything we’re going to discuss is the subjective, not objective, opinion of just one Trekkie. If you hate everything I have to say about these episodes, think I’ve totally misunderstood something, or if we just disagree on what makes for a fun episode of Star Trek… that’s okay! Star Trek is a big tent, and there’s room for all kinds of opinions. I share mine with the Star Trek fan community in that spirit.

That being said, if you don’t want to read some potentially controversial Star Trek thoughts, this is your opportunity to beam out! I’ll address each potential cliché in the order they were listed in the original poll, then give my verdict on whether it should be “removed from Star Trek” going forward!

Cliché #1:
Transporter Malfunction Episodes

Still frame from Star Trek: Picard showing a transporter energising.
Transporting.

This feels like too broad of a category to want to see removed, in my opinion. A “transporter malfunction” can be handled in so many different ways, with so many different outcomes. We can bring Scotty forwards in time by eighty years in Relics, then cross over to a parallel universe in Mirror, Mirror – with completely different results. The transporter is a key part of Star Trek, and when it goes wrong, it can lead to all kinds of stories which vary in tone, structure, and genre. With that in mind, I really don’t see this one as a problem. It can feel like a cliché sometimes, sure… I will concede that point. But because transporter malfunctions vary so much in terms of outcome, I don’t see them as an issue and I’m happy to have more “the transporter done goofed” stories going forward.

That being said, there are some places where more common transporter problems could be shaken up – or the frequency of these instances lessened. For example, the way transporters work or don’t work floats around at the behest of the plot, and it’s a pretty common trope for the transporter to break or not be able to work just at the moment when it’s needed. Think about it: how many episodes would’ve been completely different if the transporter didn’t stop working just when a character needed to be rescued? Generally, these episodes work well enough. But I’m certainly open to the “broken transporter” or “the transporter won’t work because of technobabble” kinds of story beat being reduced in frequency.

My Verdict: Keep It!

Cliché #2:
Holodeck Episodes

Still frame from Star Trek: Strange New Worlds showing La'an, in costume, on the holodeck.
La’an on the holodeck.

As above, there are so many different ways to take holodeck stories, and the ones we’ve seen have varied so much, that I don’t really consider this to be a “cliché” as such – they’re just one more type of Star Trek episode. As with any sub-genre, there are some holodeck stories that I enjoy more than others, and some I’m happy not to see repeated. But as a concept? I think holodeck stories can open things up, give the cast a chance to step out of their usual roles, and it can be a lot of fun to see them interacting in more of a social setting.

That being said, *modern* Star Trek shows, which tend to have fewer seasons as well as fewer episodes per season, don’t need nearly as many opportunities to do something like this. I noted in one of my Strange New Worlds Season 3 episode reviews that, out of fewer than thirty episodes at that point in the show’s run, characters like Pike and Spock had appeared out-of-character on at least four or five occasions apiece. Not all of those were holodeck stories, but the basic point remains. However, I think there’s still a place for stories set on the holodeck on occasion, as they can be fun ways to explore new characters, new locales, and just different themes than would be possible in a more straightforward episode set aboard a starship or planet.

My Verdict: Keep It!

Cliché #3:
Time Travel (Especially to Present-Day Earth)

Still frame from Star Trek IV: The Voyage Home showing HMS Bounty approaching the sun.
Kirk and the crew prepare to travel back in time.

Can I break this one into two pieces?

Pretty please?!

Cliché #3-A:
General Time Travel

Still frame from Star Trek: Deep Space Nine showing Kirk and Sisko meeting.
Two Captains!

Okay, thank you for allowing me to split this one up! Time travel within Star Trek’s timeline – backwards and forwards – can be a blast. Viewers rank The City on the Edge of Forever as *the* best of The Original Series, and I adore episodes like Trials and Tribble-Ations, All Good Things, and Shattered. Time travel has been a key plot point in episodes like Time Squared, Twilight, Tapestry, Eye of the Needle, and many more. All of these are fantastic, and show what the franchise can do with time travel within the confines of its universe.

Discovery shooting forwards in time at the end of Season 2 arguably improved that series, with many interesting episodes coming after the leap to the 32nd Century. Strange New Worlds’ fantastic first-season finale leaned on time travel in a unique way, too. Face the Strange was especially creative, probably one of the highlights of Discovery’s fifth season. So modern Star Trek has utilised time travel phenomenally well. I wouldn’t want to see these kinds of stories erased from Star Trek.

My Verdict: Keep It!

Cliché #3-B:
Time Travel to Modern-Day Earth.

Still frame from Star Trek: Picard showing Los Angeles from above.
Contemporary Los Angeles in Picard.

This is why we had to split time travel into two separate pieces! Time travel within Star Trek’s fictional timeline can be a blast – even to Earth. But time travel to the modern day? Those stories tend to feel out-of-date pretty quickly. Look at The Voyage Home and Future’s End – not to mention Picard’s entire second season. Sometimes, stories like this work well, and use a modern-day setting in creative ways. But too often they lose too much of what makes Star Trek… feel like Star Trek.

Star Trek is about the future. And sometimes, figuring out how that future came to be can be interesting. But in a lot of cases, time travel episodes that visit contemporary Earth don’t have enough to say – or what they try to say is pedestrian and bland, like “climate change is bad.” Again, if we assume modern Star Trek shows will continue to have ten-episode seasons and four or five seasons max, I think the less time spent on modern-day Earth the better. As I said once: I can barely re-watch Picard’s second season – a full one-third of that show – because of how unenjoyable it is, a significant part of which is due to its modern Earth setting. So… yeah. Let’s give modern Earth a break, eh?

My Verdict: Vaporise It With A Disruptor!

Cliché #4:
Section 31

Promo photo for Star Trek: Section 31 showing Georgiou and two other operatives.
Three Section 31 operatives.

I believe the original Tumblr poll was written before this year’s Section 31 movie, so the author couldn’t have known what the reaction to that would be. Given the apparent disappointment of Section 31 to Paramount (and new owner Skydance), I have to assume that any more Michelle Yeoh-led Section 31 sequels or spin-offs won’t be going ahead. So in that sense, we already have part of an answer to this point!

Section 31 was incredibly controversial when Deep Space Nine introduced it. I remember furious debates on Star Trek message boards around the turn of the millennium about “Gene’s vision” and how Section 31 shouldn’t exist in the Star Trek universe. I gotta admit that I found the original idea and the original presentation of Section 31 to be interesting – and it seemed logical, to me, that an organisation as massive as the Federation would run this kind of off-the-books organisation. However, Section 31 as it was depicted in Discovery and the Section 31 film strayed a long way from that, and arguably trod all over the toes of canon by showing the organisation as being so out in the open more than a century before DS9. It would’ve been possible, perhaps, to show how Section 31 disappeared and went underground in the intervening years, but that idea was never picked up. I still think there’s potential in the idea of a “black ops” Federation organisation, but it has to be handled a lot better.

My Verdict: Keep It!

Cliché #5:
All References to the Kobayashi Maru, Khan, and The Wrath of Khan.

Still frame from Star Trek II: The Wrath of Khan showing Khan and his crew.
Khan and the augments on the Reliant’s bridge.

I think saying *all* references to The Wrath of Khan might be a bridge too far, but I get where this is coming from. I noted in one of my Strange New Worlds Season 3 episode reviews that making La’an a direct descendant of Khan has been a complete waste, and that basically nothing would’ve changed for her character if she’d been given a different last name. So in that sense, that kind of direct reference to Khan himself – particularly as SNW is a prequel – is something I’d happily live without. I’m not caught up on the Khan audio drama yet, but my initial reaction to a Khan-focused series wasn’t especially positive, either, as I felt we’ve already seen everything we need to see of Khan.

However, I think some things from The Wrath of Khan – like the Kobayashi Maru – can and have been used well elsewhere. Prodigy’s first season episode Kobayashi is a case in point: a great episode that built on those foundations. So while I think references to Khan himself can definitely be scaled back, if not dropped entirely for a while, this entry’s “all or nothing” attitude gives me pause. The Wrath of Khan is a great film, and some of the elements it introduced have gone on to be widely celebrated parts of Star Trek. There are new ways to approach things like the Kobayashi Maru scenario and human augments, and I wouldn’t want to rob future Star Trek writers of those.

My Verdict: Keep It!

Cliché #6:
The Mirror Universe

Still frame from Star Trek: The Original Series showing Spock from the Mirror Universe.
Mirror Spock.

If the Mirror Universe had been a one-off, I’d probably say it was worth re-visiting. But even as far back as Deep Space Nine, the Mirror Universe was played out. This is a setting where violence, murder, and torture are the norm, and it’s so boring and one-dimensional that it tricks even the best Star Trek actors into putting out hammy, over-the-top, ridiculous performances that are, in some cases, genuinely so bad that they’re unwatchable for me. The Mirror Universe *can* be interesting to visit for a single episode, on rare occasions, but where it’s failed has been repeat visits, recurring or main Terran characters, and just its general over-use.

Discovery did not benefit from any of its Mirror Universe storylines, and I don’t think Georgiou’s Terran Empire origin did wonders for Section 31, either. I don’t really understand why modern Star Trek writers have developed an obsession with the Mirror Universe (or Mirror Universe-inspired settings, like Picard’s Confederation of Earth), but I think we’ve seen more than enough of this parallel universe. The *only* Mirror Universe story I’d have even potentially been interested in was one involving the rescue of the Prime Timeline version of Captain Lorca – but I suspect that ship has sailed. The Mirror Universe can sail into the sunset with it!

My Verdict: Vaporise It With A Disruptor!

Cliché #7:
Godlike Aliens/Supercomputers

Still frame from Star Trek: The Original Series showing the M-5 computer.
The M-5 Multitronic Unit.

Not only does this one feel way too broad, but I think Star Trek has demonstrated that there’s huge value in exploring how we might interact with an alien or entity possessing “god-like” powers. There’s also the current trajectory of artificial intelligence here in the real world, and how some people feel we’re only a few years away from superintelligent A.I. systems. Star Trek has been an early pioneer of showing the dangers of A.I., as well as potential benefits.

I suppose, though, too many of these stories could feel samey. As with any sub-genre, it needs to be handled well, not over-exposed, and kept to a reasonable level. But I definitely think the positives outweigh the negatives, and in the near future, there could be a ton of value in exploring supercomputers and “god-like” A.I. systems in particular.

My Verdict: Keep It!

Cliché #8:
New Soong Relatives

Still frame from Star Trek: Picard showing Adam Soong wielding a pistol.
One of the Soongs.

Noonien Soong, Arik Soong, Altan Soong, Adam Soong, and a couple of illusory Noonien Soongs. Then we have Lore, B-4, and the new Data android. Not to mention Kore Soong, and other Soong-type androids. Yeah… I think this is getting pretty silly now! I really didn’t like what Picard did with Data in Season 3: resurrecting him after he’d been so beautifully and fittingly laid to rest in Season 1 just felt wrong. And the inclusion of *two* new Soongs in Picard was definitely a bit too much. Brent Spiner is great, don’t get me wrong, and he can play villains and devious characters exceptionally well. But I think we’ve taken the family of Data’s creator as far as it can reasonably stretch – too far already, some might say!

With Legacy seemingly not going ahead, I don’t know what the future holds for the renewed Data. But with Altan Soong dead, that could be the last descendant of the Soong family – at least as of the dawn of the 25th Century. I don’t think we need to go back in time to see Adam Soong’s work on the augments, nor revisit Noonien Soong’s creation of Lore and Data. Some storylines just have a natural end point. Adding more Brent Spiners to the Soong family wouldn’t really add anything new to Star Trek at this point, either.

My Verdict: Vaporise It With A Disruptor!

Cliché #9:
Ferengi Episodes

Still frame from Star Trek: Deep Space Nine showing a crew of Ferengi.
The Magnificent Ferengi!

Though we spent a lot of time with the Ferengi in Deep Space Nine, the faction hasn’t been seen very much this side of the millennium. With that in mind, I’m definitely down for more Ferengi stories! I’d love to see, for instance, how the Ferengi are coping in the 32nd Century. Did they ever join the Federation? Are they still obsessed with latinum and profit? And in the Picard era, too, were a new series ever to be commissioned, it would be lovely to catch up with Grand Nagus Rom in live-action.

In DS9, Ferengi episodes often took on a comedic tone, and I think I’d happily entertain less of that; a more straight-laced and serious Ferengi story could be an interesting change of pace. Though we know a lot about the Ferengi thanks to Quark, Rom, and Nog in particular, there’s still a lot that can be done with the Ferengi, and there are certainly more stories to tell where Ferengi characters are in focus.

My Verdict: Keep It!

Cliché #10:
Borg Episodes

Still frame from Star Trek: The Next Generation showing a Borg drone being phasered.
Is it time to kill off the Borg?

This one… I’m torn, to be honest with you. Picard over-used the Borg, and that came after Voyager had already done a lot to lessen the Borg’s fear factor and imposing nature. There are also issues with the timeline thanks to Voyager and Enterprise, and I still think that the introduction of a Borg Queen in First Contact was a mistake! However, I still like the idea of a Star Trek series I’ve provisionally dubbed the “Borg Invasion” show, in which a war against the Borg is the main focus of the series.

This show would take on a much darker tone, with themes of horror and war being prevalent. If done well, with a clear three- or four-season plan from the get-go and a sufficiently high budget, I really believe it could work exceptionally well. However, I won’t deny that the Borg have been over-exposed, not only in modern Star Trek, but really going as far back as Voyager. And I wouldn’t blame any Trekkie who wants to give the faction a break, especially after Picard brought them back three seasons in a row.

My Verdict: Keep It!

Cliché #11:
Fun-With-DNA Episodes (i.e. Genesis, Threshold, etc)

Still frame from Star Trek: Voyager showing hyper-evolved human salamanders.
Hmm…

As I’ve said several times now, this feels like quite a broad concept that could go in many different directions. As such, I don’t think I’d be willing to say there should “never” be another episode in which the DNA of some of our heroes gets muddled up! That being said, episodes like Threshold, Extinction, Favorite Son, Unnatural Selection, and Four-and-a-Half Vulcans aren’t necessarily shining examples of the best of Star Trek. So this one, I suppose, can feel a bit hit-and-miss.

I still think I come down on the side of saying “do more with this idea,” though. Shuttle to Kenfori, with its “zombies,” and Discovery’s Tyler-Voq storyline, both did interesting things with DNA, and I think there’s potential to take the basic idea in different directions. So while it’s true that not every “fun with DNA” idea has stuck the landing, I’m up for trying it again if the script is right!

My Verdict: Keep It!

So that’s all from the poll… but there’s more!

Still frame from Star Trek: Deep Space Nine showing the titular space station.
DS9.

The original poll also contained one final option: Something Else!

So… I thought we could go through a handful of my own “Star Trek clichés” and talk about them before we wrap this up.

Cliché #12:
Redshirts

Cropped Star Trek: Redshirts comic book cover.
A redshirt!

I’m surprised the original poll didn’t include what is arguably one of Star Trek’s biggest clichés: the redshirt! These characters, named for the red uniform shirts they wore in The Original Series, were junior officers who usually made one appearance – only to be killed off pretty early in the story. After The Original Series, we saw fewer redshirts, but the trope has stuck around, even into Star Trek’s modern era.

Sometimes you need to kill off a character to communicate the dangers of a situation or the stakes to our heroes. Redshirts – these “disposable” one-off characters – arguably serve that purpose pretty well, and I wouldn’t want to see Star Trek limited by removing them. I also think that redshirts have become, in some ways, an inseparable part of Star Trek itself, and while we’ve seen fewer bona fide redshirts really since The Next Generation premiered, I wouldn’t want the franchise to lose them entirely.

My Verdict: Keep It!

Cliché #13:
The “Half-Arsed Mental Health Storyline”

Still frame from Star Trek: Discovery showing Culber and Stamets.
Dr Culber and Stamets.

Discovery was, in my opinion, absolutely atrocious in most of its attempted mental health storylines, but this problem has also plagued other Star Trek productions – notably Picard. And in the bygone days of episodic TV, characters would suffer a traumatic event that would have a massive impact on them… for all of a single episode, before the show moved on to new adventures a week later. There are some absolutely fantastic explorations of mental health on television… but Star Trek, even in the modern era, has slipped up way too often.

I’ve said this before multiple times here on the website, especially when discussing Discovery, but here we go: if there isn’t time to do justice to a complex mental health storyline, skip it. Don’t half-arse it, don’t give ten minutes to a complicated topic that needs way longer, and just… pick something else. Literally *anything* else. Star Trek has been bold in approaching some of these topics, and that’s great, but the execution has left a lot to be desired in too many cases. If Star Trek’s writers want to keep returning to mental health as a topic for storylines, then we need to see significantly better results.

My Verdict: Vaporise It With A Disruptor!

Cliché #14:
Klingon Episodes

Still frame from Star Trek: Strange New Worlds showing Pike and a Klingon captain.
Pike with a Klingon in Strange New Worlds.

When discussing the Ferengi above, I said that there are surely ways to tell new stories featuring them, especially after such a long absence. That’s gotta be true of the Klingons, too… right? The more I think about it, the less sure I am, to be honest. Thanks to Worf and B’Elanna, and Discovery’s focus on the Klingons in Seasons 1 and 2 with the war and characters like Tyler and L’Rell, we’ve seen *a lot* of the Klingons over the years. And when many Klingon characters can feel a bit flat and lacking in depth, maybe it actually is time to give the faction a rest.

Klingons are inseparable from Star Trek, that’s true. But after almost six decades of exploring the Klingons, their Empire, and many individual Klingon characters… do we need more? Recent attempts to reimagine the Klingons – both in the Kelvin films and Discovery – proved controversial or just outright unpopular with Trekkies, and recent productions seem to have “reset” the Klingons to their TNG-era visual style, at least. Given that changes seem to be off the table, do we really need more of the same from the Klingons, after they’ve featured in a big way in literally hundreds of stories already?

My Verdict: Vaporise It With A Disruptor!

Cliché #15:
“Glorified Redshirts” (i.e. minor characters who get one or two scenes’ worth of “development” before being killed off)

Promo photo for Star Trek: Discovery Season 2 showing Airiam holding a padd.
Airiam in Discovery’s second season.

In TOS, if Captain Kirk picked Spock, Scotty, and Ensign Timmy for an away mission, you’d know right away who wasn’t coming back! Recent Star Trek projects have tried, at least, to make some minor character deaths a bit more impactful… but the way this has been handled has, all too often, not worked. Giving a minor character a scene or two of attempted development, in order to foster more of an emotional connection with us as the audience, is not a bad idea in theory. But modern Star Trek writers haven’t been great at this, leaving these moments feeling as nakedly obvious as when the doomed Ensign Timmy stepped onto the transporter pad.

Airiam, in Discovery, and Gamble, in Strange New Worlds, stand out as examples of this trend. Gamble was handled at least somewhat better, but even so, as I noted in my review, his death seemed immediately obvious when he was given the “glorified redshirt” treatment shortly before being killed off on an away mission. Is this approach better than the original treatment of redshirts? You could make that argument. But I still think it needs to be handled more carefully – and in a show with shorter, better-planned seasons, why not sprinkle that development across multiple episodes instead of cramming it all in in a couple of sequences before the minor character is killed off? Same amount of screen time, but a significantly better result.

My Verdict: Vaporise It With A Disruptor!

Cliché #16:
Bringing Back Legacy Characters In Main Roles

Promo poster for Star Trek: Picard Season 3 showing the main cast.
The main characters of Picard Season 3.

Spock in Discovery’s second season. Voyager’s Doctor in Starfleet Academy. Worf in Deep Space Nine. And Picard’s entire new cast – sans one character – being dumped to make way for the return of the whole TNG crew in Season 3. Does Star Trek need to do this so often? Or can we give new shows, new crews, and new characters the space to stand on their own two feet? Look at Star Wars, which has failed, for almost half a century, to break away from the same handful of original characters and one single story. Is that what fans want? Is that kind of approach the one Star Trek should take?

I get it: nostalgia is a big deal, fans want to see more from some of their favourite characters, and – at least in some cases – there are new stories to be told, or epilogues to add to existing stories. I’d be thrilled, for instance, to see a DS9 sequel involving Captain Sisko’s return from the realm of the Prophets. But to me, this over-emphasis on legacy characters makes Star Trek feel… small. And if Star Trek had behaved this way in the ’80s and ’90s, we’d never have gotten to meet wonderful new characters who carried the franchise forward. There’s room to balance things out more, with new *and* legacy characters sharing the limelight. But, as we’ve started to see in Strange New Worlds, and as we definitely saw in Picard’s third season, legacy characters can easily overwhelm a project as writers and fans want to see more from them and less from the newbies. That risks leaving Star Trek with nowhere to go creatively in the future.

My Verdict: Vaporise It With A Disruptor!

So that’s it!

Still frame from Star Trek II: The Wrath of Khan showing the Enterprise firing phasers.
The Enterprise firing phasers.

This poll was really interesting to dissect, and not every point went the way I’d have necessarily expected if I’d just seen the poll, clicked on it, and moved on. Actually taking the time to think about these answers yielded some results that were – as Mr Spock might say – fascinating!

The results of the original poll make for interesting reading, too, after more than 2,000 people voted. The top clichés Trekkies want to get rid of are, in reverse order: the Mirror Universe with 8.2% of the vote, time travel (especially to modern-day Earth) with 11%, new Soong relatives at 22.2%, and finally, Section 31 with 24.7% – almost a quarter of those who responded to the poll.

I think I could’ve predicted some of those, but new Soong relatives being so thoroughly despised is one that caught me off-guard, I must admit!

Still frame from Star Trek: Section 31 showing the final shot of the movie.
Apparently, Section 31 is the cliché most Trekkies would like to see removed.

I hope my own additions of some Star Trek “clichés” fit the tone of the poll, too. I spent a little while thinking about some of the tropes and arguably overdone story concepts that Star Trek could do with fewer of! Though truth be told, very few of these are really all that problematic for me, as I think Star Trek – even after recycling some of these ideas time and again – can still churn out some great storylines.

So I hope this has been a bit of fun, and an interesting way to dissect this poll. My thanks to Tumblr user “quasi-normalcy” for the original idea – and if you want to see the poll and its results, as well as their Tumblr page, you can find it by clicking or tapping here. And thanks to the Star Trek fan page on Facebook for bringing it into my feed!

Behind-the-scenes photo from Star Trek: Picard S3 showing the centre console and tactical station of the Enterprise-D.
The view from Worf’s console.

Now that Halloween is out of the way (and I’m closer to getting back to normal at home), there’s more Star Trek content to come here on the website. I’d like to get caught up with the Khan audio drama before too long, there may be more previews for Starfleet Academy coming up now that we know the series will debut in January, and I still have a couple of episode re-watches that I want to write up involving actors I met at a recent Star Trek convention.

I hope you’ll join me in the days and weeks ahead for some of those pieces. Until then… Live Long and Prosper, friends!


Most of the Star Trek franchise – including films and television series discussed above – is available to stream on Paramount+ in countries and territories where the platform is available, and is also available on DVD and/or Blu-ray. The Star Trek franchise – including all properties 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.

Star Trek Aliens That *Could* Have Been Terrifying…

A Star Trek spoiler warning.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series Season 1, The Next Generation, Deep Space Nine, First Contact, Enterprise, Discovery Seasons 1-2, Picard, Strange New Worlds, and Section 31.

It’s Spooktober, the scariest month of the year! And what better way to celebrate than to talk about… Star Trek? That can’t be right!

Star Trek has dipped its toes in the horror genre on a few occasions – including in recent years. But that’s not really what I want to talk about today (though I suppose we’ll touch on some horror-tinged episodes as we progress). Instead, I want to take a look at a few of the franchise’s aliens that could have been terrifying… if their respective storylines had been written that way. In short, these are aliens that have horror potential, but because Star Trek is what it is… they never really managed to scare me!

Captain Kirk and the Gorn captain in a 2013 TV commercial.
A horrifying monster.

As usual, I like to give a small caveat. Everything we’re going to talk about is the entirely subjective, not objective opinion of just one old Trekkie. If you hate all of my ideas, think I’ve totally misunderstood something, or I exclude a faction that seems blindingly obvious to you… that’s okay! There’s plenty of room in the Star Trek fan community for polite discussion and respectful differences of opinion, and I share this piece in that spirit.

Now, a bit more detail is necessary on this idea, methinks!

Star Trek can do horror – and it can do horror-themed stories exceptionally well. But Star Trek is not primarily a horror franchise, and we often explore aliens through the lenses of exploration, first contact, diplomacy, friendship, curiosity, or war. There are many stories involving contact with alien races – and alien “monsters,” to use some Halloween-adjacent lingo – but most of them treat aliens as potential new friends rather than terrifying, incomprehensible adversaries. And even in stories where an alien is villainous or powerful, Star Trek tends to go for either some kind of peaceful resolution or more of an action-heavy tone rather than all-out horror.

Cropped painting of the USS Enterprise.
The Enterprise.

But there are some aliens, introduced throughout the franchise’s fifty-nine-year existence, which could feel genuinely terrifying if they were dropped into a story that really went for a horror tone. A great example of this is the Gorn: The Original Series depicted the Gorn captain as an enemy for Kirk, sure, and Kirk even describes the Gorn as a “monster” in the episode. But Arena (the only episode prior to Enterprise where the Gorn appeared) was a piece about exploration and understanding – with a healthy dose of action thrown in, of course.

But Strange New Worlds took the Gorn in a whole new direction, ramping up their more monstrous qualities, and leaning into a style of storytelling not unlike that seen in the 1979 classic film Alien. This is the kind of thing I mean: if Strange New Worlds can do it for the Gorn… what other alien races could see their more horrifying qualities ramped up? And could some of these be interesting for a future episode or series?

With all of the preamble out of the way, let’s take a look at five alien races that I think could have been terrifying!

Alien #1:
The Klingons

Still frame from Star Trek: Strange New Worlds showing an aggressive Klingon.
A Klingon as seen in Strange New Worlds.

By the time Star Trek had updated the design of the Klingons and delved a bit deeper into their warrior culture, a decision had already been taken to make the Klingons friendly. But if you think about it… a race of incredibly strong, bloodthirsty warriors who are eager to die in battle could be genuinely terrifying with the right script.

However… when Discovery stepped back in time and set up its Klingon war arc in Season 1, we didn’t really get that. There were some tense moments and some neat action sequences, but part of me thinks that there have probably been too many storylines with Klingon heroes and protagonists for long-time Trekkies to take them seriously as a threat in the future.

Still frame from Star Trek: The Next Generation showing a Klingon with a bat'leth.
Wielding a bat’leth.

If The Next Generation hadn’t gone down that route, though… there’s a ton of potential here. Imagine an episode set on a derelict ship where a lone Klingon warrior is slowly hunting down a Starfleet away team. Or a story set aboard a station like DS9 where a handful of Starfleet personnel are desperately trying to protect civilians from an onslaught of warriors who aren’t afraid to die in battle. The Klingons’ single-minded dedication to war and combat makes them frightening, and their physical strength when compared to (most) humans makes them truly dangerous opponents.

Unlike some other aliens we’re going to talk about, I very strongly doubt we’d ever get a Klingon-themed horror episode! It would be difficult to pull off after seeing hundreds of episodes with the likes of Worf, B’Elanna, Martok, Gowron, and so on, and I suspect the fan community wouldn’t really be on board with the idea, either. But I stand by my pick: with the right script, filmed in the right way, this warrior race could be absolutely terrifying.

Alien #2:
The Sheliak

Still frame from Star Trek: The Next Generation showing the viewscreen and a Sheliak.
A Sheliak on the Enterprise-D viewscreen.

Strange New Worlds took the Gorn – an alien race which had only appeared a couple of times in Star Trek – and turned them into a major antagonist. So… why not do something similar with the non-humanoid Sheliak? The Sheliak appeared in just one episode – and kind of similarly to the Gorn in Arena, they weren’t the only part of that story! In fact, only one individual was seen on screen, and even then, only for a few moments.

However, the Sheliak have a really interesting and unusual design, especially by Star Trek standards, and for a one-off alien race that hasn’t been so much as mentioned in more than thirty-five years… they’re pretty memorable. To me, anyway!

Still frame from Star Trek: The Next Generation showing Picard, Troi, and a Sheliak.
Picard and Troi aboard a Sheliak vessel.

The Sheliak’s inhuman nature and incomprehensible language already make for an intimidating starting point, but their approach to other races – including humans – could really jump-start the fear factor. Viewing other races as inferior, and having no qualms whatsoever about wiping out whole settlements is a frightening idea – and if the Sheliak can back that up with technology, weapons, or perhaps some kind of weird alien goo, I think the stage is set for a genuinely frightening adversary.

Being somewhat of a blank slate, there’s a ton of room to expand on our knowledge of the Sheliak. They’re sentient life-forms, not “monsters,” but there’s still a ton of frightening potential in any intelligent non-human alien.

Alien #3:
The Founders/Changelings

Still frame from Star Trek: Deep Space Nine showing the Female Changeling.
The Female Changeling from Deep Space Nine.

A shape-shifting enemy that can – and already has – infiltrated Starfleet and the Federation? That seems like something with a lot of horror potential! Look at the classic horror picture The Thing as a great example of how something like this could work. An impostor living amongst a Starfleet crew, slowly picking them off, and the survivors losing their minds not knowing who to trust. A story like that is textbook horror.

Picard’s third season had a chance to do this, but the story there leaned more on the mystery and action side of things, rather than horror. There were some shocking moments, and the idea that anyone could, in theory, be a changeling did set up some tension for a time. But then the story went in a different direction towards the end, so that terrifying potential didn’t really amount to much, at least not in terms of horror.

Still frame from Star Trek: Picard showing two changelings.
Changelings in Picard.

One thing we’ve never really seen in DS9 or Picard is a Founder shape-shifting into some kind of truly monstrous and powerful form. If they can take the shape of birds, humanoids, or even a cloud of gas, there’s nothing stopping them from turning into a three-metre-tall eldritch horror with tentacles and needle-sharp teeth! Again, these abilities have been teased sometimes, but never really taken advantage of in a horror sense.

There are timeline questions, of course. A story set after the Dominion War, in a largely peaceful era, would struggle to justify including the Founders as a major antagonist like this. But, as in Picard, there could be a renegade faction or even an individual. In any case, Star Trek has done some cool things with shape-shifters – but really hasn’t even scratched the surface in terms of their horrifying possibilities!

Alien #4:
The Borg

Still frame from Star Trek: Enterprise showing several Borg.
Borg drones i Enterprise.

The Borg are scary. They’re “space zombies,” as I wrote once, and part of what makes them so frightening is that every ally lost to assimilation becomes another enemy to fight. The Borg also embody the idea of a “fate worse than death;” losing one’s mind, being turned against one’s friends and allies, and continuing to exist in a kind of limbo state. But think about it… have any Borg episodes really fallen into the “horror” genre?

For years, I’ve wondered whether Star Trek should try a “Borg Invasion” television series – a show in which the Borg make a real push to assimilate the Federation and the Alpha Quadrant. Such a show, were it to ever exist, would undoubtedly benefit from leaning into a horror tone – at least some of the time. Ramping up the fear factor by showing that no main characters are safe, that the Borg are this unstoppable “force of nature,” only interested in assimilation… I think it could be exceptional if done well.

Still frame from Star Trek: The Next Generation showing a Borg drone.
The first Borg ever seen on screen.

There have been some scary Borg moments over the years, and the faction’s aesthetic really leans into horror tropes. But since the introduction of the Borg Queen in First Contact, I kind of feel like the Borg lost part of what made them so special in the first place. If it were up to me, I’d create a retconned version of the Borg akin to their original appearances in Q Who and The Best of Both Worlds – interested in assimilation and technology, and completely unable to be reasoned with, talked down, or negotiated with. That, in my opinion, is a huge part of what made the Borg unique – and scary!

But even with a Queen, there’s still a lot more Star Trek could do to give us a Borg horror story – even if it was just a one-off episode, not a whole show. An episode with a tone like All Those Who Wander or Shuttle to Kenfori would work exceptionally well with the Borg as antagonists.

Alien #5:
The Terrans

Still frame from Star Trek: Section 31 showing young San and Georgiou.
Mirror Georgiou and San.

If you know me, you’ll know that the Mirror Universe (and its Terran inhabitants) has never been my favourite part of Star Trek… and that’s putting it mildly! But I won’t deny the horror potential in the setting, which is all about murder, violence, and torture. Imagine an unsuspecting officer being transported there, totally unaware of what was happening, and being hunted down by an entire galaxy full of violent sociopaths!

In past Star Trek stories, the rare moments where a character has actually met their Mirror counterpart have been played humorously, but if you think about it, the idea of discovering that you essentially have an “evil twin” is another horror trope that the Mirror Universe could lean into. Being kidnapped by a Terran because your Terran counterpart is someone high up in the Imperial military would be absolutely terrifying.

Still frame from Star Trek: Discovery Season 3 showing Mirror Burnham.
Mirror Burnham.

Again, decades’ worth of pretty low-quality Mirror Universe stories – episodes which, intentionally or not, came across as being funny rather than thought-provoking or scary – definitely count against this idea! But a good enough script should be able to see the Terrans and their Mirror Universe as the terrifying antagonists that they could have been!

Plus, it would be nice to get a Mirror Universe story with genuine stakes and a fear factor, instead of hammy over-acting and one-dimensional characters. Maybe the Terrans wouldn’t be my first choice to write a horror story around, but I definitely think the setting could lend itself to something frightening.

So that’s it!

Still frame from Star Trek: Strange New Worlds Season 3 showing "zombies" breaking into a room.
Zombies!

We’ve talked about a handful of Star Trek aliens that aren’t usually all that scary… but *could* have been!

I hope this was a bit of fun, and a little bit of a thought experiment. Star Trek is, as I said earlier, not a franchise that usually delves deeply into horror. That’s not to say it never happens, because it does, and it can work really well! But it’s just not a genre that the franchise’s writers typically like to play around in. At most, we’ll get a one-off horror-tinged story. But a feature film or season-long arc still seems a long way away.

I have a couple of other horror/Halloween ideas that I hope to get around to before the 31st, but I’ve been exceptionally busy over the past couple of weeks, so I’m not sure if I’ll manage to do everything in my writing pile. Might have to save one or two of those ideas for Halloween 2026! Still, I hope you’ll check back, because I daresay I’ll have more to say about Star Trek, sci-fi, horror, and the wide world of geeky entertainment before too long! See you… out there.


The Star Trek franchise can be streamed on Paramount+ in countries and territories where the platform is available, and most shows and films are also available on various on-demand platforms, as well as DVD/Blu-ray. The Star Trek franchise – including all properties, shows, and films 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.

Star Trek: Voyager – Across The Unknown: My Thoughts on the Demo

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of spoilers for Star Trek: Voyager – Across The Unknown and Star Trek: Voyager.

A new video game based on Star Trek: Voyager, titled Across The Unknown, was announced only a few weeks ago. I didn’t think we’d see it until at least next year – but to my surprise, I received a notification that a demo version is available on Steam. I jumped into the game as soon as it had finished downloading, eager to try it out for myself, and I thought it could be fun to preview the upcoming title together.

I enjoyed the demo for the hour or so that it lasted, and playing through a modified version of Voyager’s premiere – Caretaker – was generally a fun experience. I think Across The Unknown still has work to do – there were a couple of issues that I picked up on in my brief playthrough – but by and large, the game seems poised to deliver more or less what I’d been expecting.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the USS Voyager in the Badlands.
Voyager in the Badlands.

That idea of expectations, though, is going to be important to how you approach Across The Unknown. The tl;dr is this: this isn’t a big-budget, high production values, “triple-A” type of game. And if you go into it expecting ultra-sharp graphics, fully-voiced characters, detailed cut-scenes, and the like… you’re going to be disappointed, because this isn’t that type of game. What you get instead is a strategic starship management game, one with a tech tree to unlock upgrades, rooms to build, crew members to move around, and so on. There are no voiced characters; Across The Unknown is text-based. And while there are some starship cut-scenes and a pretty fun combat system, most of the time you’ll be treated to static images to convey key storylines.

I believe that if you set appropriate expectations, there’s going to be fun to be had here. The game’s core premise of “what if you were Captain Janeway and made different choices?” is a genuinely fun and appealing one, and Across The Unknown provided several points at which I could make what seemed to be defining choices for the ship and crew.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing Janeway ordering Stellar Cartography be repaired.
Captain Janeway issues an order.

An appropriate point of comparison is probably Fallout Shelter. The games use a similar point-of-view for managing your base/starship, and you get similar choices for where to construct different rooms, who to recruit, who to send on away missions, and so on. That’s a good starting point for understanding what Across The Unknown felt like to play.

Obviously, when you’re looking at a demo version, there are going to be limitations! So I don’t want to judge Across The Unknown too harshly based solely on the first hour-ish of gameplay. Just from looking at the tech tree and the amount of empty rooms aboard Voyager, there’s clearly a lot more to the game that I didn’t get to try out on this occasion. And I also suspect that, of all the missions/story arcs in the game, Caretaker is probably one of the most linear: certain events have to pan out in order for Chakotay, B’Elanna, Neelix, and Kes to join the crew – and that’s just for starters.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the aftermath of Voyager's arrival in the Delta Quadrant.
The demo is based on the episode Caretaker.

There were, however, some diversions from the story of Caretaker that felt unnecessary to me. Some lines of dialogue – particularly between characters like Chakotay and Tuvok, and Harry and Tom – felt really “off;” I know what these characters sound like, how they talk, and what they said to each other in the beginning – and this ain’t that!

In fact, I’d go so far as to say that some (but by no means all) of Across The Unknown’s dialogue reads like it’s been written by an AI chat bot. I’m not saying that’s what happened – and there could be issues with translation, for example, as the game is being developed in Germany. But that’s how some of these lines felt to me. Subjectively speaking.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing four dialogue boxes.
A selection of the “awkward” dialogue lines.

The tutorial was solid, and I felt that Across The Unknown communicated some of its pretty in-depth systems in a concise and understandable way. I didn’t play the game perfectly on my first outing; I failed one optional assignment when I didn’t build enough crew quarters in time! But that failure helped me learn more about the optional assignments and how the “cycles” (Across The Unknown’s timekeeping) work, so it wasn’t a total loss. And considering that I did fail one of these optional tasks, Across The Unknown was forgiving enough that it wasn’t fatal to my playthrough – which I did appreciate on my first time out!

There are resource limitations, though. At one point, I was running dangerously low on deuterium – which is necessary to keep the ship running. I was only a couple of cycles away from completely running out, and having exhausted all of the planets and points of interest in the two available star systems, there was a bit of a time crunch to get back to the Caretaker’s Array! This is clearly part of the experience – Voyager’s journey home, especially in the early days, was one of scavenging resources where possible, and running close to the line on more than one occasion. It served as a great motivator, I found, to move the story along!

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the system view (and a tool-tip about cycles).
The system map (and a tool-tip showing details about cycles).

Away missions provide one of the ways to make a lot of different choices. Given that the demo is based on Caretaker, I was surprised that Captain Janeway wasn’t able to join any of the away missions to the Array or to Ocampa, and I wonder if that’s going to be a limitation throughout the game. I hope not, but I thought it was worth mentioning. I tried to use a selection of different characters when I could, just to get a different experience with the away missions that I had available.

Each away mission gives individual characters a chance to gain experience and level up – meaning they’ll be better the longer they stick around and the further into the game you get. The tutorial mentioned that some choices, if they go awry, can be fatal. That wasn’t something I experienced in the demo, but it’s interesting to know that even some named characters can, potentially, be killed off at a very early stage – or at any point throughout the run.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing an away team on the transporter pad.
Selecting crew members for an away mission.

I want to touch on one story point that I’ve seen Trekkies talking about since Across The Unknown was announced. This is spoiler-y, so skip past the next screenshot if you really don’t want to know anything ahead of trying the demo for yourself! When it comes to Voyager and crucial choices… Across The Unknown does give you the option to use the Caretaker’s Array to send Voyager and her crew home seven years early! Obviously, this will cut off the entire rest of the game, but I thought it was a ton of fun that the option to do this was included.

And I think that speaks volumes about the kind of big decisions that we’ll get to experience in the full game. The blurb promises twelve sectors to explore – each of which, apparently, can be comprised of at least three star systems, which is neat. I would imagine each sector will provide one of these key inflection points – perhaps more than one. Being able to send the ship and crew home, though, using the Array… I gotta admit, that was pretty cathartic after all these years!

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the end of the demo.
Home in time for tea!

There’s quite a lot of random chance (a.k.a. random number generation) in Across The Unknown, which isn’t atypical for this type of game. You can mitigate some of that by choosing characters and actions that have a higher chance of success, or when on away missions, by combining the efforts of more than one character to increase the odds. But it’s still possible that RNG will go against you at any point, and even an option that looks statistically solid could result in a negative outcome. Again, though: it’s that kind of game.

The ship-to-ship combat was interesting. Unlike exploration, which is measured in “cycles,” and away missions, which play out through a series of decision points, combat in space is close to real-time. Phasers fire automatically, but you get to choose when to fire torpedoes and when to issue other orders to members of the crew. There are a limited number of slots for characters to participate in ship-to-ship combat – which feels like a bit of a double-edged sword.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing a combat encounter.
Ship combat.

On the one hand, this adds another element of strategy: do you want to pick Paris for his evasive manoeuvres, or Tuvok for his finesse with the phasers? It also makes each combat encounter potentially different, as you can choose a different crop of people every time. However… part of the captain’s chair fantasy experience, surely, is being able to issue orders to the entire crew in situations like this. Being able to divert extra power to the phasers by calling up B’Elanna in engineering, or telling the Doctor to prepare sickbay for casualties… that’s all part of sitting (metaphorically) in the captain’s chair. By reducing the number of characters who can participate, part of the combat just felt a bit… small, I guess.

That’s not to say it was bad. I actually had fun taking on the Kazon in my combat encounter! And after spending most of my time looking at a master systems display or a zoomed-out solar system, seeing Voyager moving around in real-time, up close… that was something special.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the USS Voyager, the Caretaker's Array, and Kazon ships.
Voyager and Kazon ships at the Caretaker’s Array.

Across The Unknown needs some more polish. There were a few places where I saw a typo or missing punctuation, and another where Neelix popped up to tell me something before I’d even met him or invited him aboard. My PC also seemed to struggle, with the graphics card working overtime and the game still occasionally lagging – despite the fact that, as mentioned, the graphics really aren’t anything special. Performance when zooming in and out of the MSD could really use some improvement. I wasn’t even running Across The Unknown at its maximum settings.

That being said, I came away from my hour with the demo more excited to play the finished game than I was before I started. Voyager is such a great series, and it feels perfectly-suited to this kind of strategic management title. Being able to make radically different choices to those that Captain Janeway made during the show is going to be a lot of fun, and if the rest of the game is as good as the demo in terms of narrative and gameplay, I can see myself sinking many hours into it when it’s ready.

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing a cargo bay.
A cargo bay.

If you want to wait for the finished game, that’s a completely valid decision. I usually don’t play pre-release demos, and there are a few issues with Across The Unknown that I’d hope will be smoothed out before the full game releases. But it’s hard not to recommend a completely free demo of a game like this. It only took me an hour to play through the events of Caretaker and get a feel for what Across The Unknown is like, so if you’re like me and Across The Unknown is a guaranteed day-one purchase for you, I think trying out the demo is an easy recommendation.

I’ll end by saying that Across The Unknown is clearly a game made for fans. And that’s okay. Not every game is going to reach a broad audience; Across The Unknown knows what it is, knows who its target audience is, and seems to be leaning into that in a big way. It’s not going to blow up and win hundreds of awards, nor is it going to expand the Star Trek fan community in a meaningful way. But given that it’s Voyager’s thirtieth anniversary this year, I’m just pleased that a game like this was greenlit at all. Stepping back into that world – even with some last-gen graphics, odd facial expressions, and occasionally janky dialogue – was a lot of fun.

The demo is free on Steam at time of writing… so why not try it? All you have to lose is 6 and a bit gigabytes of disc space and an hour or so of your time!


Star Trek: Voyager – Across The Unknown will be released (in full) in the future. The demo version is available now on Steam. The Star Trek franchise – including Voyager and Across The Unknown – is the copyright of Skydance/Paramount. Star Trek: Voyager – Across The Unknown is developed by GameXcite and published by Daedalic Entertainment. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.


A selection of screenshots from my time with the Across The Unknown demo that didn’t fit in the article above:

Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the main view of the ship.
The main MSD/ship display (zoomed out).
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing an away mission.
An away mission.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the tech tree.
Part of the tech tree.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the aftermath of a broken promise.
Breaking a promise (a.k.a. failing an optional quest).
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the sector view.
A view of the sector, including three star systems.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing Neelix's ship.
Neelix’s ship arrives.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the bridge.
The view from the bridge.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing sickbay.
The Doctor in sickbay.
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing the choice at the end of the demo (destroy or use the Array).
The key choice!
Screenshot of Star Trek: Voyager - Across The Unknown (demo version) showing a construction report.
Completing construction/repairs.

Star Trek at Comic-Con: A Teaser and a Trailer

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of spoilers for upcoming seasons of Starfleet Academy and Strange New Worlds. Spoilers are also present for the following Star Trek productions: The Undiscovered Country, Voyager, Discovery, Prodigy, and Picard.

The Star Trek franchise popped up at New York’s Comic-Con event this week, building up the hype for Starfleet Academy and the next season of Strange New Worlds. I thought we could take a look at them together, as we begin to get excited for next year’s Star Trek projects.

First of all, it does seem, based on the release of the teaser clip and Starfleet Academy’s mid-January premiere, that Strange New Worlds Season 4 is on the schedule for 2026. That’s good news! After the two-year gap in between Seasons 2 and 3, and with Starfleet Academy still in post-production, I wasn’t sure if Strange New Worlds would manage a 2026 broadcast, but it’s good news in my book that we don’t have to wait too long for the next instalment in what is still my favourite modern Star Trek series.

Still frame from the second trailer for Star Trek: Starfleet Academy showing the premiere date.
Starfleet Academy will be on our screens in just over three months!

Since we’re talking Strange New Worlds, let’s take a look at the teaser clip first.

Firstly, I’m not 100% sure if this was one continuous sequence, or if there wasn’t at least one cut somewhere in the middle. It kind of feels, to me, like a scene or two might be missing… but that could also be where the title sequence will appear in the finished episode, I guess! In any case, the Strange New Worlds teaser was taken from a single episode, and it shows Pike and the crew getting into trouble with what looked somewhat like a plasma storm or ion storm.

How, exactly, a plasma storm might’ve thrown the Enterprise to a different point in space is… debatable! But we’ve seen similar things happen before; I actually got a “Caretaker” vibe from that part of the clip, as the ship got caught in an expanding space storm and ended up somewhere different. I’m not saying this will be the Delta Quadrant, of course! But as I’ve said before, sometimes Star Trek stories kind of rhyme, and this clip was definitely reminiscent of Voyager’s premiere for me.

Side-by-side comparison of Star Trek: Strange New Worlds Season 4 and Star Trek: Voyager Season 1, showing both starships caught in an orange-tinted region of space and being tossed around.
The USS Enterprise in the Season 4 teaser and the USS Voyager in Caretaker.

I’m glad that we got to see Ortegas back at the helm after her Gorn encounter. I think, having sat with it for a month or so, that Terrarium might be the best episode of Season 3, and I’m definitely excited to spend more time with Ortegas (and some of the show’s other original characters) before Strange New Worlds wraps up. Ortegas was also present on the shuttle mission at the end of the clip, and really seems to be back in her element in the pilot’s seat.

Another character I was pleased to see was Pelia! Pelia seemed to draw the short straw in Season 3, with Scotty taking over key engineering storylines in episodes like A Space Adventure Hour, but she’s at least going to be present in Season 4 and hasn’t just been unceremoniously shuffled off-stage. That makes me happy; Pelia is a great comic relief character and has had some of the best and funniest lines in Seasons 2 and 3. Getting the right balance between Pelia and Scotty – the chief engineer and the deputy – is something Strange New Worlds still needs to work on, but I think Pelia’s presence in the teaser clip is promising, at least.

Still frame from the Star Trek: Strange New Worlds Season 4 promo clip showing Pelia.
Pelia.

Spock and La’an were seen together in the clip – though not in a romantic setting! La’an did seem to be looking at Spock, though, and I suspect that their relationship will continue at least at the beginning of Season 4. As I said, though, when Season 3 was on the air: I kind of need a break from that. I don’t want more “Spock comedy,” or “Spock romance,” not with only a few episodes remaining before Strange New Worlds will be over. So I hope the writers aren’t going to push for more of those things in Season 4. Hard to tell from just this one clip, of course!

We also caught a glimpse of a new Vulcan character – a cadet, who seems to be shadowing Uhura on the bridge. Giving Uhura a mentorship role could be a fun way to extend her character arc, so I’m on board with that! Part of me wonders if this character is intended to be someone familiar: perhaps Tuvok’s wife, T’Pel, who we saw briefly in Voyager, or even someone like Saavik or Valeris. Given Valeris’ later role in The Undiscovered Country, that could be interesting.

Still frame from the Star Trek: Strange New Worlds Season 4 promo clip showing Uhura and a cadet.
Uhura with the Vulcan cadet.

Pike’s line to Una, asking her if she’d miss space exploration if she had to give it up, felt poignant – and could be related to Pike’s impending accident and disability. Perhaps his knowledge of the future is weighing on him during this mission, maybe he’s still mourning Captain Batel after losing her at the end of Season 3, or it could be connected to the fantasy life we saw in the Season 3 finale. In any case, the line stuck out to me, and clearly indicates that Pike has a lot on his mind beyond just the mission at hand.

This aspect of Pike’s characterisation – his knowledge of what lies in store for him – has made this iteration of the character incredibly impactful and relatable to me personally. I read his story through the lens of my own poor health; I’ve been Captain Pike, hearing bad news about my health and future prospects, knowing there isn’t anything I can do, and the way Anson Mount brings that to the screen has always been nothing short of fantastic. Given that it will probably be a big plot point in the cut-down fifth season, I’m not sure how important Pike’s imminent accident will be this time around, but this clip seems to hint at it being important for him in at least one episode.

Still frame from the Star Trek: Strange New Worlds Season 4 promo clip showing Pike and Una on the bridge.
Pike’s line to Una really stood out to me.

I don’t remember the element iridium being mentioned a lot in previous Star Trek stories, but I like this little expansion of the lore of Star Trek. According to Scotty, iridium is necessary to “ignite” the warp engines – presumably meaning it’s important to the antimatter reaction along with dilithium. In any case, missing iridium seems like a suitable driving force for a story that looks set to take Una, La’an, and Ortegas to – as Captain Pike put it in a kind of too on-the-nose line – a “strange new world.”

Not sure what else to say about the Strange New Worlds clip. I think the episode looks like it’ll get off to a solid start, it was nice to see most of the crew getting a line of dialogue or something to do, and there were enough little teases to get me excited. Pike’s story looks like it could be complex, a new Vulcan cadet could be a fun addition to the bridge, even if she’s only present for an episode or two, and I’m genuinely curious to learn more about this mysterious storm in space and where it might’ve taken Pike and the Enterprise. Could I be about to get my “Pike versus the Borg” story that I’ve been harping on about for years? Erm… no!

Still frame from the Star Trek: Strange New Worlds Season 4 promo clip showing Una, La'an, and Ortegas on a shuttlecraft.
Destination: unknown.

Next, let’s talk about Starfleet Academy.

In a frankly bizarre move, comedian and late-night talk show host Stephen Colbert was announced as having a voice-only role in the series. Apparently, Colbert is a bit of a Star Trek fan, and he’ll be providing the voice of the “Digital Dean of Students” at the Academy. Colbert treated us to what he said was one of the actual lines from the show – and it was… fine, I guess?

I’ll be honest: this feels like stunt casting; hiring a big-name star for no other reason than, well, they’re a big-name star. However… if it helps draw a few more eyes to Star Trek, that’s not necessarily a bad thing. I’m just not convinced it’ll be as big of a deal as Paramount/Skydance would’ve liked, and I’m not sure it was the best possible way to close out the Comic-Con revelations and news. Maybe this is because I’m from the UK, and perhaps to an American audience, someone like Stephen Colbert is much more of a draw. I just wasn’t blown away by it, and my feelings toward the announcement were more like “erm, okay?” rather than “woah, what a great idea!”

Still frame from New York Comic-Con 2025 showing Stephen Colbert.
Stephen Colbert is joining Starfleet Academy for a voice role.

I’ve said this before, but I don’t think a show like Starfleet Academy benefits from having a main villain. I had hoped that Starfleet Academy could’ve adopted the Strange New Worlds model and done something a lot more episodic – that kind of thing feels like it’s well-suited to a show about younger characters learning about serving in Starfleet. It’s still my hope that we’ll get some of that, but it’s seemed for a while like the series is going down a serialised route similar to Discovery.

In fact, I felt echoes of Discovery in the connection between the villain, Nus Braka, and the young cadet Caleb. Every season of Discovery seemed to follow a very familiar pattern: there’s a villain who’s threatening the Federation or the entire galaxy, and somehow, that villain has a connection to one of our heroes. We had it with Lorca, Voq, and Tyler in Season 1, the Red Angel in Season 2, the Emerald Chain and the Burn in Season 3, the DMA and Tarka in Season 4, and the Breen and Moll in Season 5. Picard even got in on the action with Q and the Borg Queen in Season 2, and Vadic and Jack in Season 3, and so did Prodigy with Gwyn and the Diviner.

And I’m just so thoroughly burned out on that repetitive story concept at this point.

Still frame from the second trailer for Star Trek: Starfleet Academy showing Nus Braka, the main villain.
Nus Braka: Starfleet Academy’s villain.

However! It wasn’t all doom and gloom in the Starfleet Academy trailer. We caught a glimpse of Mary Wiseman’s Tilly for the first time in any Starfleet Academy material, which is great news. Tilly was a fun character in Discovery, and it seemed – for a time, at least – as if Starfleet Academy might be being constructed around her as a central character. There was even that backdoor pilot in Season 4 – though none of the cadet characters seem to have shown up in the new series, for some reason.

But with Tilly having been absent from all of Starfleet Academy’s marketing so far, I can’t’ve been the only one who was beginning to wonder whether she’d show up at all! Rumours suggest that Tilly may only be a guest-star for a single episode in the show’s first season, but I’m sure she’ll still be a welcome addition to the cast. It was great to catch sight of her for the first time, in any case.

Still frame from the second trailer for Star Trek: Starfleet Academy showing Tilly.
It’s Tilly!

The rest of the Starfleet Academy trailer looked… well, it looked “teenager-y.” Which makes sense, of course, given the show’s younger characters and target audience! Plenty of shows and films aimed at a younger audience or featuring younger characters still have a lot to offer to the rest of us – look at the likes of Wednesday or Stranger Things (neither of which I’ve actually seen, but they’re good examples nevertheless!) Some of the clips in the trailer seemed to show characters at the Academy falling in love, going on dates, and talking in that kind of angsty way you sometimes get in teen dramas. I’m not sure whether all of that (or any of it) will be to my taste, but I’m content to give the show and these characters a chance to impress me.

One thing I hadn’t clocked until recently was that Sam – one of the new cadets – is a hologram. I think this is really interesting given that Voyager’s Doctor is also going to be present in the series, and I can already see the two of them developing a connection over a shared (or similar) heritage. That’s something that could be really interesting, and I wonder if we’ll get an exploration of how holographic rights developed in the years after Voyager.

Still frame from the second trailer for Star Trek: Starfleet Academy showing Sam and the Doctor.
Sam and the Doctor.

Nahla Ake, the captain and Chancellor of the Academy, is sure to be one of the series’ breakout characters. She’s brought to life by Academy Award-winner Holly Hunter, and the Star Trek franchise really lucked out to land a performer of such calibre. Though I’m not sure her personal connection with Caleb is the right move narratively, I’m really excited to see what this new character will be like, how her style of command will be, and how the rest of the cadets will respond to her. I think there’s a ton of potential there.

It was a deliberate choice to make Starfleet Academy a spin-off from Discovery, set in that same far-future time period. I’ll be curious to see how the show will lean into that, and whether the “post-apocalyptic” setting caused by the Burn and its lingering aftershocks will be a big part of the main storyline. In a way, I hope that Starfleet Academy will be able to do something more meaningful with that idea than Discovery managed… but I won’t lie: a big part of me regrets that this show couldn’t have been set in the Picard era instead.

Still frame from the second trailer for Star Trek: Starfleet Academy showing Caleb looking disheveled.
Caleb.

It seems like Starfleet Academy is setting up Caleb, Captain Ake, and Nus Braka to be the principal characters, all tied up together in a “mystery box” type of story surrounding Caleb’s missing mother. I’m still not convinced that this was the right approach, but maybe if it’s a solid enough story it will at least be worth following to its conclusion. Based on what we saw of him in the trailer, I wasn’t actually wowed by veteran actor Paul Giamatti’s performance – he felt too over-the-top for my liking. And that’s a shame; Giamatti is a fine actor, and someone I’ve been looking forward to seeing in Star Trek. Hopefully it’s just a consequence of the way the trailer was cut; in context, those moments might feel better and make a lot more sense.

I hope Starfleet Academy isn’t going to do the clichéd (and also played-out) trope of “everyone has a hidden secret backstory.” We seemed to get hints at at least two of the other cadets – Genesis and Darem – having some kind of issues with their families or in their past that are driving them to seek positions in Starfleet. I don’t think every character needs that kind of motivation – especially not young, school/university-aged characters. Isn’t it enough to say they’re looking to make something of themselves, or that Starfleet appealed to them because they wanted to be scientists or explorers? Complexity can make a character great in any work of fiction – but not every complex character needs to have some kind of mysterious or traumatising past to explain why they are the way they are. I’m just a little concerned that Starfleet Academy is leaning too much into that kind of storytelling.

Still frame from the second trailer for Star Trek: Starfleet Academy showing Genesis Lythe.
Why does Genesis say she “needs” to be a captain?

I hope this has been an interesting glimpse at both Starfleet Academy and Strange New Worlds. I still haven’t decided yet whether I’m going to review every Starfleet Academy episode or not – I think, at the very least, I’ll review the premiere, just to see how the series is starting off! But whether I do individual episode reviews or review the rest of the season in one hit, I hope you’ll join me for that in January. And I’m hopeful that Strange New Worlds Season 4 will debut later in 2026, too – and I will definitely write up individual episode reviews there, as I did for Season 3 earlier this year.

Obviously, Strange New Worlds remains the Star Trek project I’m most excited for; nothing in the Starfleet Academy trailer convinced me that I should change my mind about that! But, despite what I’d consider to be some narrative red flags, I’m still hopeful that Starfleet Academy will be fun. Even if it’s not “my thing,” perhaps it will finally be the series that reaches out to a new generation of viewers, turning them into Trekkies and kick-starting a renaissance for the franchise that the fan community arguably needs.

In any case… we don’t have much longer to wait!


Star Trek: Starfleet Academy will premiere on Paramount+ in January 2026. Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ and Season 4 looks set to premiere later in 2026. The Star Trek franchise – including all shows and properties 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.

Star Trek “Bottom Fives” – Arguing with IMDB Again!

A Star Trek-themed spoiler warning.

Spoiler Warning: Spoilers are present for the following Star Trek productions: The Original Series, The Next Generation, Deep Space Nine, Voyager, and Enterprise.

A couple of months ago, I wrote a piece here on the website in which I looked at the “top five” episodes from each of the first five series… at least, according to the randos who rate episodes over on IMDB! There were some predictable picks… and a few surprises. Seriously, who would’ve expected that Blink of an Eye would be everyone’s favourite Voyager episode? Not me, that’s for sure!

So today, we’re going to do something similar… but with the lowest-rated episodes from those first five Star Trek shows. I think it could be a lot of fun to look at some of the stories that other fans and viewers don’t like, and consider some of the reasons why. I’m bracing myself for a few surprises here, too!

If you missed it, please check out my earlier piece for a look at the “top fives.” You can find it by clicking or tapping here.

The Enterprise-D.

My usual caveat applies: everything we’re going to talk about is subjective, not objective. If I dump all over one of your favourite episodes, or talk positively about a story you hate… that’s okay! There’s enough room, and enough maturity, in the Trekkie community for differences of opinion and respectful disagreements that don’t descend into toxicity and argument.

This post, like my earlier one, will cover the first five live-action Star Trek shows: The Original Series, The Next Generation, Deep Space Nine, Voyager, and Enterprise. No Animated Series or films are included. I’ll start with TOS and move forward chronologically; the episodes will be ranked according to their IMDB ratings, from highest to lowest – i.e. beginning with the fifth-worst and finishing on the worst-rated episode for each of the five shows. The IMDB ratings are taken as of September 2025 (and might change over time!)

I’ll discuss what I don’t like (or do like) about each episode, and then I’ll answer a simple question: does it deserve the hate? Or, to put it another way: would I personally rate the episode as being among the worst in the franchise?

Now that all of that’s out of the way, let’s jump into the episodes.

The Original Series Episode #5:
The Omega Glory, Season 2
IMDB Rating: 6.1/10

Gene Roddenberry intended to hold up a mirror to society, using Star Trek episodes as “morality plays” to comment on or critique things out here in the real world. Many of these episodes are wonderful. The Omega Glory is arguably too on-the-nose, though, with its very literal depiction of the aftermath of a Cold War turned hot. Roddenberry himself wrote The Omega Glory, so it’s a bit of a shame to see it rated so lowly by viewers and fans.

There’s a lot of competition in TOS’s second season, and compared to stronger offerings like The Doomsday Machine, Journey To Babel, The Trouble With Tribbles, and The Ultimate Computer, I can see why The Omega Glory struggles to keep up. There’s also, by modern standards, somewhat uncomfortable racial stereotyping – which Roddenberry intended to flip on its head with The Omega Glory’s big revelation – but I’m not sure it works as well as he’d hoped.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

The Original Series Episode #4:
Spock’s Brain, Season 3
IMDB Rating: 5.7/10

No list of “the worst Star Trek episodes” would be complete without Spock’s Brain. And this is a trend we’re about to see a lot more of; Season 3 of The Original Series is generally considered to have a number of weaker offerings, in part due to the show’s reduced budget. But I’ll be honest: I’ve always found Spock’s Brain to be weirdly fun… in a “so bad it’s almost good” kinda way.

I also think the episode has become iconic, or at least symbolic of a particular moment in the history of Star Trek. This was the first episode of Season 3 – a season that wouldn’t have existed at all without a letter-writing campaign by fans. It’s also a story that showed how far Kirk (and Spock’s other friends) were willing to go to save him when he was in danger. Is it a ridiculously silly premise? Yes. Is it executed perfectly by all involved? No. But do I watch it anyway and smile? Yes!

Does It Deserve The Hate?
⛔No.⛔

The Original Series Episode #3:
The Alternative Factor, Season 1
IMDB Rating: 5.7/10

The Alternative Factor is the episode with Lazarus (and Anti-Lazarus, his counterpart from an alternate universe). To be honest, I’d pretty much forgotten about The Alternative Factor; nothing about it leaps out at me as being particularly memorable. “Forgettable” is not synonymous with “terrible,” but I think it’s at least noteworthy that The Alternative Factor just didn’t leave much of an impression on me. None of the special effects or locations stand out, Lazarus and Anti-Lazarus don’t have any unique makeup or prosthetics, and the whole look of the episode is just a bit bland.

In terms of story, The Alternative Factor is small and kind of silly – with Lazarus in particular being quite over-the top – while simultaneously trying to present its core conflict as a multiverse-ending threat. It’s worth noting that there were production issues with The Alternative Factor, including an extensive re-write to remove a romantic sub-plot and the original actor contracted to play Lazarus failing to show up for work when production had already commenced.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

The Original Series Episode #2:
The Way To Eden, Season 3
IMDB Rating: 5.4/10

I don’t think The Way To Eden is all that bad, to be honest – especially not for a Season 3 episode which was produced with a lower budget. Maybe there are some issues with the way Chekov is written, but on the whole I really don’t dislike this episode at all. It’s very much a product of its time – the followers of Sevrin are clearly based on the American countercultural movement, which was reaching its peak in 1969 – but so are many Star Trek episodes, and I don’t think that alone should count against it.

It’s also not the only Star Trek story to involve a cult-like group who are seeking paradise (or some other prophecy fulfilment). I actually quite like some of the details in the script – one of the members of the group is the son of an ambassador whose people are negotiating with the Federation, which I feel adds a lot to the broader lore of the Star Trek galaxy. Is The Way To Eden the strongest TOS episode, or a great way to introduce new fans to the franchise? Probably not. But I don’t think it’s atrocious, either.

Does It Deserve The Hate?
⛔No.⛔

The Original Series Episode #1:
And The Children Shall Lead, Season 3
IMDB Rating: 5.2/10

As with The Alternative Factor above, this isn’t an especially memorable episode for me. The core premise of an alien entity manipulating a group of children isn’t necessarily bad, but the execution leaves a lot to be desired. The way the story was resolved, too, leaned on a pretty big cliché, and some less-than-spectacular acting performances.

There were interesting ideas in And The Children Shall Lead, like several members of the crew seeing visual manifestations of their fears. Gorgan’s powers, too, could have been tense and even frightening if handled better. There’s also something distinctly eerie about a child or group of children in this kind of story; that’s why films like The Exorcist work so well. But again, the execution rather than the premise is what lets the episode down.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

The Next Generation Episode #5:
Angel One, Season 1
IMDB Rating: 5.7/10

Angel One wanted to be a Roddenberry-style “morality play,” using Star Trek’s sci-fi setting to consider the real-world issues of sexism and a patriarchal society. It did that by turning the tables and depicting a civilisation where women, not men, were the dominant ones. That aim may have been worthwhile or even admirable – but the execution was clumsy, at best. The B-plot, depicting a virus spreading on the Enterprise while the away team was on the planet, wasn’t particularly strong, either – though I enjoy the visual of Data, alone, on the bridge!

Angel One might be best-remembered among Trekkies for some of its costumes! The costumes worn by the male inhabitants of Angel I, as well as by Riker later during the away mission, were typical Season 1 silliness, reminiscent of some of the costumes created twenty years earlier for TOS. And that’s Angel One in a nutshell, really – it’s one of several Season 1 episodes that plays out like an Original Series story.

Does It Deserve The Hate?
⛔No.⛔

The Next Generation Episode #4:
Man of the People, Season 6
IMDB Rating: 5.7/10

I’ve always felt that Man of the People had an interesting premise. And Star Trek stories have often posed deep moral questions to the audience; in this case, we’re considering whether “the greater good” can be served by a man who harms people around him. There’s a metaphor there, buried in the story, about bad people doing good things, and the age-old question of whether the ends can justify the means when significant harm is being caused.

However… Man of the People doesn’t execute its ideas flawlessly, and the focus on Troi “acting out” earlier in the episode is a bit much for me. Apparently, there were issues on the production side – which led to the script being rushed and the story being bumped up the filming schedule. I daresay that’s noticeable in the finished product.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

The Next Generation Episode #3:
Code of Honor, Season 1
IMDB Rating: 5.1/10

I might’ve ranked this one even lower! Code of Honor is a complete misfire; an episode featuring a civilisation of “African stereotypes in space” that’s so utterly awful it’s hard to know where to start. I’ve said before that the fact that this episode was produced for The Next Generation in the 1980s genuinely boggles my mind, and it’s an example of how, despite Star Trek’s lofty ambitions, the franchise hasn’t always gotten it right.

If I were to find any positive notes in this mess, it would be that Tasha Yar gets something to do, and that the episode is an early example of Captain Picard being willing to go out on a limb for a member of his crew. But those points, unfortunately, are completely lost in an episode swarming with awful production decisions. I can barely even re-watch Code of Honor as a result.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

The Next Generation Episode #2:
Sub Rosa, Season 7
IMDB Rating: 4.8/10

I… I’m sorry, everyone. I’m almost ashamed to admit this… but I actually kinda like Sub Rosa. And, if I may defend its honour for a moment, I’d suggest that the memes that the episode spawned are at least partially to blame for its low rating. Yes, Sub Rosa’s “sex with a ghost” storyline is silly. Got it. Message received! But there’s more to the story than that, and the episode treats Ronin as an alien entity, not as a “spirit.” I also really like the sets used for the Caldos Colony – the place feels very different to almost anywhere else in Star Trek, at least up to this point in the franchise.

Star Trek hasn’t always been great at depicting aliens that feel, well… alien. And if there’s one thing to say about Ronin, it’s that the idea of a non-corporeal parasitic entity is, if nothing else, very alien. Caldos Colony is a fun setting, we got to learn more about Dr Crusher’s early life, and there was a bit of silliness in the story, too. Plus, Star Trek got some great memes out of this one! Honestly, what’s not to love?

Does It Deserve The Hate?
⛔No.⛔

The Next Generation Episode #1:
Shades of Gray, Season 2
IMDB Rating: 3.3/10

I’m astonished to see Shades of Gray receiving any support whatsoever; this is a rare 1/10 or even a 0/10 episode for me – and for most Trekkies I’ve spoken with, too. It absolutely deserves its place as the worst-rated TNG episode… and I suspect the production team knew that when they put it together. If you’ve been a Trekkie for as long as I have, you know the story by now: production on TNG Season 2 overran both its schedule and budget, and a compromise had to be made late into production. Shades of Gray – a clip show – was the result.

Because television production has changed over the years, I doubt we’ll ever get another episode like Shades of Gray in the Star Trek franchise – and that’s for the best. It’s an especially weak episode, and its only original element – the frame narrative depicting Riker’s injury and illness – does nothing to hold its random assortment of clips together. It was a poor way to say goodbye to Dr Pulaski, too, and a serious disappointment as the show’s otherwise fantastic second season came to an end.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Deep Space Nine Episode #5:
Profit and Lace, Season 6
IMDB Rating: 5.8/10

Profit and Lace is DS9′s “trans” episode… kind of. Star Trek has wrangled with questions of gender on many occasions, and even in the ’90s, when the topic of gender and being trans was usually treated just awfully on television, the franchise largely got it right. Quark’s temporary sex change, as it’s presented in this episode, though… I dunno. As an examination of attitudes toward gender, and how females are treated in a society which still sees them as second-class… there were interesting ideas. But the execution of all of it was just flawed.

There’s a tonal clash between the heavier themes, as interpreted by Alexander Siddig (who directed the episode), and the lighter way Profit and Lace was originally written. A different director might’ve taken the episode in much more of a comedic direction – which would’ve suited the way it was written, though it would’ve come at the expense of being just another late ’90s “trans comedy” story. I get what the episode was going for, and I think a more serious approach to the subject matter – both the gender division in Ferengi society and Quark’s “transition” – was the right call. But the script didn’t carry the themes, and what resulted was a bit of a mess.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Deep Space Nine Episode #4:
Resurrection, Season 6
IMDB Rating: 5.7/10

Oof, Season 6 is not doing well in these rankings so far! To be honest, though, I get it when it comes to Resurrection. If you know me, you’ll know I’m not really a fan of the Mirror Universe as a setting; it’s one-note, and has a tendency to trick even competent performers into putting out hammy, over-acted, one-dimensional performances – all of which are on display with Mirror Kira and Mirror Bariel, unfortunately. Prime Kira also seems to act out-of-character, falling so easily for Mirror Bariel so long after the original Bariel’s death.

DS9′s executive producer, Ira Steven Behr, has suggested that Resurrection’s place in the season – coming after the intense opening phase of the Dominion War, Starfleet’s recapturing of the station, and then Worf and Dax’s wedding – contributed to fan dissatisfaction, feeling that “nothing” the show had done immediately after those intense stories would’ve been satisfying. I’m not convinced on that, I’m afraid. Season 6 has some of my favourite DS9 episodes. The likes of Who Mourns for Morn, The Magnificent Ferengi, and One Little Ship are all standalone stories that, had they taken this broadcast slot, wouldn’t have been as poorly-received as this uninspired Mirror Universe story.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Deep Space Nine Episode #3:
The Muse, Season 4
IMDB Rating: 5.6/10

I feel a bit sorry for The Muse! Jake Sisko was too often overlooked in Deep Space Nine, so to rank one of the rare Jake-focused episodes so lowly wouldn’t have been my preference. However, if I may be so bold, it isn’t Jake that’s upset people (mostly). Rather, it’s The Muse’s Lwaxana Troi and Odo B-plot that, I would suggest, is the reason for such a low rating. Lwaxana wasn’t always well-received by Trekkies, despite her illustrious performer, and her relationship with Odo was, to the best of my recollection, never especially popular.

On Jake’s side of the story, I like the idea of a kind of parasitic entity latching onto his creativity. The Muse does a lot to establish Jake’s writing career, and it’s just an interesting idea to see Onaya taking advantage of his talent. There’s a great moment between Jake and Ben toward the end of the episode, something we’d see less and less of as DS9 continued its run. And while this side of the story was imperfect, it was at least a creative idea.

Does It Deserve The Hate?
⛔No.⛔

Deep Space Nine Episode #2:
Meridian, Season 3
IMDB Rating: 5.6/10

It sounds like Meridian – whose story concept was based on a novel set in Scotland – had a bit of a troubled production. An expensive location shoot for the planet Meridian seems to have led to some scenes being rewritten or cut altogether, which may have affected the finished product. The main gripe folks seem to have, though, is the behaviour of Jadzia Dax. As with Kira in Resurrection, which we discussed above, Dax falls head-over-heels for someone she’s just met – and that leads to her wanting to give up her life on DS9, leave her friends behind, and move to this random planet which can’t exist in normal space.

I would suggest that everyone involved – the entire cast, guest stars, and director Jonathan Frakes – did the best they could with that concept, but it was just a fatally flawed premise to begin with. Meridian has some neat ideas, like the disappearing planet, which feels “very Star Trekky;” i.e. something you wouldn’t see in any other sci-fi universe! But the way it handled Dax was poor, and a B-plot about Quark selling perverted holosuite programmes does nothing to help the episode, either.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Deep Space Nine Episode #1:
Let He Who Is Without Sin…, Season 5
IMDB Rating: 5.5/10

I gotta be honest: I’m surprised to see this as the “most-hated” DS9 episode. I knew Let He Who Is Without Sin wasn’t wildly popular, but I don’t think I expected it to be considered the absolute worst in the series! There are definitely some issues, though. I think it’s universally agreed nowadays that Leeta and Bashir didn’t work as a couple, so that’s part of it. But then there’s how the episode handles Worf – setting him up as the Star Trek equivalent of Mary Whitehouse, crusading against the supposed immorality of the Federation.

I think there was the kernel of an interesting idea here, if Let He Who Is Without Sin had taken it in a different direction. There are folks who live in tourist-focused places who feel the incursion of tourists is detrimental to their communities. And there was also a way to use the New Essentialists to comment on the growing Christian purity movement in the United States, for example. But for a variety of reasons, this isn’t Deep Space Nine’s strongest episode. I don’t think I’d personally say it was the very bottom of the barrel, but I get where much of the dissatisfaction is coming from.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Voyager Episode #5:
Favorite Son, Season 3
IMDB Rating: 6.0/10

I genuinely had a hard time remembering Favorite Son at first. But it’s the episode where Harry is transformed into a Taresian – a Delta Quadrant species dominated by murderous females. An episode about a female-dominated society ending up as one of the worst-rated in its series? Huh… I’m starting to see a pattern emerging!

I actually quite like both of the core concepts here. An alien race that reproduces by forcibly converting members of other species could make for a genuinely interesting antagonist, and a kind of “praying mantis” alien that murders its mate after intercourse could also be a dangerous threat. Maybe Favorite Son didn’t execute these ideas perfectly, but I’m not sure it warrants a place on this list for that reason alone.

Does It Deserve The Hate?
⛔No.⛔

Voyager Episode #4:
Sacred Ground, Season 3
IMDB Rating: 5.8/10

Sacred Ground does something Star Trek has always done – used a sci-fi lens to examine things out here in the real world. The topic in question this time is faith: can the scientifically-minded Captain Janeway be persuaded to take a “leap of faith” in order to save someone she cares about? I really like that idea, and I think Sacred Ground does interesting things with it. Where it was arguably let down was its focus on the Spirits themselves, perhaps, as well as some of Janeway’s tribulations not being visually spectacular.

However, I think the episode works well. It’s coherent, well-directed, and while we can argue whether or not it’s in character for Janeway or whether a Star Trek story should come down on one side or the other of the “science-versus-faith” question, I didn’t feel the way it was handled in the episode was in any way poor. It’s slow-paced, esoteric, and “weird,” for want of a better word – but so is a lot of Star Trek, and that’s why we like it!

Does It Deserve The Hate?
⛔No.⛔

Voyager Episode #3:
Elogium, Season 2
IMDB Rating: 5.8/10

Elogium is a Neelix-Kes relationship story about Kes going through Ocampan “puberty” and deciding whether or not to conceive a child with Neelix. Should I go on, or have I already explained enough about why it absolutely deserves to be ranked so low?! Joking aside, I think I’m not alone in saying that Neelix’s infatuation with Kes was one of the absolute worst elements of Voyager’s first couple of seasons, and if it had been in focus in the way it is in Elogium more often, it would genuinely have ruined his character.

Elogium takes that icky foundation and somehow manages to make it even worse, by suggesting that, prior to this story, Kes wasn’t even fully-developed as an adult! I really struggle to find any redeeming features in this episode – or the wider Neelix and Kes relationship.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Voyager Episode #2:
Threshold, Season 2
IMDB Rating: 5.3/10

Threshold has basically become a meme in the Star Trek fandom at this point, so I’m not surprised to see it on this list. It’s an undeniably silly idea, even within the confines of Star Trek’s universe – accelerating past Warp 10 causes Paris and Janeway to “hyper-evolve” into a kind of salamander-like lifeform. They then proceed to… mate.

What’s worse, though, and where I’d really take issue with Threshold, is that Chakotay, Tuvok, and the rest of the crew basically infested a random Delta Quadrant planetoid with Paris and Janeway’s mutant offspring. Rather than collecting the salamander babies, they just left them there, presumably contaminating that planet’s entire ecosystem! I don’t like the idea of Warp 10 as this kind of impenetrable barrier, either, and I think Star Trek works best when these things aren’t overexposed in the way warp drive was here.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Voyager Episode #1:
The Fight, Season 5
IMBD Rating: 5.0/10

Although I’d never try to argue that The Fight is a shining example of the best of Star Trek, I will defend it to a point. It’s weird, esoteric, and probably a little too confusing, feeling like a fever dream in places. But that’s kind of the point; it’s a story that wants to show a very different kind of alien species and their attempts to communicate. As a concept, these aliens – and their “chaotic space” realm – were not inherently bad, and Star Trek has never shied away from seeking out very different forms of life.

I liked Boothby’s return here, and his connection to Chakotay, which had been explored earlier in the season. I get why this episode feels confusing, and I gotta admit, I can feel that way too when watching it! But I’m not sure it deserves to be called Voyager’s worst, either. Not when the likes of Threshold and Elogium exist!

Does It Deserve The Hate?
⛔No.⛔

Enterprise Episode #5:
Fortunate Son, Season 1
IMDB Rating: 6.5/10

I think Fortunate Son introduced some genuinely interesting lore about pre-Starfleet human spaceflight, and I found that side of the episode to be fascinating. Travis Mayweather comes from a family of spacers – spacefaring humans who transport cargo to and from Earth and human colonies in this pre-Federation era – and getting to meet some of these spacers was a ton of fun. I liked the conflict that Ryan and Mayweather had; Mayweather’s decision to leave his ship and join Starfleet being a sore spot for the spacer.

The Nausicaans made for fun antagonists, too. As a relatively unexplored alien race, I think they were much better here than, say, the Klingons might’ve been. The episode presented a moral conundrum for both Archer and Mayweather, too, and ended on what I felt was the right note. It’s the kind of story that Star Trek productions in the 23rd or 24th Centuries would have struggled with – the ECS Fortunate is explicitly shown to be outside Archer and Enterprise’s jurisdiction.

Does It Deserve The Hate?
⛔No.⛔

Enterprise Episode #4:
Precious Cargo, Season 2
IMDB Rating: 6.4/10

I’ll be honest: I’d forgotten all about Precious Cargo! In theory, the idea of an episode with a strong connection to The Next Generation is not a bad idea, and that premise could have been made to work. However, I think it’s pretty well agreed that there were issues with the story, which probably weren’t helped by last-minute re-writes.

There are worse Star Trek episodes, and worse Enterprise episodes, at least in my opinion. But I will concede that Precious Cargo isn’t a particularly strong – or memorable – instalment, as indicated by the fact that I’d forgotten all about it. There are some things I like, like seeing Archer willing to help out a random ship in distress, but overall, I can see why it’s not held in higher regard.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Enterprise Episode #3:
Daedalus, Season 4
IMDB Rating: 6.2/10

I did not expect to see Daedalus anywhere near this list, to be blunt about it. I genuinely enjoy this episode in its entirety, and I’m honestly struggling to see what it is that folks don’t like. We get to meet the inventor of the transporter, which is one of the really cool things that only a prequel like Enterprise could’ve done, and we get a genuinely interesting character piece that looks at the “burden of genius,” and how an inventor struggled with the idea that he’d peaked too young.

You may have seen me refer to some Star Trek episodes as “the transporter done goofed,” which has become a stock narrative concept in the franchise. But Daedalus takes that idea and really runs with it, digging into the history of the transporter, how it works, how it was originally tested, and how badly wrong it went. The episode has great guest stars, an unnerving “entity” in the form of the corrupted transporter signal, and a fun story for Archer, too. I don’t really get why it’s so disliked.

Does It Deserve The Hate?
⛔No.⛔

Enterprise Episode #2:
Extinction, Season 3
IMDB Rating: 6.0/10

Extinction feels like a cross between TNG’s Genesis and Voyager’s Favorite Son – the latter of which is also on this list! I suspect its biggest problem is its place in the series – coming just three episodes into the season-long “stop the Xindi” storyline. It’s a bit of a diversion, stepping away from that story just as it had begun, really. In that sense, I can understand some of the disappointment fans might’ve had at the time.

Perhaps that sense of repetition from those other Star Trek stories doesn’t help, but I’d argue that Extinction doesn’t really do as well with the core idea as either of those other episodes. There are some creative designs and prosthetics in the story, and it’s fun to see Mayweather taking the captain’s chair. But all in all, it’s just not a very strong or engaging episode.

Does It Deserve The Hate?
​☑️​Yes.​☑️​

Enterprise Episode #1:
These Are The Voyages…, Season 4
IMDB Rating: 5.3/10

I doubt any of us are surprised to see that These Are The Voyages is considered Enterprise’s worst episode. Originally conceived as a “love letter” to Star Trek fans, the episode just doesn’t work as a series finale, unfortunately. Relegating the entire main cast to the status of holograms aboard the Enterprise-D was such a weak way for fans to part ways with these wonderful characters. Even though the intentions were good… the end result wasn’t.

This episode also caused a lot of controversy for killing off Trip Tucker. There were some interesting elements in the mix: seeing Archer at the founding ceremony of the Federation was creative, and not inherently a bad idea. I like crossovers, and I think a story like These Are The Voyages – putting Enterprise’s crew on the holodeck with this kind of frame narrative – could have worked. Just not as a way to end the entire show – and, for a time, the entire Star Trek franchise.

Does It Deserve The Hate?
​☑️​Yes.​☑️

So that’s it!

The Enterprise-D at Deep Space Nine.

We’ve looked at the top five lowest-rated episodes (or the bottom five, if you prefer) for the first five Star Trek shows. There were a few surprises along the way, but by and large, I think I expected to see most of these episodes rated quite lowly – even if I don’t necessarily agree with all of the criticisms Trekkies have of them!

This piece complements my earlier “top fives” piece, which you can find by clicking or tapping here. I hope you’ll take a look at that one if you missed it earlier in the year; it’s basically the same format, just with the five highest-rated episodes from the first five Star Trek shows.

A render of the NX-01 as seen in Strange New Worlds.

I don’t think any of the modern Star Trek shows have enough episodes to really justify doing the same thing, but in the months ahead I might do something like a top and bottom three episodes from some of the recent productions as a kind of follow-up to this. So if that’s the kind of thing you’re interested in… stay tuned, I guess!

I hope this has been a bit of fun, at any rate. I’d genuinely forgotten all about a couple of these episodes, so it was fun to step back into these shows and watch them for what must be the first time in years. And even when Star Trek’s at its worst… I think we can agree that there are still things to enjoy or view in a positive light. That’s my takeaway from this thought experiment, at any rate!

There’s more Star Trek content on the way here on the website, so I hope you’ll join me again sometime soon. Until then… Live Long and Prosper!


All five Star Trek series discussed above can be streamed on Paramount+ in countries and territories where the platform is available. The Star Trek shows are available to purchase on DVD; The Original Series, The Next Generation, and Enterprise are also on Blu-ray. The Star Trek franchise – including all shows, films, and other properties mentioned above – is the copyright of Paramount Global. Credit to IMDB for the episode ratings, which were accurate at time of publication in September 2025. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Don’t Miss: JTVFX’s Wolf 359 Fan Film

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for The Next Generation Seasons 3-4, Deep Space Nine Season 1, and Picard Season 3.

I don’t cover fan films very often here on the website. Trekkies have created some great productions over the years, don’t get me wrong, but it’s just never been a priority for me – especially when there are still some recent official episodes I need to catch up on! But I wanted to take a moment to highlight one such fan-made production today, as it’s something I greatly enjoyed.

Over on YouTube, a channel called JTVFX has put together a four-part series all about the Battle of Wolf 359: the famous battle between Starfleet and the Borg that was depicted in The Best of Both Worlds. The creator took what we saw of the battle in The Next Generation and Deep Space Nine’s premiere and massively expanded upon it, crafting what is genuinely one of the best space battles set in the Star Trek universe that I’ve ever seen. In fact, I’d go so far as to say that this fan film easily eclipses many of the space battles seen in official Star Trek films and TV shows.

Still frame from JTVFX's Wolf 359 fan film showing two Starfleet vessels preparing to leave Earth.
Federation ships in orbit above Earth.

I wanted to highlight this because, at time of writing, The Massacre: Part II has just been published on YouTube – so it’s the perfect time to check it out if you haven’t already. The first part garnered a whopping 1.5 million views, and with Part II being bigger, longer, and even more intense, I think it’s something that no fan of The Next Generation era and The Best of Both Worlds should miss out on. I took time away from working on my review of Alien: Earth to step back into the Star Trek galaxy, and I’m so glad that I did!

We are gonna get into spoiler-y territory, so if you want to watch the whole fan film without any spoilers, this is your last chance to duck out. But I hope you’ll come back after you’ve seen all four parts!

What I really loved about this fan film was how it incorporated everything we know about the Battle of Wolf 359 from canon. We had Picard/Locutus aboard the Borg Cube, being influenced by the Borg Queen. Admiral Hanson leading the Federation fleet. Sisko aboard the doomed Saratoga. And even a young Liam Shaw – future captain of the Titan-A – was glimpsed as he escaped his ship. It felt like JTVFX had gone out of their way to tie together The Next Generation, Deep Space Nine, and Picard in a way that felt natural.

Still frame from JTVFX's Wolf 359 fan film showing a starship bridge on fire.
A burning starship bridge.

Then we come to the Klingons’ involvement. At this point in the 24th Century, the Klingons and the Federation are allies, so it makes sense that they’d be willing to come to Starfleet’s aid. While a request for help from the Klingons was mentioned in The Best of Both Worlds, we never saw any Klingon ships on screen in the episode. I really liked seeing the Klingons here; their fleet racing to join the battle at the last minute was reminiscent of the Enterprise-E’s arrival in First Contact, and hit all of the same emotional notes for me.

Obviously, this is, first and foremost, an animation and VFX project. And there were so many beautiful starship models on display. I’ve said this before in other contexts, but I love seeing a big, beautiful, and diverse fleet of starships. It’s so much more visually interesting to see different classes and styles of ships working together than just copies of the exact same ship, and when most of the designs were from The Next Generation era, that just made it even better!

Still frame from JTVFX's Wolf 359 fan film showing the Federation task force.
Part of the Federation fleet.

In The Best of Both Worlds, Admiral Hanson’s fleet always seemed to me like the kind of thing Starfleet had tried to throw together at the last moment. The Federation just doesn’t expect this kind of deep incursion into its territory, and with no major wars in this era, it makes sense that Starfleet wouldn’t just have a massive defence force armed and ready to go. I’ve always assumed that Starfleet was basically forcing ships out of mothballs, staffing them up with whoever was available, and throwing them into Hanson’s fleet – the time constraints surely meant that recalling ships from long-range exploration voyages was impossible.

And that feeling of a hastily thrown-together collection of random ships was absolutely present in JTVFX’s film. We got a collection of ships from the 23rd and mid-24th Centuries: Excelsior-class, Ambassador-class, Constellation-class, Miranda-class, Oberth-class, Nebula-class, Constitution-class refits, and a few others that I’m sure I’m forgetting. The Klingon fleet, too, contained D7-class ships, Birds-of-Prey, and just one more recent Vor’cha-class as its flagship. I just adored the way these fleets felt, especially the Federation ships. You could feel how Admiral Hanson had been scrounging around, trying to find any spaceworthy vessel to throw at the Borg. In that context… does it make the losses more understandable? I’d argue that maybe it does!

Still frame from JTVFX's Wolf 359 fan film showing a Constellation-class ship.
A Constellation-class ship.

One thing we never really got to see in canon was whether the fleet at Wolf 359 made much of a dent in the Borg Cube, and even though the outcome of the battle was known, the moments where the Federation and Klingon ships seemed to find an advantage or a weakness in the Borg’s defences still felt incredible. The whole battle was exceptionally tense, with some of the named characters genuinely feeling like real people. Given that the focus was on the starships, not their crews, that’s a hard thing to achieve.

So let’s talk about the animation work.

I’m not an expert in CGI or any of that, not at all. But as a Trekkie, I know what a good space battle looks and feels like when I see it! And for me, JTVFX absolutely nailed it. The Battle of Wolf 359 felt… well, like how I’ve always imagined the Battle of Wolf 359: a desperate last stand against an impossibly powerful adversary, with Starfleet throwing everything it had at the Borg Cube to absolutely no avail.

Still frame from JTVFX's Wolf 359 fan film showing the Borg Cube under attack.
The Borg Cube is hit with phaser fire.

The Borg Cube looked fantastic, its tractor beams, weapons, shields, and repairs all felt like updated versions of what we saw in The Next Generation, and I loved seeing Locutus aboard the ship, coordinating the battle. The Federation and Klingon ships all manoeuvred and flew through space exactly like they did in The Next Generation era, and many of the sweeping action shots reminded me of Deep Space Nine’s Dominion War battles, which I think JTVFX must’ve drawn inspiration from.

It’s one thing to make a CGI model of a starship – but it’s altogether more complicated to make that ship fly and move around in the way we, as Trekkies, are used to seeing. But whether it was the smallest shuttles and escape pods or the largest Klingon and Borg ships, all of the vessels on screen – and there could be many on screen at once – felt absolutely perfect… and like they’d flown out of a Star Trek production from that era. I loved it… if you couldn’t tell already!

Still frame from JTVFX's Wolf 359 fan film showing Locutus and the Klingon ships.
The Klingon fleet – as seen on the Borg viewscreen.

I also adored seeing the recreations of Next Gen-era LCARS displays and computer graphics. I think that added a lot, and seeing a few moments in the battle from behind a computer screen or a tactical display were really fun inclusions. It also adds to the feeling that the Battle of Wolf 359 was playing out exactly as it had in The Best of Both Worlds, complete with the limitations of computer graphics at the time the episode was made.

I’m not always a fan of this. Sometimes, it’s nice to see franchises modernise and move with the times, and trying to use deliberately anachronistic things like CRT monitors, cassette tapes, or ’80s graphics can rip me out of it if I’m watching a modern production. But here? It worked seamlessly, and the displays and monitors felt like they came right out of starships of the 24th Century! The Klingon displays and graphics looked great, too.

Still frames from JTVFX's Wolf 359 fan film showing a pair of tactical displays.
A pair of tactical displays.

This was an incredibly creative project, one that blended The Next Generation with other shows, films, novels, and even video games to create an intricate and detailed recreation of one of the Star Trek franchise’s most epic off-screen space battles! The only thing I wasn’t expecting, or didn’t imagine back in the day, was the arrival of the Klingons – but as I said, I think it worked exceptionally well, fits in with canon, and felt great in the moment as the Klingon fleet arrived. The rest of it, though, with the Starfleet vessels, the absolute shellacking they got, and the assimilation and deaths of many of their crews? It felt exactly the way I imagined this battle would when I first saw The Best of Both Worlds in 1992 – which is when it first aired here in the UK.

So if you’ve missed JTVFX’s channel or the earlier parts of this Wolf 359 adaptation… what are you waiting for?! Head over to YouTube and check it out!

Still frame from JTVFX's Wolf 359 fan film showing an escape pod being assimilated.
Spoiler alert: it doesn’t end well for Starfleet.

Given Paramount’s occasionally antagonistic stance toward fan films, I think the sooner you watch it, the better. These things can, sometimes, be subject to copyright claims and other issues, so there’s no guarantee it’ll be around and available to watch indefinitely. I hope the new Skydance/Paramount corporation will do better on that front… but you can never be sure, unfortunately.

I had a great time with JTVFX’s masterpiece, and this absolutely wonderful recreation of the Battle of Wolf 359. If you enjoyed The Best of Both Worlds and you’ve always wondered what the battle looked like… here’s your chance to see it for real! And if you just like epic space battles in Star Trek, I genuinely believe this is one of the absolute best – eclipsing even some recent big-budget official productions.

Don’t miss out… and as always, Live Long and Prosper, friends!


Wolf 359: The Prelude Parts I & II and Wolf 359: The Massacre Parts I & II are available to watch now on YouTube through JTVFX’s channel, which is linked below. Still frames above courtesy of JTVFX on YouTube. The Star Trek franchise – including The Best of Both Worlds and all other episodes, films, characters, and properties 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.


Click or tap here to go to JTVFX’s YouTube channel, where you can find the Wolf 359 fan film. (Warning: External Website)

Strange New Worlds: Taking Stock

A Strange New Worlds-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek productions: The Original Series, Deep Space Nine, Discovery, and Picard.

At time of writing, Season 3 of Strange New Worlds has just concluded. With Starfleet Academy on the schedule for the first half of next year, and with Season 4 having only finished filming a few weeks ago, there’s gonna be a wait of a year-plus before we’ll see it – late 2026 or early 2027 is my guess, barring any strikes or similar disruptions! So it’s a bit early to look ahead – but Strange New Worlds is on my mind right now.

What I want to do this time is try to take stock of how the series has performed so far, as well as look ahead to a few things that I’d like to see in Seasons 4 and/or 5. This isn’t going to be a review or a recap of Season 3, though obviously we’ll talk about Season 3 along the way, but rather a broader overview of how I see Strange New Worlds now that we’re three seasons in – and, regrettably, past the halfway point of what will be a forty-six-episode run.

Still frame from Star Trek: Strange New Worlds showing the Enterprise at warp.
The final shot of Season 3.

As always, a couple of caveats before we get much further. Firstly, I have no “insider information,” so anything I say about possible future episodes and stories should be viewed through that lens! And secondly, all of this is the subjective, not objective, opinion of one old Trekkie. If you disagree with me about Strange New Worlds, hate my take, or want to see the series go in a completely different direction… that’s okay! There’s enough room in the Star Trek fan community for differences of opinion and polite disagreement.

Alright, now that that’s out of the way… let’s talk Strange New Worlds!

Season 3 was, on the whole, pretty good. There were a couple of dud episodes, but even those had some redeeming qualities. It felt a bit more serialised this time, thanks to the ongoing Batel-Gorn storyline, but still episodic enough that we got a diverse mix of stories. If I had to highlight two episodes for special praise, I’d pick Through the Lens of Time and Terrarium. I think Through the Lens of Time is, with the benefit of hindsight, perhaps somewhat let down by a weaker conclusion in the season finale, but on its own it’s still a solid episode. And Terrarium is just fantastic across the board.

Still frame from Star Trek: Strange New Worlds showing Ortegas on an away mission.
Ortegas in Terrarium.

In terms of characters, I’d like to see Strange New Worlds do more with some of its original creations, rather than leaning so heavily on the younger versions of TOS characters. Scotty seems to have taken precedence over Pelia for a lot of engineering storylines, such as in A Space Adventure Hour, and because Pelia is just a ton of fun… that doesn’t sit right. She’s the chief engineer, and he’s… what? A glorified assistant at best. And although sometimes lacking in confidence, this version of Scotty is still working engineering miracles. We’ve seen that before, and while there’s definitely fun to be had in seeing Scotty’s growth and the development of some of his friendships with folks like Uhura and Kirk… I don’t want that to overwhelm an original character like Pelia.

I’ve said this before, but if Star Trek had relied so heavily on legacy characters when considering spin-offs in the 1980s and 1990s, the franchise would feel a lot smaller today. We might never have met the likes of Picard, Sisko, or Janeway if the folks in charge had insisted on retaining characters from past iterations of Star Trek – and I’m just a little concerned that the attention dedicated to legacy characters is beginning to overshadow the rest of the cast. Spock was almost omnipresent this season, and we got stories heavily focused on Kirk, Chapel, Scotty, and Uhura, too. I’m glad that we finally got an Ortegas episode – and that it was so darn good! But with only sixteen episodes remaining, I’d really like to see Strange New Worlds strike more of a balance between characters who’ll go on to play big roles in TOS and the rest of the cast.

Still frame from Star Trek: Strange New Worlds showing Kirk in the captain's chair of the Farragut.
Kirk in command.

I mentioned this in one of my Season 3 episode reviews, but La’an being related to iconic Star Trek villain Khan has been a complete nothing-burger so far, and unless something major changes on that front… I’m gonna reach the end of the series wishing she’d been given a different last name. If you know me, you know I’m not a stickler for the tiniest minutiae of “canon,” but given how important Khan is to Kirk, Spock, and really to Star Trek as a whole… making La’an a direct relative of Khan kind of treads on the toes of what was established in Space Seed. If there’d been a big narrative payoff for that, it could’ve easily been worth it. But so far? I’m afraid it hasn’t been.

Think about it like this: what would change about La’an if her last name had been… Shellac-Wombat instead of Noonien-Singh? She could still have been a descendant of augments. She could still have survived the Gorn as a kid. She could still have felt shame about her ancestry. She could still have developed a friendship with Una, fallen for Kirk, and gotten into bed with Spock. Her iconic ancestor doesn’t matter one iota – and because of how important Khan still is to the franchise, I don’t think that’s good enough. There’s just no reason to have made her a member of Khan’s family – and right now, the name feels like little more than cheap nostalgia bait.

Still frame from Star Trek: Strange New Worlds showing La'an peeking out from a hiding place.
La’an in Season 2.

What appealed to me the most about “the Captain Pike show” in the aftermath of Discovery’s second season was spending more time with Anson Mount’s take on the character. Season 1 gave us a decent mix of Pike and other characters, but the captain seems to have stepped out of the limelight a little in Seasons 2 and 3. There were whole episodes this season where Pike got remarkably little to do, and one of his bigger roles – in Four-and-a-Half Vulcans – was far from his best. Anson Mount did a great job, by the way, in that kind of comedic role… but I just wasn’t thrilled about the end product.

So in Seasons 4 and 5, I hope we get to see a bit more of Pike. That doesn’t mean every story needs to put the captain front-and-centre, but there have been moments in some episodes which could’ve been perfect for Pike to step up and play a role – but where writing decisions meant other characters came to the fore. Maybe you think this contradicts my earlier wish to see more of Strange New Worlds’ original creations – but I kind of include Pike, Una, and Dr M’Benga along with the brand-new characters, as their roles prior to this series were much smaller.

Still frame from Star Trek: Strange New Worlds showing Pike holding a wine glass.
It’s still “the Captain Pike show” to me!

There are plenty of great characters on the show, and with only sixteen episodes left – and presumably at least one or two new recurring or secondary characters to be added – there are clearly gonna be constraints on how often Pike can be centre-stage… and I get that. But this is, for me, still “the Captain Pike show,” so when Pike is absent, relegated to a background role, or even mischaracterised – as I’d argue he was, to an extent, in episodes like Under the Cloak of War and Four-and-a-Half Vulcans – then a big part of Strange New Worlds is missing.

This leads into one of the concerns I have going into the remainder of the series: filming for Season 4 has already concluded, and Season 5 is currently underway. There’s no time for Skydance/Paramount to address feedback from Season 3; it’s too late to make any changes to the stories that have already been created. And given that Season 3 did have a couple of misfires and, I would argue, an over-use of characters like Kirk and Spock at the expense of Pike and some of Strange New Worlds’ original characters… that could be a problem. Feedback is important, especially in the modern streaming television landscape, and unfortunately, Strange New Worlds went ahead with producing Season 4 and 5 before there was a chance for any significant responses to Season 3 to be known. Hopefully, because the show is still pretty good, that won’t be too much of a problem. But I worry that the creative team may have doubled-down on some of the things that fans and viewers have been less keen on this time around.

Still frame from Star Trek: Strange New Worlds showing the Enterprise bridge.
Pike and the crew on the bridge.

Returning to Pike, I don’t think we need to see his accident and disability again at the end of the show. That story has already been told in Discovery, in The Original Series, and in a couple of Strange New Worlds episodes, so ending the show that way would, I would argue, be repetitive. If Kirk hadn’t been such a big presence this season, I’d probably have said that the series finale should show Pike handing over the Enterprise to Kirk – and a big part of me still believes that will be the final shot of the series. But given Kirk’s expanded role… I think some of the impact of that will be lost, even if the moment itself is handled well.

Instead, I think Strange New Worlds needs its very own Undiscovered Country-type of story. Perhaps Pike and the crew get word that the Enterprise is to undergo a major refit, and that Pike himself is to be promoted. The crew have one final mission to undertake – perhaps against the Klingons, the Gorn, or another well-known antagonist. The mission could be intense, explosive, and action-packed, but rather than the final moments of the show depicting the handover to Kirk… I’d like to see Pike on the bridge, setting course for parts unknown one final time.

Cropped comic book cover from the Star Trek: Strange New Worlds spin off series.
Ortegas, Una, Chapel, and Spock from one of the Strange New Worlds comic books.

We’ve had it confirmed in a recent interview that the creative team weren’t sure a renewal was coming after Season 3, which I think explains a few major decisions this time around. It explains why there was such a rush to do the “backdoor pilot” for their Year One idea, with Kirk, Spock, Scotty, Chapel, and Uhura all working together. It explains why some characters – like Chapel and Uhura – now feel like they’re coming to the ends of their arcs on the show. And it explains that epilogue in the season finale, which I said in my review felt like it was intended to serve as the ultimate ending to the show if it hadn’t been picked up for more episodes.

Some of those decisions could, if the creative team are aware of them, open up different possibilities in Seasons 4 and 5. We’ve already had the “Kirk in command” Year One spin-off episode. So check that one off the list – no need to do that again. Chapel’s relationship with Dr Korby has emerged, gone through a couple of bumps in the road, and gotten to a point where he doesn’t need to regularly reappear. Uhura’s grown in confidence and ability, taking her from a raw cadet unsure of her place in Starfleet to a confident officer who was even willing to bend the rules. Spock has just been all over the place… but even if we never got another Spock episode, I think we can safely say we’ve spent more than enough time with him, too!

Still frame from Star Trek: Strange New Worlds showing Spock.
Spock.

So that should open up other opportunities. We haven’t had a major storyline for Una since the beginning of Season 2 (and no, getting horny for Patton Oswalt doesn’t count). We finally got our Ortegas episode, three seasons in, but there’s still scope to do more with her character. It would be nice to get a story for Dr M’Benga that doesn’t revolve around either his violent past or some other secret he’s keeping from his shipmates – perhaps one that could explain why, by the time of The Original Series, he’s no longer the chief medical officer.

Then there’s the secondary cast. Mitchell’s been a regular on the bridge – maybe the show could do something with her? Admiral April’s family was hinted at in the Season 3 finale, as was his friendship with Pike, so perhaps a story in which he’s in focus would be well-received. I’d also love to get one more story featuring Hemmer! Perhaps a time-travel story, of some kind, could see Hemmer getting some screen time with Scotty? That could be absolutely fantastic if handled well. And Sam Kirk has been rather overshadowed by Spock in the science department and his brother, but it would be lovely to get a story in which he’s in focus, for once.

Still frame from Star Trek: Strange New Worlds showing Sam Kirk holding a machine.
Sam Kirk in Season 2.

You’ll have heard me say this before (I often use it as a bit of a caveat when talking about episodes I didn’t like!) but I’m really glad to see Strange New Worlds remaining a mostly episodic show. Discovery and Picard both went for big, season-long serialised arcs… but for me, that’s not really what I’ve wanted from Star Trek. In past shows, where seasons were longer and there was more room for manoeuvre, arcs like the Dominion War worked pretty well. But in the modern television landscape, where there are fewer episodes and fewer seasons available, I think Star Trek really needs the diversity and options that only an episodic format can deliver.

So, as production gets underway on Season 5… please keep the episodic format! A two-part or even three-part finale could work, sure, but I hope that at least some of Season 5 can retain the episodic charm that has made Strange New Worlds feel like such a nostalgic throwback in the best possible way. It wasn’t until I started watching Strange New Worlds that I came to recognise how much I’ve missed episodic television – and how essential the format is to a franchise like Star Trek.

Still frame from Star Trek: Strange New Worlds showing zombies.
The zombies in Shuttle to Kenfori.

Star Trek shows need the freedom to explore strange new worlds… pretty much every week. The Enterprise needs to visit a planet, meet an alien, then warp away to a different destination next time. As Strange New Worlds has demonstrated, that doesn’t mean you have to lose character growth, personal relationships, and other modern television trappings. But it means that, for a franchise all about exploring the galaxy, spending too long in one place or having too narrow a focus isn’t what works best. And I’m not alone in feeling that way, I suspect.

I think there’s room for something like a two-part finale to wrap up the show, or even a two-part cliffhanger in between Seasons 4 and 5, as we got with Seasons 2 and 3. One or both of those ideas could be great. But what I don’t want to see, really, is for Seasons 4 and 5 to go down the Discovery/Picard route of being fully serialised, as I think that would take away so much of what has made Strange New Worlds work. In fact, I’d go so far as to say that the Strange New Worlds model – which I’d describe as episodic with character arcs – should be adopted by Starfleet Academy and by any other Star Trek project that might get greenlit in the years ahead. It’s absolutely the best choice for this franchise.

Still frame from Star Trek: Strange New Worlds showing La'an on the holodeck.
La’an on the holodeck.

At this stage, with Starfleet Academy on the schedule for early 2026, I’m not convinced that Strange New Worlds’ fourth season will be ready in time for the 60th anniversary, which is now less than a year away! But if I could be allowed one “wish,” it would be for Season 4 to contain some kind of celebratory episode, perhaps a story akin to my Cardassia Prime pitch, which would bring in characters and factions from elsewhere in the franchise.

The 60th anniversary is an opportunity to celebrate a milestone that few franchises ever reach. And let’s be honest: with all the cancellations and Paramount+ struggling, being able to do anything big for the 70th or 75th seems unlikely! And speaking for myself… I might not be here by then! So I’d dearly love to see at least one Season 4 episode written as a “love letter” to Star Trek and to the fans, really leaning into the 60th anniversary and celebrating all things Star Trek.

Still frame from Star Trek: Strange New Worlds showing an illusion of Hemmer.
A 60th anniversary episode could really celebrate the franchise.

Before we wrap things up, I have a couple of much siller, almost-certain-never-to-be-made ideas. The first is one I’ve talked about a few times here on the website: rescuing Captain Lorca! Lorca appeared in Discovery’s first season, and the prime timeline version of the character is assumed to have died in the Mirror Universe… but what if he didn’t? Captain Pike could lead a rescue effort, stepping through the looking-glass to save a friend. I think that could be a ton of fun as an episode.

And finally… I still kinda want to see a “Captain Pike versus the Borg” story! Yes, there are timeline problems. Yes, it would tread on the toes of canon. And yes, the Borg have been overused in Picard in recent years. But still… I think you could write a script which sees Pike’s Enterprise catapulted to an alternate universe where the Borg are dominant, with Spock saying “it’s unlikely a cybernetic race like this exists in our universe,” and where La’an, Dr M’Benga, and the rest of the crew have to battle drones and figure out a way home. I just think it would be a really fun idea.

Still frame from Star Trek: First Contact showing a borg drone.
I know, I know… it ain’t gonna happen!

So that’s all for today!

We’ve talked about Strange New Worlds, the show’s first three seasons, some of its characters, and a few things I’d like to see going forward. I’m still disappointed that the show has been prematurely cancelled – especially because it happened before Season 3 had aired a single episode. But we are where we are, and there are now just sixteen episodes left. I’m keeping my fingers crossed for some wonderful adventures before Captain Pike and co. have to hang up their uniforms for the final time.

I hope this has been interesting. I wanted to talk about the show more broadly now that Season 3 has ended. I still don’t think we’re gonna see Season 4 before next autumn at the earliest – and a 2027 release doesn’t seem impossible, either, given the lengthy post-production involved for modern shows. So… it could be a while before we rejoin Pike, Spock, Una, and the rest of the crew. Before then, I’d like to finally write up some Season 1 episodes, which I didn’t do at the time because Paramount cut off Strange New Worlds from an international audience! And if and when there’s a trailer, a teaser, or more information revealed about the upcoming season, I daresay I’ll take a look. Until then… Live Long and Prosper!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 10: New Life and New Civilizations

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek series: The Original Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, Discovery, and Picard.

So this is it, then! Strange New Worlds Season 3 draws to a close after nine weeks. Perhaps in the days ahead we’ll take stock of the season overall, because there have been some fantastic episodes… and a couple that I was a lot less keen on! Season 4 has already wrapped, with production now underway on what will be Strange New Worlds’ fifth and final season, so there’s more to come – even though we are now, sadly, past the halfway point of the show’s run.

But all of that is yet to come! Today, we’re talking about New Life and New Civilizations – the dramatic and emotional final episode of Season 3. I’ll give you the lowdown, but first comes my usual caveat. This review is the subjective, not objective opinion of one old Trekkie. If you enjoyed the episode more than I did, completely hated it, or just don’t like my take on things… that’s okay. There’s plenty of room in the Star Trek fan community for differences of opinion and polite disagreement, and I share this review with my fellow Trekkies in that spirit.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the USS Enterprise.
The Enterprise at the beginning of the episode.

Was New Life and New Civilizations a good episode? I would say yes. Was it a perfect episode? That’s a much higher bar to clear, and I’m afraid I have to say no. I think the episode got a lot of things right, building on story threads from across Season 3 in a way that made sense – while also having time for a genuinely unexpected twist. However, there were issues with the way large parts of the episode were paced, resulting in moments that were too short or where more debate and conversation were needed, as well as quite a bit of jumping around. I also felt that, of all the ways Kirk was brought into stories this season, the excuse here was the flimsiest – even though at least part of the result was positive.

While there were some imperfections, some of which admittedly straddle the line between legitimate criticism and nitpicks, New Life and New Civilizations had heart, and managed to successfully build to an emotional climax – particularly for Captain Pike. This was once known to fans as “the Captain Pike show,” and I’ve noted more than once in recent episodes that Pike himself seems to have taken a back seat. So it was good to get a story that brought him in in a big way, while connecting to the themes of destiny and inevitability which have arguably defined this incarnation of the character.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Captains Batel and Pike.
Captains Batel and Pike.

The first thing I wrote in my notes after the credits had rolled was that New Life and New Civilizations felt like a series finale. The final sequence on the bridge with Pike and the crew reminded me of Kirk at the end of The Undiscovered Country, Picard after All Good Things, and even Burnham in Discovery’s final episode. After the main story had wrapped up, and we’d been treated to one of the most emotional moments in the entire series so far with Pike and Una, that closing scene felt almost eerie. I wonder if, behind the scenes, there was no guarantee of a fourth season, so the decision was taken to wrap everything up and write an ending that could’ve – if necessary – served as a series finale. If that was the objective, I think it worked! Though I’m glad it doesn’t have to be the finale; I’m not ready to lose Strange New Worlds just yet!

Deep Space Nine and Voyager probably got the most comprehensive finales in the franchise, with DS9’s crew going their separate ways and the USS Voyager finally making it back to Earth. But the way this closing scene was scripted and shot was definitely giving me a “series finale” feel. Compared to last season’s cliffhanger, it’s a noticeable change of pace. It was neat, after almost every other Star Trek show of the last few years had told single-season stories, to get that kind of continuing story last time. I could certainly entertain the argument that a two-part version of New Life and New Civilizations might’ve had more room to breathe! But I think it’s noticeable, at least, that this episode seems to have been deliberately crafted in such a way that it could’ve wrapped up the entire show if it had been called upon to do so.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Pike and the crew on the bridge at the end of the episode.
This could’ve been the series finale.

In the run-up to this week’s episode, it felt pretty likely that the Vezda – who appeared in the thoroughly excellent Through the Lens of Time earlier this season – would be making a return, if for no other reason than to tie up that dangling narrative thread. And I saw some fans speculating online about the Vezda’s “true identity” – as I’ve done here on the website with other new additions to Star Trek, like Picard’s super-synths and Discovery’s Species 10-C. But you know what? I’m glad that the Vezda are new to Star Trek, and given the way the franchise has often tried to tie in new storylines to pre-existing alien races and factions – even when they don’t exactly fit the bill – I think it was the right call.

Imagine if, in The Next Generation, we never got to meet the Borg or the Cardassians, because the Romulans and Klingons kept coming back to fill those roles. And instead of meeting, say, the Sheliak or Ux-Mal, we’d gotten episodes with the Tholians or Metrons. Star Trek would feel… smaller. The franchise needs to introduce new alien races, sometimes, in order to grow, and while it can be fun to speculate and theorise about who or what a new faction might be connected to… in this case, I think making the Vezda a brand-new race was the right call.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the Vezda aliens.
The Vezda.

It was also a huge shock to see Chris Myers again – reprising his role as the Vezda-possessed Ensign Gamble. Or perhaps we should say the Vezda who assembled a Frankensteinian-transporter-clone of Gamble? I genuinely wasn’t expecting this, even though the Vezda being seen again seemed likely. It was properly hidden ahead of the episode’s premiere, and Myers did an exceptional job in the role – as he had in Through the Lens of Time.

And I think an episode like New Life and New Civilizations needed someone familiar in that villainous role. This is a story we’ve been building to, in different and not-so-obvious ways, perhaps, all season long. It didn’t have to be Gamble from a narrative point of view; the Vezda could’ve cloned someone else, or beamed itself off the Enterprise and possessed a random alien’s body. But having Gamble there, with that extra link to Dr M’Benga and the others – as well as being a familiar face for us as the audience – it added a lot and made this side of the story feel more complete.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Ensign Gamble possessed by the Vezda.
This reveal was fantastic.

Let’s talk about the main issue I have with New Life and New Civilizations – its pacing.

In short… this feels like a two-part episode that’s been torn and crumpled to fit into the runtime of a single story. And the result of that is that some scenes were too short, characters seem to jump to wild conclusions incredibly rapidly, Pike and Batel’s fantasy life was raced through, and perhaps most crucially, Batel’s climactic showdown with the Vezda was over far too quickly. We’ll address each of these points in turn, but suffice to say that I don’t think this episode needed another ten minutes – it really needed another forty-five to truly reach its potential.

Two points stand out where characters appeared to make completely wild and almost nonsensical leaps in logic without enough information or buildup. The first was when Dr M’Benga, having read one line above the doorway, decided that this pretty vague and ambiguous statement just had to be all about him and his life. (Even though it referenced an event we’d never heard about before, let alone seen on screen). The second was Captain Batel, when talking with Pike and the others in the science lab, immediately deciding that it was her destiny to defeat and imprison the Vezda for all eternity – while claiming she had all the knowledge she needed to do so.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Batel's end.
Did this have to be Captain Batel’s fate?

To be clear: I think both of these story ideas can be made to work. But the pacing is throwing me off. Captain Batel went from “I’m ready for a new assignment as head of Starfleet’s legal division,” to “well obviously I’m the guardian/prison warden who saves the universe from these monsters” in one short conversation, and there just wasn’t enough time dedicated to exploring this idea, what it really means for her, for her relationship with Pike, and the kind of sacrifice it entails. There also wasn’t nearly enough time to explain how or why she feels capable of doing this.

Batel declared, partway through the meeting in the science lab, that she possesses “all” of the knowledge of every species to ever fight the Vezda. But that’s bullshit. She possesses at best the genetic information of two-and-a-bit species – human, Gorn, and, at a stretch, Illyrian. But part of the conversation framed the Vezda as a kind of “ancient evil” that every race and culture in the galaxy had faced in the distant past. So how can having the knowledge of three of them mean she’s qualified to stand up to them? That wasn’t explored at all, and it seems to be at least a worthwhile counterpoint that a longer conversation here could’ve considered.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Captain Pike and Captain Batel.
Batel makes her case to Pike.

This whole preamble just seemed to race by. Scotty realised the transporter had been used to clone Gamble. That took all of about a minute. Then from Pike being summoned to sickbay through the entire science lab conversation? Five minutes. It’s just not enough time on a setup that effectively “kills off” a major recurring character and the love interest of the series’ protagonist. We needed these scenes to last longer, particularly the conversation in the science lab. Other possibilities needed to be considered, and a more solid foundation built for Captain Batel’s sacrifice.

I also feel that the old “show, don’t tell” adage is a bit of a problem on this side of the story. The Vezda, since showing up in Through the Lens of Time, have killed precisely one named character: Ensign Gamble. Pelia made an elaborate speech about how evil they are, and this week even the logical Spock leaned into this idea of the Vezda as an unstoppably powerful “prehistoric evil.” But, for all the talk, we didn’t really see the Vezda do a lot of damage – and thus we don’t fully grasp the stakes involved. Sure, if the Vezda break out of prison, it won’t be great for the pre-warp citizens of Skygowan. But… so what? What, precisely, are the Vezda going to do to them? And what are they going to do to Starfleet and our heroes?

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Gamble possessed by the Vezda.
What were the Vezda planning… and why was I meant to care?

The Vezda are not akin to the Gorn – or to invading aliens from other iterations of Star Trek, like the Dominion or Borg. They don’t even possess spaceships, and if the ones we saw in the prison are all the Vezda that exist… I mean, one photon torpedo from orbit would be all it would take to end their entire civilisation. They’re talked up as being hugely powerful, unstoppable, and evil – but we don’t actually see a ton of that on screen. We’ve only met one Vezda – the one who possessed Gamble. And for all we know, he could be an outlier.

My point is this: this moment needed more time on screen. Captain Batel makes a life-changing decision based on the very un-Starfleet ideas of fate and destiny in way too short a span of time, without really listening to or considering alternatives. And the reason why she makes this decision – to stop the Vezda and keep them contained in a prison – is based on information which is incomplete at best. Surely Starfleet – an organisation dedicated to, y’know, seeking out “New Life and New Civilizations” – would want to study the Vezda, learn more about them, and then come to a conclusion about whether to pursue this kind of conflict. Instead, Batel and the others simply declare them to be “pure evil” based on one interaction with a single individual.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Gamble possessed by the Vezda.
“Ensign Gamble.”

Then, during the away mission, we have Dr M’Benga deciding that a random inscription – which was pretty vaguely-worded – can only be about himself. No time was taken to consider alternatives, or to come to this realisation at a more reasonable pace. This part of Dr M’Benga’s backstory was also, as far as I can recall, not even known to us as the audience ahead of time. Why not, for example, use Dr M’Benga’s murder of the Klingon defector from last season’s Under the Cloak of War to set up this story point? It would’ve at least been a callback to something we’ve seen for ourselves.

I liked the idea that Gamble needed Dr M’Benga to open the doorway; that there was a narrative reason for the inscription and for Gamble to have to wait. I just felt, as above with Captain Batel, that the pacing of the way M’Benga arrived at the realisation was simply too fast, and that it doesn’t make sense in-universe. If it had used his name, for example, or even if it was just worded less ambiguously, I think it could’ve been stronger. But several factors came together to make it feel rushed and less impactful than it should’ve been.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the portal.
The door to the prison.

“A young boy was not yet a man, but his time had come, to kill or be killed; a knife in his hands.” That’s the full line that Dr M’Benga read before deciding that this vaguely-worded and poetic line could only be referring to himself. And no one else stepped in to say “uh, hang on a minute there, Dr Self-Centred, it’s a pretty ambiguous statement, don’t ya think?” Taking just an extra couple of minutes on this sequence, with the other members of the away team considering possible interpretations before Dr M’Benga interjected with that fact about himself would’ve done a lot to sell me on it. And if we’d known already about Dr M’Benga’s childhood, or connected this line to something we’ve already seen on screen, such as his Klingon War service, that would’ve improved things a lot.

This is what I mean about pacing: we can use the same words and get to the same conclusion… but if the route is too quick, it undermines what the story wants to say. Dr M’Benga finding a statement carved in stone on an alien world that’s all about him is, in theory, an interesting idea that ties into the episode’s story about time and linearity, and contributes to the idea of the Vezda as being significantly more powerful than the Federation. But if you rush it, you botch it. When this fact about Dr M’Benga’s past was brand-new, and the wording that led him to that conclusion was so vague… we needed to spend more time here. Or the reference needed to be more overt: “The portal only opens for the one you call… M’Benga.” There. Fixed it.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Dr M'Benga on the away mission.
This moment was horribly rushed.

I have enjoyed Paul Wesley’s take on Kirk since he first appeared in the Season 1 finale. Most of Kirk’s appearances have made sense in context… but of all the excuses to bring Kirk into Strange New Worlds, the one this week felt the weakest. I’ll try to explain what I mean. Firstly, Captain Pike reached out to the Farragut… but didn’t speak directly with Captain Whatshername (the Vulcan). Instead, for some reason, he speaks with the first officer. That was already a bit… odd.

But then, later, Spock decides he needs to mind-meld with someone in order to coordinate this “two ships firing phasers at the same time” idea. But… why? The crew could reasonably infer Gamble’s intention: that he wanted to go to Vadia IX and free his fellow prisoners. And Pelia, in another disappointingly weak and underdeveloped scene, confirmed that one of the “interdimensional ley lines” from Skygowan led directly to Vadia IX. So… why did Pike and Batel need to open the portal when they could’ve just warped there in the Enterprise? It’s not like getting into the Vadia IX prison was complicated; all it needed was a pinprick, and Captain Batel is dead set on staying there anyway. So all of this mind-melding and phaser coordination just felt like a totally unnecessary narrative diversion. In a stronger, better-paced episode, perhaps it would’ve been less noticeable. But in an episode where the main story was desperate for more time on screen, it’s a particularly egregious waste of time.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Pelia, Spock, Scotty, and Sam Kirk in the lab.
The crew already knew the Vezda’s destination… so why not warp there?

In The Sehlat Who Ate Its Tail, I said that I really liked seeing Kirk and Spock’s burgeoning bromance. After Uhura had been the one to introduce them, their friendship seemed to be growing and developing really well. But… does New Life and New Civilizations at least imply that the reason they’d become such good friends is because they shared a mind-meld? If so… how do we feel about that? I said earlier in the season that Kirk serving under a Vulcan captain – especially when she’s such a nonentity that I’ve forgotten her name – comes a bit close to treading on the toes of his friendship with Spock, and how the two of them worked to overcome the cultural differences between humans and Vulcans in The Original Series. But now… is this episode not saying that at least part of why they’re such good friends by the time of TOS is connected to the mind-meld? If so, I’d argue very strongly that it detracts from their friendship and from one of Star Trek’s most important and iconic character duos.

Any prequel needs to tread carefully. And speaking for myself, I don’t really like the implication in New Life and New Civilizations that Kirk and Spock’s friendship was, at the very least, accelerated or enhanced by a mind-meld. To me, it seems to take something away from the organic and natural chemistry they’ve always had. As I’ve said more than once when discussing Star Trek’s various prequels: not everything demands an on-screen explanation down to the finest detail. Kirk and Spock are friends – perhaps more than friends. There doesn’t have to be a reason; people can just like each other and develop strong bonds.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Spock about to mind-meld with Kirk.
Spock and Kirk’s mind-meld.

Given that this setup felt pretty flimsy, and that I don’t like the implication of the mind-meld for Kirk and Spock’s friendship… I actually felt their scenes together were pretty great. Set aside whether the story actually needed them to fire phasers exactly in sync, and whether Pike should’ve talked to Kirk’s captain first. The Spock and Kirk scenes themselves were a lot of fun. I particularly liked Kirk calling their meeting a “date,” or at least implying that it could be – whether jokingly or not. I noted a few weeks ago that, with Strange New Worlds’ writers apparently set on making Spock sleep his way through all of the female members of the Enterprise’s crew, they seemed to be going out of their way to erase any possibility of “Spirk” in canon. (“Spirk” referring to the fan theory/fan-fic that Kirk and Spock were romantically involved). This “date” line definitely puts that back on the table for folks who want to see or believe in that – and I was pleased to see it.

It was also undeniably cool to see Spock and Kirk making those perfectly in sync movements. And the CGI on this side of the story – putting the Farragut and Enterprise together in a kind of “ballet in space,” was a really cool visual effect. It reminded me of both Picard’s linked-up fleet in the 25th Century and the Klingon ships during last season’s musical episode, which also seemed to be “dancing” with the Enterprise.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the Enterprise and the Farragut.
This was a really cool visual.

With Captain Pike and Captain Batel, the writers of New Life and New Civilizations clearly had a lot they wanted to do. Unfortunately, because this story really needed to be a two-parter, I don’t think either of the main ideas worked as well as they should’ve done.

Captain Batel’s climactic fight against the Vezda was over in… what? Less than two minutes. That’s all the time it took her, after the end of the fantasty-life/alternate timeline sequence, to use her magic Gorn-Illyrian powers to defeat and imprison them, then turn herself into a statue. It didn’t feel like the war of good versus evil that it was set up to be… because it was over in a flash. If you stepped away from the screen to grab a glass of water, you’d have missed the whole thing.

Then we have the fantasy sequence itself. Obviously something like this is going to be jumpy – you can’t condense a lifetime into a short runtime without skipping over years or decades. But really, if what the writing team wanted to go for was something comparable to The Inner Light from The Next Generation, this needed to be basically an entire episode all by itself. This is where I’d have made the biggest change to New Life and New Civilizations. Half of “Part One” would’ve been taken up reaching this point, then the second half and the entire first half of “Part Two” would’ve been just the fantasy sequence. It needed room to breathe and, because it had to be packed in with everything else in the story… it didn’t get it.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the Vezda prison.
The Vezda’s prison.

I’ve said before that I’m not a particularly big fan of The Inner Light. But compared with that story, this premise actually feels a lot stronger. We’re seeing Pike and Batel living their lives – a fantasy version, at least. A world in which Pike doesn’t get injured, in which he and Captain Batel get married, have a daughter, and grow old together. Compared with the disconnected story of The Inner Light, which took place centuries in the past and didn’t involve anyone from The Next Generation save for a version of Picard, that’s a really strong and incredibly emotional idea.

And to be clear: we got a lot of that emotion in New Life and New Civilizations. I just don’t think we got all that we could’ve. If we’d spent more time with these versions of the characters, perhaps seeing Pike’s relief at not becoming disabled, spending more time with the younger version of Juliet, watching her grow up… there were a lot of opportunities that were missed to really ramp up the emotional side of things because this entire sequence could only last ten minutes. Again, when you compare it with The Inner Light – or just consider what a forty-plus-minute cut could have looked like – it doesn’t have the same impact. It comes up short, which is a real shame, because the bare bones of the idea work so well and there’s so much potential here.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Batel and Pike on the couch in their fantasy life.
Batel and Pike in their fantasy life.

The point of the fantasy sequence was for Batel to show the sacrifice she was making, but also for Captain Pike to catch a glimpse of the life he could have led. Given Pike’s impending fate – which, again, is set in concrete and cannot be altered – that’s such a cruel tease. He got to see the daughter he’ll never have, marry the love of his life, go through the elation of avoiding a debilitating condition that he thought was guaranteed to happen… then it was all ripped away from him. As we saw with Picard after The Inner Light, I expect we’ll see at least some kind of follow-up to this story next season. But… that follow-up isn’t going to be as impactful as it might’ve been if this sequence had been longer and stronger.

Did Pike experience his entire fantasy life in real-time… or did he only see the moments that we as the audience also got to see? That was left totally up in the air by the time the credits rolled, and I think Strange New Worlds had an opportunity to take the basic concept behind not only The Inner Light but also stories like Deep Space Nine’s Hard Time and really expand upon it. The idea of someone living a full life in this kind of fantasy world, then being dragged back – unwillingly – to the real world and having to face the consequences of that… it’s an interesting story idea that past iterations of Star Trek, being wholly episodic, could only take so far. And I really do look forward to seeing how Pike handles this experience in Season 4, and to what extent it will have an impact on him. I just wish the sequence itself had been longer and more fleshed out in this week’s episode.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing an older Pike in the fantasy life.
Did Captain Pike live an entire lifetime… or just experience parts of it?

There’s a lot to love in the fantasy-life sequence. And I think it achieved at least some of what it was supposed to in terms of ramping up the emotional nature of Batel’s sacrifice, and keeping the focus grounded on two characters and their lives, rather than straying too far into lofty ideas about “pure evil” and “saving the galaxy.” Given the weaknesses on that side of the story… New Life and New Civilizations benefited from this change in focus.

And for Captain Pike, whose future is still predetermined, it’s such a rug-pull that it feels cruel. Pike got to see what his life might’ve been like under different circumstances – having a wife, a daughter, and remaining in good health – and then it was taken away from him again. Depending on your outlook, having had a taste of something, only to lose it, can be worse than never having experienced it at all – and so it may be for Captain Pike. Obviously we aren’t going to spend Season 4 with Pike sulking in his quarters, and I think the end of New Life and New Civilizations at least tried to set up that Pike is back in the captain’s chair and ready to resume his mission. But… dealing with the lingering emotional consequences could be an engaging storyline next time, if handled well.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Pike after avoiding his accident in the fantasy life.
Captain Pike got to see what life could be like if he and Batel escaped their fates.

Taking all of the above into account, particularly the problems with pacing, the overstuffed story, and the need for this particular episode to have really been split into two parts… where do we stand?

In my opinion, New Life and New Civilizations has a lot going for it. It’s a lot better than, for example, Four-and-a-Half Vulcans or Subspace Rhapsody. But it’s also the weakest of the three season finales that we’ve seen so far – A Quality of Mercy and Hegemony are significantly better, more tightly-focused, and a lot more enjoyable.

But there are things to appreciate, and having talked about what I didn’t like, I think it’s only fair to move on to what worked well in New Life and New Civilizations.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the sickbay monitor and a scan of Captain Batel.
Scans of Captain Batel and the statue.

Although not as strong or as well-developed as I’d have liked, the fantasy-life sequence was genuinely interesting and emotional. It challenged our perceptions of Pike, and what kind of life he and Batel could have led if things were different, but both characters stayed true to themselves throughout. I’m not convinced that Pike, being aware of what lay in store for him, would have chosen to get married – let alone have a child – but having a rock-solid family life definitely upped the stakes and ramped up the emotional storytelling. I’m working with the head canon explanation that this fantasy-life was created entirely by Captain Batel based on her ideas of what an ideal life would’ve been like, and I think that’s more than enough to explain any apparent discrepancies. It’s also why I’m calling it a “fantasy” as opposed to something like an “alternate timeline.”

We don’t get to see Pike as a nurturing family man very often, and I really liked catching a glimpse of what that could look like. It was bittersweet in the best possible way (if that even makes sense), as we saw Pike living in a beautiful house, with Batel by his side, a daughter, and even a pet dog. If the worst thing I can say about that is “I wish we’d spent longer here and seen more of it,” well… that’s not exactly a damning criticism, is it?

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Pike with his family in the fantasy life.
Pike with Batel and their daughter, Juliet.

I also liked the idea of Pike and his daughter, Juliet, having such a strong bond that he’d be the first to know about her engagement. I’m not sure making her fiancé Admiral April’s son was necessary, but we got a cute connection between Pike’s family and “Uncle Spock,” which was just really sweet. Pike having perhaps retired from Starfleet is an interesting direction for his character in this fantasy sequence; I like to think that he’d have been worried about making changes to the timeline after the events of A Quality of Mercy.

And for Captain Batel, who I guess knew all along that this was just a fantasy… again, that’s heartbreaking. It was performed incredibly well by Melanie Scrofano, who’s been a wonderful recurring star on Strange New Worlds. I said ages ago that her relationship with Captain Pike had a “time limit,” but for it to have ended this way – prematurely, even, from Pike’s point of view – is tragic. Her final act was one of sacrifice, and even though there were narrative weaknesses with the Vezda that I would argue kept us from fully understanding the nature and necessity of that sacrifice, as a grounded and emotional storyline, it worked incredibly well.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Captain Batel on her "deathbed" in her fantasy life.
Captain Batel and Captain Pike at the end of their fantasy life.

Toward the end of the episode, Pike and Una shared a moment together as he recovered from the loss of Captain Batel. Since Pike went out on a limb for Una back at the beginning of Season 2, we haven’t seen them spend that much time together, so this was a sweet moment. For Una to be the one he’d turn to when at such a low ebb said a lot about the nature of their friendship, I felt.

This closing montage also showed us Sam and Jim Kirk sitting down together, Pelia and Scotty working on something together in the science lab, Ortegas, Uhura, and Una sharing a drink, Spock and La’an meditating, and Dr M’Benga reuniting with Chapel in sickbay. These small clips were cute, and they added a lot to the ending of the story. Again, there’s that “series finale” vibe to this montage, but the individual clips – and the voiceover tying them together – were great.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Una and Pike drinking together.
Una and Pike sharing a drink.

At the beginning of the episode, we got another fun sequence with the crew in Pike’s quarters – and Scotty being the latest victim of the “showing up in your dress uniform” prank that Uhura also fell for back in Season 1. I liked Scotty’s flustered reaction, here, it was cute. And Martin Quinn (whom I met at a Star Trek convention here in the UK not long ago) showed off that side of the younger Scotty incredibly well. There was also a Doctor Who reference during this sequence – Pelia mentioned having once known a “time-travelling doctor.” Obviously this was just a little easter egg; a nod and wink to fans of sci-fi. But it was a fun inclusion, and I like to see Star Trek making little in-jokes like that from time to time.

Dr Korby, although his role was smaller this time, made a welcome return. His presence this season has been a thread of continuity, binding different episodes together, and I think his relationship with Chapel is played well by both Jess Bush and Cillian O’Sullivan. Dr Korby took what he’d learned on Vadia IX and continued to pursue it, again in the name of finding some pathway to eternal life. There’s a lot of deliberate foreshadowing here, setting up Korby’s role (and ultimate demise) in The Original Series.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Dr Korby and Nurse Chapel.
Korby and Chapel.

The first away mission to Skygowan (before the crew apparently gave up on the idea of going incognito and, y’know, following the Prime Directive) included some wonderful colourful costumes, and I really liked the way Una, Uhura, Chapel, La’an, and Dr M’Benga looked. Those costumes felt like they came straight out of The Original Series or The Next Generation, which I really do mean as a compliment. I also liked the way the aesthetic of Vadia IX’s prison from a few weeks ago was retained, but given a more lively feel. The use of the AR wall was pretty solid here, too.

Despite some narrative weaknesses on his side of the story, Anson Mount put in a spectacular performance. Particularly towards the end of the episode, I really felt Pike’s grief and the weight of what he’d lost – not only Captain Batel, but the fantasy life that he could have led. This was a challenging role, one which involved putting Pike in old age makeup as the fantasy timeline unfolded, showing him wrangling with the changes to the timeline, gaining and then losing a family, and really going through a range of emotions. Mount did an exceptional job.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Captain Pike in his away mission jacket.
Anson Mount did a fantastic job in this episode.

Before we wrap things up, I want to talk about one more topic.

Star Trek is science-fiction, and some of its storylines lean heavily on the “fiction” side of that little hyphen! But one area where I’ve felt Star Trek has been more detached and rational in its approach is when it comes to questions like “fate” and “destiny.” Even Captain Pike’s story – with its ending set in stone – isn’t treated as his “destiny,” but rather as the consequences of choices he made. As Pike said in Discovery: “I’m not going to abandon the things that make me who I am because of a future… that contains an ending I hadn’t foreseen for myself.” Whatever we think of “time crystals” and the Klingons on Boreth, the way the story was presented made it clear that it was still Pike’s choice. A Quality of Mercy, with its time-travelling future Pike, doubled-down on that, explaining that Pike does have the freedom to avoid his accident, but that it comes at a price.

This story, in contrast, really went out of its way to lean into the ideas of fate and destiny… and I gotta be honest: I don’t love that for Star Trek. Some stories in fantasy settings work really well with the idea of a character’s fate or the outcome of a battle being predetermined, but I don’t think it’s right for a sci-fi series like Strange New Worlds. I didn’t like it when Deep Space Nine messed about with Sisko’s birth, saying it was caused by the Prophets so he could be their Emissary, and I don’t like it here with Captain Batel, either. It feels, to me, too far removed from the more objective and scientific way that Starfleet officers handle things.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Captain Batel's sacrifice.
This was Captain Batel’s “destiny.”

There was a creditable attempt to explain this, with Spock talking about “effect coming before cause,” and time being non-linear. That throws a scientific bone in the direction of this story about fate. But at no point did it seem as if Captain Batel had a choice or could regain control of her life and her future. Once Chapel established that Batel was the Vadia IX statue, and she’d decided it was her destiny… that was it. Everyone just kind of went along with it. And this isn’t just a question of pacing, though a longer version of this story could have dedicated more time to this debate. But rather it’s a question of whether a story about predetermination and fate – presented in this manner – is right for Star Trek. I’d argue that it’s not. It wasn’t right with Sisko and the Prophets, and it isn’t right with Batel and the Vezda, either.

There are other Star Trek stories which have come close to this line. Daniels and Archer in Enterprise, Picard with Q in The Next Generation, and even The City on the Edge of Forever all looked at questions of destiny and unavoidable fates. But it’s about how these stories are presented, not so much their content, and for me at least, New Life and New Civilizations went too far with the idea of Captain Batel having a predetermined “destiny” in a way that felt closer to fantasy than sci-fi.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing a close-up of Spock.
Spock talked about effect coming before cause and time being non-linear.

Here’s a question: with Captain Batel being written out of the series… does that mean there’s now an open slot for a new recurring character? If so, it’s bound to be someone else from The Original Series, right? Maybe in a future piece we’ll have to speculate about that! I’ll also go into this in more detail another time, but I generally liked what Strange New Worlds did with recurring characters this season. Kirk, Dr Korby, and Captain Batel all had roles to play in some episodes, but not all, and I felt they worked pretty well.

But after Kirk’s first appearance came in the Season 1 finale and Scotty showed up at the end of Season 2, I can’t have been alone in wondering if we might’ve gotten a new TOS character this time! I’m kind of glad we didn’t, though, and I could absolutely entertain the idea of Season 4 not introducing anyone new, but rather narrowing its focus on the characters already in play. Some folks, like Pelia, haven’t had a lot of time in the spotlight, so bringing in someone like Sulu, McCoy, or even a secondary character like Kor to fill the slot vacated by Batel isn’t strictly necessary.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing Pike and Batel exchanging presents in their fantasy life.
Will Strange New Worlds replace Captain Batel with a TOS character?

So let’s bring this review to a conclusion.

“Good but not great.” That’s my four-word summary, I guess. In a season where some episodes have been truly fantastic, I don’t think New Life and New Civilizations reached the highest bar. But it wasn’t the season’s weakest offering by any stretch, and my complaints mostly focus on the fact that potentially interesting storylines were cut too short, paced poorly, and not given enough time to shine. I think, if I were in charge, I’d have cut an episode like Wedding Bell Blues or Four-and-a-Half Vulcans in favour of a two-part version of this story.

But that doesn’t mean I hated New Life and New Civilizations. The decision to keep the Vezda as a brand-new alien race was a good one. The sets and costumes were great, and there were some fantastic uses of the AR wall, as well as a beautiful starship “dance” in space. Though Kirk’s inclusion in the story felt particularly flimsy, I liked his scenes with Spock overall, and furthering their relationship was a good choice. Dr M’Benga got an emotional turn with Gamble, and Pike’s fantasy-life sequence could, potentially, set up something for him in Seasons 4 or 5.

Still frame from Star Trek: Strange New Worlds 3x10 (New Life and New Civilizations) showing the USS Enterprise at warp.
The Enterprise warps away to her next adventure.

So that’s a wrap on Season 3. It was a two-year wait after Season 2 ended, but that was partially due to strikes over in Hollywood. With Starfleet Academy on the schedule for the first half of 2026, and presumably taking up time and resources in post-production, I wouldn’t expect to see Season 4 of Strange New Worlds for at least a year – and 2027 isn’t off the table. So… watch this space, I guess! Having finally reviewed all ten Season 2 episodes – and gotten around to Season 3 in a much more timely manner – I’d like to go back and write up re-watches of Season 1 in the months ahead. I hope you’ll join me for some of those!

And there’s more Star Trek content to come here on the website. Later in the autumn, I’d like to do a review of the Khan audio drama, I’m planning a couple of episode re-watches involving actors that I met at a recent Star Trek convention, and there’s the upcoming Voyager video game that I’m looking forward to, too. And, of course, there’s my usual chatter, previews, and theory-crafting! So even though Strange New Worlds Season 3 is over… don’t be a stranger. Check back from time to time, because I’m sure I’ll have plenty more to say about Star Trek.

Live Long and Prosper, everyone!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Scouts

It’s not every day that a brand-new Star Trek series premieres… let alone two! But to mark Star Trek Day yesterday (the 8th of September), Skydance/Paramount dropped the first episode of the Khan audio drama… and still had one more surprise in store.

Star Trek: Scouts is a series aimed at preschoolers. The first two episodes were released on YouTube yesterday, and I’m actually pleased to see Paramount doing something like this. As we’ll get into, I’m not sure the way Scouts has been launched is perfect, but as a concept, as a principle… this is the kind of move I think we need to see more of if Skydance and Paramount are serious about establishing Star Trek as a brand with longevity, and that can continue to exist well into the future.

Still frame from Star Trek: Scouts showing Roo, with Sprocket and JR in the background.
A Star Trek series for kids is a good idea.

This is categorically not a “review” of Star Trek: Scouts, by the way. I’m not in the two-to-five demographic (believe it or not), so my thoughts about the actual content of this kind of show really wouldn’t be worth much! That’s not to say I don’t find joy in some cartoons or films aimed at a younger audience… but there’s young and then there’s young, if you take my point. These sub-four-minute episodes, with very basic storylines, are cut from the same cloth as something like Cocomelon, and for their intended audience, I’m sure they’ll be perfectly enjoyable.

What I’m interested in, as a Star Trek fan, is the potential for the franchise to belatedly break out of its demographic prison cell and finally attract a new audience. The tl;dr is that Star Trek is ageing… and if that continues unchecked, the fan community will die out. Shows like Prodigy and films like Section 31 were supposed to change that, attracting a younger audience and an audience raised on Marvel movies, respectively. I don’t think either project really met the moment and achieved those objectives… but there’s a chance, at least, for Scouts to appeal to a very young crowd, some of whom will go on to explore the Star Trek universe in more depth as they grow up. That can only be a good thing.

Still frame from Star Trek: Scouts showing the main character trio.
The three main characters.

I am disappointed, though, that Scouts is currently hosted on the YouTube channel of a different Nickelodeon series. That confused branding and mixed messaging won’t help. And, as I said several years ago when discussing Prodigy: where are the toys and tie-in products? None have been created in time for the show’s launch… and that’s still not good enough from Paramount. Kids – especially younger kids in the age range Scouts is pitched at – engage with their favourite worlds through play. Toys, dolls, dress-up costumes… all of these things should have been ready for eager kids and parents to coincide with the launch. It’s pretty stupid that they weren’t – and it’s going to hold back Scouts’ potential unless and until these kinds of toys are ready to go.

Some cartoons only exist to serve as glorified toy commercials. But despite owning the Nickelodeon brand – and knowing what it takes to market to kids successfully – Paramount is, for the second time, refusing to make kid-friendly Star Trek merchandise for its kid-friendly Star Trek series. I can’t be the only one to think that’s a mistake, can I? Or that it’s undermining the very idea behind creating a series like this?

Still frame from Star Trek: Scouts showing Roo and a tricorder.
Roo using a tricorder.

It’s not my intention to be overly negative, and this criticism is intended to be constructive. I’d love to think a show like Star Trek: Scouts will succeed, and will bring in younger fans to the Star Trek community at just the right moment. Star Trek needs that. And with Prodigy and Starfleey Academy, too, there’ll be no shortage of shows for younger viewers to sink their teeth into when they graduate from this kind of preschool cartoon and want something a bit more grown-up. Those are all great things, and Star Trek could – with the right management and leadership – really synergise these younger-focused series to give kids, tweens, and teens a route into the Star Trek fandom.

But so far, I don’t see a lot of effort on that side. I didn’t see it from the old Paramount at all, and I don’t see it from the new Skydance-owned Paramount, either. The launch of Scouts – with no fanfare, no tie-in products, and on a YouTube channel branded after a different show (not even the main Nickelodeon channel) – just smacks of a lack of care, a lack of attention, and a lack of effort or interest. And if that’s the case… why bother? Why commit money to a project like this only to not follow through and give it the best chance of success? It’s just… wasteful.

Still frame from Star Trek: Scouts showing HQ.
The kids’ HQ… complete with giant phaser beam.

I’m also a little disappointed with some – thankfully a minority, as far as I can tell – of the reactions to Scouts online. Some folks are completely unable to grasp the idea that not every single media project or piece of content is made specifically for them, and I’ve seen people saying Scouts is “childish,” “basic,” and “a joke,” as if it was somehow meant to be something a grown adult would enjoy. So let’s say it loud and clear for the people getting upset about Scouts not being as deep and complex as episodes like The Drumhead:

It’s a show for two-year-olds.

We all get it now, yeah? It’s gonna have basic plots, child characters, and not a lot of world-building or complexity. That’s by design! Not every show – and not every Star Trek show – is made for everyone. Scouts, more so even than Prodigy before it, is targeting a very specific audience, and a very young audience. It’s not for me – but it’s not supposed to be. I’m glad that there’s some effort being made to make some of the basic trappings and aesthetic elements of Star Trek appeal to a new, younger audience – even though I wish some of the execution was being handled a bit more professionally.

Still frame from Star Trek: Scouts showing the three main characters jumping.
To boldly go…

This is probably gonna be the last time I touch base with Scouts… though with my niece being born earlier this year, maybe if it’s still around in a couple of years’ time, I’ll recommend it for her! I think the idea of creating a project like this – a potential easy way into Star Trek for even the youngest viewers – is no bad thing, and I will be rooting for its success, even though Skydance and Paramount don’t seem to be all that bothered one way or another.

So that’s all for today, I guess. Star Trek: Scouts exists. If you have young kids (or you’re a child at heart; no judgment), you can find the first two episodes on YouTube, with a promise of some eighteen more to come. I think there are plans to broadcast episodes on Nickelodeon or Nick Jr., too, in regions where those channels are available, so keep an eye out for that, too.

And if Scouts isn’t for you… that’s okay. There are almost 950 episodes and films in the Star Trek franchise that you might like instead.


Star Trek: Scouts is out now and can be streamed via the Blaze and the Monster Machines YouTube channel at time of writing. The Star Trek franchise – including Scouts – is the copyright of Skydance/Paramount and Nickelodeon. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Happy Star Trek Day!

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of minor spoilers for Strange New Worlds Seasons 2-3.

Happy Star Trek Day, friends!

The 8th of September – i.e. today – was the date in 1966 when the very first episode of Star Trek premiered in the United States, and in recent years, it’s been celebrated within the fan community as “Star Trek Day.” Next year’s going to be the milestone 60th anniversary, but I thought we could take stock of where Star Trek finds itself, reflect on the importance of the franchise, and just geek out a little bit today, since it’s a special occasion.

Though it was the first episode to be broadcast, The Man Trap wasn’t the first episode to be produced. After The Cage didn’t make the cut, Gene Roddenberry and co. were given a rare second chance to make a pilot, and they settled on Where No Man Has Gone Before. However, although the network liked this episode more than The Cage, it wasn’t considered as straightforward a story when it came to deciding on the broadcast schedule. Basically, by process of elimination, The Man Trap won out against the few other completed episodes in September 1966. And just the other day, I got to meet Budd Albright – one of the actors who was in The Man Trap. Being able to say I’ve met one of the performers who was in the first ever Star Trek episode is, without a doubt, one of the coolest things I can add to my resume as a Trekkie!

Still frame from Star Trek: The Original Series S01, E01, "The Man Trap," showing Barnhart and the M-113 Creature.
Budd Albright (left) in The Man Trap, which aired 59 years ago today.

When you look back with 59 years of hindsight, having seen how Star Trek attracted a fandom and expanded into a massive franchise, it’s easy to fall into the trap of saying its success was always a sure thing. But if you read up on the early production history of Star Trek, what amazes me is how it could’ve either been completely different… or might never have made it off the ground at all. Even today, if a television pilot gets rejected, being offered a second chance by a broadcaster is something that very rarely happens. In the mid-1960s, with sci-fi still a relatively new and untested genre on television – and an expensive one, thanks to sets, costumes, props, prosthetics, and special effects – it’s genuinely stunning to think that the higher-ups at the network were willing to give Gene Roddenberry that all-important second chance.

There were several key decisions taken early in the production of The Original Series that I genuinely believe took a great concept and turned it into something that became a phenomenon. The first was the avoidance of product placement; Gene Roddenberry was keen to avoid Kirk and Spock turning to the camera, cigarette in hand, and plugging brands like Lucky Strike. The second, and probably most important, was that The Original Series was filmed and broadcast in colour, at a time when colour TV was only just getting started. Doctor Who, one of Star Trek’s contemporaries in the ’60s, didn’t broadcast in colour until 1970, and American shows around the same time – like The Addams Family, The Twilight Zone, and The Fugitive – were all still airing in black-and-white.

Kirk, Spock, and Dr McCoy from Star Trek on a promo poster for the series' Betamax release c. 1986 (cropped).
Kirk, Spock, and Dr McCoy.

Star Trek was cancelled in 1969 due to low ratings – but those ratings massively improved when the series was rebroadcast in the early 1970s – and I firmly believe that if it had been in black-and-white, not colour, it would’ve been more difficult for Star Trek to have garnered the level of support that led to the creation of The Animated Series and, eventually, The Motion Picture. I don’t know if colour was always the plan, and for a while, I remember reading that the only full cut of The Cage that existed was in black-and-white, though I’m not sure if that was just a pre-internet rumour! In any case, being filmed and broadcast in full colour definitely gave Star Trek a much-needed boost as colour TV was just about to take off.

At the core of Star Trek, though, were great characters and fun stories – often, but not always, with morals and messages that reflected the world in which they were written in different ways. I said a few years ago that The Man Trap is more than just an “alien monster” story; what makes the episode so poignant and powerful are the reflections Kirk, Spock, McCoy and others have when they consider the implications that the Salt Vampire may have been the last of its kind… and they killed it in self-defence. Star Trek has always trusted its audience to think, and encouraged viewers to consider the implications and possibilities of its stories. Star Trek episodes are designed to be dwelt upon after the credits have rolled – which, I think, explains why there’s such a vocal and passionate fan community!

Still frame from Star Trek: The Original Series S01, E01, "The Man Trap," showing the M-113 Creature/Salt Vampire.
The M-113 Creature.

After The Cage was rejected, Gene Roddenberry and the team re-worked most of its characters. “Number One” was originally intended to be the stoic and logical one, but that role was reassigned to the new incarnation of Spock. Captain Pike was out, replaced with Captain Kirk. Dr Boyce became Dr McCoy, but retained a similar role as an older confidant of the captain. Characters like Sulu and Uhura were created, and the stage was set for the show we’re all familiar with.

If you’d told the cast and crew then, in 1966, that new episodes featuring Spock, Scotty, Uhura, and Nurse Chapel would still be airing 59 years later… well, I doubt anyone would have believed you!

But I think it says a lot about those characters, and the way The Original Series was written, that Strange New Worlds came to exist at all – let alone that it’s the best thing Star Trek has done in a long time. Those characters, their personalities, and the way they’d conduct themselves in their roles… it’s a huge part of what made Star Trek into the franchise it would become. We’re still watching episodes starring these same characters, alebit in an updated format, all these years later.

Still frame from Star Trek: Strange New Worlds 3x06 showing Spock, Scotty, Chapel, and Uhura on the bridge of the USS Farragut.
Spock, Scotty, Chapel, and Uhura in a recent Strange New Worlds episode.

I didn’t come to Star Trek via The Original Series. It was The Next Generation that first made me a Trekkie in the early 1990s. I’ve said this before, but Season 2’s The Royale is the first episode I can remember watching all the way through (though I think I’d seen at least parts of episodes before that, as well as having seen some action figures and props that my uncle had at the time.) In any case, I date my entry into the Trekkie community to 1991, when The Royale aired for the first time here in the UK. I went back to watch The Original Series here and there, when it was on TV and when I could afford to rent video tapes!

But as I progressed my journey into the Trekkie community through the 1990s, including attending my first-ever fan meetup and going to visit the Star Trek Exhibition around the time of the 30th anniversary, I came to watch The Original Series episodes and films. I’m afraid I couldn’t tell you what the first TOS episode I watched was; that memory is lost in the recesses of an addled brain! But I soon fell in love with Kirk, Spock, Dr McCoy, and the rest of the crew – just as the first generation of Trekkies had done a quarter of a century earlier. I don’t think I knew that The Man Trap had been the first episode to air until I got online around the turn of the millennium and started talking to other Star Trek fans; there was a debate, for a time, about which episode “technically counts” as the first one – should we go in broadcast order or production order? Broadcast seems to have won that argument, by the way!

Behind-the-scenes photo/still frame from Star Trek: TOS showing the original USS Enterprise model against a blue screen.
The original USS Enterprise filming model.

Some people have gone so far as to suggest that, without Star Trek, there’d be no sci-fi on our screens today. I don’t agree with that assessment, I’m afraid. By 1966, when The Man Trap aired, Kuberick’s 2001: A Space Odyssey was in production. Other sci-fi and sci-fi-adjacent shows, like The Outer Limits, My Favorite Martian, and The Twilight Zone were already airing, and with the space race in full swing, there was a growing amount of attention on the genre. But without Star Trek, the sci-fi landscape would’ve been very different. Even back then, there was a lot of “doomerism” floating around. Star Trek is one of the very few entertainment properties – then or now – to present an optimistic vision of the future, where technology cures problems rather than causes them, where humanity has overcome its violent impulses rather than surrendered to them, and where the future is bright, not dark.

That’s what appealed to a lot of people about Star Trek: the core fundamentals of its setting. Technology could cure diseases. There was still an economy and private property, but humanity had moved to become a “post-scarcity society,” where an abundance of energy and resources meant we could dedicate our time to science, exploration, and other pursuits instead of being tied to a desk or working in a factory. Those elements of escapism appeal just as much today as they did 59 years ago – and they probably always will.

Still frame from Star Trek: The Original Series S01, E01, "The Man Trap," showing Dr McCoy holding his medical tricorder.
Dr McCoy with his medical tricorder in The Man Trap.

As someone who’s had health issues going back decades, I can say with certainty that one of the most appealing things about Star Trek’s vision of the future is the potential to cure diseases, and how it depicts an inclusive, friendly society that’s largely free from discrimination and hate. Technologies like the hypospray and medical tricorder are seen diagnosing and treating all manner of ailments and conditions. Some episodes suggested that limbs could be regenerated, scar tissue covered up, and even the ageing process itself could be reversed (in some stories, at least!) Dr McCoy (and later the likes of Dr Crusher, Dr Pulaski, and Dr Bashir) would be seen treating patients in state-of-the-art medical facilities, with bio-beds, computer monitoring, and research labs to develop brand-new cures.

Star Trek “predicted” technology that we take for granted today. What is the Enterprise’s viewscreen if not an early take on video-calling and FaceTime? Communicators seem an awful lot like mobile phones. Combadges? Bluetooth microphones and speakers. There are laser weapons in use by militaries around the world, and proposals for things like nuclear fusion reactors, ion thrusters, and even a “warp drive” concept of sorts – many of which are at least partly inspired by Star Trek. And there are countless individuals who have cited Star Trek as a reason for their interest in medical, scientific, or engineering fields.

Still frame from Star Trek: The Original Series S01, E01, "The Man Trap," showing the main viewscreen.
The planet M-113 (remastered version) on the Enterprise’s main viewscreen.

So if that’s Star Trek’s legacy and early history… what’s next? What may lie in store for Star Trek as we pass its 59th birthday?

This is where, I’m afraid, things start to look a little less rosy. In my view, Skydance – Star Trek’s new corporate overlords – are not as interested in making new television shows as the previous incarnations of Paramount and CBS had been. I don’t believe it’s a coincidence that Discovery, Lower Decks, Prodigy, and Strange New Worlds were all cancelled after Paramount took the decision to go ahead with the Skydance merger. David Ellison, the CEO of Skydance and, by extension, the man with the final say over new Star Trek productions, does seem interested in some kind of feature film adaptation – and as luck would have it, there are supposedly at least two such projects currently being worked on. But with Paramount+ struggling, and not every recent Star Trek project being particularly well-received… I will not be at all surprised if the final episodes of Strange New Worlds and Starfleet Academy will bring an end to this era of Star Trek on TV.

With that being said, as depressing as it may sound, it isn’t always a bad thing for a franchise to take a break, get shaken up, and come back after some time has passed! It worked for Doctor Who in the mid-2000s, it arguably worked for Star Trek after Enterprise’s cancellation, and it’s at least possible to think that future Star Trek productions may benefit from learning the lessons of this era of streaming TV… as well as from having a bit of a hiatus.

Concept art of the USS Enterprise produced for Phase II/The Motion Picture.
Concept art of the USS Enterprise produced for Phase II/The Motion Picture.

I don’t have any “insider information,” by the way. But based on what’s been said publicly about potentially merging Paramount+ with Peacock (or some other streaming platform), David Ellison’s apparent preference for films over streaming TV, and the cancellation announcement for Strange New Worlds coming before Season 3 had even aired… that’s my gut feeling. No new Star Trek has been greenlit for a while, and one of the shows that had been announced – Tawny Newsome’s “workplace comedy” series – now seems to not be going ahead. So I think we have to contend with the possibility, as we pass the 59th anniversary, that Star Trek may once again be heading for a fallow period.

But there will be time to talk about that in more detail on another occasion!

Today, I want to raise a glass and toast to Star Trek’s success. Not many other entertainment properties from the mid-1960s are still around, still being worked on, and still so beloved as Star Trek. Very few franchises get anywhere near the 1,000-story mark – yet Star Trek, at time of writing, is just about 40 episodes shy of that incredible milestone. If Strange New Worlds and Starfleet Academy proceed as planned, as well as the films which are supposedly being worked on… hitting that 1,000-story mark seems within reach in the next few years.

Still frame from Star Trek: Strange New Worlds 3x09 showing transporting.
Beaming down to a moon in the most recent Star Trek episode.

On a personal note, though I’ve dealt with burnout and felt the franchise had been over-saturated in the early 2020s, I’m still a huge Trekkie. I’ve been keeping up with Strange New Worlds this season, and I regularly go back to watch my favourites from The Next Generation era in particular. Being a Trekkie has been part of my identity, in a way, since I was a pre-teen, and now I’m in my forties! Nothing else in the entertainment world compares to Star Trek, for me, and even when I’m not actively watching the latest film or episode, Star Trek is still on my mind, its philosophy and vision of the future are still things I take into account, and my love for this franchise remains. The way I express that may fluctuate, sure, but I am still a Trekkie – and I daresay I always will be.

So happy Star Trek Day! Wherever you are in the world, whatever you’re doing, and regardless of whether you plan to watch The Man Trap (or any other episode) to mark the occasion, thank you for checking in, and I hope you have a wonderful Star Trek Day. This incredible franchise brought us together, today, 59 years on from that first episode – and I think that’s something pretty darn special.

Live Long and Prosper.


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

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 9: Terrarium

Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek productions: The Original Series Season 1, The Search for Spock, The Next Generation Season 3, Discovery Season 2, and Picard.

Of all the main characters on Strange New Worlds, we’ve spent the least amount of time with Erica Ortegas. She’s been a presence on the show and has had some memorable scenes, but she hasn’t gotten a major storyline or a spotlight episode… until now. There are reasons for that, of course, and we don’t have to go over all of it again. But I know that a lot of Trekkies – myself included – have been waiting for an episode in which Ortegas would get her moment to shine.

And what an episode it was!

Terrarium was intense, dramatic, emotional, and just fantastic. It’s rare for me to sit down to write a review having taken no notes, but I was so absorbed in the story that I genuinely didn’t have a second’s pause to write anything. The only negatives I can find from Terrarium are total nitpicks; the kinds of silly things only the most detail-obsessed Trekkies might ever care about. The episode really was exceptional. One of the best from all three seasons of the show without a doubt.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing the crash site and Ortegas.
Uh-oh, Ortegas is in a spot of bother…

Because Strange New Worlds is a prequel, and because we know that several of the characters it includes will go on to have careers in Starfleet during The Original Series era, it isn’t always easy for the show to create a genuine sense of danger. We know Pike’s fate, we know where Spock will end up, and we know Uhura, Scotty, Chapel, Dr M’Benga, and others all have futures beyond the series. In the modern entertainment landscape, that can change how we perceive stories which put these people in the firing line.

In the aftermath of shows like The Walking Dead and Game of Thrones – shows which use what I’ve termed the “disposable cast,” where any main character can be killed off at almost any moment – television storytelling has shifted. Being a main character is no longer a guarantee of safety. Star Trek has struggled to keep pace, with characters in Picard and Discovery almost all surviving even the most apocalyptic dangers (or being resurrected afterwards!) But Strange New Worlds has already been different – Season 1 saw the untimely demise of the brand-new character of Hemmer. Terrarium got me to feel like Ortegas was genuinely in danger of losing her life and being written out of the show in a way that stories like Shuttle to Kenfori simply couldn’t for Pike and M’Benga. And I think that shows the advantages, in this new media environment, of using brand-new characters as opposed to relying too heavily on legacy characters whose fates and futures are set in stone.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas right after the crash.
This genuinely felt like it could’ve been the end for Ortegas…

I said recently that I don’t like when Star Trek stories blatantly rip off what’s come before, but I appreciate it when they “rhyme.” And for me, Terrarium reminded me of The Next Generation Season 3 episode The Enemy, in which Geordi La Forge and Bochra, a Romulan, are similarly trapped together on the desolate planet of Galorndon Core. The barren, stormy world, the pairing up of a Federation officer with a member of an enemy faction… Terrarium uses these same elements in a similar way, but still feels like a totally distinct story. That isn’t easy to pull off, and the differences between the stories – the shuttle crash, the wormhole, the difficulty of communicating with the Gorn, and Ortegas’ hostility toward the Gorn as she still processes her trauma – are a big part of what makes Terrarium work.

If I might make one criticism that falls outside of nitpick territory, it would be the editing and pacing of a few of the scenes. In short, Ortgeas seemed desperate for food and water immediately after crash-landing, and the passage of time was not particularly well-communicated at first. Pike said, at one point, that they’d been searching for her for over two days, and by the time she was eventually rescued, even more time seemed to have passed. Ortegas might’ve spent a couple of days on the moon before encountering the Gorn. Or a week. Or a few hours. Or maybe she and the Gorn lived together for a couple of weeks before the rescue? Some of those scenes just felt a little… choppy, if that makes sense – particularly the sequence after Ortegas crash-landed, and the scenes in the run-up to her first meeting with the Gorn. I can’t help but feel adding a card or some text saying “48 hours later…” or something like that might’ve helped at a couple of points.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas on the shuttle, resting.
It wasn’t totally clear to me how much time passed in between some of these sequences.

Can I skip to the end and talk about that? Because the end of Terrarium was brutal. After working together, surviving together, and planning out an escape together… for Ortegas’ Gorn friend to just be gunned down by La’an and the redshirts was harrowing. Star Trek stories almost always present our heroes as being in the right – even if they do something bad or against the rules, it’s almost always for a noble reason. La’an and the security team just opened fire without warning against an unarmed opponent, killing her in cold blood. I was shocked – and I’m genuinely struggling to call to mind a similar moment anywhere in Star Trek, in which the death of a friendly character was handled with such ruthlessness by Starfleet personnel.

The writers took a narrative necessity – that the Federation couldn’t have a Gorn just hanging out aboard the flagship years before the events of Arena – and turned it into a truly shocking twist ending for this kind of “let’s all learn to live together in peace” storyline. Ortegas is probably the second character, after La’an, to have held such genuine fear and hatred for the Gorn, and it seemed as if Terrarium was trying to echo Arena and similar Star Trek “morality plays” with a story all about overcoming hatred, finding common ground, and learning to work together. All of that was ripped away with seconds to spare – after Ortegas and the Gorn had risked everything to achieve rescue. It was… well, it was brutal. There’s no other word for it.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing the dead Gorn.
Shocking and brutal.

Ortegas still learned a lot, of course. She overcame her fear and hatred for the Gorn, and as the Metron told her at the end of the episode, that was real and she’ll be able to retain all of that knowledge and those feelings. She’ll also be able to convey to Starfleet that the Gorn can, under the right circumstances, be dealt with, reasoned with, and communicated with – which, hopefully, are things that could set the stage for dialogue in the future. So those “morality play” ideas are still present, they still matter, and they’re still a big part of the episode’s story. It feels very “Star Trek” in a way that not every modern episode has done!

But the ending is straight out of the modern entertainment playbook! Arena ended with Kirk injuring the Gorn, but refusing to kill him. The Enemy ended with La Forge and his Romulan counterpart being rescued. But Terrarium went for the twist ending, the shock of seeing Ortegas’ new friend gunned down right at the moment of victory. Betrayed by Starfleet – unintentionally, perhaps, and even arguably understandably – but that doesn’t make it feel better.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing La'an firing her phaser rifle.
La’an firing her phaser rifle.
(Colour/brightness tweaked for clarity)

If anything, I’d say this kind of ending ramps up the “morality play” angle. Terrarium is different from the likes of Arena and The Enemy, which got happier, or at least more positive endings. But the final act of Terrarium hammers home its message about bridging cultural divides, working with someone from a different race, and finding comradeship with an enemy. Ripping that away so coldly, and for no good reason, shows us how far Starfleet and the Federation still have to go – and how the “good guys” can still make mistakes or be too quick to anger.

This is what Star Trek has always been about – just updated with a more modern style. What was the point of The Enemy, if not learning to see an enemy as an equal? Or Arena – that “the other” is not a monster, but a person? Kirk starts his battle with the Gorn by talking of the revulsion he feels for the reptilian monster, but stops short of killing him at the end. Terrarium builds from the same narrative foundation, but twists the knife right at the end. Ortegas may have learned to let go of her fear and her hate… but Starfleet is still too quick to reach for the phaser.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing a close-up of the Gorn.
Ortegas came to see the Gorn as a friend.

Despite feeling like she was genuinely in danger the entire time, I’m glad Ortegas lives to fight another day. The opening act of Terrarium, which showed Ortegas with Spock and Uhura, felt comparable in tone to how Discovery set up Airiam’s death, or how, earlier this season, Ensign Gamble was sent on the away mission that claimed his life. That kind of setup, knowing what we know of modern Star Trek, has an almost eerie feel, so when Ortegas’ mission went wrong and she crash-landed, I really did feel like she was in danger.

Given that Strange New Worlds has been adding to its roster of legacy characters, fleshing them out, and even trying to set up a “Year One” spin-off focusing on the likes of Kirk, Spock, and Scotty… I wondered if Ortegas might be about to be brushed aside to bring someone like Sulu on board. But I’m very glad that didn’t happen (or at least, it hasn’t happened yet) because she’s someone we’re still getting to know – and she’s such a fun character. Ortegas is cut from the same cloth as Voyager’s Tom Paris insofar as she’s a genuinely passionate pilot, not just a helmsman. Having that kind of person in the pilot’s seat – both of the Enterprise and in shuttlecraft – is a ton of fun, and I can feel her passion for the role every time she takes the helm. Shuffling her out of the way to make way for Sulu (or another legacy character) wouldn’t sit right with me.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas piloting her shuttle.
Ortegas is at home in the pilot’s seat.

Speaking of piloting… what do we make of Captain Pike taking the helm? I absolutely loved it – and I think Terrarium is a great episode for Pike, despite him not being the centre of attention. I wrote last week that, across the three seasons of Strange New Worlds that we’ve had so far, several episodes saw Pike transformed into a different person, recreated as a hologram, or just… behaving out-of-character. It’s gotten to the point where I feel like it’s almost a refreshing change of pace to see Pike as the upstanding, decent, honourable Starfleet captain that we remember – the character who, as Trekkies, we were so desperate to see given his own show.

Pike taking the helm also reminded me of another Next Generation Season 3 episode: Booby Trap. That episode sees Picard – to the shock of everyone on the bridge – take the helm to guide the Enterprise-D out of a sticky situation, and Pike’s turn at the helm definitely brought up echoes of that story for me. I would’ve liked to see Pike take his seat, perhaps… but maybe that would’ve been too similar, I don’t know. Either way, it was a really great moment, and it drew on Pike’s history as a Starfleet test pilot, which Strange New Worlds has brought up on a few occasions. I like that this is an ongoing aspect of his character and wasn’t newly-invented for Terrarium; these consistent story threads make a series and a setting feel so much more real.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Spock in the captain's chair with Una and Pike at the helm/navigation console.
Captain Pike at the helm.

Pike’s side of the story also brought up the weight of command and the difficulties of making command decisions. This is something we know weighs on the captain – in The Cage (and The Menagerie) Pike spoke about how he felt the burden of command and how being responsible for the ship and crew was taking a toll on him. In Terrarium, Pike had to balance the needs of the many with the needs of the one (to quote a future Mr Spock), wanting to do everything in his power to search for and save the wayward Ortegas – but having a time limit to deliver vaccines to a colony world.

I loved Pike’s line to Uhura that he knew she “fudged the numbers,” and he would’ve undertaken the rescue mission regardless. I think that says a lot about the kind of captain he is, and the way he handles his ship and crew. Pike was confronted with a genuinely impossible situation, but he stayed calm, he did everything he could to buy his crew as much time as possible to look for Ortegas, and his role this week reminded me exactly why I was so keen on “the Captain Pike show” back in 2019!

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Pike looking at Uhura.
This was a great episode for both Uhura and Pike.

Did you spot a reference to The Doomsday Machine? Decker – a commodore by the time of The Original Series – was in command of the USS Constellation, the ship Pike and the Enterprise were set to rendezvous with in Terrarium. I just thought that was a neat little reference. It doesn’t need to be expanded into something massive, with the Constellation and Commodore Decker being shown on screen next week, but it was a cute little nod and wink to Trekkies – and another reminder that all of these stories are taking place in a shared setting. It wasn’t a big thing, but it was neat that the writers went the extra mile, instead of saying that the vaccines were to be delivered to Captain Bob of the USS Whatsisname.

Terrarium was also a fantastic episode for Uhura. Her empathy and love were on full display as she supported Ortegas ahead of her first solo mission in months, then became the strongest advocate for searching for her, even when Spock seemed (perhaps a little too keen) to throw cold water on her plans. We’ve seen Uhura grow in confidence across Strange New Worlds so far, and as Pike remarked, bending the rules is a new frontier for her! But it came from an understandable place, and had been set up incredibly well earlier in the episode.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Uhura on the bridge, happy.
Uhura at the episode’s climax.

Uhura has had several “moments” across the first three seasons of Strange New Worlds in which she becomes more confident, solidifies her relationship with Starfleet, or just grows in some way. And Terrarium was another great example, building on storylines like visiting the comet, bonding with Hemmer, and inspiring the crew to sing their way out of trouble. The notion that Uhura would do anything to help a friend in need… that’s a core part of the character we remember, and seeing her bend the rules, thinking that was the only way to help Ortegas? It sets up Uhura joining Kirk’s mission to steal the Enterprise in Star Trek III, as well as countless other examples of her going out of her way to help her friends.

Spock was, perhaps, a little too quick to dismiss some of Uhura’s ideas – but this was never really presented as a conflict; more so a hurdle for Uhura to overcome. And Spock, despite his initial predictions of failure, didn’t come across as being a jerk for the sake of it. He even stayed with Uhura, continuing to help her work on her simulations, which I think also says a lot about how far he’s come across the show so far. After so many “Spock comedy” storylines – something I talked about at length last week – it’s nice to see Spock in a more familiar and straight-laced role. It’s also nice to see Spock contributing, but taking a back seat to other characters. This side of the story mostly looked at Uhura and, to a lesser extent, Pike. Spock played a role, but he doesn’t always have to be centre-stage.

Combo of two still frames from Star Trek: Strange New Worlds 3x09: Terrarium, showing Spock and Uhura in the science lab.
Uhura and Spock.

So let’s return to the main part of the story: Ortegas and the Gorn.

I really liked the moon that Ortegas crashed on. It made fantastic use of the AR wall, and just felt like such a barren and desolate place. Seeing the wind sweeping across the surface of the moon, with nothing but dust and rocks in sight, with occasional quakes and rumbles shaking the ground… it made for a very unnerving place to have crash-landed; very lonely, very bleak. The addition of the flaming blue gas giant in the sky obviously added a huge sense of impending danger, which was intimidating. The camera work on the surface of the moon, combined with the AR wall, actually led to a really great effect – something Paramount hasn’t always been competent at if you look back at some other recent Star Trek projects, like Discovery’s fifth season.

And this sense of being lost, alone, and trapped in a desolate, barren wasteland was really hammered home by the presence of the wormhole. I don’t think we ever learned exactly how far away the wormhole’s terminus was from where the Enterprise was situated – but, as Spock said, it could be basically anywhere in the universe. That added so much to the sense of isolation and abandonment compared to, say, an episode like The Enemy, in which the Enterprise-D was still in orbit, even if for technobabble reasons it wasn’t possible to beam out Geordi right away. Again, that sense of genuine danger – that we might be about to lose Ortegas from the series entirely – was ramped up by just how badly wrong this mission was going.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing the USS Enterprise wedged in a wormhole.
The Enterprise in the wormhole.

A couple of weeks ago, I said that I was worried that Ortegas’ injury and trauma from the beginning of the season hadn’t been picked up in a big way, and that if it did come back, it would be harder to pull off effectively after having seen her “back to normal.” And I stand by that to an extent – I think if, instead of Terrarium, we’d gotten a Discovery-style “let’s all talk about our feelings” story, it would have been difficult to put Ortegas into that after several episodes had passed in between her injury, her insubordination, and her apparent recovery. But because of the way Terrarium approached it – putting her face-to-face with a Gorn for the first time since the end of Hegemony, Part II – it actually worked incredibly well.

Ortegas’ character arc built on her earlier encounter with the Gorn and the lingering trauma it caused her without feeling like we’d missed a step. By throwing her into this tense survival situation, we got to see her going from “just kill me already you alien monster,” to “okay, we can be friends.” And Terrarium built this up slowly and carefully, taking us from Ortegas’ shock at spotting the Gorn, trying to hide, fearing for her life, and eventually coming to terms with the fact that they’d have to work together to have any chance of escape. It was incredibly well written – and given that Melissa Navia was the only one to actually have any dialogue on this side of the story, incredibly well performed and emoted. Having to act out an incredibly intense and emotional storyline against a person in a Gorn suit can’t have been easy – but she made it look easy! This is why, for almost three full seasons, a lot of us have been champing at the bit for a proper Ortegas episode!

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas inside the shield dome.
Melissa Navia absolutely excelled.

We got to see Ortegas run the gamut of emotions. The elation of her mission and the piloting challenge, the anxiety and loneliness after the crash-landing, the sheer terror of her first Gorn encounter, a slowly-developing friendship which culmintaed in board games, and the abject grief at her new friend’s utterly brutal execution. And Melissa Navia had to do all of that (well, almost all of it) on her own, with no other actor to bounce her lines off of. It’s an incredible solo acting performance, one which really encompasses a huge range of different emotional states across a dangerous and nearly fatal away mission.

After Strange New Worlds has reimagined the Gorn to be closer to Alien’s Xenomorphs or other horror movie monsters, it was incredibly refreshing to see a different and softer take this time. We got to see a Gorn – for the first time in the entire series, really – not as “the other,” or a monster, but as a person. This Gorn showed Ortegas – and by extension, us as the audience – that the Gorn are more than just mindless killing machines who see humans as food. They have a complex language, a culture, they enjoy playing games, they can get sick and injured… again, to tie into the theme of Star Trek stories as “morality plays,” we’re seeing the Gorn – through Ortegas’ eyes – as people… basically for the first time since they were re-worked for Strange New Worlds. This only makes the brutal killing of the Gorn at the end of the story hit so much harder and feel so much worse.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas on her knees.
Ortegas at the end of the story.

May I nitpick? If you know me… you know I must!

If you can transport down to a moon, it stands to reason that you can also transport up from a moon, right? So why did La’an have to beam down to search for Ortegas? And why did La’an beam down with a squad of redshirt tactical officers for a rescue mission, instead of – oh, I dunno – a doctor? The “we have to deliver these vaccines on time” added an extra source of tension to the episode, but it felt a bit exposition-y – mostly because of the timing of its introduction. If the episode had begun with Pike saying, “we’re en route to deliver these vaccines, but we stopped off briefly to study this unusual phenomenon,” I think it would’ve worked a lot better than Una springing it on us after Ortegas had already gone missing. The “scanning ability” percentage wasn’t really explained, and I could’ve entertained a brief line of technobabble discussing it, especially given its importance to Uhura and Pike’s storyline.

But, as I said, all of those are incredibly minor points, and none of them detracted from the finished product. I include them here because, well, I’m a Trekkie – and as Trekkies, we love nothing more than to pick at the tiniest little details in Star Trek, sometimes!

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing the away team beaming down.
The rescue team beams down.

Terrarium joins Shuttle to Kenfori and Through the Lens of Time as one of my favourites from Season 3. It was fantastic all around, with great moments for Pike and Uhura, as well as an incredibly intense story for Ortegas.

I loved this completely different way to include the Gorn. Don’t get me wrong – I’ve enjoyed Strange New Worlds’ reinterpretation of the Gorn, by and large. But I also think we were beginning to come up against the limits of the “alien monster” idea, so to show a softer, more personable side to the Gorn – and to put Ortegas, who had suffered so severely at their hands, right in the middle of it – was a fantastic storytelling decision, and one that was executed incredibly well. Melissa Navia got her first major spotlight episode – and rose to the occasion, overcoming a difficult acting challenge.

I really can’t heap enough praise on Terrarium, as you can probably tell! It truly is an outstanding episode, one that harkens back to the likes of Arena and The Enemy from those older shows, but puts a completely different spin on a familiar setup thanks to a brutal ending. I’m not sure I’d have chosen to include Arena’s Metrons; I’m just not convinced that brief scene at the end added an awful lot or that the story really needed it. But doing so helps to square a circle, perhaps, while hinting at a “different” take on the Gorn by the time of Kirk’s encounter in Arena.

Still frame from Star Trek: Strange New Worlds 3x09: Terrarium, showing Ortegas and the Gorn playing chess.
Playing chess with a Gorn.

So that was Terrarium. Absolutely fantastic. No notes – literally, in my case!

Season 3 has been pretty good, overall. Strong episodes like Terrarium are a nice balance after a weaker offering like Four-and-a-Half Vulcans last week, and I’m rooting for an excellent season finale to close things out with a bang! Can you believe Season 3 is almost over, already? I’m actually feeling pretty sad about that.

The final episode of the season will be titled New Life and New Civilizations. So far, there’s been nothing released – no promo photos, no blurb, no trailer. Something big could be hiding under the surface, then! Check out my latest theory about Captain Pike and Captain Batel, if you’re interested – you can find it by clicking or tapping here. And join me next week for the final episode review of the season. Oh, and if you missed it, I met Martin Quinn (Scotty) over the weekend at a Star Trek convention here in the UK. Click or tap here to check out my write-up of the events of the day. Live Long and Prosper, friends!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Strange New Worlds Theory: Talos IV

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3, Star Trek: The Original Series Season 1, and Star Trek: Discovery Season 2.

It’s been a while since I’ve engaged in much theory-crafting here on the website! Strange New Worlds, as a mostly episodic series, hasn’t lent itself to the kind of weekly theorising that I used to do for Picard and Discovery… but there are character arcs, season-long storylines, and other narrative threads running through the show. I want to consider one of these today, and it pertains to Captain Marie Batel.

At the end of Season 2, Captain Batel was infected with the same Gorn parasite that resulted in the death of Hemmer. We went into the two-year gap in between seasons not knowing how – or even if – she would survive. Hegemony, Part II gave us part of the answer, as Spock and Nurse Chapel came up with the unorthodox solution of using Illyrian blood to “re-incorporate” the Gorn DNA into her body. Captain Batel, however, has suffered after-effects of this treatment, seemingly possessing some kind of Gorn consciousness or DNA within her. It’s an open question whether this storyline has now run its course, whether it will be picked up again, or how it will be resolved. I wanted to offer a purely speculative take at this juncture, with two episodes of Season 3 remaining.

Still frame from Hegemony, Part II showing Captain Pike with Captain Batel.
Pike with Captain Batel in Season 3.

Let’s start by laying out what we know.

Captain Batel is still suffering as a result of the Gorn infection. The cure was, at best, incomplete, and according to Spock in Through the Lens of Time, there is some kind of Gorn “presence” which exists inside of – and separate from – Captain Batel. As Pike explained to Admiral Pasalk in Four-and-a-Half Vulcans, Captain Batel still needs intensive treatment sessions. And as far as we know, no one else has ever been cured once a parasitic Gorn infection has progressed to this extent.

Furthermore, Captain Batel’s relationship with Captain Pike has a hard and rigid time limit. Pike knows the time and place of the accident which will disable him, and we know, as the audience, that Pike will be transported to Talos IV by Spock a few months later. By the time of Pike’s accident, if not before, their relationship will come to an end. But what if… it doesn’t have to?

Still frame from Through The Valley Of Shadows showing a vision of Pike's future self.
A vision of Captain Pike’s ultimate fate.

If Captain Batel’s condition worsens, the Gorn inside her could try to break out or even take over her body, as we caught a glimpse of in Through the Lens of Time. Some fans have theorised that this could lead to the creation of a Gorn-human hybrid – with speculation that this hybrid could even be the Gorn Captain that Kirk will face off against in the classic episode Arena. I cannot fully express my disdain for this idea, by the way; it would be the Klingon-Augment virus all over again, only worse.

But what if, instead of dying or being transformed into a Gorn, Captain Pike reaches for another solution? His solution could give context to Spock’s actions in The Menagerie, perhaps even giving Spock the idea to take Pike to Talos IV in the years to come. What if… Captain Pike were to take Captain Batel to Talos IV as a last roll of the dice; a desperate final attempt to save her?

Still frame from Through the Lens of Time showing Captain Batel.
Could Captain Pike take matters into his own hands in order to save Captain Batel?

The Talosians have appeared in Discovery’s second season, where we were introduced to this incarnation of Captain Pike. They played a major role in that season, sheltering Spock and helping him with his condition. We know that the Talosians possess advanced medical technology, as well as immense mental and telepathic powers. Even if Captain Batel were to arrive there in a comatose state, Talosian telepathy could create for her a world in which she was free from her infection, living her life somewhat normally.

Knowing that Talos IV is also Pike’s ultimate destination could reframe their relationship going into the final episodes of the series. Instead of Batel and Pike being a temporary fling; a relationship firmly in the here-and-now… they could fall deeper in love. Their future could exist… a shared future, free from their life-limiting conditions… but a future only the Talosians could provide. If Captain Pike were to take Captain Batel to Talos, it could be incredibly poetic. And beautiful.

Still frame from If Memory Serves showing two Talosians.
Talosians in Discovery.

Now let’s consider how this could come about.

Captain Batel has just – as of Four-and-a-Half Vulcans – accepted a new role as head of Starfleet’s legal division. Rather than accepting command of a starship, which would be more difficult for her given her health, Batel is to take charge of the court-martial system, presumably being based either on Earth or on a starbase. It sounded like a promotion – perhaps to the rank of commodore or even admiral – was also on the cards. But… a big part of me thinks that, regardless of whether this theory pans out, Batel won’t get her promotion.

Let’s say that, on the way to her new posting, Captain Batel falls more seriously ill. Dr M’Benga and Nurse Chapel have done all they can, but the Gorn infection is proving too stubborn. Maybe the Vezda alien, kept in suspended animation aboard the Enterprise, is called upon for help, but either refuses or cannot do anything for her. Faced with her imminent death, Captain Batel is placed in some kind of suspended animation (probably in the transporter buffer, given Strange New Worlds’ proclivity for that kind of storyline!)

Still frame from Four-and-a-Half Vulcans showing Captain Batel speaking with Admiral Pasalk.
Captain Batel and Admiral Pasalk.

This leaves Captain Pike heartbroken… but also with a tiny glimmer of hope. Batel is not dead yet, and even though everyone is telling him she’s too far gone and cannot be saved, Pike is unwilling to give up. He does the only thing he can think of, and reaches out once again to the Talosians. The Talosians bring bad news: they know about the Gorn and their parasitic infections, but have no cure (or at least, no cure for someone so far gone). But they offer an alternative: bring Batel to Talos IV in stasis, and they will use their telepathy to let her live out a fantasy version of the rest of her life. He will even get the chance to say goodbye properly.

At this point in the timeline, Talos IV is already off-limits to all Starfleet vessels. But Captain Pike will break that rule, initially intending to do so secretly, but ultimately with help from Una, Spock, and the rest of the crew. The Enterprise will proceed to Talos IV – pursued, perhaps, by either the Gorn or Admiral April, both of whom could have reasons for wanting to stop him. Upon reaching Talos, Batel will be beamed down in her stasis chamber, accompanied by Pike. He’ll explain what happened… and what he’s done. He’ll explain what the Talosians can do for her. And though sceptical at first, and really hating the idea, Captain Batel will ultimately choose to remain on Talos IV.

Still frame from The Cage showing Talos IV.
The surface of Talos IV.

Maybe Pike will promise to keep working on a cure, with the aim of one day returning to Talos to free Captain Batel. That seems like the sort of thing the Captain of the Enterprise would do! But either way… the result of this mission will be that Captain Batel will remain on Talos IV, with the Talosians using their powers to give her some semblance of a life – mirroring and foreshadowing Pike’s own ultimate destination.

What I like about this idea is that it gives more depth and meaning to the Pike-Batel relationship. While we know they have strong feelings for one another, there’s always been a strange sort of undercurrent to their relationship. Pike himself – and us as the audience looking in – know that this relationship basically has a time limit. It can’t be “happily ever after,” because Captain Pike doesn’t get an “ever after.” But if Captain Batel were to end up in the same place for a not dissimilar reason… it changes their dynamic. It potentially deepens the love they may feel for one another, while also being somewhat poetic.

Promo photo for SNW S3, showing Pike and Batel.
Captains Pike and Batel.

This storyline could also work well for Spock. In The Menagerie, it seems as if Spock’s decision to bring Pike to Talos IV is entirely his own… but what if there’s more to the story? What if Spock saw Captain Pike do the same for Captain Batel, and that’s part of what prompted him to take that specific course of action? Perhaps… Pike even tells Spock to do this. That would come dangerously close to treading on the toes of canon, in my view; Pike in The Menagerie repeatedly says “no” when Spock tries to take him to Talos IV. But… maybe they agree that he’ll have to say that as part of a ruse?

Obviously this idea has its shortcomings! For one, the ending of The Menagerie clearly shows Pike reuniting with Vina – a character we also saw him falling for in Discovery, too. Vina and Pike seem to share a moment together when he arrives on Talos IV, setting out in their telepathic forms to make the most of the second chance the Talosians have afforded them. If Captain Batel should be there too… it complicates, at the very least, the canonical ending to Pike’s story – which should already be set in stone.

Still frame from The Cage showing Vina with an illusory Pike.
This is supposed to be the end of Pike’s story.

It’s also narratively clunky and arguably repetitive. Not every story in Star Trek has to be based on something that we’ve already seen, and Pike taking someone he loves to Talos IV so the Talosians can use their telepathy to free them from a life-limiting condition… that’s the same plot as The Menagerie. I love it when Star Trek stories rhyme, or when we get echoes of a classic story in modern Trek. But is something so familiar and so similar crossing the invisible line between respectful homage and naked rip-off? I think a lot of fans would argue that it is, regardless of how well-executed it may or may not be.

However, I think this theory is infinitely better than the Batel-Gorn hybrid ultimately turning out to be Kirk’s foe from Arena! I didn’t like the Klingon-Augment virus when Enterprise did that storyline; I felt it wasn’t necessary to explain the change in makeup for the Klingons. And even if it was… that wasn’t the way to do it. It was convoluted and silly. This idea… that the Gorn in TOS and the Gorn in SNW look different because one is a half-human hybrid… it would have the same problems as the Klingon-Augment virus, the same narrative weaknesses… and, on top of that, it would also be repetitive.

Still frame from Arena showing Kirk and the Gorn captain.
Can we please rule out this idea?

The other thing to say is that it’s possible that Strange New Worlds’ writers… haven’t actually written an ending for this story. Maybe their idea is that Batel will sail off into the sunset as head of Starfleet’s legal division, and Pike will occasionally Skype her for half a scene here and there in Seasons 4 and 5. Maybe what I’ve been reading as the preamble to a bigger storyline just… isn’t. Maybe this is the story. Batel got sick, received a partial cure, suffered a setback, but is now able to manage her condition well enough to return to work. That could be the way it’s gonna go.

Batel could also yet be killed off. I was brutal in criticising Paramount’s marketing team in my review of the Season 3 premiere, because I felt that promo photos and trailers had spoiled Batel’s survival ahead of time. And I stand by that – it was incredibly dumb, after teasing us with this story for so long – to spoil Captan Batel’s survival when there was no reason to do so. But… despite all of that, Captain Batel may not be long for this world after all. The Gorn infection could come back, as we described above. Or the Vezda alien, which is still aboard the Enterprise, could break free and kill her. She could be killed in an alien ambush, a freak accident, a transporter malfunction… anything.

Still frame from Hegemony showing Batel and a Gorn.
Captain Batel face to face with a Gorn.

So there are definitely other ideas floating around – some of which, to be honest, are probably more plausible than this theory!

However, I still kinda like this idea. It would completely reframe Pike’s ultimate destination, and the choice Spock makes on his behalf in The Menagerie. It could potentially deepen the bond between Batel and Pike, taking their relationship from something that is, by circumstance, bound to be temporary and… opening it up. Maybe they can have a form of “happily ever after” after all.

So that’s it. That’s the theory. In order to save Captain Batel’s life and give her some semblance of normalcy instead of a stasis pod, Captain Pike will call upon Vina and the Talosians, and transport Captain Batel to Talos IV, mirroring his own ultimate destination.

Will it happen? There’s two more episodes left this season, as well as Seasons 4 and 5. Are we truly done with the Gorn? Has Captain Batel reached the end of her story? Or… could there another twist? I guess we’re going to find out!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

I Went To A Star Trek Convention…

It’s been a long road… gettin’ from there to here. By which I mean: it took me almost four hours on three separate trains and one tram to travel from my home to Destination Star Trek in Blackpool on Saturday. That’s right: Trekking with Dennis made it to a Star Trek convention – my first since 2011. This is, somewhat embarrassingly, a pretty big deal for me – my health has been poor for a long time, and I haven’t felt up to an outing like this in years. Aside from medical appointments and a couple of visits earlier this year to meet my newborn niece, this became my first excursion in over a decade.

I’d looked into last year’s Destination, but I didn’t feel well enough in 2024 so I opted not to go. But this year, bouyed a little by those visits to my sister, brother-in-law, and newborn niece, I was feeling a little stronger, and perhaps a little braver… so I bit the bullet and bought a one-day ticket for Saturday. It was a long day – hours of travel each way, leaving the house at 5:30am and not making it back until after 10pm. But despite being exhausted and in a lot more pain than usual by the time I got home… I had a good time.

Photograph from Destination Star Trek 2025 showing attendees on the convention floor with their faces censored.
The main convention floor around 10am.
(Faces in all photos have been censored for privacy.)

The Star Trek fan community is just… wonderful. There are so many kind people in the community; Trekkies are patient, respectful, encouraging, enthusiastic, and just a joy to be around. I might be sitting on a seat, catching my breath in between events, walking to the bathroom, or waiting in a queue, and someone would strike up a conversation about something they enjoyed about the event last year, share their experiences of having met the guest speaker, or just compliment me on my Star Trek t-shirt. The atmosphere was incredibly friendly and welcoming… I felt, for the first time in years, like I was among my people!

And I must give special thanks to the staff and organisers. Due to my poor health, I’d filled out a form on Destination’s website to request some extra help. I didn’t really know what this would include, I just hoped there might be somewhere to sit down in between events or while queuing. Upon arriving at the event, I spoke with one of the members of staff who issued me a wristband – and I got to join a special queue for several of the photographs (more on those in a moment) which meant less time spent standing. Members of staff helped me find a seat at several of the talks, and they were all very friendly, chatty, and passionate about Star Trek. I simply wouldn’t have been able to attend Destination without this extra support, and I am beyond grateful to the organisers, the staff, and everyone at the convention who accommodated me, in spite of my limitations.

Photograph from Destination Star Trek 2025 showing a selection of screen-worn uniforms.
A selection of uniforms used in various Star Trek productions which were on display.

Let’s talk about why I decided to go to Destination this year. Because… well, let’s just say it didn’t quite go the way I first intended!

I’d been keeping an eye on Destination 2025 for a few months, weighing up whether to buy a ticket or not. But it was only when Anson Mount – Captain Pike himself from Strange New Worlds – was confirmed as a guest that I decided it was something I had to do. As you might’ve heard, though, Mount unfortunately had to pull out of the event at the last minute after contracting covid. I wish him well as he recovers. Again, credit to the organisers and staff, here: refunds were issued automatically for the panel I’d paid for when Anson Mount had to pull out.

Such things are unavoidable. Anson Mount’s last-minute withdrawal from Destination led to a few changes to the schedule… which, in the end, ultimately worked out in my favour. Connor Trinneer – Trip Tucker from Enterprise – was taking part in a talk on Saturday afternoon, and when I was no longer scheduled to meet Anson Mount for a photograph, I that time was freed up to attend the talk. As we’ll discuss, Trinneer’s panel was a lot of fun, and I’m glad I didn’t miss out on it. Oh, and Anson Mount did ultimately call into Destination by video-link, though I didn’t attend that event.

Photograph from Destination Star Trek 2025 showing Anson Mount's video-call.
Anson Mount’s panel had to be done remotely.
Photo: Destination Fan Events via Facebook

I’ve mentioned photos a couple of times now, so let’s talk about that.

Some people love to collect autographs. My mother had Elvis Presley’s autograph, for instance, which was something she loved to tell people about! But I’ve never really been big on autographs, even personalised ones. If I have the opportunity to meet someone famous, or someone important to me… I’d rather take that time to shake their hand. That memory, that moment… it’s always seemed more worthwhile than an autograph, at least to me. No shade to the autograph collectors – this is purely a subjective thing.

So I booked several photographs with Destination’s attendees. I met two guest stars from the first and second seasons of The Original Series, including an actor who appeared in The Man Trap, which was the very first episode of Star Trek to be broadcast. I met Chase Masterson – Leeta from DS9. I met the aforementioned Connor Trinneer, and Martin Quinn – who has taken over the role of Scotty on Strange New Worlds. I made a bit of a tit of myself, blurting out “I love Strange New Worlds it’s great!” as I waddled over to him. Poor man must’ve been traumatised. But I shook their hands, smiled awkwardly for the camera, and I have those photographs as mementoes of the day.

Promo photo for Star Trek: Strange New Worlds showing Scotty.
Martin Quinn as Scotty in a promo image for Strange New Worlds Season 3.

It’s been a while since I went to Blackpool. The seaside resort is a peculiarly British place, though it’s definitely in need of some TLC these days. But I have fond memories of being taken there as a kid, going to the Pleasure Beach funfair, seeing the Illuminations, and eating chips on the pier. This time, I got to take one of Blackpool’s new, modern, ultra-sleek trams – and use an app to buy my ticket! I’m still adjusting to life in the smartphone age, but on the short walk from the railway station to the tram stop, I managed to download the app, buy my ticket, and activate it.

As soon as I disembarked, I started seeing signs of the convention! The tram stop is right outside the Norbreck Castle Hotel, and there were already dozens of people milling about in costume, in Star Trek tops and t-shirts, and wielding phasers and other props. I made it inside, freshened up, and I was on the convention floor in time for the first event I’d been planning to see: a talk all about artificial intelligence.

Photograph from Destination Star Trek 2025 showing the Blackpool seafront.
I snapped this photo while en route!

This presentation, by a member of the UK military and Space Command, was genuinely fascinating. I’m not a “doomer” when it comes to A.I., though I certainly believe its practical applications are more limited than some optimistic utopian predictions would suggest! But discourse surrounding A.I. online can often feel overly negative. While the speaker was clear that there can be drawbacks and disadvantages to A.I., and some areas where it may not be useful, he was broadly positive and passionate about its current and future applications.

It was also very interesting to catch the tiniest glimpse of military applications of A.I. from someone directly involved with that side of things. Again, there’s a lot of “doomerism” surrounding killer drones and A.I.-engineered bio-weapons… so to get some perspective and learn a tiny bit about how A.I. systems are currently being used by real-world militaries was absolutely fascinating. Obviously this wasn’t directly related to Star Trek, though the speaker was a Trekkie, but Star Trek has long been a pioneer in predicting A.I. – from The Ultimate Computer to Data, Voyager’s Doctor, Control, and beyond.

Photograph from Destination Star Trek 2025 showing the A.I. talk.
Major Sam McEvoy during the A.I. talk.

I was able to attend two talks (or panels, if you prefer), one in the morning and one later in the day. Chase Masterson’s talk was first, and she was a really engaging speaker. I enjoyed a story she told about being invited to rehearse with her DS9 co-stars at the home of Armin Shimerman (Quark), which sounded like it must’ve been a lot of fun. And she spoke a little about the late Aron Eisenberg, as well as working with Max Grodénchik (Nog and Rom respectively).

Masterson also spoke about some of her other roles, her charity work, and what the audition process was like as she made the move to Hollywood in the 1990s. It must’ve been a big deal for her as Leeta went from having a few lines in a single episode to slowly building up to become a recurring character with some big moments in the show’s later seasons. It also sounds like there was a complicated working environment for anyone not a series regular; Masterson explained how, on DS9, the recurring cast never had a contract, and could theoretically have been let go at any time.

Photograph from Destination Star Trek 2025 showing Chase Masterson and the host during her talk.
Chase Masterson during her panel.

Connor Trinneer also had some fun stories to share at his panel. He talked about the audition process, how he thought he’d completely blown his first audition for Enterprise, and how, after not being called back when he hoped he would be, he thought the role had gone to someone else. I also learned – and maybe you already knew this, but I certainly didn’t – that Trip Tucker almost got a different name. That’s right: he was originally to be called “Spike.” It was only because of Buffy the Vampire Slayer (which was on the air at the same time, and also had a character named Spike) that the name was changed – and that was after production had begun on the pilot.

Trinneer is another wonderfully engaging speaker, recounting his time on the show effortlessly. I think there’s still a twinge of sadness or regret that Enterprise was cancelled when it was; he mentioned the show’s premature ending several times, as well as talked about the possibility of exploring more of Trip and T’Pol’s relationship had a fifth season been greenlit. In a joking reply to a fan asking if he’d be willing to reprise his role, he said “he’s dead!” to much laughter. But he then elaborated: no one is ever really dead in sci-fi, and he’d be fascinated to learn how Trip might’ve survived the events of Enterprise’s finale.

Two really entertaining and interesting talks.

Photograph from Destination Star Trek 2025 showing Connor Trinneer with two convention hosts.
Connor Trinneer (left) at his talk.

Before we come to the photo sessions, I also got to take part in something really special. Chase Masterson did a script reading from the episode Bar Association – which is a huge episode for her character, Leeta. This was a separate event, in a smaller room away from the main stage. There were only about… I wanna say maybe ten of us, or so, as well as Masterson and a couple of the event’s organisers. It was small-scale, intimate, and just a ton of fun to have been present for. We all remember Bar Association, right – it’s the episode from Season 4 where Rom leads the staff at Quark’s to form a union.

This smaller script-reading session was so much fun, and definitely one of the highlights of the day for me. Chase Masterson is really funny, she hasn’t lost a step when it comes to embodying Leeta, and even though it’s been almost thirty years since Bar Association aired… I felt I was right back there, watching it all over again, just in a completely different way. These are the kinds of experiences you really can’t get anywhere else… and I’m so glad I chose to pay for a ticket to something like this instead of buying another action figure or model ship!

Photograph from Destination Star Trek 2025 showing Chase Masterson reading her script.
Chase Masterson at the Bar Association script reading.

The first photo I took – and therefore the first actor I got to meet – was with Martin Quinn. Quinn has taken over the role of Scotty in Strange New Worlds, showing us a younger and less-experienced take on the character that has just been really well-created and interesting. I noted in my recent reviews of The Sehlat Who Ate Its Tail and Four-and-a-Half Vulcans that Quinn has great on-screen chemistry with Paul Wesley (SNW’s Kirk), and it’s just been a lot of fun to see this younger version of the character and Quinn’s take on Scotty’s younger days. And yes, from now on, you can expect me to say “Martin Quinn (whom I have met)” in every future episode review where Scotty’s featured!

How often, nowadays, can one claim to have met a guest star from The Original Series? Garth Pillsbury appeared in the iconic episode Mirror, Mirror as Wilson – a crewman aboard the ISS Enterprise in the Mirror Universe. He reappeared in Season 3 as a prisoner in the episode The Cloud Minders. Budd Albright appeared in The Man Trap – the very first episode of TOS to be broadcast. His character (Barnhart) was killed by the M-113 Creature, making him one of the first “redshirts” to die in the show! He reappeared in What Are Little Girls Made Of as a different character, Rayburn, who met a similar fate!

Four still frames from Star Trek: The Original Series showing Budd Albright and Garth Pillsbury's characters.
Budd Albright (left) and Garth Pillsbury (right) in their TOS roles.

I then got to meet Chase Masterson (again, after the script-reading session) and pose for a photo with her. And I capped off my photo sessions later in the day with Connor Trinneer. There were pretty long lines for some of these, and I didn’t schedule photos with all of the guests who were there that day. But with the exception of Anson Mount, I got to meet everyone I set out to meet.

Meeting these folks, shaking their hands, and just… being with them for those few seconds… it’s an almost surreal feeling, in a way. Maybe if you’re a regular convention-goer this is all old hat to you, but for me, as someone who hasn’t done anything like it in so long… it was a wonderful experience. Being able to say I’ve met these folks, shaken their hands, told them (awkwardly) how much I enjoyed their shows and their characters… it’s just a really great feeling. It’s a connection between myself and the people who are actually *in* Star Trek that I didn’t have before.

And no, by the way, I’m not gonna publish those photos!

Photograph from Destination Star Trek 2025 showing a queue on the convention floor.
One of the autograph queues.

This might sound silly, but I was surprised to see so many people had gone all-out with their costumes. I felt underdressed in just a Star Trek-themed t-shirt, surrounded by people dressed up in full costumes from every series and every era of the show. It was great to see so many people wearing Picard, Discovery, Lower Decks, and Strange New Worlds uniforms, too – despite what some small groups of fans might want to think, the Trekkie community as a whole embraces, rather than rejects, those newer shows. There will always be some who complain, of course; I overheard one such conversation about “Alex Kurztman should be fired” at the convention. But it was great to see so many people who celebrated modern Star Trek just as much as the older shows.

The counterpoint to that is… well, a bit of an awkward one, to be honest. I’m no spring chicken – I’m in my forties – so this is not an attack on anyone, nor at attempt to be “ageist.” But… to be blunt, there’s not a lot of young blood in the Trekkie community at the moment. It’s rare for me to go somewhere and feel like one of the younger folks! But at Destination? I guess I’d say most people were in their mid-thirties or above. That gels, of course, with Star Trek’s 1990s heyday, and there are other factors such as younger people having less disposable income and perhaps more constraints on their time at this time of year. But it was noticeable, at least, that most of the folks there were in a similar age bracket to myself, despite Paramount’s attempts in recent years to broaden the Star Trek franchise’s appeal.

Photograph from Destination Star Trek 2025 showing a Lego Borg cube.
A Lego Borg Cube!

Destination was a lot of fun. It was a long, painful, and tiring day, but it was worth it in the end. The experiences I got to have – reading a script with Chase Masterson, meeting Budd Albright, who appeared in the very first Star Trek episode, and listening to Connor Trinneer talk about his time on Enterprise – just wouldn’t have been possible anywhere else, and I really value the time I spent and the memories I made far more than any of the merchandise I’ve bought over the years!

It also took a lot of effort, and I cannot stress enough how much I appreciate the assistance and help given to me by the folks at Destination. I paid for my tickets, so this is not some kind of sponsorship or ad, but the reality is that, given my health, I would not have been able to attend and do these wonderful things were it not for the extra help the staff and organisers were able to provide to folks with disabilities such as myself. I was exhausted after I got home – and yes, that’s why this week’s Strange New Worlds episode review was late – but I had a fantastic time.

Painting of the USS Enterprise produced while Star Trek: The Original Series was in early production.
2026 will mark Star Trek’s 6oth anniversary.

So… what’s next? I was talking to my sister (who, coincidentally, doesn’t live too far from Blackpool) about the event, and she said words to the effect of “now that you’ve done it, you wouldn’t do something like that again… would you?” And… I had to hesitate. Because yeah, it was a hard day. And yeah, next year’s event will probably be kinda samey, with talks, panels, merchandise booths, autographs, and photo-ops. There may well be some of the same actors and guest stars present.

I also don’t know, given my state of health, whether I’ll be able to do something like this again. It was a major undertaking for me, and it took a lot of planning, a lot of effort, and quite a few painkillers just to get through the day as well as I did! But I’m not going to lie to you: part of me is eyeing that weekend in August 2026, back at the Norbreck Castle Hotel, and thinking… “why not?”

So hey, if you’re going to Destination next year… who knows. Keep an eye out for a fat fella with a walking stick perched awkwardly on a chair or excitedly standing in line to shake the hand of… whoever they manage to book! In the 60th anniversary year, it could be a lot of fun.


Destination is an unofficial Star Trek fan convention held at the Norbreck Castle Hotel in Blackpool, UK. The Star Trek franchise – including all series, films, characters, and other properties discussed above – is the copyright of Skydance/Paramount. All photos taken by Trekking with Dennis unless otherwise stated. You may use them under the “share-alike” principle, providing you include a link back to this article. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 8: Four-and-a-Half Vulcans

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3, and Discovery Season 3.

Last week, Strange New Worlds surprised me with an episode styled like a documentary. I approached Four-and-a-Half Vulcans much more keenly aware of the kind of story I was getting into… and I set my expectations accordingly. For the kind of light-hearted episode that it was, I think Four-and-a-Half Vulcans was, as Mr Spock might put it, adequate. There were actually some genuinely funny scenes and lines in the mix, and I laughed more than I expected. This was not the total cringe-fest I feared it would be.

However, it’s also an episode I’m in no hurry to revisit, and I’d probably rank it in the lower half of the Strange New Worlds episodes that have aired so far. Comedy has been a part of Star Trek since the beginning, and I’m not opposed to episodes and stories which firmly place themselves in that genre. However, a light-hearted tone and a comedic premise do not cover up any and all flaws; “it’s just a comedy episode” is not a good enough excuse for dodgy writing, weak characterisation, or hand-waving away one of the most significant elements of one of Star Trek’s most well-explored and understood races.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Captains Batel and Pike.
Captains Batel and Pike.

I’m going to start with the positives this week.

Four-and-a-Half Vulcans genuinely made me laugh. Like… out loud. Multiple times. A lot of the comedy, even though some of it wouldn’t usually be “my thing,” stuck the landing thanks to a combination of clever writing and creative performances, backed up by some well-planned staging, solid camera work, and even editing. Spock and La’an’s battle-come-dance sequence at the end of the episode, in which they moved through different areas of the ship, was incredibly well-executed, and that’s just one example.

Though this was an undeniably silly premise for a story, the way everyone involved really threw themselves into it made Four-and-a-Half Vulcans feel earnest in a way that not every Strange New Worlds comedy episode has done. But that’s the double-edged sword, and, for me, part of why Four-and-a-Half Vulcans doesn’t feel so special: it’s repetitive. Strange New Worlds has used a very similar premise several times already. If this were the show’s first comedy episode – or even the first Vulcan comedy or Spock comedy episode – I think it would’ve felt stronger, or at least more original. When I saw the promo photos and the teaser clip, I was already rolling my eyes and getting ready to complain because of how overused this core idea has been in a series that still hasn’t reached the thirty-episode mark.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing four humans transformed into Vulcans.
Vulcan comedy… again.

And that side of Four-and-a-Half Vulcans was very much a let-down. Strange New Worlds’ writers seem utterly fascinated – borderline obsessed – with the idea that “Vulcans are stuck-up, rigid, and unemotional… isn’t that hilarious?” There hasn’t been a single straight-laced Vulcan story in the show so far. We now know that cancellation is coming, and Strange New Worlds has actually passed its halfway point. I really, sincerely hope that if the show revisits the Vulcans in Seasons 4 or 5… we’ll get a different kind of story.

Because for all of its genuinely funny and engaging moments, Four-and-a-Half Vulcans was weighed down by that sense of repetition. We’ve been here before – more than once, and in all three seasons. We’ve done the whole “what if Vulcans were hilarious,” “what if Spock had emotions,” and “aren’t these autistic-coded aliens just a hoot” things so many times… I’m beyond over it. That didn’t stop me laughing at some of the episode’s well-played jokes and genuinely fun moments. But it drags it down several notches. More than anything, I hope Four-and-a-Half Vulcans will be Strange New Worlds’ final attempt to go down this road. And hey, if the writers have zero other ideas for what to do with Spock and the Vulcans? Just don’t use them. That would honestly be better, at this point, than another attempt at “Spock comedy.”

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Spock.
Spock.

Sorry, this was meant to be the “positives,” wasn’t it?

Anson Mount is funny. He has good comic timing, and I enjoyed his weird and quirky take on a human-who’s-not-quite-Vulcan. A character like pseudo-Vulcan Pike would be absolutely awful to watch week in, week out… but as a one-off and a change of pace? I liked it. And Mount’s performance was a big part of that, I think. I can see just by watching the scenes he had in sickbay and in Pike’s quarters that it must’ve been a ton of fun to perform.

However… we’ve had Pike the cowardly courtier in The Elysian Kingdom. Pike without his memories in Among The Lotus Eaters. Pike the singer in Subspace Rhapsody. And earlier this season? Pike the holo-TV producer in A Space Adventure Hour. That’s four episodes in which Captain Pike isn’t Captain Pike… in what we used to call “the Captain Pike show,” back when Strange New Worlds was little more than the target of a fan campaign. As with “Spock comedy,” I’m kinda done with the whole “let’s turn all our characters into totally different people!” premise. Strange New Worlds isn’t the only Star Trek show to have done this. But it is the only Star Trek show to have done it so often in such a short span of time. These aren’t twenty-five episode seasons of a show that’s gonna run for seven years. Forty-six episodes of Strange New Worlds are all we’re getting. And in several of them, Captain Pike isn’t himself. Again… I’m kind of over that premise. Let Pike be Pike!

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Vulcan Pike.
How about a Captain Pike episode in the Captain Pike show where Captain Pike… gets to be Captain Pike?

Sorry, sorry. Positives.

I liked Kirk and Scotty’s burgeoning bromance. I was surprised to see Paul Wesley back as Kirk so soon after his big turn in the captain’s chair. But building on his new friendship with Scotty was a fun angle, and it was actually one of the few elements of Four-and-a-Half Vulcans that was played pretty straight. Yes, Kirk and Scotty found themselves in a weird situation with Vulcan/Romulan La’an… but their friendship continues to grow. Paul Wesley and Martin Quinn genuinely work well together. Kirk is beginning to come into his own as the captain we remember, but Scotty still has an edge of nervousness or a lack of confidence that comes from youthful inexperience. There’s a cute vibe to how they interacted, this week… and I really liked it.

Kirk and Scotty got what was one of Four-and-a-Half Vulcans’ most over-the-top storylines, with La’an plotting and scheming her way to a multi-front war. I think the boys’ side of things was the better one, and certainly the most grounded. Two stellar performances kept things focused mainly on the younger versions of these characters, despite the shenanigans happening around them.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Scotty and Kirk clinking glasses.
Scotty and Kirk make a pretty good team.

Since I mentioned La’an, let’s talk about her next. I haven’t really had the chance to discuss this very much… but La’an’s connection to iconic Star Trek villain Khan has been, for me, almost a complete waste so far. Only a couple of episodes have so much as touched on La’an’s ancestry and the potential lingering effects of augmentation, and to be blunt, that’s not been good enough from Strange New Worlds. There are ways to use a character like La’an to talk about things like collective guilt, the dangers of eugenics and genetic engineering, or generational trauma. So far, we haven’t got much of that… making me feel, as time has gone by, that La’an should’ve probably been created as an original character without that connection to Khan.

However, this storyline did belatedly address some of that. It wasn’t a huge part of it, with La’an’s famous relative and augmented DNA only being referenced right at the end. But that explanation made sense to me and seemed to account for La’an’s changed persona when in Vulcan form. As an admittedly small and easily-overlooked nod to this under-utilised aspect of her character, I liked it.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Scotty stopping La'an.
La’an being zapped.

The scene between Pike and La’an in their Vulcan/Romulan guises was pretty funny. And I liked that Strange New Worlds linked up these two characters – both of whom are, as far as we know, the only people in Starfleet at this point in time to be aware of the connection between Romulans and Vulcans. The fact that they both had to cover this up to comply with the Temporal Prime Directive was alluded to, and added a lot to the scene. Obviously Pike came to learn about the Romulans in the Season 1 finale, and La’an did last season in her team-up with an alternate timeline version of Kirk.

The implication of this is interesting, though, if we take a step back. La’an basically turned into a Romulan, not a Vulcan, and Spock seemed to suggest that her augmented ancestry played a role in that. Is that a clue about the split between Vulcans and Romulans? Enterprise showed us our most comprehensive look so far at Vulcan history – including the Time of Awakening, after which the proto-Romulans left Vulcan. But it’s interesting, at least, to get this hint at genetic manipulation possibly playing a role in either the early history of the Romulans, or even in their society in general.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing La'an and Pike.
La’an and Pike.

Or perhaps the story wanted to highlight how thin the dividing line is between Romulans and Vulcans. That’s also an interesting idea, especially in light of Discovery’s far-future Ni’Var storylines. At any rate, I liked the idea that there could be some kind of augmentation at some point in Romulan history – and I felt that idea expands our understanding of the Romulans without treading on the toes of previous storylines.

Given how other parts of Four-and-a-Half Vulcans really leaned into the idea of “logic,” La’an’s transformation was a refreshing change of pace. Christina Chong can take a villainous turn remarkably well, and her performance – while no less over-the-top than any of the others this week – was still a lot of fun to watch. Again, this seems like an episode that would’ve been a blast to work on.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Kirk, La'an, and Scotty.
La’an becoming a Romulan, not a Vulcan, was a fun idea.

So let’s talk about the other Vulcans, then, and their transformations.

Though there was an attempt to address why Pike, Chapel, and Uhura were so emotionally repressed and logical, I felt it was a pretty flimsy way to hand-wave away an incredibly important part of Vulcan lore and history. Vulcans are not, by nature, stoic and logical. It takes a lot of effort and work on their part to box up their emotions the way they do, and just being physically Vulcan should not bring with it the decades of training that Spock went through to reach his more mature and logical state.

This was a narrative hurdle that I was really worried Four-and-a-Half Vulcans would trip over. And while we can say that the episode avoided the most flagrant violations of canon on a technicality… I’m still not sure that I like the result.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing three characters partway through their Vulcan transition.
The transformation process doesn’t look very pleasant…

Regular readers will have heard me talk about internal consistency before. I believe internal consistency is one of the absolutely foundational components of suspension of disbelief when engaging with any work of sci-fi or fantasy. Once it’s been established that magic, fictional technologies, or alien races behave a certain way, that’s gotta be something subsequent storylines stick with. If Star Trek was constantly changing how warp drive worked, for example, it would soon erode the core of one of the franchise’s key technologies. And when it’s been established that Vulcans are intensely emotional people who have to train for years to keep their emotions in check and present a logical face to the world… future stories have to stick with that.

However, by showing the flaws and weaknesses in each of the transformed characters’ applications of logic, Four-and-a-Half Vulcans actually does something genuinely interesting with this idea. It’s more than just cringe humour, and while I maintain that it feels like something that’s dangerously close to crossing the line into an outright violation of canon, there was at least somewhat of a point to it. And more nuance than I’d been expecting.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Pike at his desk.
Captain Pike was… illogical.

Pike, La’an, Chapel, and Uhura were completely unprepared for what being a Vulcan would feel like. And they found it impossible to adhere to a genuinely logical pattern of behavior, with all of them crossing lines and behaving like, as Spock put it, jerks. In that sense, I think we did actually learn a little more about what it must be like to be a Vulcan, and how intense their training and education must be to keep a logical lid on some truly illogical impulses and desires.

This was more than just pure comedy, and breaking it down, we catch a small glimpse at what being a Vulcan might feel like – something that, if you think about it, we haven’t seen much of outside of Enterprise. Parts of Four-and-a-Half Vulcans seemed to build on T’Pol’s storylines from Enterprise in an interesting way. Whether that was the intention or not… that’s how I read it. And perhaps I’m reaching, trying to find positive glimmers amidst a storyline I generally didn’t like. But I think that interpretation is there, and stepping back to Enterprise gives context to some of these scenes.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Spock and Chapel in sickbay.
The episode explored a bit more about Vulcans.

Pelia is legitimately one of my favourite characters on Strange New Worlds, and almost every scene she’s in is just… delicious. She’s so funny, she adds so much light-heartedness to the show, and even in an episode like this, where comedy was the focus, her scenes still stood out. It was also a change of pace to put Pelia with a different combination of characters. We saw her with Ortegas, Dr M’Benga, Spock, and Una, and I honestly can’t remember many (or any) times she’d really spent time with most of them. She’s the chief engineer, and though we do now have Scotty as a junior officer, the chief engineer role on a Star Trek series is still an important one.

What I got from Pelia’s scenes, more than just a good laugh, was how she is genuinely friends with the rest of the crew. They like her, and she likes them. Because of how little screen time Pelia tends to get, and how inconsistent her appearances are – with her disappearing for multiple stories in a row, sometimes – there’s been less of an opportunity to show that. This week, with everyone hanging out in her quarters, I felt like she was a fully-fledged member of the crew. And I liked it. Oh, and Pelia’s quarters being shielded from the ship’s sensors? Love it.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Pelia in bed.
Pelia is so funny. I love her.

Though Chapel and Uhura got arguably the less-interesting Vulcan storylines, both had their moments. Uhura trying to solve problems with mind-melds and forcibly “brainwashing” Beto was… weird. But it was nice to welcome back Mynor Lüken on this side of the story. I still think Beto and Uhura have good chemistry, and giving the younger Uhura a romantic interest is – if done well and explored more in future – a solid idea I can get behind.

Chapel’s single-minded focus on work was also interesting, especially as she began severing relationships and friendships in the name of efficiency. I felt a little of Seven of Nine in this characterisation, as Chapel prioritised doing as much work as possible ahead of everything else. Bringing back Dr Korby in the closing moments of the episode rounded out this storyline quite well.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Uhura meditating.
Uhura in her Vulcan form.

If I might nitpick… Dr M’Benga and Una both said that they couldn’t force Pike and the others to return to their human states. And Una was unwilling to remove Pike from command, despite his erratic behaviour. But surely on medical grounds… the affected officers could have been relieved of duty. When it became clear that Pike could no longer effectively command the ship, and was issuing nonsensical orders like 45-minute shift changes, or when La’an was rigging the ship’s weapons for all-out war… intervening at that stage was definitely an option. In fact, it should have been mandatory.

In previous iterations of Star Trek, we have seen officers relieved from duty for less! I can appreciate why, in the beginning, Una and Dr M’Benga might’ve taken a “wait and see” approach, rather than trying to force Pike and co. to return to their human states. But when it became clear that they were being adversely affected by their transformations, steps would surely have been taken by a competent commander and medical professional to, at the very least, take them off duty for a while.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing the crew chatting in Pelia's quarters.
These characters could (and arguably should) have intervened before things went too far.

Doug was an interesting character, but in a busy episode, I don’t think we got enough time with him to really explore who he is or what he was even doing. He and Una made a fun pair, but we never really understood why they have such an unstoppable effect on one another. “Pure lust” doesn’t seem like something Una would experience, to be blunt about it, and even if she did… even if Vulcans and Illyrians have some kind of effect on each other… surely two grown adults are capable of behaving themselves long enough to have a serious conversation. It was a silly aspect of an already silly story… and one that was too over-the-top for my taste in an episode which had no shortage of such moments.

I was also disappointed that, after all the buildup to Doug’s arrival, we didn’t actually see him do anything of consequence to the plot. The writers and producers chose to show Doug – played by wonderful guest star Patton Oswalt – flirting with Una, sharing an awkward drink with Spock, and then doing whatever Vulcan magic he did entirely off-screen, before reuniting for one final flirty scene with Una. “Show, don’t tell” is something they teach every budding writer in their first ever lesson… and with Doug’s Vulcan katra magic being the climax of the episode’s story… it felt wrong that it happened entirely off-screen. Was it really straightforward? Did Doug just… snap his fingers, putting everyone to rights? Or did it take him a week of intense study, meditation, and working in a lab? We don’t know because we saw zero seconds of any of it.

Still frame from Star Trek: Strange New Worlds, 3x08, Four-and-a-Half Vulcans showing Doug.
Doug.

Four-and-a-Half Vulcans was funnier than I expected, and a better episode all around than I feared it would be from the photos and promo clip. But it wasn’t fantastic, it still has some significant weaknesses and contrivances, and above all, it relies on a premise that Strange New Worlds has thoroughly burned out. Please… please… let this be the last “Vulcan comedy” episode we get in this show. I can handle more light-heartedness, and I’m fine with more episodes that use overtly comedic premises and styles. But not another one where the focus is Spock and the Vulcans. We get it: Vulcans can be funny. But that’s enough for now. Try something else with the Vulcans, perhaps. Or give Spock a storyline that isn’t either slapstick comedy or depicting him slowly sleeping his way through every female member of the Enterprise crew. If you can’t think of anything that fits the bill… sideline Spock for an episode or two and do something else. Because I am thoroughly, utterly, and completely done with these kinds of stories at this point.

So that’s all for now, I guess! I didn’t hate Four-and-a-Half Vulcans. I didn’t even dislike it as much as I half-expected, half-worried that I would. But I did find it repetitive, perhaps a little too silly or over-the-top in places, and its strengths – like a genuinely good storyline for Kirk and Scotty – couldn’t outweigh its weaknesses. The result is an episode I probably won’t watch very often in the future.

Next week, we have Terrarium, which I know absolutely nothing about at this stage. The name doesn’t give very much away, and there haven’t been any photos or clips released ahead of its premiere yet. Maybe that’s because there’s some big secret being kept? “Terra” could hint at the Mirror Universe, perhaps – though I hope that’s not the case, to be honest! Or a “terrarium” could refer to an enclosure, perhaps suggesting Pike and the crew will become trapped. Those are total guesses, though. I guess we’ll have to tune in to find out!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ooh, A Star Trek: Voyager Game…

A Star Trek: Voyager-themed spoiler warning.

Spoiler Warning: There are minor spoilers ahead for Star Trek: Voyager, as well as details about the upcoming game Across the Unknown.

A few days ago, at the video games industry’s big Gamescom event in Germany, a brand-new Star Trek game was announced. I was very briefly excited… then disappointed when I learned it was going to be VR-only. Star Trek: Infection looked genuinely fun… but I can’t get on with VR, so I doubt I’ll be able to play it unless it gets ported to non-VR systems in the future. “That’s a shame,” I thought, decrying that the only new Star Trek video game of the past couple of years was gonna be exclusive to VR. But oh well. Life goes on.

I mean, there’s no way the Star Trek franchise is gonna announce two video games at the same event within days of each other. Not after being radio-silent on video games since Resurgence and that Prodigy tie-in game were released. Right?

Star Trek: Voyager – Across the Unknown has just been announced by GameXcite and Daedalic Entertainment. It’s billed as a “story-driven survival strategy game” in which you, as the player, get to take command of the legendary USS Voyager during its journey home.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
Are you ready to take command of the USS Voyager?

Wow. That honestly sounds like a great premise!

The game sounds like a kind of Fallout Shelter or U-Boat, with some amount of starship management in addition to the narrative choices. And that kind of game – where you get to manage and maintain the systems aboard your ship – has been one I’ve wanted to see Star Trek try out for a long time.

Voyager is a great show to use as inspiration for that kind of game. Being lost and alone, far from Federation space, gave Captain Janeway and the crew a lot of leeway when it came to making changes aboard Voyager: things like the Mess Hall and the assimilated cargo bay come to mind! And the unique community that the crew built – that sense of camaraderie that came from being the only humans in this far-flung part of the galaxy – could give the game almost a “cozy” vibe, perhaps.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
Different rooms and decks.

Voyager also led to one of the Star Trek franchise’s few games that genuinely broke out of the Trekkie community to go somewhat mainstream: Elite Force. That game was a darling of early 2000s LAN parties, acquiring a good reputation with a wider audience – something very few Star Trek games have ever done, if you think about it. I don’t want to just assume that Across the Unknown will come anywhere close… but there’s precedent, at least, for potentially expanding the Star Trek fan community a little.

With all that being said, there are some caveats. Star Trek games, both recent and not-so-recent, haven’t always been particularly good… and that’s putting it mildly. Star Trek’s corporate overlords have never really seen the potential in video games as an artistic medium, and practically no licensed Star Trek game has been afforded a sufficiently high budget. The result? Compared to other big sci-fi franchises, like Star Wars and even Alien, Star Trek hasn’t made much of an impact in the video game realm, and some titles have been genuinely quite low-quality.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
This looks like an away mission.

And… to be blunt, I’m getting a bit of a “cheap knock-off” vibe from the trailer and some of the screenshots of Across the Unknown. The graphics look okay, don’t get me wrong. Maybe a bit last-gen, but for a game that won’t have been given a blockbuster budget, that’s okay. But a game like this lives or dies on the quality of its management and sim elements – that’s the appeal of assuming command of the USS Voyager in a game like this. And I’m just not blown away by what I’ve seen, to be honest.

Perhaps, though, that’ll turn out to be a good thing. If I go into a game hyped up to the moon and it doesn’t live up to it, I’ll be disappointed. But if I have low expectations… it’s easier for a game to exceed them! So maybe my Fallout Shelter comparison is apt; maybe that level of quality and interactivity is about right.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
This looks like a map screen, perhaps showing the available planets/star systems that can be visited.

I still need to play Resurgence. It kind of released at an awkward time for me personally, when I was feeling a bit burned out on Star Trek as a whole. I bought it, but it’s sat un-played in my Steam library ever since. Hopefully, though, I can get around to Across the Unknown a bit more quickly when it’s ready! At this stage, there’s no release date – but it could be sometime next year, maybe, based on nothing but the timing of the announcement.

I’m not familiar with developer GameXcite. The company seems to be based in Germany, and so far has released two Asterix and Obelix mobile games and one console/PC game. Oh, and for some reason… development of all of their games (including Across the Unknown) is partially funded by the German government. Go figure. The PC version of Asterix and Obelix: Heroes has a “mostly positive” rating on Steam, and I can’t see any complaints about the game running poorly, crashing, or suffering from game-breaking bugs. Which already puts it light-years ahead of 2013’s Star Trek tie-in game!

Promotional screenshot for Star Trek Voyager: Across the Unknown.
A very pretty master systems display!

But you may have heard of Across the Unknown’s publisher: Daedalic Entertainment. If that name sounds familiar, well… it’s because Daedalic was responsible for 2023’s The Lord of the Rings: Gollum, which was a broken, unfinished mess, and quite literally one of the worst games to launch that year. There’s a difference, of course, between Daedalic’s now-closed development studio and the company’s publishing arm. And Daedalic has published some genuinely good titles: Partisans 1941, for example, and 2023’s Barotrauma, which is a comparable kind of management/narrative game set on a submarine.

I’m trying to keep my expectations in check for Across the Unknown. The game’s blurb mentioned that there are twelve “sectors” of the Delta Quadrant to explore, which could mean there are basically twelve stages/levels. That… doesn’t sound like a ton of content, though I suppose it depends how detailed these sectors are, whether there are multiple star systems to visit in each one, and how many narrative events there could be. The blurb mentioned familiar faces from the show, like the Caretaker and Borg, returning, too.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
The USS Voyager approaching a star.

One of the most interesting ideas, though, are the so-called “rogue-lite elements” that Across the Unknown promises to incorporate. Narrative inflection points, where choices can lead to completely different outcomes, potentially including things very different from what we saw in the TV show, sound genuinely interesting. If handled well, there could be some replayability here, making each run through the game feel different – assuming you pick different options each time!

The danger here is that there will be one “optimal” run, where, if you do everything just so, you get the best outcome, or the outcome that closest resembles the TV show. Part of the fun of an idea like this – taking the Voyager story but allowing players to make different choices – is that some of these choices could actually lead to better or just radically different outcomes. In short… if every choice except the one Captain Janeway made leads to instant death or the ship being wrecked on an asteroid, that’s not gonna take full advantage of this style of gameplay! So I hope the developers are aware of that and are at least trying to make these choices feel different and meaningful.

Promotional screenshot for Star Trek Voyager: Across the Unknown.
Ooh, it’s Harry Kim.

So that’s all for now. I shall follow Across the Unknown’s progress with interest, and when it launches – which could be next year – I daresay I’ll pick up a copy and check it out. If possible, I’ll try to write a review here on the website… but my track record with such things isn’t great, so someone might have to remind me if I forget!

Now… with Voyager getting some love in its 30th anniversary year, how about that HD remaster? Hmm, Skydance? HD remaster? HD remaster of Voyager from Skydance? Skydance’s HD remaster of Voyager to stick on Paramount+? Come on… you know you want to!

This was good news, though, and as Voyager celebrates a milestone anniversary, it’s nice to see the series getting a bit of attention from Star Trek’s corporate overlords. I’m trying to keep my expectations at a reasonable level, but if this game manages to make good on its premise, it could be a lot of fun.


Star Trek: Voyager – Across the Unknown will launch for PC, PlayStation 5, and Xbox Series consoles at an unknown future time. Star Trek: Voyager – Across the Unknown is the copyright of GameXcite, Daedalic Entertainment, and Paramount/Skydance. The Star Trek franchise – including Voyager and all other shows discussed above – is the copyright of Paramount/Skydance. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 7: What Is Starfleet?

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Minor spoilers are present for Picard Season 1, The Original Series, and Deep Space Nine.

Strange New Worlds remains a fun, episodic, and eclectic series. Just in Season 3 so far, we’ve had a zombie episode, a noir mystery on the holodeck, and a dimension-bending away mission. So when this week’s episode was presented in the style of a Panorama or PBS Frontline documentary… yeah. That tracks!

What Is Starfleet was incredibly creative and well put-together. It draws clear inspiration from modern documentary films and investigative journalism, splicing action with interviews, and the way it unfolded made it a genuinely interesting watch. It could also feel intrusive and more than a little frustrating, particularly as the action would cut away from what was unfolding to focus on another interview or clip that didn’t seem to move the main story along. The overall result? An episode I have mixed feelings about, I’m afraid.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the documentary title card.
The documentary’s title card.

Beto is not a totally brand-new character, having been built up over several earlier episodes. That should be a saving grace for What Is Starfleet, because we’ve at least started to get to know Beto, and we’ve seen him interacting with and getting to know some of the characters on the show already. But… the way this documentary was presented felt intrusive to practically all of the other characters. And because they are our real protagonists and have been for two-and-a-half seasons already… we’re on their side more than on Beto’s, even when naked plot contrivances seemed to be painting Starfleet and Captain Pike in a less flattering light.

It was obvious that the only two characters who were even potentially interested in being interviewed were Uhura and Erica Ortegas – and both of those come with caveats. Captain Pike, Dr M’Benga, Spock, Una… none of them were okay with this. They were complying because they’d been ordered to, but they really weren’t game for having their personal and professional lives exposed and dissected on camera. And again, because they’re the people we care about more than Beto, a significant chunk of What Is Starfleet felt uncomfortable, like it was being presented from the wrong character’s point of view.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Dr M'Benga.
Most characters – like Dr M’Benga – were unwilling participants in the documentary.

Maybe that’s supposed to be part of the point. Some films and TV programmes want you to feel uncomfortable, want to show off negative or less-positive traits from some of their characters, and this documentary format is particularly well-suited to doing that. But if that was how it was meant to come across, then I question both the intent and the execution. What would be the point, in a series like Strange New Worlds, of trying to light up in neon some of the main characters’ ambiguities and questionable backstories? What do we gain by that? Because it feels like something that was contrived for the sake of being an uncomfortable experience… not to lead to any kind of character growth or narrative payoff.

And we aren’t just considering this documentary within the confines of Strange New Worlds – but in the context of 950+ Star Trek stories over almost six decades. Impugning the character, values, and overall decency of Starfleet, as Beto seems to aspire to do in the beginning… it doesn’t sit right.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Dr M'Benga's war record.
Dr M’Benga’s wartime record.

This side of the episode also horribly mixed its metaphors. Though I question whether it could be successfully pulled off, presenting the Federation and Starfleet as akin to an “empire,” ruthlessly expanding, using questionable weapons of mass destruction, threatening non-members… there could be real-world parallels there. It’s the distinction between how the United States likes to see itself – a paragon of virtue, extolling democracy and freedom – versus how the country can be seen by other countries around the world. Asking us as the audience to consider, even for a moment, whether non-Federation members and non-Starfleet personnel might see these organisations in that way has potential. It worked in Deep Space Nine with stories about Bajor and especially with the Maquis.

But the ending completely undermines all of that. Beto goes from making a hard-hitting investigative piece, complete with implicit accusations of war crimes and empire-building, to making a puff piece; basically pro-Starfleet propaganda. Though I don’t think this story, told in this format, had the kind of complex morality that would’ve lent itself to a discussion of Starfleet as a tool of imperialism… if that’s the angle you want to go for, you kind of have to commit to it. What Is Starfleet didn’t, resulting in an ending that felt abrupt and tonally wrong compared to everything that led up to it.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Pike holding a wine glass.
The end of the episode came across like a puff piece – or a recruitment commercial.

In an episodic show, you get contrivances sometimes – it’s part of episodic storytelling. In order to get to the main event, sometimes you have to brush aside an important point or sideline a character. It’s never great, but it’s a compromise of the medium. Even with that context, though… Starfleet’s off-screen orders for the Enterprise to work with this alien race and deliver their biological weapon felt incredibly flimsy. It was clearly set up to be as dark and negative as possible, so that the episode (and Beto as the filmmaker) could imply as many bad things as possible.

And again, contrivances are a hazard of episodic TV. There are many instances in Star Trek where the Enterprise has been ordered somewhere “just because,” jump-starting the events of a more interesting storyline. But there really aren’t that many episodes I can think of where the reasoning behind Starfleet’s orders is so deliberately obtuse.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Pike and Una conversing with Starfleet Command.
There was no reason for Starfleet to be so annoyingly secretive other than “because plot.”

There was scope for a potentially interesting conversation about the “Nuremberg defence.” If you’re unfamiliar with that term, it refers to the expression “I was only following orders,” something many of the defendants at the Nuremberg trials after World War II would go on to claim. In the context of this story, Starfleet basically ordered Pike and the crew to transport a pretty terrifying weapon – a weapon created by interfering with a sentient life-form. The secrecy and “need-to-know basis” for the information pertaining to the mission at least suggests or hints at Starfleet’s higher-ups being aware of what they were doing.

But What Is Starfleet doesn’t do that. It flips things around, showing how Starfleet is “just us, the good people who serve,” and that kind of ignores a massive in-universe point about the nature of orders, who’s giving them, and what outside agendas might be involved. We didn’t get a satisfactory explanation for why Starfleet was inserting itself into this war between two non-Federation worlds, nor whether they knew of the capabilities of this sentient, genetically-modified weapon of mass destuction. “I was only following orders” is not an acceptable defence today, in the modern world, for something like the trafficking of sentient beings, let alone transporting weapons of mass destruction to one side in a war your state is not a participant in. So why would that be okay in the 23rd Century?

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the Jikaru.
The episode sets up an interesting and morally complex idea – then dumps it right when it could’ve mattered.

What Is Starfleet could’ve posed those kinds of questions – but when it came to the crux, the episode’s writers and director baulked. They teed up these questions about Starfleet inserting itself into someone else’s war, not as a peacemaker but as a gun-running, human trafficking ally, and about how the chain of command operates. But then, after an admittedly emotional chat with Uhura about his personal agenda and ulterior motive, Beto does a complete 180 and turns his documentary’s final act into a celebration of all things Starfleet that’s so sickeningly upbeat that it comes across like propaganda or an enlistment ad.

And so… from both an in-universe perspective, and for us as the audience, Beto’s documentary feels fundamentally unsatisfying and tonally wrong. It’s as if you’d sat down to watch what you thought was a hard-hitting episode of PBS Frontline or Panorama about the war in Iraq, the lies that led to the war, and the criminal actions of the military… only for the film to end with a feel-good story about camaraderie and friendship, and an ad to join the army at your nearest recruitment station. Starfleet is – as the documentary points out – the Federation’s military, after all, so when the episode and the documentary end with this kind of puff piece… that’s how it comes across to me, at any rate.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the dinner party.
This didn’t feel like the right ending.

A couple of weeks ago, Pelia was one of the most fun and engaging characters when dealing with Beto and his camera. She seemed to relish in hamming it up, almost hoping for her turn in the spotlight. That could’ve added a small amount of levity to what was a quite heavy story this time, and What Is Starfleet could’ve looked at the connection between Pelia and Beto, as well as, perhaps, how a filmmaker might deal with an overly enthusiastic participant. But, for no discernible reason, Pelia was entirely absent.

Given the Jikaru’s energy/electromagnetic abilities, and the damage sustained to the ship and shuttle, there was scope to bring in an engineering character, but neither Scotty nor Pelia appeared. If I had to choose just one of them, I’d have picked Pelia – I just think she brought something completely different to the table when dealing with Beto. It would’ve been fun for us to see him having to deal with her antics, but she could’ve also had a role in the story. Not only could we have seen her attending to the Enterprise’s shields, and perhaps Beto struggling to keep his composure during an interview, but Pelia could’ve also helped Pike deal with the intrusion of having a camera in his face. I’ve felt her absence in several stories this season – but none more so than this one.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing an engineer reparing damage to the Enterprise.
Where were Pelia and Scotty during all of this?

All of this must make it sound like I hated What Is Starfleet. I didn’t. I liked the creativity. I liked that, after 950+ episodes and films, Star Trek can still break new ground and try different things. I liked that, hidden underneath the documentary format, there was a classic Star Trek story which felt like it came straight out of The Original Series or Deep Space Nine. And I liked many of the character moments – particularly Pike’s conversations with Una, and Uhura’s with Beto. I just think that some of the episode’s goals weren’t clear, and that maybe there was a bit of story meddling which ultimately led to quite a jarring shift in tone.

This was a non-linear approach to storytelling – the narrative was broken up by interviews and vignettes, but underneath it there was a classic Star Trek episode. I’d still have the same complaint about Starfleet Command’s unnecessary secrecy and obtuse orders without the documentary format, but on that side of the story, that’s pretty much the only weak link. The tale of an alien race corrupting a life-form for its own selfish purposes, and Starfleet intervening, coming down firmly on the side of protecting sentient life? That’s a classic “morality play” right out of The Original Series. And the idea of Starfleet potentially investigating this kind of weapon, inserting itself in a foreign conflict? The same kind of morally challenging storytelling was on display in Deep Space Nine.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the main viewscreen showing the Jikaru and the Lutani warship.
The Jikaru and the Lutani warship.

I think the core story at the heart of What Is Starfleet would’ve made for a perfectly entertaining episode in its own right. And maybe, without the documentary trappings, it might’ve even been a bit more fun! I like when Star Trek gets into these morally grey areas – why was the Enterprise ordered to help this non-Federation member with Klingon ties? Did Starfleet Command know that the Lutani were illegally enslaving a sentient species to serve as weapons of mass destruction? Seeing Pike and the crew coming to that realisation was great… but without the unique format, I can’t help but feel it might’ve worked even better.

Because the interviews didn’t really expand our knowledge or understanding of any of the featured characters, basically just re-telling things we already knew, like Uhura’s family, Ortegas’ injury, Spock’s half-human side, or Dr M’Benga’s war record, there’s a strong case to be made that they… got in the way. And that what could’ve filled that space had they not been present was a more in-depth look at the Lutani, their unethical experiments on the Jinkaru, and Captain Pike’s realisation that his orders were morally wrong. That version of the episode – one played straight, without the documentary fluff – would have been fun to see.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Pike being interviewed.
Captain Pike.

There are a couple of other in-universe points I want to tackle re. the documentary, then I promise we’ll move on to discuss other parts of the episode!

Firstly, this documentary idea leaned on something modern Star Trek has done that I’ve never been particularly comfortable with. In short, the idea of making a documentary about the crew of the Federation flagship means that, to the ordinary Federation citizen, Captain Pike and at least some members of his crew are gonna be akin to celebrities. The implications are that either people knew who they are already, or that the documentary is going to raise their profiles and make them famous, for want of a better word.

I’ve never really liked that idea. In some Star Trek stories, it could work. When Enterprise did it in Season 4, turning members of its crew into heroes, there was a narrative purpose – but when we’ve seen similar attempts, such as in Picard’s premiere episode, or with Boimler in Lower Decks fangirling about certain Starfleet officers, it just felt weird and uncomfortable. I like to see the characters in Star Trek as everyday folks doing their jobs in this fun future setting. Some of them are exceptional, yes, but part of that is because they live in a post-scarcity future where “exceptional” is becoming the norm. They aren’t meant to be their world’s equivalent of celebrities, so this idea of a documentary all about them – making them famous people in the 23rd Century – just isn’t sitting right.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Uhura and Spock on the bridge.
Uhura and Spock.

Then we have an interesting in-universe question: would a documentary like this actually make it to air? Would Starfleet be okay with a documentary implying one of its senior medical personnel is a war criminal? Or that showed a sensitive mission involving a non-Federation member, a weapon of mass destruction, and classified orders? If this was an independent production, maybe. But the whole idea behind Beto’s work is that he’s been commissioned by Starfleet to make this film – Pike and the crew are basically under orders to work with him and let him observe them, otherwise you can bet Pike wouldn’t have allowed him on the bridge. With that context, would Starfleet be okay with this film?

Starfleet Command would undoubtedly like the ending – how could they not? It’s basically pro-Starfleet propaganda and a recruitment ad rolled into one. But the rest of the film really does portray the organisation and several members of the crew in an extraordinarily negative light, so the idea that the people at Starfleet HQ who originally wanted this documentary to be made would give it the green light is ridiculous. And, also from an in-universe perspective, I’m not sure I buy the idea of Starfleet declassifying all of this footage of its operations, broadcasting it to all and sundry. Maybe that’ll become an issue in another episode – perhaps the Klingons watched Beto’s documentary, figured out some weakness in the Enterprise, and are planning an attack. I doubt it, but it could at least be a way to incorporate the documentary into a future episode.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the bridge of the Enterprise.
Might the Klingons have watched Beto’s documentary?

Okay, that’s enough about the documentary for now.

So I guess Strange New Worlds isn’t going in the direction I thought it was with Ortegas and her hinted at PTSD-like condition. Her scenes in the documentary this week, in which she discussed her injury and recovery, seem for now to be the culmination of that storyline, and I don’t really see how, with three episodes remaining this season, this storyline can come back in a significant way. It was understated and not what I expected, but I can respect What Is Starfleet for the undramatic and mature way it approached this storyline.

I confess I’d been expecting more of an ending, though. I don’t think it feels unsatisfying, but Ortegas’ storyline had been set up right at the start of the season, then we got her big blow-up with Una in Shuttle to Kenfori, and I’d been sort of waiting ever since for this unnamed PTSD-adjacent mental health condition to return. With Ortegas never having gotten a major storyline of her own, this could’ve been her turn in the spotlight. I think there’s value in a storyline that basically says, “yeah, I was struggling, but with determination and time I’m doing better.” I wish we’d seen a bit more of it over the course of the season, though; Ortegas seemed to go from struggling badly to snapping out of it in between episodes, where recovery and coming to terms with trauma is a process, not an instantaneous thing.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Erica Ortegas smiling.
I wish we’d gotten a bit more time with Ortegas this season to explore her mental health – but this ending was solid in an understated way.

Uhura was at the heart of What Is Starfleet, and her connection with Beto was interesting. However, there was a moment towards the end where Uhura seemed to go from “I can’t believe you’re recording this, leave me alone” to “I’m having an invasive medical procedure, bring your camera” in no time at all. Conflict between characters is great; it adds to the extension in a situation like this. And I get that Uhura was absolutely the right character to call out Beto on his agenda and potential conflict of interest. But I think we needed at least one scene in between their blow-up in the ready room and Uhura’s visit to sickbay to sell that they’re still on speaking terms.

That being said, Beto’s realisation that he was compromising his work and coming into it with an agenda was played incredibly well. I liked how the camera lingered on Beto – picking up on his line a couple of weeks ago about the camera being programmed to follow the strongest emotions in the room – as he sat with the idea that he was projecting onto Starfleet his anger and fears after what happened to his sister.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing a close-up of Beto, looking emotional.
Beto.

The scene was also incredibly well-written, and it built on Uhura and Beto’s established relationship particularly well. I think we were getting to a point where, in theory, anyone *could* have called out Beto for his anti-Starfleet agenda, but if it had been Pike or Dr M’Benga, for example, it wouldn’t have packed as much of a punch. It took Uhura to see through Beto – not only what he was doing, but why he was doing it and why he felt the way he did. It was a great way to build on a fun character dynamic from earlier in the season, taking the pair in a more serious and dramatic direction.

Has it killed any possibility of an Uhura-Beto romance, though? After she called him out like that, and after Beto had been pushing his agenda the whole time, I can see both of them not wanting to take things any further. Maybe that’s a reach – or maybe Beto will be gone after this episode, now his documentary is over – but I liked the idea of giving this younger version of Uhura some kind of romantic entanglement. Spock can’t be the only one who gets to have that kind of storyline, after all!

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Beto and Uhura.
Beto and Uhura made for a fun pair earlier in the season.

One thing I really liked about Beto, and I admire about the character on a personal level, is how he left all of that in the documentary. He could’ve said “cut!” and left out the part where Uhura basically calls him out on his own show for his bias and anti-Starfleet sentiments. But he didn’t. It added to the feeling that this was the kind of “warts and all” investigative piece that What Is Starfleet’s writers were drawing inspiration from. And I think it (belatedly, perhaps) paints Beto in a positive light. For all his flaws, he was dedicated to the truth more than to his own image.

I felt echoes of Jake Sisko in this side of Beto. In the DS9 fourth season episode Nor Battle To The Strong, we see Jake and Dr Bashir diverted to a warzone – where Jake fails to distinguish himself in combat. Jake writes up his experiences for the Federation News Network, including his cowardice, his abandoning of Bashir, and the sheer dumb luck for which he was hailed as a hero. Beto, in What Is Starfleet, does something similar by allowing his conversation with Uhura – and by extension, the agenda he had going into the documentary – to make it into the final cut. Both men exposed their own flaws and vulnerabilities. As I’ve said before… Star Trek doesn’t copy itself, but sometimes, story beats just rhyme.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Beto lost in thought.
Like Jake Sisko in Nor Battle To The Strong, Beto kept his documentary open and honest, even about his own flaws.

I’m not sure that this was a particularly good episode for Captain Pike. I don’t mean that in terms of screen time, but characterisation. Pike went hard on the “need-to-know” aspect of his orders, which made sense in the context of the story, but didn’t do wonders for a man who’s supposedly on friendly terms with his crew. There was a bit of broken trust there, I felt, and it begs the question of how much Pike knew about the Jikaru and what the Lutani had been doing to them before the mission got underway.

It was nice to see how Pike – eventually – came around to the idea that the Jikaru was sentient, and that interfering with it was morally wrong, even if it was within the scope of his orders. But it took him a while to reach that conclusion, even after Uhura and Spock had pressured him about it. And it doesn’t account for what he may or may not have known about the mission and the circumstances surrounding the Lutani and their unethical experimentation on a sentient life-form. Sometimes less is more… but here, we needed to know from Captain Pike, firsthand, that he was as surprised as everyone else about what was going on.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Pike, Una, Uhura, and M'Benga in the ready room.
Pike with Una, Uhura, and Dr M’Benga.

Though we didn’t spend much time with the Lutani, I enjoyed the two characters we got to see. The first scientist died in a pretty gruesome way, succumbing to her injuries in sickbay. The second Lutani, the commander of their warship, got a one-on-one with Captain Pike, and I liked this character. There was a desperate edge to him; pleading for this unethical super-weapon his people had developed as it was, in his view, a last line of defence.

The actor, Shaun Majumder, reminded me of DS9′s Armin Shimerman in terms of how he spoke, and that was kind of fun to listen to! The Lutani are probably going to be among Star Trek’s many one-time-use aliens; I don’t expect we’ll see them coming back in a big way. But they had a neat design – the silver-grey colour at least helps them stand out from other “nose and forehead” humanoid aliens. Nothing to write home about, perhaps, but a solid and pretty nuanced antagonist for the story they were a part of.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing the Lutani commander.
The Lutani commander.

Ever since Discovery debuted, live-action Star Trek has used a cinematic “letterbox” aspect ratio… and I hate it! Okay, “hate” might be too strong a word, but c’mon… what’s wrong with a standard widescreen ratio that actually fits properly on most people’s TV screens? It feels like every episode has content cut off; like I should be seeing more of the action. What Is Starfleet finally ditched that – and it was consistent in using a 16:9 aspect ratio for the entire episode, unlike A Space Adventure Hour, which only used it for its show-within-a-holdeck-programme-within-a-show segments.

I admire Strange New Worlds’ producers for going all-in with whatever ideas they have. We got the animated ending to Those Old Scientists in Season 2. We got the a cappella opening theme in the musical episode. We got a 16:9 aspect ratio this week, mimicking those TV documentaries and investigative news pieces that the episode drew inspiration from. Long may this experimentation continue!

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing a hand reaching for a phaser.
A phaser pistol in the armoury.

It was a ton of fun to see the shuttle Galileo again. The Galileo was made famous in The Original Series episode The Galileo Seven, and a shuttle bearing the same name has been a mainstay in Strange New Worlds since Season 1. Maybe I’m misremembering, but I felt the design of the shuttle that we saw this week was much closer to that TOS presentation than to earlier Strange New Worlds episodes – it felt a lot more familiar to me, at any rate.

The sequence aboard the shuttle was one of the most tense in What Is Starfleet, with Spock attempting a long-range mind-meld with the Jikaru. I’m not sure how we went from “Spock’s the only one who can do this because of Vulcan telepathy” to “anyone can thanks to this gadget,” but I guess that’s a minor point. The danger of the shuttle mission was well-established, and as the camera lingered on Pike, you could see how worried he was for the safety of the away team.

Concept art created for Star Trek: The Original Series showing the interior of the shuttle Galileo.
The Original Series concept art showing the shuttlecraft interior.
Image Credit: Matt Jeffries via Forgotten Trek.

I’ll continue to compliment Strange New Worlds for taking a step back from Spock’s love life. When Chapel joined the away mission (why not Dr M’Benga?) I was a little worried that they’d drag that up again, but I was pleasantly surprised. There’s so much more Strange New Worlds can do with Spock than either comedy or romantic storylines, and I’m glad we got to see him in that kind of role this week. What Is Starfleet leaned into Spock’s role as the Enterprise’s science officer, but it also allowed him – in his own words and at his own pace – to touch on his half-human heritage.

This continues a trend from Enterprise (and really, as far back as The Original Series) of Vulcans being a pretty prejudiced lot. Despite their lofty claims of enlightenment and aloof nature, Vulcans are just as prejudiced as humans when it comes to race and racial purity. Enterprise took a deep dive into this side of the Vulcans, but it was always present. I remember Sarek’s line of Spock being “so human” in The Final Frontier, just as one example. Considering that next week’s episode is titled Four-and-a-Half Vulcans, calling attention to Spock’s heritage in What Is Starfleet might prove to be some clever foreshadowing. Or just a timely reminder.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Spock's training.
Part of Spock’s training/meditation.

Alright, let’s start to wrap things up.

What Is Starfleet was a creative idea for an episode. Beto’s earlier appearances this season built up to it, meaning the idea of a full-blown documentary episode didn’t come from nowhere. The writers, producers, director, and editors clearly had a lot of fun researching documentary films and investigative news pieces, and the resulting episode emulates that style incredibly well. There were also great moments of characterisation for Beto and Uhura in particular, with Mynor Lüken and Celia Rose Gooding putting in incredible performances to bring their characters to life.

However, there are some flaws that keep What Is Starfleet from really soaring. I really felt the absence of Pelia, as her chaotic energy and previous run-in with Beto could’ve added a lot. I can’t help but feel that a more traditional episode, playing the story straight without the documentary style, might’ve been a better fit for this story of the Jikaru and Lutani, and would’ve allowed a bit more time for characters like Pike to shine. And, unfortunately, the documentary itself feels quite jarring, with a massive tonal jump from “investigative hit piece” to “recruitment ad” right at the end.

Still frame from Star Trek: Strange New Worlds S03E07 "What Is Starfleet?" showing Spock in away team armour.
Spock.

A bit of a mixed bag, then. Nothing was out-and-out bad, and I will happily watch What Is Starfleet again. It’s a self-contained episode, one that doesn’t require a lot of background information from earlier stories to shine. Ortegas’ storyline is probably the most reliant on what came before, but I think it’s explained well enough within the documentary itself – and particularly through Uhura’s conversation with Beto – that even that aspect can be understood without much prior knowledge. I’m a little underwhelmed by this apparent resolution to Ortegas’ story, but at the same time I can respect Strange New Worlds for going for a more realistic and less drama-laden ending to her struggles.

We caught a glimpse of Captain Batel in the dinner party sequence right at the end, but this is now the second week in a row where her deadly, near-fatal illness and unconventional treatment haven’t been mentioned. As above, I love episodic television, and I don’t want Strange New Worlds to turn into a serialised show like Picard or Discovery. But… sooner or later, we have to pick up this storyline, right?

Next week, we have Four-and-a-Half Vulcans. I’ll level with you: I’m not looking forward to another “Vulcans are so stuck up, let’s use that for laughs!” story outline. Strange New Worlds has scope to do so much more with Spock and the Vulcans, yet almost every time they’ve appeared it’s been in a comedy story with a flippant tone. I hope I’m misjudging Four-and-a-Half Vulcans, and I’ll do my best to go into it with an open mind! But I’m concerned at this early stage. I guess we’ll find out, though!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 6: The Sehlat Who Ate Its Tail

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Minor spoilers are also present for Star Trek: The Original Series.

When Strange New Worlds was first announced over five years ago, I wrote that, were I in charge, I’d plan ahead for the series finale. The final episode I envisioned would’ve seen Captain Pike handing over the Enterprise to someone we’re all familiar with: Captain James T. Kirk. Kirk’s arrival on the Enterprise’s transporter pad would’ve been his first on-screen appearance… and the final shot of the series. But ever since the end of Season 1, where a younger version of Kirk appeared, it’s been clear that Strange New Worlds’ writers want to bring in the character in a much larger way. We got to see that this week, in what was in large part a Kirk episode.

The Sehlat Who Ate Its Tail was interesting and, for the most part, an enjoyable romp. We got to see the first mission Kirk undertook with several members of his iconic crew – Spock, Uhura, Scotty, and Chapel. And it was set against the backdrop of a massive villainous starship that was simultaneously terrifying and ridiculous in its appearance. Most of this side of the episode stuck the landing, but it was also a busy story with a lot going on. That meant the villains weren’t as well-developed as I’d have liked, and a couple of characters aboard the Enterprise drew the short straw in terms of screen time.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Ortegas and Mitchell on the bridge.
Ortegas and Mitchell.

I think I’ll start with the negative points and criticisms before moving into the positives. The design of the scavenger ship was just plain silly. Its “face” with a gaping, monstrous maw was supposed to be intimidating or frightening – but it absolutely failed, and the visual impact of this floating mouth made the whole thing look ridiculous. At the beginning of the episode, when the scavenger ship went unseen, the reactions from Kirk and others definitely sold the illusion that they were seeing something terrifying. But when we saw the ship for ourselves… it just looked really bad.

The best way I could describe the design of the scavenger ship would be to say it’s the kind of thing a seven-year-old might draw if you told them to make you a picture of a “space monster.” It was equal parts cliché, over-the-top, childish, and silly – leading to one of the absolute worst starship reveals that I can remember in any Star Trek story. The design of the scavenger ship ended up detracting from some genuinely great performances; I could scarcely believe that the likes of Kirk, Scotty, and Uhura would be frightened of this ship because of how amateurish and silly it looked.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing the scavengers' ship.
I found the visual impact of the scavenger ship to be pretty weak and silly.

Star Trek stories often have a broader point they want to make, and aliens or villainous factions can be seen as metaphors for events, issues, and even people out here in the real world. For the most part, The Sehlat Who Ate Its Tail was a story about Kirk – about how he had to come to terms with firing the shot that killed thousands of people. And that part of it genuinely worked and stuck the landing; we’ll talk about it more in a moment. But I felt the episode’s writing was very muddled with the revelation that the scavengers were humans. What was the point the writers wanted to make – except that Kirk needed more of a reason to feel bad?

If we’re returning to the well of environmentalism, climate change, and the state of the world today… then I’m afraid this really didn’t work. The scavengers’ ancestors may have left Earth because the environment was suffering and they felt the need to lead humanity to the stars, but that doesn’t explain how, over the intervening centuries, they became twisted into genocidal murderers. Nothing in the story explained this transformation – and the episode didn’t really know what it wanted to say, either. Is the point that well-meaning people can end up doing awful things? Is it that we shouldn’t take the “Elon Musk” approach of fleeing Earth in a spaceship and instead try to fix the climate crisis? Is it that humans are, fundamentally, absolute trash without a strong government to guide us? I genuinely don’t get what – if anything – the scavengers are meant to represent, other than a reason for Kirk to sulk.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Kirk looking at the debris on the main viewscreen.
Who were the scavengers, and why are we supposed to care?

There are plenty of aliens or villains in Star Trek who only appear once, but still manage to feel believable, fleshed-out, and real within the confines of a single episode. Whether we’re talking about the First Federation, the Sheliak, or the Abronians, there are literally hundreds of one-off aliens or adversaries who still manage to feel real and well-rounded. Because The Sehlat Who Ate Its Tail didn’t have a lot of time to explore who the scavengers were or what their driving force might’ve been… the end result was that they feel pretty flat, one-dimensional, and just not very interesting.

I absolutely adore how Strange New Worlds has largely returned Star Trek to a more episodic format. But for me, these scavengers fall into a trap that can sometimes hamper episodic storytelling: we just don’t know enough about them to feel much of anything. The big reveal – that they were actually humans all along – didn’t land as hard as it should’ve because we just hadn’t spent enough time with them, heard any of them speak, or come to know them at all. They were your bog-standard aggressive monsters for basically the entire story, so the revelation at the end didn’t really feel as impactful as I think the writers wanted it to be.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing the Farragut and the scavengers' ship.
The Farragut and the scavenger ship.

Episodic storytelling is by far my favourite, not just in the Star Trek franchise but on TV in general. But not every episode ends up feeling as strong or as well put-together, and for me, the scavengers in The Sehlat Who Ate Its Tail just don’t really stand up to even other one-off villains in past iterations of Star Trek. And it’s such a shame, because I can see most of the pieces to build such a faction hiding just beneath the surface – and a more focused episode could have done a lot more with the scavengers, making the ending hit harder.

Some of the dialogue dedicated to setting up the scavengers felt like naked exposition, with characters claiming they’d heard rumours of something deadly and dangerous in this part of space. This setup felt pretty weak. It isn’t easy to establish a villain, show how dangerous they are, and come up with a plan to take them down all inside of forty-five minutes – and I get that. But that kind of storyline has been done before, and done way better, in other Star Trek shows.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Pike, La'an, and Una on the bridge.
This scene felt quite heavy-handed with its exposition.

There is something uniquely frightening about an incomprehensible enemy. This is what made the Borg so scary in their initial appearances in The Next Generation – they weren’t someone you could reason with or dissuade; they saw the Federation as a resource to be acquired, and nothing more. The scavengers, with their single-minded desire to harvest resources, could have leaned into that. But it would have required a different ending to the episode, and almost certainly a less-silly starship design, too.

In short, by trying to explain that the scavengers were human – but not having enough time to properly dissect the implications of that, nor really consider why the scavengers were acting in that way – The Sehlat Who Ate Its Tail gets the worst of both worlds. It removes any ambiguity or mystique from the scavengers, but what replaces it isn’t strong enough in the way it was handled – and didn’t get enough screen time – to balance that out. The ending of the episode, while really well-played from a character standpoint, ends up feeling pretty muddled as a result. And for us as the audience, the revelation that these nameless scavengers – not one of whom did we actually meet, let alone get to know – are humans… it just didn’t have much of an impact.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing a photo of the scavengers' ancestors.
The scavengers’ 21st Century ancestors.

Then there was Pike and La’an’s run-in with the scavenger boarding party. This part just felt under-developed, as Pike seemed to sense hesitation in the scavenger when he had the upper hand in their fight. So… why didn’t the scavenger fire? Is it because he recognised Pike as human? In a galaxy populated by humanoid aliens (some of whom, like Betazoids, are completely indistinguishable from humans) would they even make the connection? If this was supposed to set up the ending of the story, adding to Kirk’s feelings about what he did… then shouldn’t Kirk have found out about the scavenger’s hesitation to fire? Was that supposed to set up a storyline about a possible peaceful resolution?

A lot of Star Trek stories are about communication and connection – finding a non-violent solution, even when an enemy or alien seems to be impossibly aggressive. Perhaps The Sehlat Who Ate Its Tail wanted to make a comment on that – either that some enemies can’t be talked down or reasoned with… or that Kirk and Pike didn’t even try. But this idea wasn’t in focus for long enough to matter, and I can’t even tell what – if anything – the writers were going for here. The sequence at the end – where Kirk and Pike found out about the scavengers – was cleverly edited and put together, though, and I liked seeing them both come to the realisation at the exact same moment.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Pike reaching for the helmet of a dead scavenger.
Pike with the dead scavenger.

Earlier in the season, Strange New Worlds threatened to give Lieutenant Ortegas a significant storyline for the first time. After her injury in the season premiere, Ortegas seemed to be suffering from some kind of PTSD-like condition related to her Gorn captivity and near-death experience. That was a great setup, and I was keen to see it progress. But this is now Ortegas’ third appearance since being relieved of duty for misbehaving where none of that was even alluded to. It’s reaching a point where, if Ortegas’ mental health ever does come back into play, it’ll feel like a significantly weaker story.

Although we haven’t spent a ton of time with Ortegas in recent weeks, she’s been present – and most importantly, she seems to be doing okay. No one’s asked her how she is, the story hasn’t lingered on how she’s feeling or what she might be going through… she just gets on with the job. The danger here is that, if the writers remember their earlier setup in a future episode, it won’t land in the same way any more. There are definitely stories to tell about how people put on “the mask,” as I used to call it, and pretend to be okay while they’re suffering on the inside. But do we think that’s what Strange New Worlds’ writers are going for? Or is it just a case of Ortegas being put on the back burner so we can get stories featuring Kirk, Spock, and other TOS characters?

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Ortegas on the telephone.
Season 3 is running out of time to pick up the dangling threads of Ortegas’ story.

This is, I admit, less to do with this week’s episode. And it’s absolutely possible that Ortegas’ mental health/PTSD story will come back and absolutely nail it. I’m rooting for that to happen! But it’s at least notable that Strange New Worlds set up this storyline for Ortegas but hasn’t returned to it for several episodes in a row. And her appearance here – taking her job seriously, working well under immense pressure, and basically saving the day with her piloting skills – risks detracting from that kind of story if what the writers want to do is show Ortegas struggling with her mental health.

The Farragut’s captain (whose name I had to look up because of how generic and forgettable she was) didn’t wow me in this week’s episode. There are plenty of ways to create memorable secondary or one-off characters, but this Captain V’Rel didn’t leave much of an impression. As a minor character I guess you can say that’s okay, but her command style was supposed to be something Kirk was butting heads with, and it just didn’t really seem to matter all that much. Also, given the unimportance of this character (at least so far), was there a lot of point in making her a Vulcan? Part of the fun of Kirk and Spock’s friendship was that it transcended that particular cultural divide; seeing Kirk paired up with another Vulcan a few years prior risks detracting from that, I fear.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Captain V'Rel.
Captain… Whatshername.

Although I felt the exposition was handled pretty poorly, the scavengers and their ship were supposed to be a kind of “boogeyman,” prowling this region of space and frightening everyone from the Gorn to the Klingons. So… does it make sense that their extremely powerful ship could be blown up so easily right at the end? The badly-damaged Farrgut – with no warp drive, a skeleton crew, and an array of damaged systems – fired three torpedoes, and that was it.

This ship was supposed to have been haunting this part of space for centuries, preying on even strong and powerful vessels like Klingon battle-cruisers – and had the capability to devastate entire planets. I know that Scotty and Kirk came up with a great plan to lure the scavengers in and disable their defences… but even so. Three torpedoes was all it took to take down this supposedly legendary ship.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing the destruction of the scavengers' spaceship.
The scavengers meet their end…

Okay, I think that’s enough negativity.

When you boil it down, The Sehlat Who Ate Its Tail is an ensemble episode – which I love – and a character piece with a focus on Kirk. Both of those elements work well, and it was nice to see most of the main characters in action. At the climax we had three different storylines on the go at once: Pike and La’an on the Enterprise’s lower decks, Pelia and Ortegas coordinating the ship’s sensor-less escape, and Kirk and the away team attacking the scavenger ship. All three stories came together magnificently, and it took all three groups of characters to aid in the Enterprise’s escape and the scavengers’ ultimate defeat.

That isn’t an easy thing to pull off. The Sehlat Who Ate Its Tail was a busy episode, but its main story arcs all felt like they mattered. In order to escape, the Enterprise needed a distraction and damage to the scavengers’ ship, which the Farrgut and away team provided, it needed the fuel-siphoning pipe thing disabled, which La’an and Pike managed, it needed communication between the thruster control panels and the bridge, which Pelia set up with help from M’Bena and Una, and it needed someone on the bridge to fly out – which Pelia and Ortegas managed with help from Mitchell. Practically everyone got something significant to do at the episode’s climax, and it takes some skill to pull that off in a short runtime.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Dr M'Benga on the phone.
Dr M’Benga firing the thrusters.

Of these storylines, obviously we spent the longest with Kirk and the away team. Though this was clearly pitched as a Kirk-Spock story, I genuinely enjoyed the rapport Kirk built up with the others, too. This was his first canonical meeting with Scotty, and I liked how it wasn’t a smooth start for them. If Strange New Worlds plans to follow this up and develop Kirk more with the episodes remaining, there’s a foundation for the Kirk-Scotty relationship to build on.

They may not have gotten off to the best start, but Kirk genuinely tried to make up for it later on, and we got a storyline full of technobabble that felt like classic Star Trek in the best possible way! All that talk of anti-protons and making the Farragut a tempting target for the scavengers felt like something straight out of The Original Series, as did Scotty’s earlier line about pushing the wrecked ship too hard. These characters do genuinely feel like younger versions of the people we remember, and that’s not always an easy feeling to conjure up. I wouldn’t have suspected Kirk’s first mission with Scotty would’ve been so high-stakes – or would’ve gone so awry – but it was really fun to see them working together in this way. It expands our understanding of both men and the bond they had during the events of The Original Series.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Kirk speaking with Scotty, who is in an access hatch.
Kirk and Scotty didn’t exactly get the best start to their friendship.

Uhura also called back to the events of Lost in Translation, which saw her first encounter with Kirk. That was a good way to bring in Uhura’s empathy and sensitivity, setting the stage for Kirk’s rehabilitation after suffering a loss of confidence. The idea that his colleagues – who would later become his friends – were able to pull him out of that moment was impactful, and again, I think it sets the stage for how they relate to one another during The Original Series.

I’m glad that, on this side of the story, the writers chose to drop the whole “Spock love triangle” debacle. When La’an, Kirk, Spock, and Chapel were all together early in the story, I genuinely worried we were gonna get some kind of forced drama between them, like we’ve seen in prior entries this season. So I’m really glad that, for once, Strange New Worlds managed to step away from that and focus on something else. It was a blast to see this early mission of Kirk and some of the members of his crew; complicating it with that kind of romantic angle wouldn’t have added anything to what was already a busy episode.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Kirk, Spock, and La'an.
Kirk, Spock, and La’an.

Speaking of romance… are you familiar with the term “Spirk?” Also known as “Kirk/Spock,” this is the fan theory or head canon idea that Kirk and Spock were or are engaged in either a sexual or romantic relationship. Personally, I’ve never been interested in that idea. I felt TOS established quite early on that Kirk at least prefers heterosexual encounters, and Spock – aside from his pon farr – is basically asexual! But one of the nice things about Spirk as a theory was that it always seemed plausible for fans who wanted to believe it. Even if we never saw anything on screen… fans could, if they so chose, read between the lines.

With all of Spock’s romantic entanglements in Strange New Worlds, I can’t help but feel that the writers are almost deliberately trying to erase Spirk as a viable fan theory. They’re much more interested to give Spock female romantic or sexual partners, as if to say “no, you’re wrong, there’s nothing queer going on here!” And I just think that’s a bit sad. I’m not saying I wanted to see an 18+ sex scene with Kirk and Spock! And I really didn’t want or expect the series to lean into the romantic side of their relationship – if such a side even exists. But I think it’s a bit of a shame for fans who did like the Spirk theory that Strange New Worlds is so intent on taking steps away from it. I like a good bromance as much as anyone else, and for me, Kirk and Spock have always felt more like besties than lovers. But having that possibility there, existing just out of sight, for fans who wanted it has been a part of the Star Trek fan community since the ’60s, and I don’t think I’d have chosen to walk away from it like this if I’d been in the writers’ room.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Spock and Kirk (Spirk).
Spock and Kirk.

Am I right in saying that Strange New Worlds no longer has a main engineering set? I’ve wondered about its absence a few times this season, but The Sehlat Who Ate Its Tail had multiple stories that could’ve featured engineering – but didn’t. I felt this most with La’an; she was sent to retrieve some baryons from engineering, but did so entirely off-screen. Pelia seemed to very quickly wave away Pike’s efforts to reach engineering, with the room being flooded with dangerous gas. Combined, those two things felt like Strange New Worlds barricading main engineering and telling us to go away!

The science lab set, which was used in this episode and which we’ve seen a few times this season, seems to be replacing engineering. But with two engineers on the show, now – Scotty and Pelia – I can’t help but feel that might be an odd decision! How are we meant to see Scotty growing in his engineering prowess if we don’t have, y’know, main engineering? It doesn’t have to be the main setting for most episodes, but in some stories – like this one – a visit to engineering feels almost compulsory!

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Scotty on the bridge.
It might’ve been nice to see Scotty in engineering.

I felt this week’s take on Spock was much closer to the man we remember from The Original Series. Spock was much more straightforward and logical – stoic, even. There’s still wiggle-room in Strange New Worlds’ take on the character, and ways for him to grow and change. And I think next week or in a couple of weeks’ time we’ve got a Vulcan episode where “Spock comedy” could be back on the agenda! But speaking for myself, this version of the character – who we might call “classic Spock,” for want of a better term – is far and away what I prefer to see.

It was fascinating to see Spock’s first one-on-one with Kirk. Spock was the one to give him a much-needed pep talk after the Farragut’s engines gave out, and that entire sequence could’ve been lifted almost word-for-word from The Original Series. It really was a powerful, well-written storyline, and both Paul Wesley and Ethan Peck excelled at bringing these younger versions of the characters to life in a way that felt real, believable, and in keeping with past iterations of Star Trek.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Spock approaching Kirk in the ready room.
Spock approaches Kirk in the ready room.

Kirk’s story of struggling under pressure was well-written. We saw glimpses of a classic Captain Kirk: bold, adventurous, and willing to break the rules because he can get away with it. But we also saw the vulnerability that comes with youth and inexperience; Kirk broke the rules, as he’s done before, but hit the wall when his rule-breaking didn’t pan out the way he’d hoped.

I liked Kirk’s log, too; it makes perfect sense how an officer like Kirk would be phenomenally bored if all he could do was conduct survey after survey of dull planets from orbit. Someone like that needs adventure – but, as in many classic novels and stories, the adventure-seeker got much more than he bargained for! Catching this glimpse of Kirk’s early career, though, without time-travel, alternate realities, or contrived ways to bring him aboard the Enterprise… it was pretty special. We got to see Kirk as the Farragut’s first officer, serving on a bog-standard survey mission aboard a less-important ship. There have always been these kinds of vessels in Starfleet; not everyone can serve aboard the flagship on a mission of exploration! But putting Kirk in that position – and showing how much it grated on him – was a genuine change of pace.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing the USS Farragut.
It makes sense that someone like Kirk would be bored on a mission like this!

Despite my misgivings about the scavengers as an antagonist (and the design of their ship), the reveal at the end hit Kirk hard, and Paul Wesley did a great job conveying that. The scene between Pike and Kirk was touching, too, and it was a bit of fun to see Pike’s influence on the younger Kirk before he assumed command. I can see Kirk taking those words to heart, particularly about regretting a decision but making it anyway. Knowing what’s in store for Captain Pike, that line was pretty impactful – and carried extra weight.

This moment felt like it was consciously setting up Kirk for the captain’s chair. Though Kirk would famously claim that he doesn’t believe in no-win scenarios, there are going to be impossibly difficult decisions to make when in the captain’s chair, and this felt like a bit of a trial by fire for the future Enterprise captain. Coming to terms with what he did – and why he feels so bad about it – is an important stepping stone between the younger, less-experienced officer we’ve been spending time with and the character we’re familiar with from The Original Series.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Kirk in command.
Kirk in the captain’s chair.

This is the kind of story to tell if you’re gonna do a prequel featuring familiar characters. Spock, Uhura, and Chapel felt very similar to their TOS presentations in this story – but Kirk and Scotty didn’t. They butted heads over engineering issues, Kirk tried to push the ship too hard, and Scotty – the future miracle-worker – wasn’t able, in the end, to keep the ship flying. I think that shows how both men have room to grow – Kirk in terms of his leadership abilities, and Scotty with his engineering miracles!

A storyline like this makes way more sense to me than one showing Spock shacking up with different members of the Enterprise’s crew. What we got in The Sehlat Who Ate Its Tail was a genuinely interesting look at the younger days of some of our favourite characters. Most of the pieces are there – they’re a stone’s throw away from how they will be in The Original Series. But whether it’s youth, a lack of confidence, inexperience, or some combination thereof… they aren’t quite there yet. That’s genuinely fun and interesting to see, and it expands our understanding of these characters instead of just throwing them into random situations and hoping romance or drama will be enough.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing several characters on the bridge of the USS Farragut.
Spock, Scotty, Chapel, and Uhura… with an empty captain’s chair.

I really do like Pelia. She’s such a fun presence on the show, and she can be a complete change of pace from other, more straight-laced and stoic Starfleet officers. I think we got to learn Pelia’s age here – she’s over 5,000 years old. Her quarters are just pure hoarder-y chaos, and I love that! And her collection proved invaluable to the crew as they were able to wire up a handful of old telephones around the Enterprise – Battlestar Galactica-style – to coordinate the emergency thrusters during the escape sequence. The whole thing was a ton of fun.

Pelia was also, I guess, the ranking bridge officer during the escape sequence. That was kind of interesting for her, and a bit of a change of pace from her usual secondary or advisory role. We didn’t see her giving a lot of orders or anything like that, but she was a fun presence on the bridge with Ortegas and Mitchell during the escape.

Still frame from Star Trek: Strange New Worlds 3x06: The Sehlat Who Ate Its Tail showing Pelia in her quarters.
Pelia in her quarters.

The Sehlat Who Ate Its Tail was a solidly entertaining Star Trek episode. It was held back from reaching the top tier by a pretty flat antagonist with a silly spaceship design, and that did ultimately impact how I viewed parts of the story – the ending in particular. But as a character piece about Kirk, seeing him growing in confidence as he’s on the path to become the captain we know and love, it was genuinely well-written. Kirk’s first outing with some of the members of his iconic crew was, by and large, a lot of fun.

I also appreciated that The Sehlat Who Ate Its Tail gave the rest of the characters things to do at the climax of the story. It took everyone working together to save the Enterprise – and the inhabited planet – and that’s not an easy thing to pull off within the runtime of a single episode. It did come at the expense of a couple of characters who felt less-developed or who got a bit less attention than they otherwise might’ve, but that’s okay.

Next week we have the curiously-titled What Is Starfleet? I’m really not sure what to make of that one – but I guess time will tell.


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Skydance and/or Paramount. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

So, About That Star Trek Comedy Series…

We’ve had Comic-Con, where Star Trek made a splash with news about Starfleet Academy, Khan, and a pitch for a Strange New Worlds successor series. And now it’s Star Trek Las Vegas – a huge Star Trek convention with many of the franchise’s biggest stars in attendance. In between, there was a tiny little tidbit of news you may have missed – Paramount Global and Skydance Media finally completed their expensive and much-delayed corporate merger.

Last year, Tawny Newsome, Alex Kurtzman, and Paramount surprised a lot of us by announcing a brand-new Star Trek series – a “workplace comedy” which Newsome and Justin Simien were working on together. I noted at the time that the announcement seemed pretty threadbare, as if it had been thrown together at the last minute, and we didn’t really get a lot of details about it beyond who was writing it and that it might be set outside of Starfleet.

Justin Simien (left) and Tawny Newsome were working on this series.

Star Trek and comedy go well together, and they have done since the franchise’s inception. I made this argument when Lower Decks was in the offing and some fans were upset about it, because comedy has always been a part of Star Trek and will always have a place in Star Trek. Given the other options for new Star Trek shows and films, I don’t think I’d have necessarily chosen Newsome’s comedy pitch myself, but that’s beside the point. I’d have happily tuned in and I’d have wanted the new series to do well.

Note the past tense.

In the aftermath of Paramount’s merger, Newsome appeared at a panel at Star Trek Las Vegas. And she said something telling about her comedy series: “we’re waiting to hear” – i.e. from Skydance and Star Trek’s new corporate leadership about the show’s future – which she followed up with: “not to sound bleak, but nothing’s guaranteed.”

Star Trek’s new corporate overlords.

So… the comedy series ain’t happening, then. I mean, it’s not happening, is it? I would be astonished at this stage if it goes ahead; of all the proposals on the table for expanding the Star Trek franchise, it’s gotta be way down the list for the new team coming in. And I don’t think this is a huge shock – obviously Skydance plans to continue with Strange New Worlds’ final two seasons, and the two seasons of Starfleet Academy, one of which is complete and the other of which is already in production. But beyond that, there’s no new Star Trek being commissioned, and Skydance doesn’t seem to be obliged to fulfil Paramount’s past announcements – including Newsome’s comedy series.

Skydance CEO David Ellison seems much more interested in films than television shows. If Star Trek has a future in this new era, I would suggest at this early stage that it’ll be in feature films rather than made-for-streaming TV, based on what we can see from Skydance and Ellison at this early stage.

Skydance CEO David Ellison.

I don’t think it’s a coincidence that Discovery, Lower Decks, and Strange New Worlds all had their cancellations announced after Skydance and Paramount began working on their merger, with Strange New Worlds’ cancellation being announced years ahead of time while the merger was still being completed. It seems to me that Skydance wanted to come in with a clean slate, not having commitments to make any new Star Trek series whatsoever. And the comedy series? It may have been announced already, and at least some work has taken place on writing scripts, creating characters, and so on… but it was too late to the party.

If the comedy series had already entered full production, it would be safe for at least a season. But it hasn’t – and now the new team is taking over, they evidently have no obligation to pick it up. As far as we know, no casting decisions were taken, no contracts were signed, no sets have been constructed… the only thing we can be sure of is that a pitch and some scripts exist. And it’s very easy to put those in the old circular filing cabinet.

The announcement from last year’s Comic-Con.

What we heard from Tawny Newsome in Las Vegas feels more like Michael Dorn’s “Captain Worf” idea from a few years ago, or when Robert Duncan McNeill pitched a “Captain Proton” series to ViacomCBS. These are ideas that some fans might’ve liked, others might not have been into… but they never got off the ground despite clearly having a lot of thought and work put into them. I don’t believe that Goldsman and Meyers will succeed with their “Year One” pitch, and based on what we’ve just heard, I doubt that Newsome and Simien’s comedy series will go ahead, either.

And that’s a shame. As a Star Trek fan, I’d rather see the franchise in production than not – even if the kinds of shows being made wouldn’t have been my first choice. Obviously I’d be really keen on an idea like Legacy, or any kind of Strange New Worlds-inspired episodic series set somewhere after Picard. But if that’s not an option, I’d happily accept Year One or the comedy series. There’s potential in both, and I’m sure Skydance would make money on them.

Whether it’s a Strange New Worlds sequel, a comedy series, or something else… I just want more Star Trek!

But the direction of travel has changed. We’ve seen that with the cancellations. This current era of streaming Star Trek is, in my view, coming to an end in the next few years – possibly as early as 2028 or 2029 when the final episodes of Strange New Worlds and Starfleet Academy will air. Skydance’s new team might be interested in commissioning a feature film – and as luck would have it, there are several scripts being worked on – but I don’t think they’re interested in taking Star Trek forward on streaming at the moment. That might change, depending on all kinds of factors, and the more noise we can make as fans, and the more attention we can draw to Star Trek the better the franchise’s prospects will be! But for Ellison and Skydance, I just don’t believe they see much value in the Star Trek brand right now.

And that’s probably what’s done it for the comedy series. It’s a shame, because even though this wouldn’t have been my first choice for a new Star Trek production, there was still potential. And anything set after the Picard era is going to be of interest, even if it wasn’t the kind of exploration-focused episodic series that I’d have preferred. Maybe Skydance can be convinced to make a show like that… but I’m not holding my breath.

Tawny Newsome (c) with Paul Tompkins (l) and Wil Wheaton in 2022.

As we talked about when Strange New Worlds was cancelled… the blunt fact of the matter is that I don’t expect to see much more Star Trek beyond about 2028. When the shows that are currently in production make it to air and then conclude their runs, I really get the sense that that’ll be it – at least on the small screen. A fourth Kelvin film, or possibly some other cinematic adaptation, could still be possible in the years ahead, but for me, Star Trek has always been better-suited to television than the cinema.

I think in the weeks or months ahead we’ll have to lay out what’s gone wrong for Star Trek in this era of streaming television – and how Paramount’s outgoing executives took what could’ve been a golden opportunity and ended up pissing all over it. Star Trek could have been well-positioned as a big-budget, flagship franchise – but so many things went wrong, from the rollout of Paramount+ to Paramount’s inability to bring younger fans on board in significant numbers. But that’ll have to be the subject of a longer piece.

So long, Paramount. We won’t miss you.

For now, it seems to me as if Newsome’s comedy show is dead – albeit unofficially at this stage. And while you may not be terribly disappointed about that on an individual level (as I’m not, to be honest with you), I think it says a lot about the Skydance merger and Star Trek’s future under this new corporation. And that does genuinely have me worried, because it feels like we’ve only just got Star Trek back after more than a decade in the wilderness. To think it could be shutting down again so soon – and with so much potential left behind – is a bitter pill to swallow.

But hey, maybe I’m wrong. Maybe Skydance will announce their commitment to this project – and to many more Star Trek shows, films, and video games! We can cross our fingers and hope, right?


The Star Trek franchise – including all films and series discussed above – is the copyright of the new Paramount-Skydance Corporation. Credit to TrekMovie.com for the initial reporting on Tawny Newsome’s comments. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 5: Through the Lens of Time

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek productions: The Original Series Season 1, The Next Generation Seasons 5 and 6, and Discovery.

When Star Trek uses an episode title like “Through the Lens of Time,” it certainly makes it sound like time travel is gonna be on the agenda! Since time travel stories are usually not my favourites in the franchise (or in sci-fi in general, really), I went into the episode with a little trepidation. But Through the Lens of Time was absolutely not what I was expecting – and I really do mean that in the best way possible.

There were some weaker parts of the story this week, sure. And we’ll get into them in a moment, don’t worry! But despite that, I honestly found Through the Lens of Time to be incredibly creative and just a ton of fun. In fact, I’d go so far as to say that it’s the highlight of Season 3 so far, eclipsing both the zombie episode a couple of weeks ago and the cliffhanger-resolving premiere. I was on the edge of my seat practically the entire time, and I genuinely did not know what was going to happen next every step of the way. After more than 950 Star Trek stories across almost six decades… the fact that the franchise can still feel fresh, creative, and new is nothing short of astonishing. Episodes like Through the Lens of Time are why I love modern Star Trek so much – and I’d challenge any “nu-Trek” avoider to give it a try.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing the away team outside the alien ruin.
The away team.

So with all of that said… where to begin?

I guess we’ll get the negative or less-positive points out of the way first, then we can spend the rest of the review gushing about just how awesome Through the Lens of Time was!

I’ve said this before in both my pre-season commentary and other episode reviews, but I’m not keen on the whole “Spock relationship drama” stuff. When it was just Spock and Chapel it was more tolerable, but this whole love triangle/love quadrangle that he’s tangled up in with Korby and La’an too… it’s too much. It’s too soap opera-y, too similar to what Discovery tried to do (with very limited success) and I’m just not into it at all.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Nurse Chapel and Spock in the turbolift.
I’ve had enough of this.

Furthermore, I think this “Spock in love” idea has well and truly run its course. Between episodes involving T’Pring, Chapel, and now Korby and La’an, Strange New Worlds has dedicated a significant amount of its runtime across three seasons to Spock and his love life. It’s come to the end of the road as an interesting or funny story idea, and I really hope that the writers will drop it – soon.

Past iterations of Star Trek could be static in the way Vulcans were depicted, showing them as rigid, emotionless, and some might say stuck-up! But even with that underlying concept of the Vulcans, we got episodes like The Next Generation’s Sarek, or The Andorian Incident in Enterprise, showing off different sides of the Vulcans and how they could be more complex. In short: we don’t need episode upon episode showing Spock getting jealous, grumpy, or pissed off to understand that there’s more to Vulcans than just a lack of emotion. And for Spock’s own character journey – an arc which should be bringing him closer to his Original Series persona as the series has now passed the halfway point – what do we gain by a second “Spock love triangle” or “Spock’s jealous of Korby” storyline? At some point, enough is enough. Right?

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Spock and Dr Korby on the away mission.
We did a Spock-versus-Korby episode just a couple of weeks ago.

I don’t think any of this fundamentally damages Spock’s character or makes him harder to root for as a protagonist. But we’ve tried out these same story outlines too much at this point, and I’d like to see Strange New Worlds do something different with Spock now; something besides “Spock comedy” or “Spock in love.” And if the writers can’t think of a better use for Spock… give him a scientific puzzle. Or sideline him for an episode or two and let other characters share the spotlight. This isn’t the Spock show.

The sequences with Chapel speaking to La’an and later to Spock were just unnecessarily cringeworthy; the kind of thing we’d have expected to see in Discovery with Burnham. And unfortunately I don’t mean that as a compliment. There’s room in Star Trek for these kinds of storylines, don’t get me wrong – I don’t think Star Trek should be just action and science with no love or relationships. But when one character seems to get 90% of these kinds of storylines – especially when that character is not naturally well-suited to them – it starts to wear thin. And for me, storylines about Spock’s love life ran out of steam somewhere near the beginning of Season 2.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing La'an and Chapel talking.
La’an and Chapel chatted about Spock.

A couple of weeks ago, I said that I felt Ensign Gamble might not be long for this world – and that prediction was born out this time. This isn’t a criticism exactly, because I liked what earlier episodes did to build up Gamble to be more than just a typical Star Trek redshirt. But that being said, from the moment he was assigned to the away team… it seemed pretty obvious that his fate was sealed! Or at least it did to me. The manner of his death was still awfully shocking, though.

Despite making a reasonable guess at Gamble’s fate, I think Strange New Worlds did better with him than Discovery did with the likes of Airiam – or than Picard did with basically all of its non-legacy characters! We got to know just enough about Gamble over the span of several episodes that his death really did hit hard. Perhaps not quite as hard as it might’ve if he’d been part of the show for an entire season, or he’d gotten a few more scenes, but hard nevertheless. And even though I felt it was predictable from the moment he joined the away team… the manner of his death, and how gruesome it was by Star Trek standards, was still a genuine shock.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Gamble holding a glowing orb.
First rule of away missions: don’t touch the glowing orbs.

One aspect of Through the Lens of Time reminded me of Power Play – a fifth-season episode of The Next Generation. That story also involved an alien prison where inmates were kept in non-corporeal form, and also saw some of them escape by taking over the bodies of some of our heroes. This wasn’t meant as a callback, obviously, but sometimes Star Trek episodes just… rhyme! There are huge differences in who the prisoners are, the kinds of powers they possess, how they were imprisoned, how many of them were able to escape, and so on. But there were echoes of that older story, and when I realised we were looking at a prison, that was the first comparison that sprang to mind!

At this stage, I can’t tell if the Vezda alien prisoners will be revisited. I have to assume that the captive aboard the Enterprise will be at some point – I mean, they have to be, surely. The flickering screen at the end of the episode, and the fact that we got no real closure on who they are or what they might want, definitely hang over the ending of Through the Lens of Time. But the rest of them? Unless Strange New Worlds plans to make these aliens some kind of ongoing antagonist, I think we probably won’t be back to this planet or the interdimensional prison.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing the alien text on the flickering screen.
Surely we haven’t seen the last of this alien visitor…

Speaking of the Vezda alien held captive aboard the Enterprise: modern Star Trek loves its transporter pattern buffers, doesn’t it? Discovery has used the pattern buffers to store people, Strange New Worlds did it with Dr M’Benga’s daughter – who was name-checked in this week’s episode – and then we saw Scotty do it with the malevolent alien right at the end. When this idea of using a transporter for storage was first broached – in Relics during the sixth season of The Next Generation – it was presented as a kind of janky, improvised solution when Scotty had run out of options. In Strange New Worlds, it basically seems like the transporter has a separate compartment just for storing all of the missing children and random aliens that the crew want to bring along for the ride!

Jokes aside, I don’t think this is some kind of henious “violation of canon,” or anything like that. And it was a somewhat creative way to trap this mysterious and powerful alien. One thing I think this moment missed, though, was showing the broken orb-like container before Scotty swooped in. When Gamble was injured, it looked like a glass container which had shattered. When Scotty grabbed it and trapped the Vezda alien, it looked like it had broken neatly into two pieces. If we could’ve gotten just one close-up shot of the broken container, this moment might’ve felt a tiny bit better. And yes, I know that’s a bit of a nitpick.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing the Vezda alien leaving Gamble's body.
The Vezda alien leaving Gamble’s body.

After being absent since the season premiere, it was lovely to welcome Pelia back to Strange New Worlds. Through the Lens of Time is a great example of how a story can use both Scotty and Pelia, even when engineering isn’t the main focus of the episode. There is room for both characters to coexist, and I hope we can spend more time with Pelia across the next few episodes. Scotty is great, don’t get me wrong, and Martin Quinn is doing a fantastic job bringing this younger version of the character to life. But Pelia is still the ship’s chief engineer – and what’s more, she’s a quirky and incredibly entertaining presence, as we saw in the briefing room this time. I said last week that her absence was noticeable, so I’m glad she’s back.

Pelia got some fun banter with Pike and Beto this time, particularly surrounding Beto’s camera and documentary work. I’m glad that Strange New Worlds brought back Ortegas’ brother for another outing – he has great chemistry with Uhura, and I think we saw this time that there’s potential as he mixes with other characters, too. I don’t know if he’s going to be a recurring character going forward… but why not? Pike seemed to suggest that Beto might be sticking around for more than just one mission, and if he does, I hope he gets another encounter with Pelia!

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Pelia in the briefing room.
Pelia.

Dr Korby’s second outing felt a lot stronger than his first. I liked that Through the Lens of Time really leaned into his work, showing how he operates just outside of the Starfleet chain of command. Because he was the co-lead on this away mission, and because this was his area of expertise, we got a much more rounded and interesting portrayal. I could see Strange New Worlds’ writers had watched and understood Korby’s Original Series appearance, and there seemed to be a conscious effort to lean into that, using the events of What Are Little Girls Made Of? to inform his research and his enthusiasm.

This was something I argued we didn’t get very much of in Wedding Bell Blues – and I’m glad to see we got more of it this week. Cillian O’Sullivan, who plays Korby, did a fantastic job presenting a multi-faceted character – someone driven and passionate about his work, but who also has time to build a genuine relationship. I would’ve preferred, perhaps, not to pair him up with Spock for such a long time, as I felt we got enough of that in Wedding Bell Blues, but Korby was a much more engaging and interesting character than he had been in that earlier episode.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Dr Korby and Nurse Chapel.
Dr Korby looks back at the artefacts he had to leave behind.

Gamble’s injury was horrifying, and the prosthetic makeup used to bring it to life was very creative. It was a huge shock to see Gamble not instantly killed (in the style of past redshirts), but rather maimed in this way. It really was a stunning and quite horrifying visual effect, and the execution of this moment was pitch-perfect. As I said earlier, I felt Strange New Worlds had been rather “fattening up” Gamble for the slaughter earlier in the season, so I definitely viewed his assignment to the away team with that in mind! But even so, I wasn’t expecting something quite so horrific.

I wondered at first if Gamble’s blinding was going to lead to some kind of Geordi-like visor being created for him. That could’ve been a fun connection to The Next Generation era, even if it had only been mentioned instead of being depicted on screen. The device Dr M’Benga placed over his eyes didn’t really look like a visor, but it wasn’t a million miles away, either. Given that Gamble isn’t going to stick around, maybe it could’ve been a fun little easter egg if, instead of talking about re-growing bio-engineered eyes, Dr M’Benga had said something about a new wearable visor that could help him see. It would’ve been a tiny reference, sure, but a fun one.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Gamble in sickbay with a visor.
Gamble with the eye-growing machine.

The episode seems to have implied that Gamble died instantly, and that the entity that took control of him was using his residual thoughts and memories to inhabit his body and pretend to be him. That’s how I interpreted Dr M’Benga’s comments on Gamble’s brain death, and Pelia saying that he “isn’t in there.” There’s obviously more going on here with the malevolent alien entities – but I don’t think they can be from a familiar Star Trek race.

The Vezda aliens obviously aren’t Gorn – otherwise Captain Batel’s Gorn DNA wouldn’t have kicked in in the way that it did. Yes, we seemed to see a Gorn-like figure when we saw Spock’s point-of-view, but I don’t think that explains it. Other noncorporeal aliens come to mind: the Prophets, the Organians, various nebula-dwelling life-forms, like those seen in Voyager, and even the Q… but I don’t think any are the right fit. So these are, in my view, gonna be a new species… unless they’re connected, somehow, to something like the Mirror Universe (yes, all that talk of other dimensions made me go there!)

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Spock's vision of the Vezda alien.
Who are these Vezda aliens?

Pelia described these as very ancient, and the Vezda alien possessing Gamble referred to Pelia – the oldest Enterprise crew member at several hundred years old – as a “child.” But these Vezda aliens clearly have some kind of connection to the Gorn, too, as we saw with Captain Batel. Maybe Pike will have to ask the Gorn for help! Who knows? But I like that we’ve got a genuinely engaging mystery out of this episode, and with the life-form stored aboard the Enterprise… I think we’re prepped to find out a bit more about who these Vezda aliens are.

Captain Batel’s arc moved along. I think all the talk of “re-absorbing” the Gorn DNA and “hybridising” it definitely left room for this kind of story, where the Gorn DNA could somehow take over. There wasn’t a ton of time dedicated to this idea here, but it’s obviously going to be picked up in the next episode (or later in the season), so we definitely haven’t seen the last of Batel’s Gorn woes.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Captain Batel.
What do the Gorn know about the Vezda aliens?

As an aside: there’s a theory doing the rounds that Captain Batel’s infection is going to lead to her being transformed into a Gorn-human hybrid… a creature which will look and behave just like the Gorn in Arena. Some have even suggested that Batel could be the Gorn captain from Arena. I… I cannot express how profoundly I hate this idea. Strange New Worlds has reimagined or reinterpreted the Gorn. Great. That’s fine. Now have the balls to stick with it! We don’t need another “Klingon-augment virus” storyline to explain why the Strange New Worlds Gorn and the Arena Gorn look different. Maybe some fans feel that the differences demand an on-screen explanation, but I really don’t. I noted when I re-watched Arena that the building-blocks of Strange New Worlds’ Gorn are all present; the only real difference is that the Gorn captain in Arena spoke to Kirk.

When Enterprise introduced the Klingon-augment virus in its fourth season, I felt it was silly, convoluted, and unnecessary. And if this is the route Strange New Worlds intends to take, I’ll feel the same way. This just isn’t something that needs an on-screen explanation, and I’m quite happy to watch both versions of the Gorn in their respective stories. I love that fans speculate and theorise – and I’ve done more than my fair share of that over the past few years here on the website! But I really hope this is one theory which doesn’t pan out.

Still frame from Star Trek: The Original Series S1 "Arena" showing the Gorn captain.
This better not be Captain Batel…

To get back on topic: the alien prison was incredibly creative, and it showed off how much Star Trek can do with a fairly straightforward set – and the AR wall! It felt almost like a level from a video game in some respects; an ancient tomb with puzzles to solve just gives me like Tomb Raider or Uncharted vibes – though Jedi: Fallen Order might be a better point of comparison. Having to think in a totally non-linear way – because the same room existed in different states in different dimensions all at the same time – was exceptionally fun and different. Separating the characters (albeit in pairings I wouldn’t have chosen) also made for a very tense away mission.

I’m still struggling to wrap my mind around the whole “time can be non-linear” thing, and using a paradox as a way out when the story has been written into a corner is often something that irks me. But in this case, having to cross an apparently empty space to activate the bridge was played just right. Spock’s explanation about effect coming before cause was pure technobabble, and I could absolutely feel the emotions of Chapel, La’an, and Dr Korby as they prepared to take a leap of faith. It was a well-constructed moment, and the temporal paradox was actually the hook for some genuinely great and emotional storytelling.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing the away team preparing to escape.
The away team prepares to take a (scientific) leap of faith.

It was interesting to get a look at an away mission with diplomatic hurdles, and I felt it was set up quite well at the beginning of the story. Obviously this was done to explain why the away team couldn’t have been larger, and to manoeuvre characters into position! But because it was established at the beginning that Vadia IX and the M’Kroon were not Federation members, when that issue reoccurred later in the script, it made perfect sense. It was kind of neat to see Pike and the crew having to navigate that kind of issue when the stakes were so high.

This is the kind of thing I like to see in Star Trek. Moments like this flesh out the world and make it feel more lived-in and real. Having to deal with ambassadors and governments while trying to resolve a dangerous situation is a complication, but it’s an understandable one given the setting. It just helps the Star Trek galaxy feel like a real and complex place.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing a close-up of Pike.
Pike had to jump through diplomatic hoops.

Uhura and Beto continue to make a fun pair. Mynor Lüken and Celia Rose Gooding have great on-screen chemistry together, and giving Uhura this kind of cute “crush” works well for a younger version of the character. There’s absolutely room for this to grow in future episodes, and I hope we haven’t seen the last of Beto. But at the same time, I don’t think Strange New Worlds desperately needs to take this relationship a lot further. It can be fine as a cute “crush” and a bit of flirting. It was a bit of a shame that Erica Ortegas couldn’t be present anywhere on this side of the story, though, as her reaction to Uhura and Beto was part of what worked so well last time.

One thing that was great about Uhura’s storyline was it showed how much she’s grown. Uhura came aboard the Enterprise in Season 1 as a cadet, and it took her a little while to find her feet and grow in confidence. One of the highlights of Subspace Rhapsody last season was that story’s demonstration of how far Uhura has come – and Through the Lens of Time doubled-down on that with Uhura’s scenes with Beto. It fell to her, as the experienced Starfleet officer, to remain calm, offer comfort, and work to find a solution. Beto wasn’t a complete damsel in distress, but pairing him up with Uhura for this portion of the away mission was a great narrative choice.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing Beto and Uhura in the alien prison.
Uhura and Beto.

Captain Pike hasn’t been as present in Strange New Worlds really since the end of Season 1. There have been quite a few moments in a bunch of episodes where I felt this absence. While Pike wasn’t all over Through the Lens of Time by any means, I wanted to highlight a couple of appearances where he made a big difference. Obviously, we have his moments with Captain Batel. Batel does a lot to bring Pike down to earth and really humanise him, giving him an emotional anchor. Her condition is also a massive problem that Pike can’t just instantly solve, so seeing how he deals with that has been interesting.

Then we have Pike’s one-on-one with Dr M’Benga. I could’ve spent a bit longer on this chat, and seeing Pike do more to comfort Ensign Gamble, but I really liked seeing the moment he and Dr M’Benga shared while discussing Gamble’s condition. It’s a reminder that Pike has friends among the crew – not just underlings or coworkers. We got a lot more of that in Shuttle to Kenfori, but this week we definitely built up more of the M’Benga-Pike relationship, which was great to see.

Still frame from Star Trek: Strange New Worlds 3x05 "Through the Lens of Time" showing M'Benga and Pike in sickbay.
Dr M’Benga and Captain Pike.

Through the Lens of Time was fantastic. It’s the best episode of the season so far, and one of the highlights of the entire series. We got a very creative adventure in an ancient ruin, some advancement of Captain Batel’s mysterious condition, and plenty of fun moments with most of the main characters. Ensign Gamble’s demise – while arguably signalled ahead of time – was incredibly shocking thanks to its gruesome nature. And maybe we’ve picked up an interesting new alien faction to explore in the future. Set aside the “Spock love quadrangle” stuff, and there’s really not much to complain about!

So I had a great time with this week’s outing. What started as an interesting jaunt to an alien ruin quickly turned into something a lot darker, and arguably teed up Dr Korby’s Original Series role, too. There was some great set design and clever use of the AR wall, some shocking special effects, and even a couple of jump-scares and startling moments. Through the Lens of Time is definitely going to be seen as one of the highlights of the entire show, I have little doubt about that.

Next week, we’ll have The Sehlat Who Ate Its Tail. A Sehlat is a Vulcan animal, so could this be a Vulcan story? Or is the title referring to a fable or parable that will be referenced in a different kind of story? The latter is my guess – but you never know.


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Khan – Thoughts on the Trailer

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware potential spoilers for the upcoming Star Trek: Khan audio drama. Spoilers are also present for Space Seed, The Wrath of Khan, Into Darkness, Lower Decks, and Picard.

For a franchise which could be just a couple of years away from total cancellation, Star Trek had a lot to say at this year’s Comic-Con event! We’ve already covered the big Starfleet Academy news, which included a trailer and introductions to the main cast, as well as Year One – a pitch for a Strange New Worlds successor series. This time, we’re finally getting around to talking about Star Trek: Khan – an audio drama which will be released next month.

This is Star Trek’s first ever official audio drama – billed, for some reason, as a “scripted podcast.” I’m calling it an audio drama (because that’s what seems to be the best fit) but you might also consider it akin to a radio play or even an audiobook. In any case, it’s audio only – which is something new for Star Trek. Obviously there have been Star Trek audiobooks before, and there are fan-made audio dramas, too. But this is the first time Paramount has really pushed a brand-new Star Trek story in this format, and it’s an interesting choice.

Still frame from the Star Trek: Khan trailer showing the audio drama's title.
Khan is coming soon!

Obviously the main factor here is money. Nicholas Meyer – who originally pitched this idea a few years ago – envisioned it as a miniseries, which is also a format Star Trek doesn’t have much experience with. Even if you aren’t sold on Star Trek: Khan as a concept, I still think there’s merit in the miniseries approach, and I’d hope it’s something Skydance/Paramount might consider in the future if and when a suitable story comes along. If Khan is a success, perhaps more audio dramas will be in the offing, too.

It’s been a while since we talked about this project, so let me bring you up to speed. Khan is set on the planet Ceti Alpha V in between the events of Space Seed – in which Khan awoke in the 23rd Century after years in suspended animation – and The Wrath of Khan. When the project was still little more than a rumour, I discussed it here on the website. This was in early 2021, and I said then that I felt this project – which was going by the working title Ceti Alpha V – looked set to tell the least-interesting chapter of Khan’s life. What could we learn from this story that we didn’t already know or couldn’t reasonably infer from Space Seed, The Wrath of Khan, and even Khan’s appearance in Into Darkness?

Still frame from Star Trek II: The Wrath of Khan showing Khan and his crew on the bridge of the USS Reliant.
Khan with his crew in The Wrath of Khan.

When Khan switched from being a televised miniseries to an audio drama… I felt that was probably for the best. At Paramount’s “Star Trek Day” event in 2022, Nicholas Meyer took to the stage to announce that his project had been reworked into an audio drama. And I noted at the time that he didn’t exactly seem thrilled about that! Maybe I’m reading too much into this, but I noted in the Khan trailer that Meyer is no longer credited as one of the podcast’s writers, instead simply getting a “based on a story by” credit. Maybe Meyer was disappointed that his Ceti Alpha V idea didn’t proceed on television as he’d hoped. Or maybe changes were made to his original idea – which I doubt would’ve included Sulu and Tuvok!

In any case, Nicholas Meyer’s core idea is going ahead, but not in the format he intended and not with a script he penned. Personally, I think that’s worth being aware of; Meyer is a Star Trek legend. He wrote The Wrath of Khan, The Undiscovered Country, and also worked on The Voyage Home – three of the films fans rate most highly. It’s quite possible that, without Meyer’s work on The Wrath of Khan in particular, Star Trek would have struggled in the 1980s – and the franchise as we know it could very well not exist today. So to know that he had a script written, but his work has been changed substantially enough that he’s no longer credited as a writer… it gives me pause, at least.

Still frame from Paramount's Star Trek Day 2022 broadcast showing Nicholas Meyer announcing Star Trek: Khan.
Nicholas Meyer in 2022.

Let’s be positive, though, and talk about some of the things from the Khan trailer that I actually found interesting!

Firstly, the idea of a frame narrative is a fun one – and it’s also something that, because of the characters involved, could really only work in this audio format. Well alright, I guess it would’ve worked in animation, too! But bringing back George Takei to voice Sulu and Tim Russ to play Spock, with the frame narrative presumably set aboard the Excelsior… that’s a really fun idea. Both Takei and Russ have been back in modern Star Trek; Takei reprised his role of Sulu in Lower Decks, and Russ played a significant role in Season 3 of Picard.

I often see fans lamenting that we don’t know much about Star Trek’s “lost era;” i.e. the years in between The Undiscovered Country and The Next Generation. While probably right at the beginning of that time period, it seems as if Khan’s frame narrative will be set in the “lost era,” which is something kind of neat. I doubt we’ll get much of an exploration of the wider state of the galaxy! But it’s still nice to see a project being potentially set after The Undiscovered Country.

A graphic of the USS Excelsior's MSD.
Parts of Khan will be set aboard the Excelsior during Sulu’s time in the captain’s chair.

Tuvok’s inclusion is also a pretty deep cut to a single Star Trek episode! In 1996, Flashback was one of two stories created to celebrate Star Trek’s thirtieth anniversary. It delved into Tuvok’s backstory, depicting his time serving under Captain Sulu’s command aboard the USS Excelsior, and it was a pretty fun crossover. We got to see an expanded role for Janice Rand, picking up her story aboard the Excelsior, too, and another character from The Undiscovered Country – Dimitri Valtane. Though its “memory virus” storyline wasn’t the strongest, it’s still a fun episode, and we got to see some interaction between Tuvok and Sulu, as well as a brief moment with Janeway and Sulu, too.

It makes me feel so incredibly old to think that the 30th anniversary celebrations were almost 30 years ago! But I’m glad that Star Trek’s writers and creatives haven’t forgotten about Flashback; it’s a fun way to return to this era, an unexpected pair of legacy characters to include in a story like this one, and it might just give us a bit more information about Sulu’s time in the captain’s chair. I really like this part of Khan, even though it likely won’t be in focus all that much.

Promotional photo for Star Trek: Voyager Season 3, showing Rand, Sulu, Janeway, and Tuvok.
Promo photo released for Flashback in 1996.

Sulu was present, of course, during the events of Space Seed and The Wrath of Khan, which makes his inclusion here a neat little thread of continuity. Takei first played Sulu all the way back in 1966; to think he’s still involved with the character – and the Star Trek franchise – all these years later… it’s fun and also exceptionally sweet. Fans have been asking to see more of Captain Sulu for a long time; I remember on message boards and forums in the 1990s, a “Captain Sulu show” was often brought up as fans discussed fantasy Star Trek projects. Obviously Khan isn’t the same, but it’s not a million miles away, either, thanks to Takei’s involvement.

This is also potentially one of the last Star Trek projects to include a significant role for a performer from The Original Series, and I think we should acknowledge that. We’ve had Walter Koenig’s voice in Picard, archival recordings of a few characters in Short Treks and Prodigy, and Takei in Lower Decks as previously noted. But time moves ever onwards, and these opportunities are becoming scarce. Whether we ultimately like or dislike Khan, I think we can at least appreciate George Takei’s involvement and that we got one more adventure with Hikaru Sulu.

Still frame from the Star Trek: Khan trailer showing Sulu.
We’re getting one more adventure with Captain Sulu.

Naveen Andrews, best-known for his role on the TV series Lost, will take on the role of Khan. And this could be one of the best casting decisions in a long time! Andrews is a fantastic actor, and while we didn’t hear that much from him in the trailer, what little there was sounded fantastic. This feels like a truly inspired casting decision, and whatever the story may ultimately be, I’m certain that Naveen Andrews’ portrayal is going to be one of the highlights.

So there are positives as we look ahead to Khan’s release next month. Revisiting Sulu, entering the “lost era,” Tuvok’s return, and getting a new take on an iconic character by a fantastic actor… those are all points in the production’s favour. I also like the idea of Star Trek leaning into audio dramas and different kinds of projects as a way to potentially keep the franchise alive in the years ahead. If there isn’t the budget to commit to a full TV show or film, a radio play like this could be a great option to preserve Star Trek and ensure new stories are still able to be produced.

Still frame from the Star Trek: Khan trailer showing Khan holding a Ceti eel.
Khan with a Ceti Eel.

The main image shown off in the trailer – which looks like it could also be the “cover art” for the podcast – shows Khan holding a small vial. Inside that container is what looks like a small Ceti eel – the mind-controlling earwig-like creatures that Khan used on Chekov and Captain Terrell in The Wrath of Khan. The film made it clear that Khan already knew all about these creatures, so perhaps part of the audio drama will depict Khan and his crew studying them.

Not every alien in Star Trek requires a deep dive, and as with Khan himself, I think we know enough about the Ceti eels from the film to understand what they are, how they operate, and why Khan would be so fascinated by them! But I’m always up for an exploration of Star Trek’s alien life, and perhaps there could be a way to connect Khan’s time on Ceti Alpha V and/or the Ceti eels to other parts of Star Trek. Making those kinds of connections could be fun, and just exploring the anatomy of the Ceti eels could also be interesting if it’s handled well.

Still frame from Star Trek II: The Wrath of Khan showing a Ceti eel.
A Ceti eel as seen in The Wrath of Khan.

With all of that being said, nothing in the Khan trailer really convinced me that I was wrong in my earlier assessment: that this audio drama won’t be telling the least-interesting chapter of a story where we’ve already seen the beginning, the end, a prequel, a reimagining, and basically all of the good parts. There’s a real danger that what we’ll get will be akin to the Obi-Wan Kenobi miniseries over in the Star Wars franchise: the absolute worst kind of tacked-on story that feels like cheap fan-fiction. Khan could, perhaps, even prove harmful to Space Seed and The Wrath of Khan if – just as an example – we get some kind of storyline that sees Khan leave the planet, track down Kirk, and battle him in a one-on-one duel.

Furthermore, the trailer added another element which I hadn’t previously considered could be part of a Khan story, and it’s really making me concerned. In the trailer, the new character of Dr Lear says that “the logs I retrieved on Ceti Alpha V only confirm my belief that Khan was much more than a mad tyrant.” But… Khan *is* a mad tyrant; that’s who he is. He’s a narrative warning against eugenics and genetic engineering by showing how badly wrong it could go. And in 2025, when we’re seriously considering the possibilities of artificial intelligence and inventing a sentient life-form that could be intellectually superior to humanity… there’s a message in Khan’s story that’s still incredibly relevant.

Still frame from the Star Trek: Khan trailer showing a quote from Dr Lear.
This statement from Dr Lear has me concerned…

I’m worried that Khan will go out of its way to humanise this villainous character – and in doing so, rob him of what made him so powerful, so intimidating, and such a good character in the first place. We don’t need a story about how Khan was actually a misunderstood “nice guy” who just wanted what’s best for his friends. Maybe that’s how Khan saw himself, in part, but it isn’t how we as the audience need to see him. And we don’t need a story told partly from his perspective to understand who he is, how he thinks, or why he behaved the way he did. All of the necessary pieces to understand Khan were present in Space Seed and The Wrath of Khan, and were added to on somewhat in Into Darkness.

It can be fun, sometimes, to flip the script and look at things from the villain’s point-of-view. And some Star Trek stories are all about that – presenting the Federation as being in the wrong, showing why hostile aliens act the way they do, and so on. That’s been present going all the way back to The Original Series. But some villains are just villains – and trying to soften them, present their side of the story, or show them as being “in the right” ruins not only the character, but the story, too. And I am genuinely worried that this attempt to present Khan as a more complex, nuanced, and dare I suggest human individual won’t actually add much to Star Trek – and risks seriously undermining one of its best stories.

Still frame from Star Trek II: The Wrath of Khan showing the Enterprise during the battle in the nebula.
The Enterprise in The Wrath of Khan.

This was always going to be a potential pitfall – and it’s one of the reasons why I was never keen on the Khan idea when it was first pitched. But hearing this new character in the trailer talking about there being “more to the story,” and how Khan was “so much more” than what we’ve seen… it’s really making me nervous about the direction the audio drama is going to take. If Dr Lear ends up as a kind of villain – perhaps someone who’s fallen for Khan’s posthumous propaganda – then maybe we can look on this narrative thread more kindly. But if the story’s going to try to present Khan sympathetically, and Dr Lear as being right about him all along… where does that leave Tuvok and Sulu?

I doubt a lot of Trekkies would be thrilled if Sulu’s return is turned into some kind of story about how *he’s* the one in the wrong, how he and Tuvok unfairly judged Khan, and how Khan was really just a big misunderstood cuddle-buddy. That… that wouldn’t be great. And while I could be completely wrong, the tone of the trailer – and Dr Lear’s comments in particular – seem to be hinting at a story which could go in that kind of direction.

Still frame from the Star Trek: Khan trailer showing Dr Lear.
Dr Lear is a new character created for Khan.

What I will say on that side of things, though, is that Starfleet does bear some responsibility for what happened to Khan and the Botany Bay survivors. After marooning them on Ceti Alpha V, it seems as if Starfleet just abandoned them to their fate. Worse, Starfleet doesn’t even seem to have kept proper records of the Ceti Alpha system, despite the dangers Khan and his augments were known to pose. How else do we explain the crew of the USS Reliant being totally unaware of the Botany Bay until after beaming down to Ceti Alpha V? In the eighteen years Khan and his people were stranded, not one Starfleet vessel visited to check up on them.

If there’s any room for nuance in Khan’s story, it’s here. Starfleet was either incompetent or downright malicious in its treatment of Khan and his people, stranding them on a hostile planet – uninhabited by sentient life, yes, but with a complete ecological system of its own – and then abandoning them. No one cared enough to check in on them, even though surely the Ceti Alpha system was close enough to Federation space that something as major as the destruction of an entire planet would have been noticed.

(Speaking of which, why could no one aboard the USS Reliant count to six?)

Still frame from Star Trek II: The Wrath of Khan showing two Starfleet officers on the bridge of their ship.
Captain Terrell with the USS Reliant’s science officer.

Then there’s Kirk’s role. The trailer mentioned Kirk by name – though he better not actually appear in the production; god help us if he does – and I guess we’re going to see more of Khan’s revenge obsession in the years before The Wrath of Khan. If we take our criticism of Starfleet and pin it on one person, could this audio drama focus in on Kirk’s role? Maybe Kirk neglected to tell Starfleet about Khan and what happened during Space Seed. Maybe no one except for the Enterprise crew ever knew that the augments were marooned there. If that’s the case, maybe Khan’s desire for revenge takes on a slightly different feel. If Kirk had logged what happened correctly, maybe someone would have swung by the Ceti Alpha system to check on Khan.

That’s just a theory, though I think it shows how difficult it may prove to thread the needle on this kind of “mid-quel” story. Anything we learn about Khan, Kirk, or anyone else has to fit with Space Seed and The Wrath of Khan, and mustn’t tread on their toes. That’s not an easy thing to do… and there are examples from other franchises – and from within Star Trek – showing just how badly things can go wrong when attempting this kind of story.

Still frame from the Star Trek: Khan trailer showing a quote from Khan and a raised fist.
Khan wants revenge on Captain Kirk. Who would’ve guessed?

Returning to Dr Lear, her statement that “monsters are made, not born” is another line I’m concerned about. This ties into what we were talking about; how the story could be an attempt to show Khan’s perspective and how Starfleet and Kirk were the ones in the wrong. Obviously Khan believes that – we knew that during The Wrath of Khan. But do we actually need a full audio drama dedicated to explaining that idea in more detail? And can it be done without detracting from Khan’s characterisation in those earlier stories? I’m afraid I’m still not convinced.

So let’s wrap things up.

Star Trek: Khan will premiere on the 8th of September – Star Trek Day. It’ll run for nine episodes, with the finale airing in early November. I plan to tune in, even though I’m not really sold on the premise, nor on some of what we saw in the trailer. At this stage, I don’t intend to review individual episodes, but I’ll hopefully be able to write up a review of the full audio drama once it’s aired. Check back in November for that!

Still frame from Star Trek: TOS 1x22: Space Seed showing Khan in engineering.
Khan in Space Seed.

I wouldn’t have given the green light to this project, either in this audio form or as its original miniseries pitch. But I’m not writing it off just yet, and there are reasons to be hopeful… or at least a bit less pessimistic! I often say that “no one asked for this” is a terrible argument, and often the best productions are those that “no one” seemed to be interested in at first. It’s with that attitude that I plan to approach Star Trek: Khan, and I’ll do my best to give it a fair shake despite my misgivings.

I hope this has been interesting! I think we’ve finally covered all of the big Comic-Con news, now. If you haven’t checked in for a while, I’m back to writing weekly Strange New Worlds episode reviews – we’re almost halfway through Season 3 already, if you can believe that! And there’s more Star Trek content to come here on the website in the weeks ahead.

See you on Ceti Alpha V!


Star Trek: Khan will premiere as a scripted podcast/audio drama on multiple podcast platforms on the 8th of September 2025, with further episodes to follow weekly. Star Trek: Khan, and all other properties discussed above, are the copyright of CBS Studios, Paramount Global, and/or Skydance. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 4: A Space Adventure Hour

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for: The Original Series Season 1, The Next Generation Season 2, and The Undiscovered Country.

After last week’s horrifying zombie story, Strange New Worlds completely changed direction in A Space Adventure Hour. There were elements of comedy and drama, as well as a light-hearted pastiche of Star Trek: The Original Series which, I suspect, will have worked better for some fans than others. Star Trek legend Jonathan Frakes returned to the director’s chair for the first time this season, and while I wasn’t wild about the story at first… it grew on me over its runtime.

A Space Adventure Hour deliberately ignored almost all of the season’s ongoing storylines: Captain Batel and her illness weren’t mentioned, Ortegas was reinstated with a hand-wavy line of dialogue, and the story really zoomed in on two characters: Scotty and La’an. I generally enjoy Strange New Worlds’ episodic nature, so I don’t mind when an episode does something like that. But at the same time, I hope we’ll return to the aftermath of the Enterprise’s run-in with the Gorn before too long. Setting it aside was fine on this occasion, though.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing one of the fictional aliens.
A horrifying monster from outer space!

Before we go any further, let’s just say this: I fucking loathe Paramount’s ridiculous “America First” attitude. It’s self-defeating and stupid. A Space Adventure Hour was made available for free on YouTube and Pluto TV – but only in the United States. We can debate whether this was the right episode to try to use to entice new viewers (I don’t think it was, by the way) but why – why?! – does Paramount insist on this pathetic “America First” fetish? It isn’t the 1960s any more – Star Trek, and really all of Paramount’s shows – have a worldwide audience. That’s why Paramount+ exists in other countries. Why offer something like this to a tiny fraction of that audience but nobody else?

We’ve seen this time and again with Paramount and the Star Trek franchise, and it’s got to stop. In this case it was a “freebie,” but it’s not just that – it’s marketing. Offering a free episode on YouTube is a marketing stunt to try to draw attention to Strange New Worlds and the broader franchise. But why only do that in the United States when the internet is one massive, global, interconnected space? Strange New Worlds is only available on Paramount+ in countries and regions where Paramount has actually bothered to launch the service, so there’s no argument about who has the rights to broadcast new episodes. It’s just so stupid to have these big marketing stunts only to ruin them by cutting off fans from the rest of the world. As it happens, it wouldn’t have made much difference to me as I have a Paramount+ subscription. But the whole point of doing something like this is to attract new eyes to the show. So why only offer that to folks in America when there’s an entire world watching and waiting? Star Trek might be owned by an American corporation, but the fanbase is global and the franchise’s name is known all over the world. A Space Adventure Hour streaming for free could’ve sold new Paramount+ subscriptions from Tierra del Fuego to New Delhi. If only Paramount’s executives weren’t “America First” morons.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing a blooper from the credits sequence.
A “blooper.”

Alright, rant over.

A Space Adventure Hour looks like it would’ve been a ton of fun to work on for the cast and crew. Getting to step out of character and try something new is always going to be enjoyable for folks working on long-running productions. But at only twenty-four episodes in (i.e. the equivalent of one season of Star Trek a few years ago) I’m… I’m not quite sure that Strange New Worlds has earned an episode like this just yet. Especially when we consider episodes like The Elysian Kingdom already did something very similar in Season 1… to say nothing of last season’s Subspace Rhapsody. There’s absolutely room for episodes like A Space Adventure Hour… if we were talking about a series that was gonna run to 170+ episodes over seven seasons. But with the recent cancellation news, I’m acutely aware of Strange New Worlds having a time limit. While there absolutely were interesting ideas and elements in the mix here, I just don’t think this is the kind of story I’d have personally chosen to greenlight if I was in charge!

That being said, I didn’t have the almost visceral, bowel-churning hatred of this episode as I did for last season’s musical outing. There were fun elements in the narrative, and on the “real world” side of things – outside of the story taking place on the holodeck – we got some interesting tidbits of lore.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing the main holo-characters.
The holograms in La’an’s murder mystery.

I’m a little disappointed that Strange New Worlds seems to be shoving Pelia aside in favour of Scotty. I feared this would happen when Scotty emerged at the end of Season 2, and while it’s interesting to catch a glimpse of Scotty’s younger days… I’m just concerned that it’s coming at the expense of first Hemmer, and now Pelia.

However! I’m glad that A Space Adventure Hour continued the theme of Scotty having room to grow. In this case, he wanted to solve everything completely by himself, to such an extent that he didn’t even tell the Enterprise’s senior staff about the problems he was having. We saw glimpses of the more familiar Scotty – the self-reliant, confident miracle-worker from The Original Series. But mixed in was an intensely vulnerable man, someone struggling with the loss of his previous ship. I don’t think his comments about the Stardiver somehow explain everything about Scotty, but it was interesting to learn a bit more about why he feels so hesitant to ask for help and why he tries to shoulder all of the burden himself.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing Scotty at work.
Scotty working on the holodeck.

It was genuinely fun to see Scotty in the science lab, trying to desperately balance the needs of the holodeck with the rest of the ship. We got a real mix of both TOS Scotty – with his incredible engineering prowess – and a younger, less confident version of the character, who was clearly feeling overwhelmed. It made for an interesting presentation, and Martin Quinn managed to walk the line exceptionally well.

What we’re really seeing is how Scotty’s raw, unrefined talent is being honed. And that’s where I felt Pelia’s absence. Instead of saying “oh, she’s on shore leave,” why not have Pelia be the one to set up the holodeck, but then get called away for some other emergency, leaving Scotty to pick up the pieces? At the very least, Pelia could’ve come in at the end of the story to coach Scotty on what he did right and where he went wrong. Those roles ultimately fell to Una and Uhura, which was fine in theory – and getting some interaction between Scotty and Uhura was definitely fun to see. But if the idea behind bringing Scotty into Strange New Worlds is to show how he has room to grow, and how he can take his undeniable talent and hone it into something more practical… we need his mentor to be present for at least part of that.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing Scotty with Una.
Scotty with Una – but where’s Pelia?

So… Spock’s just gonna romance his way through the Enterprise’s female crew members, I guess. First it was Chapel, now it’s La’an… who’s next? Una? Uhura? Pelia?

To me, it feels like Strange New Worlds’ writers have latched onto two story outlines with Spock, and don’t really know what else to do with him. We have the “Vulcans are stuck-up and rigid, so let’s use that for laughs” that we’ve seen in basically every Vulcan episode so far, and now we have the “Spock has no emotions, but what if he fell in love?” that we’ve seen with Chapel and now apparently with La’an too.

Spock can be a fun character, and putting him in situations that aren’t identical to what he went through in The Original Series is absolutely worthwhile. But… I can’t help but feel we’ve taken the “Spock in love” story outline as far as it can reasonably stretch. With T’Pring and Chapel, we’ve already explored this side of Spock. And with Strange New Worlds on the clock, if the aim is to bring Spock closer in line with his TOS version ahead of the show’s finale, we need to see more movement in that direction. A new relationship won’t help.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing La'an and Spock kissing.
La’an and Spock.

Spock and Chapel’s relationship evolved kind of naturally from TOS foundations – particularly Chapel’s apparent “crush” on Spock. While I felt we caught a glimpse of… something, between La’an and Spock in Wedding Bell Blues, where they danced together, I’m just not sure that this is the right way to go for either of them. I guess you could frame it as a “rebound;” for La’an after getting her heart broken by Kirk, and for Spock after his relationship with Chapel fell apart. And there could be something to gain from a “Spock on the rebound” story, I guess. I just don’t think this has the legs to go much further, and I don’t think it’s a storyline I’d have chosen to include.

Maybe this is because I’m asexual, but I don’t really think a show like Strange New Worlds needs this kind of relationship drama to be entertaining or engaging. There have been relationships between characters in past iterations of Star Trek – Troi and Riker, Worf and Dax, Trip and T’Pol – but again, those shows were longer, and the relationship stuff took up comparatively less time. Of the twenty-four Strange New Worlds episodes so far, three have included T’Pring, and four have included Spock’s relationship with Chapel in some way. Now we have another episode – and presumably at least one or two more to come – that will feature Spock and La’an. It’s just kind of a lot, especially for a character who had previously been so famously unattached – aside from his brief Pon Farr infatuation!

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing La'an and Spock dancing.
How many romances is Spock gonna have?

Here’s a question: did you guess A Space Adventure Hour’s big twist? I half-guessed it! It seemed pretty clear to me that the “Spock” La’an was talking to on the holodeck was, in fact, a hologram – but I didn’t go quite so far as to pin him as the murderer. In that sense, I think this side of A Space Adventure Hour was pretty creative, and it used the holodeck exceptionally well. We’ve had plenty of “the holodeck done goofed” stories in Star Trek before, but none quite like A Space Adventure Hour in terms of its twist. The story took the same core premise as the one from Elementary, Dear Data – but did something quite different with it. It was creative, and a great way to include this staple Star Trek technology in a new and fun way.

Speaking of the holodeck, it was a lot of fun to see the technology’s origins. It’s a bit of a timeline stretch, perhaps, to say that the holodeck was developed in the 23rd Century but wasn’t widely used nor installed aboard starships for basically another 100 years, but it’s still really interesting to delve into the history of how holodecks developed. Seeing Scotty as one of the early holodeck pioneers is a fun little tidbit, too. I don’t think it really clashes with Relics, where Scotty encounters a 24th Century holodeck, either – though I can see that being a bone of contention for some Trekkies, I guess!

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing La'an entering the holodeck.
La’an on the holodeck.

I don’t know about you, but I really enjoy when Star Trek takes the time to explore its technologies in a bit more detail – and I think we got an interesting exploration of the holodeck here. Seeing how the holodeck was wired into the rest of the ship could explain how some stories in The Next Generation era unfolded, particularly ones where a malfunction occurred! After the holodeck debuted in The Next Generation, we just kind of accepted that it’s something starships have – even though it could go wrong, sometimes.

Seeing the early development of this technology was fun. But it also presented an opportunity for Strange New Worlds to talk a little about renegade computer programmes – something that’s definitely relevant in 2025 as artificial intelligence software and large language models continue to improve and grow. I don’t think the episode kept this side of things in focus for very long, but the idea of a computer programme being smarter than the people who think they’re in charge of it, and using its generative technology for the purposes of deception? Those are very real and very valid points to touch on!

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing La'an about to exit the holodeck, with holo-Spock disappearing.
La’an with holo-Spock.

Where do we draw the line between a funny, self-referential parody or pastiche and something mocking and mean-spirited? I don’t believe that the writers intended for their “Last Frontier” segments to come across as rude, offensive, or mocking The Original Series, William Shatner, or Star Trek fans… but I’m not gonna lie, part of me feels like that’s exactly how it landed. Paul Wesley channelled his inner Shatner to deliver a very on-the-nose impersonation, and other parts of those segments included exaggerated set design, cinematography, and even writing. It felt like something you’d get on a comedy sketch show. And… I don’t think that’s a compliment.

Self-parody is already a difficult thing to pull off. Make one wrong move and it comes across as either masturbatory self-congratulation or a very niche in-joke that only hard-core fans are likely to understand. Both of those problems are present in parts of A Space Adventure Hour, but also… some of those sequences didn’t feel respectful. The tone felt almost aggressive or mocking, as if the writers were saying “look at how silly your stupid little space show is,” and by extension, “you’re idiots for enjoying this crap.” It’s almost like Shatner’s infamous “get a life” skit back in the 1980s – but worse, somehow, because it’s so earnest.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing the fictional USS Adventure.
The “USS Adventure.”

There is room in Star Trek for this kind of light-hearted take, and for episodes or storylines that call attention to some of the franchise’s weirder or less serious elements. That’s a big part of what Lower Decks did, if you think about it. But they have to be handled with at least some degree of sensitivity so they don’t come across as mean-spirited or looking down at Trekkies. For me, parts of A Space Adventure Hour strayed uncomfortably close to that line – and I already know some fellow Star Trek fans are gonna absolutely despise what this episode did with this parody.

As I said, I don’t think this was intentional. At least, I certainly hope it wasn’t! But it’s surprising to me that nobody involved in the production of the episode suggested… I dunno. Toning it down a notch or two? I can take a joke; I’m not some kind of stuck-up old fusspot who insists that “Star Trek should be 100% serious all the time!” Just look at my coverage of other episodes with comedic premises; I like comedy in Star Trek and there’s definitely a place for it. And I can see a version of A Space Adventure Hour where this kind of idea worked better. But the way it came across in the finished product… I think it was too much. It was too harsh, too aggressive, and where it could’ve been a funny little nod and wink to fans, it came across as laughing at us rather than laughing with us.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing a blooper of Kirk breaking his chair.
What did you make of the parody?

There were things to appreciate with the “Last Frontier” parody, though. Parts of the sets felt silly and exaggerated – the levers on the bridge in particular. But in other ways the sets were reminiscent of that kind of mid-century sci-fi series; the coloured lights reminded me very much of The Original Series, as did Kirk’s chair and the other console to one side on the bridge.

Though I didn’t really like Paul Wesley’s Shatner impression, it took a lot of skill to pull it off, and I can respect that. The soft filter on the camera, the way lighting changed, and the use of dramatic close-up shots were also all drawn from The Original Series, and added something to this pastiche. Holo-Kirk’s comment about a “female first officer” harkened back to The Cage, “Number One” being a woman, and Pike’s comment about women on the bridge of his ship. Or at least, I felt that it did.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing the Kirk/Shatner parody from the opening sequence.
There were some creative ideas here, but the tone let it down.

The rest of the holodeck adventure was a ton of fun. I think there were some pretty tropey over-acted performances from, well, pretty much all of the main cast as they took on these new roles, but that’s not necessarily a negative in this instance. It’s basically what the script called for – and these kinds of mid-century murder mystery stories (I’m loathe to call it “noir”) were populated by wildly exaggerated characters. For the kind of story A Space Adventure Hour wanted to be, the tone was pretty good.

It was also neat to see La’an in this kind of informal environment, as well as learning a bit more about her. La’an can be rigid and formal, though Kirk certainly helped break down her emotional walls! But until now, we hadn’t really gotten to know much about La’an as an individual, and some of the things she likes outside of her work in Starfleet. Season 3 already introduced us to dancing, which is apparently a hobby of hers, and now we’ve gotten to see these “Amelia Moon” detective stories. It was a nice inclusion, and a way to expand her character with something a bit less formal – and dare I say even a little childish – while still being in keeping with what we know about her role as a security officer.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing La'an on the holodeck.
This was a good episode for La’an.

The conversation between La’an and holo-Uhura about fandom was also not lost on me. If the earlier “Last Frontier” parody had been a bit too much, this conversation did succeed at bringing things back, and I appreciated what the writers wanted to say about Star Trek inspiring generations of viewers. I know Star Trek has inspired me – and if you’re reading this, I assume you’re also a fan and that Star Trek means something to you, too. I’m glad that the writers didn’t just leave the parody to speak for itself, but also included this conversation about how this fictionalised version of The Original Series could inspire people in the future.

For La’an, this hit especially close to home because of her connection to the Amelia Moon stories. I interpreted that as kind of a Nancy Drew or Famous Five type of children’s book, not necessarily something as grown-up as Sherlock Holmes! Speak of Holmes, did you notice Spock’s claim to be a descendant of Arthur Conan Doyle? I think the writers thought they were resolving a decades-old “plot hole” with that one! If you don’t recall, in The Undiscovered Country, Spock quoted Holmes and referred to the character as “an ancestor of mine,” which led to discussions in the fan community about what he meant, whether Sherlock Holmes was a real person in this setting, and so on. Strange New Worlds seems to have clarified that Spock was referring to Conan Doyle – and perhaps claiming that he’s an ancestor of Spock’s mother, Amanda? I don’t think it’s the kind of thing which needed clarification, but it’s interesting to note that Spock’s Sherlock Holmes connection goes back a long way!

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing a close-up of La'an.
La’an on the holodeck.

After the opening parody sequence was over, and we settled into the story with La’an, holo-Spock, and Scotty, I felt things improved a lot. The murder mystery looked tropey and silly at first, but then it kind of clicked for me and I found myself getting more invested in it. And on Scotty’s side, while I missed Pelia and felt she could’ve added a lot, it was undeniably a lot of fun to see the origins of the holodeck. Scotty played a big role in the development of that technology, which is certainly interesting!

Strange New Worlds is an episodic show. It remains a lot of fun to shake things up, try new things, and really push the boat out, sometimes. For me, parts of A Space Adventure Hour stuck the landing and showed why episodic Star Trek is still the best kind of Star Trek! Others… didn’t land quite as well as I’d have hoped. Overall, the episode was a bit of a mixed bag, then, but because the least-enjoyable parts were mostly out of the way within the first few minutes, I’d say the episode picked up as it went on, and by the time it ended, I was feeling a lot happier.

Still frame from Star Trek: Strange New Worlds 3x04 "A Space Adventure Hour," showing Scotty having a conversation with Uhura.
Uhura and Scotty.

I would say, though, that this was a truly stupid choice of episode to offer for free if the goal was to bring in new viewers on YouTube and Pluto TV. It’s a very self-referential, navel-gazing, “meta” episode of Star Trek, and it wouldn’t make for a good first contact either for Trekkies who want to get started with Strange New Worlds or for a more casual viewer looking to try Star Trek for the first time. In that sense, I don’t understand why Paramount would choose this story – of all the Strange New Worlds episodes we’ve seen so far – for this kind of marketing stunt. But then again, I don’t understand why the morons in Paramount’s marketing department make basically any of the decisions they make. The sooner the Skydance team takes over, the better!

So that was A Space Adventure Hour. I didn’t hate it. Well… most of it. And there were some interesting ideas and character moments in the mix. I continue to appreciate that Strange New Worlds is an episodic project, even when some of the episodes veer into narrative or thematic territory that doesn’t do much for me personally!

Next week, we have Through the Lens of Time, which I hope is gonna be a ton of fun. Time travel stories (which I’m assuming this one will be) aren’t always my favourites in Star Trek, but I’m keeping my fingers crossed. Oh, and let’s hope Pelia can make a return to the show soon, too!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Year One – Thoughts on the Pitch

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series, Discovery, Picard, Strange New Worlds, and Starfleet Academy.

You might’ve missed it in the din of other Comic-Con news, but we’ve recently learned that a pitch for a new Star Trek series is in the offing. Spearheaded by Strange New Worlds showrunners Akiva Goldsman and Henry Alonso Myers, the project would be a continuation of sorts – picking up after the end of Pike’s tenure in the captain’s chair of the Enterprise and showing the first missions under Kirk’s command. I wanted to get into the pitch today and share my thoughts.

Akiva Goldsman is all over modern Star Trek – he’s worked on Discovery, Short Treks, and Picard, as well as serving as showrunner for Strange New Worlds. And Henry Alonso Myers has been Strange New Worlds’ executive producer and showrunner since Season 1. The duo are currently preparing a formal pitch for their successor series, presumably to the newly-merged Skydance/Paramount corporate entity. At Comic-Con, Goldsman encouraged fans to get in touch with Star Trek’s corporate overlords to support the pitch.

Promo photo of showrunner Akiva Goldsman from StarTrek.com.
Akiva Goldsman (pictured) and Henry Alonso Myers have teased this Year One pitch.
Photo Credit: StarTrek.com

So… is this a good idea?

If you’re a regular reader, you’ll have heard me say this a thousand times: more Star Trek on our screens is always going to be a good thing, and it’s always going to be something I’ll do my best to support. Then there’s the whole “no one’s asking for this” argument. Many shows that “no one” asked for turned out to be fantastic, and in today’s insular fan communities, often the kinds of things people are asking for would either be flat-out terrible or would be so niche that they’d never attract a mainstream audience. I often point to Star Trek: Enterprise as an example of a series that “no one” was asking for around the turn of the millennium, but it actually ended up telling some wonderful Star Trek stories.

Those are my caveats! And I mention them before we go any further because, to be blunt about it, I’m not sold on this Year One pitch.

Still frame from Star Trek: Strange New Worlds Season 3 showing Spock.
You heard me, Spock.

There are several factors to consider, and we’ll run through them in turn.

First of all, let’s think about what appealed to fans about Strange New Worlds in the first place – why was this show even made? The short answer is Anson Mount and his portrayal of Captain Pike. During Discovery’s second season, Mount joined the series alongside Ethan Peck as Spock and with a smaller role for Rebecca Romijn as Una. Mount’s commanding portrayal of Pike led to calls for a “Captain Pike show,” with the fan campaign seeming to catch ViacomCBS off-guard.

Ethan Peck’s take on a younger version of Spock was interesting, and Rebecca Romijn was fantastic in her scenes as Number One, too, but when we step back in time to early 2019 and Discovery’s second season… it was Captain Pike that really appealed to fans. Anson Mount showed us a wonderfully complex man; an upstanding Starfleet officer willing to make whatever sacrifices were necessary to save the galaxy and complete his mission. And we lapped it up.

Still frame from Star Trek: Discovery Season 2 showing Pike's first appearance.
Captain Pike boards the USS Discovery for the first time.

What is the “Captain Pike show” without Captain Pike? Because, if you boil it down, that’s what this Year One idea sounds like. Replace Pike with Kirk, but keep the sets and some of the other cast. Presumably they’d also shuffle off characters like Ortegas, Pelia, and La’an, too – replacing them with familiar faces from The Original Series. In an interview shortly after the Comic-Con panel, Myers mentioned Sulu, Dr McCoy, and even potentially bringing Chekov into the Year One show.

But without Captain Pike… would the show still work? I mean, on a basic level I suppose it would; sticking with the same semi-episodic formula would at least keep the same fundamental tone. Pike, though, has been such an important factor in Strange New Worlds’ success that I really don’t think it would be a good idea to ditch him, of all people, and try to carry on. In fact, I’d go so far as to say the inverse of this pitch would be a better idea – Fleet Captain Pike’s adventures in the year or two before his accident, with Anson Mount carrying on and potentially bringing some of his Enterprise colleagues with him, would be the show I’d rather see!

Still frame from Star Trek: Strange New Worlds Season 2 showing Pike singing a song.
What is “the Captain Pike show” without Captain Pike?

There’s a problem of repetitiveness, too. In short, we’ve seen Kirk’s five-year mission already. Not only that, but we’ve seen it twice thanks to the Kelvin timeline films. Star Trek ’09 and Into Darkness both looked at how Kirk came to sit in the captain’s chair, as well as his early adventures as captain of the Enterprise. And, of course, we have The Original Series. While we didn’t see Kirk’s first day on the job in The Original Series… did we need to?

The Original Series took us through eighty adventures with Kirk and co. aboard the Enterprise. And while it’s been interesting to see Kirk meeting people like Uhura and Spock for the first time in Strange New Worlds, setting the stage for some of those future storylines, I don’t think it’s something we need an entire new series to do. What could we learn about Kirk, and his relationships with other members of the crew, that Strange New Worlds and the Kelvin films haven’t already shown us?

Concept art for Star Trek: Phase II showing the Enterprise.
Concept art of the USS Enterprise produced for Phase II in the 1970s.

To me, this Year One idea feels like the least-interesting chapter of a story where we’ve already seen the beginning and the end. We’ve seen two different versions of Kirk meeting Spock, Kirk meeting Uhura, and Kirk coming aboard Pike’s Enterprise. We’ve seen where Kirk and his crew would end up decades later – and plenty of adventures in between. What do we gain from Year One that we haven’t already seen from Strange New Worlds, the Kelvin films, and The Original Series? Where’s the hook – what’s different about these stories?

If Strange New Worlds’ writers and producers had kept Kirk – and other TOS characters – away from the show, maybe there’d be more of a compelling argument. I suggested way back when Strange New Worlds was first announced that the show could end with Kirk boarding the Enterprise for the first time, meeting Spock, and setting the stage for The Original Series – but that would’ve been the series finale. Instead, they wanted to bring in Kirk, Uhura, Scotty, and other familiar characters from the beginning – which has been fun to see, don’t get me wrong, but it also works against this new pitch. It’s kind of a “pick one or the other” type of situation, and with Strange New Worlds having included these characters, introduced them to one another, and shown the beginnings of those relationships, it’s kind of stolen the thunder of this Year One pitch before it was even made.

Still frame from Star Trek: Strange New Worlds Season 2 showing an alternate timeline Kirk.
Jim Kirk has already been a part of Strange New Worlds.

Since Nemesis was in cinemas all the way back in 2002, Star Trek has spent a lot of time on prequels. Enterprise, the Kelvin films, Discovery’s first two seasons, and Strange New Worlds have all been set in the years before The Original Series – meaning there have been fewer opportunities to advance the overall timeline of the franchise. I don’t think I’m the only Trekkie to say that maybe it’s time to give the prequel idea a break for a while, and if there is to be more Star Trek in the years ahead, to focus instead on moving the timeline forwards.

Starfleet Academy will do that, and that’s a positive thing. But look at the reaction to Picard’s third season – fans have been clamouring for some kind of successor show set in that same time period. Even though the original Legacy idea didn’t get off the ground, there’s still a ton of support within the fan community for a new show set after Picard, one which could potentially connect with characters, factions, and storylines of The Next Generation era – Star Trek’s real “golden age.”

Still frame from Star Trek: Picard Season 3 showing the Enterprise-G.
What about a sequel instead of a prequel?

I don’t want to come across as mean or nasty, but I think there’s a bit of a generational disconnect here. Akiva Goldsman is in his 60s, and Henry Alonso Myers is in his 50s. When people say “Star Trek” to folks of that age, their thoughts turn first and foremost to The Original Series – Captain Kirk, the rubber-suited Gorn, papier-mâché boulders, and wacky adventures that took the Enterprise to a planet where everyone dressed like 1920s Chicago. I’m not insulting anyone’s age – I’m the wrong side of forty myself! But if you ask fans of my age or younger what Star Trek looks like… you get more answers about The Next Generation and shows of that era than you do The Original Series.

My point? That’s where at least a plurality of the fan community is at right now. Yes, Starfleet Academy has potential as a young adult show in the far future setting. And yes, Strange New Worlds has been absolutely fantastic as a prequel. But if we’re talking about commissioning a new series… please, please pick the 24th or 25th Century! That’s the message you’re gonna hear from many fans my age, at least.

Promo photo from Star Trek: The Original Series Season 1 showing Kirk wielding a phaser rifle.
A lot of older folks still think Star Trek begins and ends with The Original Series.

If there was infinite money for Star Trek, and the franchise was riding high, bringing in millions upon millions of dollars and turning Paramount+ into a must-have subscription, then I’d say go for it. But we don’t live in that world. I seriously doubt whether there will be any more Star Trek seasons commissioned after Starfleet Academy unless something almost miraculous were to happen, but if there’s room to add another series to the lineup… I just don’t want it to be another prequel.

Star Trek should have almost limitless room to grow – there’s an entire galaxy of alien races, subspace phenomena, and strange new worlds to explore. But returning to the same handful of characters over and over again is incredibly narrow-minded and narratively limited. We’ve seen the adventures of Captain Kirk already, and thanks to his inclusion in Strange New Worlds, we’ve also seen the very prologue to those stories that this Year One pitch seems to be focused on. If Kirk and The Original Series characters had been kept out of Strange New Worlds, maybe this idea would feel a bit stronger. But as it is… I’m not convinced at this stage that Year One would be the Star Trek project I’d give the green light to if I were in the Skydance boardroom.

Promo still from Star Trek: Strange New Worlds Season 3 showing Spock and Kirk.
Spock and Kirk in a promotional still for an upcoming Strange New Worlds episode.

I suspect, though, that all of this will be a moot point. Skydance may be interested in Star Trek as a cinematic franchise, but I’m not so sure they’re going to commit to any new television or streaming projects. With talk of merging Paramount+ with another streaming platform to try to revive its fortunes, and the current deal with Secret Hideout and Alex Kurtzman due to expire next year, Skydance will almost certainly want to bring new folks on board. Maybe someone will see the potential in a new Star Trek series in the second half of the 2020s after the merger is complete… but will it be Goldsman and Myers’ Year One pitch? I’m sceptical.

That was a lot of negativity and dumping on Year One. So let’s flip the script and try to look at things from the other side. What are the points in favour of this idea?

Concept art for Star Trek: Strange New Worlds showing the Enterprise in orbit of a planet.
The USS Enterprise.

Firstly: continuity. Continuing Strange New Worlds, in some form, with at least half of its characters sticking around represents a thread of continuity between Star Trek projects. You could look at it in the same way as the expansion of Star Trek in the 1990s, with Deep Space Nine and Voyager following on from The Next Generation. There’d be at least one character – Spock – who appeared in Discovery, stuck with Strange New Worlds, and then joined Year One. This ties together the modern Star Trek franchise and gives more casual viewers a reason to stick with Paramount+ and check out some of the other shows. This is how you convert sometime viewers into fully-fledged Trekkies!

I know there are a lot of folks who enjoyed Picard – especially Season 3. And Lower Decks has its fans, too. But for me – and plenty of other Trekkies – Strange New Worlds has been the highlight of modern Star Trek. It’s taken the franchise back to its roots with its episodic tone, focus on exploration, and willingness to dip its toes in different genres. There have been some outlandish storylines, too – just like we got in The Original Series and other classic shows. So if any part of modern Star Trek has earned the right to a successor series… shouldn’t it be Strange New Worlds?

Still frame from Star Trek: Strange New Worlds Season 3 showing Pike, Sam Kirk, M'Benga, and Scotty.
If any modern Star Trek show deserves a sequel, surely it’s gotta be Strange New Worlds.

The counter-argument I’d make to that last point, though, is that if the producers and executives want more Strange New Worlds… then just commission a sixth season. Instead of cancelling the project (with truly awful timing, right as the marketing push for Season 3 was starting), why not just keep it going? Practically any storyline you could think of for Year One aboard Kirk’s Enterprise could work more or less the same as a Strange New Worlds episode. If Kirk is integral to the story, well… would you look at that? We’ve already got Kirk in Strange New Worlds!

But Kirk is actually the next point in favour of this successor show. Paul Wesley has been great in the role since he first appeared at the end of Season 1, and I can absolutely see him carrying a new series as this younger version of the character. Wesley has embodied the role, showing us a nuanced performance that fits somewhere in between Chris Pine’s rough-and-ready action hero and William Shatner’s classic portrayal. We’ve seen a softer side to Kirk, particularly in some of his storylines involving La’an, but also the captain we remember from The Original Series in the fantastic Season 1 finale.

Promo photo from Star Trek: Strange New Worlds Season 1 showing Kirk.
Paul Wesley has been fantastic to watch.

And there is scope to tell stories with this version of Captain Kirk. One thing I’ve hoped to see in Strange New Worlds is the burgeoning friendship between Kirk and Spock – something we got a tantalising glimpse of in Season 2. Year One could certainly explore that – and explain, perhaps, why science officer Spock became Kirk’s second-in-command. Then there’s another Kirk that Strange New Worlds included: Sam. We could get a deeper exploration of the Kirk brothers’ relationship in the years before Sam’s untimely death. How would Kirk react to his brother serving under his command, or having to order his brother to undertake dangerous missions? That could be an interesting idea.

I think we saw in the disappointed reaction to Strange New Worlds’ cancellation that there are passionate fans of this series, its characters, and its episodic style. It’s the only live-action series of this new era that has really tried to lean into what Star Trek used to be; the esoteric and outlandish sci-fi ideas, an aesthetic that borrows a lot from The Original Series’ mid-century designs, and a spirit of exploration that other shows with serialised stories, existential threats, and scenery-chewing villains just didn’t have. Strange New Worlds has appealed to a lot of Star Trek fans in a way that Picard and Discovery didn’t, and with Starfleet Academy apparently borrowing some of those serialised ideas with its young adult cast, there’s definitely room for a show like Year One to pick up the “classic Trek” baton.

Still frame from Star Trek: The Original Series showing McCoy, Scotty, Spock, and Uhura.
There’s still room on television for a “classic” Star Trek series.

Without that kind of show, leaning on the legacy of past iterations of Star Trek, Trekkies like myself don’t really have a home any more. Discovery and Picard had their moments, but for me, Strange New Worlds has been the best of the bunch by far. If that kind of episodic, exploration-focused Star Trek were to just shut down… even if Starfleet Academy continues and a new Kelvin film enters production, there’ll be a hole in the franchise for myself and a lot of other fans.

Then there are practical matters. Starting production on a new series is an expensive business – but Year One would be comparatively cheap. Most of the main characters are already in place, so there’d be less of a need for a prolonged casting process. And – as Goldsman pointed out at Comic-Con – the sets for Pike’s Enterprise still exist right now. With the new series being set on the same ship, there’d be no need to build anything new; production could end on Strange New Worlds one day and begin on Year One the next.

Behind-the-scenes photo from the set of Star Trek: Strange New Worlds Season 2 showing a scene being filmed on the bridge.
Year One could make use of existing sets.

That might seem trivial compared with everything else we’ve been discussing – but to a newly-established corporation which is looking to finally turn a profit on a loss-making streaming service? Keeping costs down is a good thing, and certainly a point that the higher-ups would take into consideration. There’d still be contracts to address, but if production could transition from one series to the other with the same cast and the same behind-the-scenes team in place… that could save a lot of money in contrast to commissioning something brand new.

A “young Kirk and Spock” idea was considered by Gene Roddenberry in the late 1960s, when The Original Series was struggling. So in that sense, this kind of idea has pedigree and has been looked at before. Trekkies had plenty of conversations about that in the run-up to Star Trek ’09, when Kirk and Spock would finally be shown meeting for the first time at Starfleet Academy! But the same principle applies here: it’s not a million miles away from spin-off ideas that have been kicking around for decades.

Two cropped still frames from Star Trek 2009 showing Cadet Kirk and Spock at the Academy.
Kirk and Spock’s first encounter was also shown in Star Trek ’09.

With all that being said… this would not be my first choice for a new Star Trek series. The biggest point in its favour is arguably how easy it would be to set up. But if Skydance and Paramount are so financially messed up that saving money on building sets is a major consideration, then to be blunt about it, Star Trek has already failed and would only be living on borrowed time.

I have thoroughly enjoyed Strange New Worlds. But if Year One’s pitch is basically “let’s do more Strange New Worlds!” then… why not just go for Season 6? Why risk ditching Captain Pike from “the Captain Pike show” that Trekkies were so passionate about asking for in 2019 and 2020? If I felt like Pike had worn out his welcome or that we were coming to the end of the line somehow… then sure, I guess it would make sense. But Pike is still one of the best things about Strange New Worlds, and if there was one character to preserve for a successor show… it’s gotta be him.

Still frame from Star Trek: Strange New Worlds Season 2 showing Pelia and Una in a shuttlecraft.
Why not just commission a sixth season if we want more Strange New Worlds?

I like Paul Wesley’s take on Kirk, and I’ve enjoyed having him in Strange New Worlds as a recurring character. I think there’s scope to do more with this incarnation of Kirk, too – and I hope we’ll see that in Seasons 3, 4, and 5. And I don’t doubt Wesley’s ability to carry a spin-off, either. I just question how necessary Year One would be in light of Kirk’s role in Strange New Worlds. Given that he’s going to appear a few more times before the end of the series, and we’ve already seen him with Spock, Uhura, and others… what could Year One realistically do with him and his relationships with his crew that we haven’t already seen or can’t reasonably infer?

More Star Trek on our screens is great – and I welcome any pitch from creative folks who have already worked with Paramount and thus have the necessary connections to get the ball rolling. If Year One were to get the green light – which is at least possible, surely – then I would watch it, I’d do my best to support it, and I’d be rooting for its success.

Paul Wesley as Kirk on the bridge of the Enterprise in a promotional photo.
Kirk in a promotional photo released ahead of Strange New Worlds Season 2.

If it was up to me, though… I don’t think this is the pitch I’d give the green light to.

What I want more than anything is a Strange New Worlds-style episodic adventure series set somewhere beyond the Picard era. Such a show could pick up dangling narrative threads left over from The Next Generation and the other 1990s shows, potentially visiting the Gamma and Delta Quadrants, and just pushing the timeline forwards again. Starfleet Academy’s 32nd Century can do some of that – at least in theory – but because it’s that much further forwards in time, its opportunities to make those connections are more limited.

However, I can see why this pitch would hold some appeal, both to fans and to the executives that Goldsman and Myers will need to win over! A successor to what is arguably the best and most successful live-action Star Trek show of this modern era is not, in theory, a bad idea by any means. And with the cast largely in place, sets already built, and apparently some stories already being considered… maybe the time is right. Maybe this Strange New Worlds sequel/Original Series prequel is what Star Trek needs at the current moment. There’s something to be said for going back to the franchise’s roots to shore things up, and with major corporate changes inbound, keeping some threads of continuity is also a point in the pitch’s favour.

Concept art: The refit USS Enterprise.
Concept art of the USS Enterprise produced for Phase II or The Motion Picture.

So that’s my take. I wouldn’t necessarily choose Year One if I had something like Legacy on the table… but I don’t loathe the concept and I could see it being enjoyable. I have my suspicions at this stage, though, that Skydance’s new leadership may not be interested in the idea. After all, is it just a coincidence that Strange New Worlds was cancelled right as the corporate merger was happening? If Skydance’s folks were interested in the show, they could’ve said so during the process and kept it on the air in its current form.

If Year One goes ahead, though, I’m sure I’ll have more to say. Coming out of this year’s Comic-Con we also got news about the audio drama/scripted podcast Star Trek: Khan, which I’ll be taking a look at in the days ahead. And if you missed it, I’ve recently taken a look at the first trailer, photos, and details released about the upcoming Starfleet Academy series. Click or tap here to take a look at that.

Later this week we’ve got A Space Adventure Hour as Strange New Worlds’ third season rolls along. We’re past the show’s halfway point now, which is a bit of a sad thought. But who knows? Maybe Year One will pick up the story in the years ahead.


The Star Trek franchise – including all shows and properties discussed above – is the copyright of Paramount Global (soon to be Skydance). Some images courtesy of Forgotten Trek and/or the Frogland Set Blueprint Archive. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Starfleet Academy: The First Trailer (And More!)

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of spoilers for Season 1 of Star Trek: Starfleet Academy. We will be discussing casting, photos, posters, the trailer, and comments from the team behind the series. Spoilers are also present for the following Star Trek productions: Section 31, Picard, Discovery, and Voyager.

It’s Comic-Con season, which means Paramount has rented some very expensive auditoriums to preview some of its upcoming projects! Among those are several new seasons of Star Trek. This time, we’re going to take a look at some of the photos, news, and of course, the first trailer released for Starfleet Academy.

Star Trek needs to demonstrate that it can grow; it needs to be more than just the preserve of people my age, reminiscing about the shows we enjoyed in the 1990s. If there’s going to be a future for Star Trek beyond the second half of the 2020s – which, with all of these cancellations, and a corporate merger to boot, is categorically not guaranteed – new fans and especially younger fans need to get on board. Star Trek needs these people to show up in droves, and ideally stick around and watch other shows, too. We can’t afford to be gatekeepers or try to push people out – it’s up to us to ensure that the Star Trek fan community is a welcoming place for newcomers.

Still frame from the Star Trek: Starfleet Academy trailer showing a large group of cadets listening to a speech.
Here’s hoping Starfleet Academy will bring in new viewers and new fans!

Paramount has made attempts to do this already. We saw it with Prodigy and we saw it with Section 31. Prodigy didn’t succeed because of corporate decisions on the Paramount side – absolutely moronic decisions, to be blunt about it. And Section 31 was a perfectly adequate action-heavy B-movie, but probably not the kind of film that could bring in legions of new fans. Again, corporate idiocy is partially to blame; forcing the Section 31 folks to condense a story written for a full TV series into the runtime of a single film instead of commissioning an all-new script being the most obvious example.

After these failures to grow the Star Trek brand and fan community, Paramount’s hopes now lie with Starfleet Academy. And while the Skydance merger could present a new opportunity for Star Trek on the cinematic side of things, on television/streaming… this feels like the last chance saloon for the franchise, I’ll be honest with you. If Starfleet Academy doesn’t prove that Star Trek still has room to grow and can appeal to a younger generation of television viewers, I don’t see how Skymount or Paradance (or whatever the new corporate entity will be called) could reasonably justify spending more money on the franchise. As we’ve discussed before, the next few years could bring the final seasons and episodes – certainly the last ones I’ll get to see.

Sorry if that’s a bit of a depressing note to start on, but I wanted to be up-front about the challenges Star Trek is facing right now – and the hopes riding on Starfleet Academy to potentially turn things around.

Still frame from the Star Trek: Starfleet Academy trailer showing Captain Ake in the captain's chair.
Captain Nahla Ake.

With all of that out of the way… what did I think of the trailer? And of the other announcements and comments? Well… it’s early days, but I’d say it looks reasonably good at this stage. The visual language of Star Trek is present – even though, in this 32nd Century setting, some of that is diminished or just a bit different. But Starfleet Academy feels closer to past iterations of the franchise than the Section 31 movie did earlier this year. I noted with some disappointment that Section 31 basically erased all of the aesthetic features and common design elements of Star Trek in what was apparently a mad rush to tell a generic, comic book-style action flick. Starfleet Academy isn’t doing that – which is something I can appreciate.

There need to be these threads of commonality in a long-running franchise – particularly if your objective is to convert sometime viewers of a single series into fully-fledged fans. It’s difficult to go from Section 31 to even some of the episodes in DS9 or Discovery which prominently featured the organisation, simply because of how little those stories have in common visually – never mind in terms of narrative or tone. Visual language sets the scene; it’s the first thing a viewer encounters. And there’s enough in what I saw of Starfleet Academy to firmly place the series in the Star Trek universe. That’s a positive thing in my book.

Promo photo for Star Trek: Starfleet Academy showing a Klingon cadet.
Jay-Den Kraag, one of the new cadets.

We can also see this in the new choice of font. The new typeface was shown off on the promotional posters released for the series as well as at the end of the trailer. I don’t know if this is going to be the show’s new logo, but it’s basically using the same font as the one used in The Motion Picture, several subsequent films, and two of the shows from Star Trek’s ’90s heyday. This is an interesting choice – not least because Starfleet Academy already had a logo that used a kind of rounded version of the typeface used on starship hulls! I happened to like that one, but I was impressed to see this older font brought back.

Starfleet Academy’s uniforms are, naturally, based on those seen in Discovery. We get a mix of colourful uniforms on some of the senior officers, which seem pretty close to those seen in Discovery’s fourth and fifth seasons, with a toned-down grey look for the cadets, which is similar to what we saw in Discovery’s third season. While I think I might’ve liked to see a bit more colour on the cadets, there’s also gotta be a way to distinguish, at a glance, between the cadets and other Starfleet personnel – so this feels like a pretty good compromise.

Promo photo for Star Trek: Starfleet Academy showing cadets in the cafeteria.
The cadets in the cafeteria.

Then we have combadges! The oval design from Discovery seems to have been changed – at least for the cadets and Academy personnel. The familiar Starfleet delta is still present, of course, but it’s surrounded by a circle with two extended “wings” at the bottom. I’d like to see the badges up close – I assume they’ll be similar in function to Discovery’s tri-com badges, which incorporated transporters, tricorders, padds, and communicators all in one.

The design is creative, though, and I assume at this stage that the new combadges are primarily going to be used by Academy cadets and instructors. The cadet badges seem to look a little different to those on other Starfleet officers, too, which is interesting – and another way to help tell people apart! I think I saw Admiral Vance – who’s returning from Discovery – wearing the more familiar oval tri-com badge, which is why I think these ones could be exclusive to the Academy. Still, the “wings” give the badges a unique design, and I’m glad the familiar Starfleet delta is still prominently featured.

Compilation of four combadges seen in the promo photos and trailer for Star Trek: Starfleet Academy.
Close-ups of several combadges.

Though it may not be the main focus – and we only caught a couple of glimpses in the trailer – the USS Athena is described by Paramount’s official blurb as “an integral part of the Starfleet Academy campus.” If we assume that the ship we saw in the trailer is the Athena, then the design deviates a little from the usual saucer-neck-body-nacelles of past hero ships. The ship we glimpsed in the trailer seemed to have a movable C-shaped section, with a circular saucer above it. I’d like to get a better look at the ship from all angles before rendering judgement – and this might not even be the USS Athena.

First impressions, though, are positive. I think I’d have preferred something with a bit more of that visual language we were talking about – a ship with a saucer and two nacelles. But this is the 32nd Century, and Starfleet is doing things differently! We’ve already seen several very different Starfleet vessels of this era in Discovery, and the ship from the trailer is at least closer to previous Federation craft than some of those! It’s also possible that this ship, in fact, doesn’t belong to Starfleet at all, but to the season’s villain.

Still frame from the Star Trek: Starfleet Academy trailer showing the USS Athena (or another ship) hovering over the Academy.
The spaceship from the trailer.

Inside, I felt that the bridge of the USS Athena looked awfully similar to Discovery’s bridge – so much so that I’d call it a redress of the same set rather than an all-new creation. If you think about it from the in-universe side, this doesn’t make a ton of sense. The USS Discovery is a retrofitted 900-year-old ship by this point in the timeline, and we shouldn’t really be seeing much of its design, lighting, and overall aesthetic being repeated. I don’t think it looks “bad,” but rather that some aspects of the design just feel a little too familiar. And while we’ve admittedly only seen the bridge while apparently at red alert, it’s awfully dimly lit. This was a criticism some folks had of Discovery’s sets, too.

On the more positive side, I liked that the bridge was wide and expansive, and seemingly has room for multiple different cadets – and possibly teachers, too – at every post. The chairs having Starfleet delta-shaped bases was cute, too. The design also incorporates a large ramp, and several different levels radiating out from the elevated captain’s chair in the middle. Those are all fun features, too, and I daresay I’ll get used to this design in time – just as I did with the USS Discovery and Strange New Worlds’ redesigned Enterprise.

Promo photo for Star Trek: Starfleet Academy showing the bridge.
The new bridge.

We saw small teases of the Academy itself, and the sets which have been constructed to depict it. There’s some kind of assembly area, a cafeteria that reminded me of one I used to have lunch at when I was at university, an observation deck or a room with a view over San Francisco, and a bench in an outdoor space. I don’t know how much time we’ll spend at any of these locations, but they all looked solid.

The CGI used to depict the Academy was on form. I liked seeing the opening shot of the Golden Gate Bridge, the wider shot of a futuristic San Francisco, and obviously the Academy buildings themselves. Paramount’s VFX has improved a lot in recent years, and Starfleet Academy is reaping the rewards. There’s enough continuity with previous iterations of Star Trek for long-time viewers to feel that the Academy is in the same place – and especially if you compare some of the shots in the trailer with the Academy’s most recent appearance in Star Trek: Picard, I think you can see the similarities.

Still frame from the Star Trek: Starfleet Academy trailer showing the USS Athena and Starfleet Academy.
The USS Athena approaching Starfleet Academy.

Alright, let’s talk about the characters!

The trailer seems to have shown clips of most of the main and secondary cast, and in addition we got photos for each of them – which you can see below. There are five main cadets, who will presumably be the show’s protagonists across Season 1, three returning characters – two from Discovery and one from Voyager – the Chancellor of Starfleet Academy, and the season’s main villain. If you’ve followed my coverage of Starfleet Academy since the series was announced back in 2023, you might remember me saying that I’m a tad sceptical about a serialised story with a villain; Star Trek has done the whole “existential threat to the galaxy” thing over and over again in recent years, and not always successfully!

Compilation of the five cadet photos and the first promotional poster for Star Trek: Starfleet Academy.
The main cadets (and the poster).

I’m still hopeful, though, that Starfleet Academy will be closer in structure, tone, and style to Strange New Worlds than to the likes of Picard and Discovery – more episodic in nature, retaining character arcs and some serialised trappings, but throwing the cadets into a variety of different situations. Such a story could work with a main villain; the villain’s plan could run parallel to the cadets’ adventures, or he could only appear to bookend the story, for instance.

I’m still not convinced that a series like this needs to have one overarching villain, especially not one with a connection to a main character and who apparently poses a threat to the entire galaxy, as has been previously teased. That basic story outline has, for me, worn out its welcome after being recycled in every season of Discovery and Picard.

Promo photo for Star Trek: Starfleet Academy showing Nus Braka, the main villain of the story.
Nus Braka: the season’s main villain.

One thing you can’t criticise Starfleet Academy for is its casting. Paul Giamatti will play the aforementioned villain – described as a half-Tellarite, half-Klingon who has a connection to one of the cadets. Given that we have a Klingon cadet… that seems like a possible point of connection! Holly Hunter, who won the Academy Award for Best Actress for her role in 1993’s The Piano, is playing the Academy Chancellor/Captain of the USS Athena. So we have an Oscar winner and an Oscar-nominated star occupying those two roles!

Additionally, I’d suggest that Starfleet Academy was clever in its choices of who to include from past iterations of Star Trek. Oded Fehr has been brilliant as Admiral Vance; one of the highlights of Discovery’s later seasons for sure. Tig Notaro has been a blast as Reno, too. And Robert Picardo… coming back as the Doctor in live-action after his role in Prodigy! That’s fantastic, absolutely fantastic! I half-theorised, half-hoped that we might’ve seen the Doctor in Discovery after the series shot forwards in time, so having him here is going to be wonderful.

Still frame from the Star Trek: Starfleet Academy trailer showing Captain Ake, Admiral Vance, the Doctor, an an unnamed character.
Captain Ake flanked by the Doctor and Admiral Vance.

My only teeny tiny concern at this stage with the returning characters is this: will the series strike the right balance between the young cadets, the new Academy personnel, the villain and his crew, and the returning characters? The Doctor has been billed as a recurring character, so I’m expecting we won’t just get a series premiere cameo, like we did with Dr McCoy in Encounter at Farpoint. But if it was me in the writers’ room, I’d be sorely tempted to spend a lot of time catching up with the Doctor, and I think there has to be a balance there!

Firstly, we should establish whether this is the original Doctor or his Living Witness backup copy! But then, will the Doctor just be a kind of advisor or even just an instructor for some of the cadets, or will he play a larger role in their mission? I know the Doctor has been featured in Prodigy, but this is going to be his first live-action appearance since Voyager, and catching up with even a tiny fraction of the things he’s been up to in the hundreds of years since we last saw him would be a priority for me. But… this is a new series, and with presumably ten episodes in Season 1 and an unknown number in Season 2, we really have to give the new characters a chance to shine on their own.

Still frame from the Star Trek: Starfleet Academy trailer showing the Doctor emerging from a turbolift.
The Doctor.

One other interesting-looking character is the half-Jem’Hadar, half-Klingon first officer of the USS Athena. I hope we get to learn a bit more about the Dominion in this era through her eyes, and that she isn’t just present as an “easter egg” for fans. Discovery dropped the barest of mentions of the Dominion War in either Season 3 or 4 (I forgot which; oops) but we didn’t really get an exploration of what the road to peace looked like. Given the actions of the renegade changeling faction in Picard’s third season, there were clearly complications after the war. But how was peace ultimately achieved, and did it last? Those are still open questions.

Also… aren’t Jem’Hadar artificially created? I always imaged that the Dominion churned them out fully-formed as adults, so how does one get a Jem’Hadar hybrid of any kind? Do… do Jem’Hadar have genitals? I never thought about that before, but now… this character’s inclusion seems to raise some questions. Joking aside, I hope this character won’t just be present in a background role, and that we’ll get to spend a bit of time with them, considering the implications of a half-Jem’Hadar Starfleet officer, and what that could mean for diplomatic relations between the Federation and Dominion in this era. For all we know, a renegade band of Jem’Hadar defected centuries ago, and she’s one of their descendants. But in any case, I’ll be very interested to find out.

Still frame from the Star Trek: Starfleet Academy trailer showing the first officer.
Lura Thok: the half-Klingon, half-Jem’Hadar first officer.

Four of the five cadets have a speciality, and one was listed as “undeclared.” Within those specialities, we have two commanders, one science – who Paramount later clarified wants to be a medical officer – and one operations. If you think of the typical Starfleet crew from past shows, we’e missing a couple of key positions! Most notably an engineer, though that could cross over with operations, I guess. And the two command cadets could both be competing for the same spot, or one could be aiming for a role like helm officer, where personnel typically wear the command colours.

As for our “undeclared” cadet… that’s an interesting word choice, isn’t it? This character was described as an “orphan with a troubled past,” potentially teeing up a connection with the season’s villain, and also as an “unlikely” Starfleet cadet. But that word – “undeclared” – keeps coming back for me. It’s not a synonym for “don’t know” or “hasn’t chosen yet;” instead it’s a word that could mean “I know but I haven’t told you.” So… could this be some kind of Starfleet Intelligence career path, or maybe even something connected with Section 31? The other cadets have red, gold, or blue trim on their uniforms; this character’s is dark grey or black. That could suggest some kind of Section 31 connection… couldn’t it?

Still frame from the Star Trek: Starfleet Academy trailer showing a close-up of one of the cadets.
Is this cadet possibly in Section 31?

There were several interesting name-drops, references, and “easter eggs” in the trailer, with a “James T. Kirk Pavilion” and a wall of names which included not only several familiar characters but a handful of producers and writers, too! But the one I want to focus in on the most is something the trailer lingered on for only a couple of seconds: Benjamin Sisko, Emissary of the Prophets. Was this just another callback, like Kirk’s pavilion? Or… might we finally get to learn what became of Sisko after he disappeared in the Fire Caves?

To be clear: I’m pretty confident that Avery Brooks won’t be reprising his role. As much as I’d love nothing more than to see Sisko return, I just don’t think it’s gonna happen. Brooks has been quoted as saying he didn’t want to return to the character, and as fans we have to respect and accept that. But with this moment in the trailer… I can’t help but wonder. Is it just a reference? Or are we going to get a storyline which might finally answer the question of what happened to Sisko? Sisko did promise to return one day, and it makes sense that he’d have done so while his friends and family were still alive, right? So maybe – maybe – we’ll get some kind of confirmation that Sisko did return from the realm of the Prophets sometime in the late 24th or early 25th Centuries.

Still frame from the Star Trek: Starfleet Academy trailer showing a cadet with a poster of Captain Sisko.
Captain Sisko’s appearance…

So I think that’s all of the specific points I wanted to delve into. The trailer overall was solid. I liked the soundtrack, I liked Captain Ake’s inspirational speech, and I think we got a glimpse of the series without really spoiling any key story points – which is important! I am getting a teenagery/young adult vibe from some of the clips featuring the cadets; there could be at least one blossoming romance, they seem to visit a club of some kind, and the way they interact together just feels like a secondary school or university group of friends – which is what they are, at the end of the day.

Does that mean that Starfleet Academy won’t be “my thing,” though? I suppose it could, if the show really leans into teenage storylines about fitting in, first loves, and rebelliously sneaking off-campus to visit a bar! But I’m okay with that – even if it means I don’t personally vibe with everything the series has to offer. In my opinion, its most important objective is to win over younger viewers, appealing to a new audience and turning some of those folks into Trekkies for the first time. I hope that Starfleet Academy can be the “first contact” for a legion of new fans, in the same way as The Next Generation was for me in 1991. Realistically… this could be Star Trek’s last chance to do that.

Still frame from the Star Trek: Starfleet Academy trailer showing the main cadets laughing together.
I hope a new generation of fans will fall in love with Starfleet Academy – and Star Trek.

That’s all for now. I think there are some really interesting ideas, characters, and designs in the Starfleet Academy trailer and photos, and I’m glad to see Paramount making a start with the show’s advertising push. We won’t be seeing Starfleet Academy until 2026 – as I think most of us were expecting. So there’s plenty of time over the next six-plus months for Paramount to tease us with a few more clips, trailers, and details! If that happens, be sure to check back here on Trekking with Dennis – because I’ll be doing my best to cover all of it.

Comic-Con also included a tease of a very unusual Strange New Worlds episode from Season 4, as well as our first look (or should that be “first listen?”) at Star Trek: Khan – the scripted podcast/radio play set on Ceti Alpha V. I’ll be taking a look at that in the days ahead, if you’re interested. And later this week we’ve got A Space Adventure Hour – the next instalment of Strange New Worlds’ third season.

Until then… Live Long and Prosper!


Star Trek: Starfleet Academy will premiere on Paramount+ in countries and territories where the platform is available in 2026. The Star Trek franchise – including Starfleet Academy 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.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 3: Shuttle To Kenfori

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3.

By my reckoning, Shuttle to Kenfori marks the halfway point of Strange New Worlds’ run. We learned ahead of Season 3’s premiere that the series will be cancelled after a cut-down fifth season, clocking in at forty-six episodes in total. With this being the show’s twenty-third outing… that’s it. The halfway point. Does that change how we approach Shuttle to Kenfori? It shouldn’t… but it seemed like something that was worth mentioning before we get started.

Going into Season 3, the “Klingon zombie episode,” which had been teased in one of the trailers, was definitely one of the stories I was most curious about! I’m not the world’s biggest fan of horror, but there have been some fun zombie flicks over the years, and after more than 950 episodes and films… I like that Star Trek can still try new things and surprise me! We’ve had horror-themed episodes before, from Empok Nor to Strange New Worlds’ own All Those Who Wander, but this is Star Trek’s first fully-fledged zombie episode. And while I don’t think it was perfect, Shuttle to Kenfori showed why it was worth trying out this kind of story.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing a zombie attacking a Klingon.
Zombies! Aaahhhh!

Let’s get a couple of negative points out of the way first, then we can gush about how great other parts of Shuttle to Kenfori were!

Firstly, the episode’s opening act was too short and too abrupt. We went from “everything’s fine, Captain Batel is getting her own command” to “she has days to live” in a heartbeat. Compounding that was how curtailed the scene in sickbay felt with Pike, Spock, Chapel, and M’Benga. We would later learn that Captain Batel, Spock, and the medical duo had discussed her condition off-screen, but that didn’t make the scene feel much better. In the moment, watching the episode unfold, this foundational sequence needed much longer to play out.

In a matter of seconds, Dr M’Benga and Spock laid out that Captain Batel’s infection was back and that they happened to know of the only plant in the galaxy capable of curing her. Then we got a very short discussion of where the plant might be found… and that was it. It kick-started the story, sure, and the subsequent revelation that the rest of the characters had discussed it off-screen kind of helps, but it still felt very rushed. Going from “the infection’s back” to “but we already have a cure in mind” to “let’s undertake a dangerous off-the-books mission” in less than two minutes just… it’s poor pacing.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Spock, M'Benga, Chapel, Batel, and Pike in sickbay.
This sequence needed to be longer.

I get that this moment isn’t what Shuttle to Kenfori is all about. But we’ve gone from Captain Batel being cured and ready to take command of a new ship to being days or even hours away from a Gorn-induced death in practically no time at all. All of Shuttle to Kenfori’s story arcs hung off this moment in the opening act… and it was just way too short. Past Star Trek stories would’ve lingered here for several minutes, scanning Captain Batel, realising her infection has returned, throwing out half a dozen technobabble cures then shooting them down… heck, we could’ve gotten an entire montage of Chapel, Spock, and M’Benga running through different possible ideas before settling on the flower. It wouldn’t have needed to last more than, say, five minutes… but it would’ve given the rest of the story a much stronger foundation.

While I wouldn’t say that the rushed opening act soured me on Shuttle to Kenfori from the beginning, I was definitely left with a sense of “wait, was that it?” as the episode’s main storylines got underway. I also felt that these problems of pacing and perhaps a slightly too-short episode were present in Hegemony, Part II last week – so I hope this isn’t going to be a running theme throughout the season. I’m all for stories that are bold and try to do a lot with their runtime, don’t get me wrong! But when the opening act is blitzed through too fast, there can be implications for the rest of the story, no matter how strong it might be.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing the LCARS display of the flower.
The plan to acquire this flower was arrived at very quickly.

The second major critique of Shuttle to Kenfori is its Klingon storyline. In short… there was a lot going on when Pike and Dr M’Benga touched down on the titular planet, and I’m not convinced we needed this additional villain and complication. It made the zombies themselves – which, surely, should have been the episode’s fear factor and main antagonist – kind of secondary, especially towards the end, and there just wasn’t any need for it.

Narratively, I liked Dr M’Benga’s involvement with the Klingons – we’ll get into that later when I talk about some of the things I liked about Shuttle to Kenfori. But as a concept, in an episode that was already busy with several characters competing to be in focus? I think it was a bit of a misfire, to be honest. Star Trek’s first ever zombie story should’ve done more with the zombies – zombies that were genuinely frightening and must’ve taken a ton of work in the makeup department! Instead, the zombies were relegated to background status pretty quickly, literally looking in from the outside behind an impenetrable narrative force-field as Dr M’Benga’s Klingon adversary took centre-stage.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing M'Benga and Bytha engaged in ritual combat.
This episode didn’t need a second antagonist. The zombies were more than enough on their own.

I was kind of reminded of later seasons of The Walking Dead with how this played out. If you know me, you’ll know I’ve said more than once that The Walking Dead – AMC’s zombie apocalypse TV series – should’ve ended after perhaps three seasons, because it wore out its core premise and its zombies stopped being the main focus. The Walking Dead’s writers switched things up and started finding human antagonists for Rick Grimes and his group to deal with, most of whom in the later years were pretty repetitive and basic. That show needed to do that because its core premise – the zombie apocalypse – was itself tired and worn out. But Shuttle to Kenfori is brand-new and its zombies have literally never been seen in Star Trek before. We just didn’t need a sentient antagonist when the undead monsters were already filling that role.

For me, I’d have preferred Shuttle to Kenfori if Pike and M’Benga were trapped in the zombie-overrun research facility with no Klingons present. And then, in another episode, Dr M’Benga could’ve gotten his Klingon enemy and ritual combat, because I genuinely liked what Strange New Worlds did with this storyline. I just feel that smooshing them together into one didn’t let either the zombies or the dishonoured Klingon Bythra truly shine. If we were three seasons into a Star Trek zombie show, and the zombies were beginning to wear out their welcome, then I could see why you’d do a story like this – it’s what The Walking Dead has been doing since about Season 4 of the main show and in most of its spin-off projects. But this zombie idea was so creative and new that having a Klingon antagonist just wasn’t necessary – and I wish we’d gotten to see more of Pike and Dr M’Benga taking on the zombies.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing a zombie being stabbed.
Captain Pike killed a zombie.

I will caveat all of that by saying that the Kenfori zombies could return later in the season. There were promotional posters for Season 3 released a few weeks ago, and one of them showed Pelia and Scotty seemingly surrounded by zombies. Scotty was present in Shuttle to Kenfori, but he stayed on the Enterprise, and Pelia was entirely absent. So maybe I’m reaching and maybe it’s a stretch, but could there be a second zombie story in the offing? If so, and if the zombies are the main focus… maybe we can revisit this side of Shuttle to Kenfori and be a little kinder in hindsight.

There were plenty of ways to turn the zombies into the story’s main adversaries. After Pike and Dr M’Benga retrieved the flower sample, they could’ve been confronted and chased by a small group, becoming trapped in the facility. Looking outside, they’d realise their shuttle was cut off by a massive horde of zombies, and that they’d have to hunker down and wait for extraction. Rushing from room to room in the abandoned facility, they’d have to find shelter – all the while Spock and Una would be conspiring to make them wait longer and longer for a rescue, just as happened in the actual episode. We could’ve got more zombie action, more conversation between Pike and Dr M’Benga about Captain Batel’s condition, and – as a nice little bonus – a longer opening act that didn’t feel so rushed! Two birds with one stone, as they say.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing a zombie emerging from an open hatch.
Another zombie.

Alright, that’s enough about that for now. With those two issues aside, I really liked Shuttle to Kenfori. It was a ton of fun to get this kind of Star Trek zombie story, seeing zombified Klingons was somehow even scarier than human zombies, and the zombie sequences at the abandoned research base were pitch-perfect. The sets were decrepit and decaying, the prosthetics used to create the zombies were fantastic, there were some neat uses of the AR wall, and props used to create the Klingon skeleton, the important flower, and the half-eaten leg were all either gruesome or beautiful.

On the practical side of things, Strange New Worlds has been absolutely wonderful. Puppets, prosthetics, and physical props are back – and they’re back in style! CGI can work wonders, sure, but there’s something about physical props and practical effects that – for me, anyway – can’t be beat! They’re part of what makes Star Trek feel like Star Trek, and Shuttle to Kenfori had plenty of prosthetics for the zombies and some absolutely phenomenal props. I don’t think a Klingon d’k tahg (dagger) has ever looked better or more realistic in any episode, we saw a classic Original Series-inspired tricorder, and everything about the research base just screamed “danger.” I love it!

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing a close-up of the Klingon dagger.
There were some fantastic props in Shuttle to Kenfori – like this d’k tahg.

Star Trek is science-fiction, and while it’s never been “realistic,” Star Trek stories have always gone out of their way to emphasise the science side of things. Even when dealing with wacky and ridiculous storylines, the franchise has always tried to ground those things in its own fictional science. Races like the Q or the Prophets were always perceived as “just another alien,” not some kind of god or deity, for instance, and even the silliest stellar phenomena – like Season 2’s improbability field that caused everyone to burst into song – were presented as having a scientific basis which could be scanned, studied, and understood.

Shuttle to Kenfori does the same with its zombies. They’re the result of an infection of moss spores, not some kind of supernatural entity or undead monster, and I really appreciated that. It doesn’t lessen the fear factor to know where the zombies came from or why they exist, but it keeps the franchise’s scientific tone. There was also kind of a The Last Of Us vibe as a result; these zombies, like the ones from that franchise, are a natural phenomenon caused by plants. The episode clearly leaned on other zombie properties, too: the title is reminiscent of the Korean zombie film Train to Busan, and even the name of the planet Kenfori is derived from actor Ken Foree, known for his role in Dawn of the Dead.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Pike holding a severed leg.
Whose leg is this?

Star Trek has arguably told zombie-adjacent stories before. The biggest example of this, as I’ve discussed before, is the Borg: Star Trek’s own cybernetic zombie faction! But the Borg are also a different kind of villain presented in a different way; there’s something about Shuttle to Kenfori’s mindless, monster-like moss-zombie abominations that’s totally unique. I love that Strange New Worlds has been bold enough to go there – and to tell these horror-inspired stories. We’ve seen it with the Gorn, and now we’re getting this new and creative zombie idea.

If the Borg represent your typical Night of the Living Dead zombies – shuffling around at a slow pace – then the zombies in Shuttle to Kenfori were closer to those from more modern titles like 28 Days Later or the aforementioned Train to Busan. Sprinting at full pelt after Captain Pike and Dr M’Benga, these zombies were truly scary! The jump-scare at the window about made me piss my pants, and the way the horde of zombies tumbled over one another desperately trying to grab our heroes… it was riveting stuff right out of a modern horror film!

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing zombies breaking through a window.
These zombies were terrifying – and this was a great jump-scare.

Here’s a question I bet you weren’t expecting: did Shuttle to Kenfori make you think of Tuvix? Voyager’s “meme episode” definitely came up for me, with a flower that can merge DNA seeming quite familiar! I don’t think that means we’re gonna get a half-Gorn Captain Batel at the end of the day, or some kind of horrific Batel/Gorn “Brundlefly,” but it was interesting to hear about this flower and its unusual properties.

There was more to Shuttle to Kenfori than just the zombies – so let’s talk about that next!

Captain Batel’s Gorn infection coming back was something I kind of predicted last week after the opening pair of episodes. There was a lot of talk about her “re-absorbing” the Gorn DNA, especially in Wedding Bell Blues, and I just felt it hinted at there being more to this story than met the eye. In that sense it wasn’t a total shock – though I stand by what I said in my review of Hegemony, Part II: spoiling her survival in trailers and marketing material was a mistake. But I do think it’s interesting that, despite the Gorn themselves apparently taking a little nappy-nap, their influence and impact on our characters is going to stick around.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Captain Batel unconscious.
Captain Batel isn’t feeling too well…

The mind-meld sequence really hammered home how dangerous and unsettling this idea of a Gorn infection truly is. Spock seemed to perceive not only Gorn DNA but an actual individual Gorn somehow inside of or sharing Captain Batel’s body, and that concept is pretty horrifying, if you think about it! The parasitic Gorn eggs draw a lot from the film Alien, where the xenomorphs infect humans in a similar way, and I noted in Hegemony, Part II how truly grotesque the latter stages of that infection looked – brought to life, again, with some fantastic physical special effects work.

The inclusion of Gamble – the new nurse – was also interesting on this side of the story. I said last time that I wondered if Strange New Worlds was teeing him up as either a baddie in disguise or as a secondary character who could be killed off later in the story; when Spock flung him across the room in a Gorn-induced rage, I wondered if that might’ve been poor Ensign Gamble’s end! I like that Strange New Worlds is at least trying to add to its cast – and not just with returning legacy characters. Gamble is still a character I can’t quite place; if he is going to be killed off, fleshing him out and keeping him around in sickbay sequences makes a lot of sense. And if he’s going to take a villainous turn, I think it’s concealed well enough at this stage that the twist will still work!

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Nurse Gamble and Captain Batel.
Ensign Gamble with Captain Batel.

The mind-meld also gave us some very creative camera work/CGI. I love the idea that we were seeing things from a kind of “Gorn eye view,” percieving the world the way they might, with distorted colours and sensing things like heat from their prey. I can’t quite remember if All Those Who Wander did something similar… but I think so. Right? Regardless, this effect was creative and fun, and it really hammered home how this alien entity is still – somehow – alive inside Captain Batel. The CGI camera filter, with its hexagonal shapes, also harkened back to the original depiction of the Gorn captain in Arena – with his trademark silver, insect-like eyes.

Spock’s mind-meld also raised the stakes. The infection isn’t just going to kill Captain Batel, but it could spawn another Gorn – or perhaps multiple Gorn. And we saw in Season 1 how even juvenile Gorn and hatchlings can be deadly! So in that sense, Captain Batel’s infection isn’t just a danger to her, but it’s a potential danger to others, too – like the aforementioned Ensign Gamble! If I had to make a prediction or theory, by the way, I’d speculate that the young nurse will be killed in some kind of Gorn incident related to Captain Batel’s condition!

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing the mind-meld/Gorn sequence.
A Gorn’s view of the world.

Also on the Gorn side of things, we had Lieutenant Ortegas. I touched on this last time, as she’s clearly suffering from some kind of Gorn-induced PTSD-type condition. Una and La’an noted that she’d passed her psychological evaluation and was deemed fit to return to duty, but there’s clearly more going on. We didn’t get anything as explicit as last week’s Gorn reflection/haunting (I’m loathe to say it was an out-and-out “hallucination” without more evidence), but Ortegas is clearly being reckless and insubordinate due to how she’s feeling.

This has potential, but I think it needs to be handled with care. As a secondary or even tertiary story element in an episode which was largely focused elsewhere, there wasn’t a ton of time to dedicate to Ortegas. While what we saw was interesting and does hint at her mental state not being great… I also feel echoes of some of Discovery and Picard’s half-arsed mental health story attempts. Modern Star Trek has admirably tried to include these kinds of stories… but hasn’t always done so with care. An exploration of post-war or post-captivity PTSD is a genuinely interesting narrative concept, and one that could be heart-wrenching if done well… but it’s also a storyline which needs sufficient time dedicating to it. That doesn’t mean an entire episode, but it does mean more than just a few scenes and sequences.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Ortegas at her post.
Ortegas on the bridge.

Ortegas’ run-in with Uhura kind of encapsulates this for me. At the briefing, Ortegas interjected with her own riskier but faster rescue plan. But when Una opted for Spock’s slower approach, Ortegas seemed to lash out at Uhura for not backing her up. But this lasted all of a few seconds, and didn’t come up again. Ortegas’ main conflict – if we can characterise this kind of thing as a “conflict” – was with Una. This left her interaction with Uhura kind of sticking out; it needed more than just a couple of lines’ worth of setup, and more of a payoff. If that pattern repeats across this storyline… I worry it won’t achieve everything it aims for.

And that would be a real shame. Melissa Navia, who plays Ortegas, was genuinely compelling to watch this week, and after the Gorn attack, it stands to reason that someone would be suffering some lingering effects. Given Ortegas’ background in the Klingon war as well, there’s a real opportunity to talk about post-traumatic stress, grief, fear, and the lingering after-effects of trauma. I just hope that this opportunity will be fully seized and not fumbled – like Picard and Discovery arguably did.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Ortegas in the briefing room.
This Ortegas storyline clearly has room to run.

On a more positive note, I felt Ortegas’ frustration as her plan was shot down. When you’re already on edge, suffering, or just not feeling your best, frustration can boil over – and in a chain-of-command situation, like there is in Starfleet, if your superiors don’t go with your idea, that can absolutely be the kind of thing that sets people off! This side of the story was handled well, and I kind of like the idea of leaning into this and showing Ortegas going rogue, trying to force the situation.

One way or another, this will be resolved. And it’s more realistic than in earlier iterations of Star Trek, where characters would go through some horrible trauma one week and be totally fine the next. I appreciate that Strange New Worlds – which is more episodic in nature than other recent projects – still keeps these ongoing character arcs. It makes people like Ortegas feel more well-rounded; fleshed-out people not just characters. I’m just crossing my fingers and hoping that this PTSD-type storyline manages to stick the landing when it counts.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing the USS Enterprise in the planet's atmosphere.
The Enterprise.

On this side of the story, we got to see Una in command. She’s sat in the captain’s chair before, of course, but this was one of her first real outings where she had to make impactful command decisions; really embracing the role of first officer. Una was clearly taking inspiration from the way Captain Pike runs his ship, but there were enough differences in her approach and the way she handled both the briefing and the Ortegas situation to keep things interesting; she wasn’t just a stand-in for Pike in those moments.

XOs in Star Trek shows have a challenging role: they can’t outshine their captains, but they can’t be too different from them when in command, either. I think we got a great example of how a first officer should behave when left in command in Shuttle to Kenfori – Una was her own person, running the briefing and commanding the ship in her own way. She clearly had the respect of her colleagues – Ortegas’ misbehaviour aside! But she’s also leaning into Captain Pike’s style of command, listening to people, taking suggestions, and then deciding on a plan based on the best evidence available to her. It was a fun sequence, and I’m glad we got to see her taking the reins for a change.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Una in the captain's chair.
Una got a turn in the captain’s chair while Pike was away.

Although I criticised the inclusion of Bytha and her Klingon band, there was a lot to love on this side of the story. Set aside questions of whether the story needed to be told alongside Shuttle to Kenfori’s zombies for a moment and consider it as a standalone thing. We got a callback to Dr M’Benga’s war service, in which we know he was notorious for killing dozens of Klingons. It also connected to the Season 2 episode Under the Cloak of War in a big way, too. But moreover, what we got on this side of the story was one of the most “Klingon” performances in modern Star Trek.

Discovery’s Klingons could feel a bit muddled, sometimes. They were still Klingon, don’t get me wrong, and there are things to admire with that show’s Klingon war arc. But Strange New Worlds has returned the Klingons to a more familiar visual style and also a tone closer to “classic” Klingons, if you take my meaning. Bytha, who was the daughter of Dak’Rah, was very concerned with matters of personal honour and the standing of her family’s house in Klingon affairs – and this felt like something out of The Next Generation era in the best way possible.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Bytha discharging her weapon.
Bytha firing her disruptor.

Bytha was an interesting character, and I liked that her motivation was more complex than just “revenge.” It tied into what we know of Klingon houses and concepts of honour, harkeing back to stories involving Worf, Gowron, and Martok in The Next Generation and Deep Space Nine. Even when surrounded by zombies and with her team dead, Bytha couldn’t stop herself challenging Dr M’Benga to ritual combat in line with Klingon codes of honour, and I found that fascinating and realistic based on what we know of the Klingons.

Bytha’s death was also particularly gruesome! She went out on her own terms, staying true to her beliefs and restoring her honour. I liked Dr M’Benga using honour against her, by beating her and refusing to finish her off. This set the stage for Pike and M’Benga being able to escape, but also gave Bytha an ending to her story that was, if nothing else, fitting. There wasn’t a ton of time to develop Bytha, but we got to know enough about her to understand why she was there, what she wanted, and who she was as a character. Christine Horn, who played the character, did a great job, too – she avoided falling into the trap of going over-the-top or leaving Bytha feeling one-dimensional. Though not in focus for the entire story, I felt she was a compelling villain – even if I’d have preferred to see her in a different episode, perhaps!

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Bytha.
Bytha was an interesting Klingon character.

At the end of the episode, we saw Pike and Captain Batel reunited. And this was one of the most emotional sequences in Shuttle to Kenfori. Captain Batel tried to explain why she didn’t tell Pike everything straight away, and there were a couple of pertinent lines in there. “I don’t have the space to worry about how my dying hurts your feelings” is a powerful sentiment, and I think it encapsulates how she’s been feeling and how Pike can react. I don’t think Pike is actually that selfish, by the way, but we’ve seen over the course of his relationship with Batel that he isn’t the perfect partner and doesn’t always know what to say.

There’s also a message about medical consent and terminal illnesses. Pike’s story, going back to Discovery’s second season, has been building up to his own impending accident and disability. With Captain Batel, Pike is the one on the outside having to deal with her worsening health and potential terminal illness, and I think we got a powerful sequence exploring that. The failure of a treatment, an almost desperate, last-ditch attempt to find a new solution, and Captain Batel keeping Pike out of the picture because of how he might’ve reacted. It was riveting, dramatic stuff – but I’m glad that they came back together at the end. I’m curious to see what will come of this treatment – something tells me Captain Batel isn’t out of danger just yet.

Still frame from Star Trek: Strange New Worlds 3x03: Shuttle to Kenfori, showing Captain Pike and Captain Batel hugging.
Pike and Batel embrace.

So that was Shuttle to Kenfori. With the exception of a rather rushed opening sequence and a Klingon villain who, while compelling in her own right, was ultimately unnecessary for the zombie story, I think it was an outstanding episode. The horror theme was present throughout, the zombies themselves were frightening and incredibly well-designed, and we moved along key storylines involving Pike, Captain Batel, Ortegas, Dr M’Benga… and possibly our new Ensign Gamble, too!

Obviously, though, this episode will be remembered for its zombies. While I don’t want Strange New Worlds to spend too long on any one storyline – as its episodic nature has been one of the best things about the series – I’m kind of hoping we revisit the zombies in the future. It seems strange for Starfleet to just abandon the planet Kenfori with its zombie infestation, and I’m sure the scientists would be very interested to learn more about this contagion, how it spreads, the moss that causes it… and maybe if it could be weaponised. That seems like something that the Klingons might be interested in, too – and if Bytha’s statement is anything to go by, the Klingons knew what they were about to walk into. Then there’s the Scotty and Pelia poster I mentioned earlier – is that hinting at a second zombie story later this season?

Cropped promo poster for Star Trek: Strange New Worlds Season 3 showing Scotty and Pelia surrounded by zombies.
Are more zombies on the agenda later this season?

But that’s all for today. A tense, gruesome, and occasionally frightening episode – but it was a lot of fun! As Strange New Worlds hits the halfway point, I can already tell I’m not gonna be ready to let go of this wonderful series when the moment comes. It really has been the high-water mark of modern Star Trek, returning to the franchise’s episodic, exploration-focused roots – while also being brave enough to try completely new and different things.

Next week we have the retro-inspired Space Adventure Hour, and also the apparent return of Kirk. This will almost certainly be a total change in tone from Shuttle to Kenfori’s horror offering, so if this wasn’t to your taste and you’re hankering for something a bit more light-hearted, I think you’re in for a treat!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 2: Wedding Bell Blues

A Star Trek: Phase II-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek productions: The Original Series Season 1, The Next Generation, Voyager, and Picard Season 2.

After an explosive and action-packed season premiere, Strange New Worlds opted for a complete change in tone in Wedding Bell Blues. There were some lighthearted sequences, a callback to a fan theory that’s been kicking around for literally decades, and, unfortunately, a bit too much cringe humour for my taste. Despite that latter point, Wedding Bell Blues had its moments, and the apparent confirmation of that decades-old fan theory was worth the price of admission alone!

For me, though, I suppose Wedding Bell Blues is going to be another episode that I don’t revisit very often. This obsession that the show’s writers have with putting Spock in situations that are emotional or just wacky and cringeworthy… it’s overstayed its welcome. And while I will happily admit that there can be humour in that premise… I’m thoroughly done with it at this point. Spock Amok, The Serene Squall, The Elysian Kingdom, Charades, and Subspace Rhapsody all included some kind of “Spock comedy” or “Vulcan comedy,” and I just think that we’ve really reached the end of the line with it. Any joke – even great ones – stop being funny when they’re repeated too often, and this whole “Vulcans are stuck up and rigid, so let’s turn that into comedy” idea wasn’t especially strong to begin with. At this point… well, let’s just say I hope we don’t get too much more of that going forward. And yes, I’m aware that we have Four-and-a-Half Vulcans still to come later this season.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Spock at the start of the episode.
I’m done with “Spock comedy” at this point.

That being said, there were some interesting and entertaining moments in Wedding Bell Blues, and when the episode switched to Spock and Dr Korby trying to undo the damage, things largely improved. Dr Korby made for a fun character, even though his introduction as Spock’s rom-com/Hallmark movie dating rival wasn’t spectacular! Dr Korby originally appeared in The Original Series first season episode What Are Little Girls Made Of? where Kirk and the crew encounter him – after a fashion – on a frozen planet.

It’s been a while since I re-watched What Are Little Girls Made Of?, so my recollections of that story are a little fuzzy! But from what I remember, the “Dr Korby” that the crew – and Nurse Chapel – encountered wasn’t quite the same, either due to the mind-transferring process he went through or, perhaps, because of years in isolation and the traumatic experiences he went through. I’m not sure if Strange New Worlds’ version of Dr Korby is going to appear again after this episode. If he doesn’t, I think we’ll look at Wedding Bell Blues as a bit of mildly interesting backstory. But if he does come back, I think there’s potential to expand the character further, and perhaps show us a glimpse of a darker side, something that might inform his TOS appearance. Because I didn’t really get much of that from Wedding Bell Blues, to be honest. If Dr Korby had been substituted for a brand-new character, it wouldn’t have made any real difference to this particular script.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Dr Korby.
Dr Korby in Spock’s cabin.

We’ll come back to Chapel, Korby, and Spock, because I really want to get into this Trelane and Q connection!

For some background information: Trelane was a character who first appeared in the episode The Squire of Gothos, also from the first season of The Original Series. He was portrayed as a trickster, capturing and toying with Kirk and the crew – before being reprimanded by his parents. When Q appeared at the beginning of The Next Generation some twenty years later, fans immediately made the connection. Q and Trelane felt so similar that “Trelane is a Q” became a popular theory in the Trekkie community. But it was never confirmed, despite Q making repeated appearances in The Next Generation, Deep Space Nine, and Voyager. Even a visit to the Q Continuum itself didn’t confirm it!

The character in Wedding Bell Blues is credited simply as “Wedding Planner,” and John de Lancie – Q from The Next Generation – is credited as voicing “Wedding Planner’s father.” However, ahead of the season we were told that Rhys Darby – who played the “Wedding Planner” – was playing the role of a familiar character, and after Wedding Bell Blues aired, showrunner and executive producer Akiva Goldsman confirmed that the two are the same character. With that in mind, I shall be treating the “Wedding Planner” as Trelane and the other energy life-form as Q.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Trelane playing a trick on Spock.
Trelane with a pint-sized Spock.

I love that Strange New Worlds went out of its way to confirm this old fan theory and really lean into the Trekkie community. Moments like this connect disparate parts of Star Trek together, and while we can argue the toss about changes to the Gorn from one show to the other, Trelane’s appearance here was pitch-perfect. It was right in line with The Squire of Gothos, and the fact that John de Lancie returned to voice Q at the end of the story just made it so much better.

As an aside: have we finally seen the Q in their “true” form? Q has always been able to change his form, but in all of his appearances – and the appearances of other members of the Continuum – we never got confirmation of what the race actually looks like in its native form. I think there’s a case to be made that the energy cloud from The Squire of Gothos and Wedding Bell Blues is what members of the Q Continuum look like when they aren’t deliberately assuming another form. And that’s kind of cool!

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing an energy life-form.
Is this Q’s true form?

So after almost forty years, we’ve gotten an explicit connection between Trelane and the Q! I don’t know about you, but I think that’s exceptionally cool, and a great little wink to fans of both The Original Series and The Next Generation. It was also subtle enough that new viewers who aren’t familiar with any of those shows wouldn’t have been left scratching their heads. The ending to The Squire of Gothos was repeated in a pretty similar way, and the meaning behind it – that this entity was little more than a child, toying with living beings – still works even without any of that prior knowledge of Star Trek. It works just as well in 2025 as it did in 1967!

After such a long time, with fans speculating about Trelane and Q since before there was the world wide web… there were risks to this storyline. And I just love that there was enough boldness in the writers’ room to go there. I can see this point being contentious with some older fans, perhaps; not everyone was on board with the “Trelane is a Q” theory. You don’t have to look too far to find old forum threads and blog posts denouncing the notion! But for me, this storyline was well-executed, it doesn’t really prevent you from enjoying any of the Q episodes or The Squire of Gothos in isolation, and given that Trelane seems to have been in disguise most of the time, we can even argue that Spock, Uhura, and Scotty not remembering this encounter makes sense. Heck, if you need a head canon explanation for that: Trelane used his Q powers to make everyone forget about this by the time of The Squire of Gothos!

Six still frames from a selection of Star Trek episodes. Top line L:R Q in Encounter at Farpoint, Trelane in Wedding Bell Blues, Trelane in his energy cloud form in Wedding Bell Blues. Bottom line L-R: Trelane's father in Squire of Gothos, Q in Picard Season 2, and Trelane in Squire of Gothos.
Trelane is officially a member of the Q Continuum!

Star Trek was one of the entertainment landscape’s first real “shared universes;” pioneering the idea before the name even existed. And it’s nice to get little reminders, now and then, of storylines set in other eras or of fun episodes we remember from older Star Trek shows. There are good ways and bad ways to do this; Wedding Bell Blues, for me, stayed on the right side of the line. There’s enough wiggle-room for people who hate this idea to say that, well, maybe the Wedding Planner and Trelane aren’t one and the same, or that nothing we saw on screen explicitly proves that it was The Next Generation’s Q who showed up at the end. But for fans who’ve bought into the Trelane-Q connection over the years, I think it’s great to see that theory finally confirmed.

Rhys Darby was fantastic as Trelane, too. Informed, perhaps, not only by the original performance of the character by William Campbell in The Original Series, but also by John de Lancie’s Q, I felt we got a complex take on the character. Trelane’s lighthearted, positive energy masked some truly dark impulses and urges, and his total disregard for forms of life he considered “inferior” or beneath him really shone through. There was a distinct creepiness to Trelane, even when he was mincing around, talking about wedding dresses and cake samples. Darby put in a fantastic performance to bring the character to life and make him believable, despite the very unusual situation.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Trelane at the end of the story.
Rhys Darby was great in this role.

Speaking as we were of head canon, here’s one that I think makes some character moments in Wedding Bell Blues flow better! When Spock and Dr Korby approached various characters to explain the “mass delusion” phenomenon, even people who should be receptive to that conversation completely brushed them off. Worse, people like Captain Pike even seemed to ignore or forget what Spock was telling them moments later, and just generally acted out-of-character. When Spock left his own bachelor party, for instance, none of the other attendees – his friends – bothered to go after him or find out what was wrong.

So my head canon is that Trelane’s magic wasn’t just causing the delusion, it was also forcing everyone to react in this way. They were all 100% wedding-focused, and anything that didn’t gel with Trelane’s new scenario was either not retained or pushed aside. That’s really the only way I think we can account for people like Pike behaving the way they do; refusing to listen to his science officer and a prominent, well-respected doctor when confronted just doesn’t fit his character otherwise. For me, this head canon explanation fits pretty well, but I can understand why some viewers might not like the behaviours of Captain Pike and some of the other characters in the episode.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Pike, Kirk, M'Benga, and Scotty in Pike's cabin.
The bachelor party.

The idea that only strong emotions – like anger or love – could break through Trelane’s spell was interesting, and it’s an idea which feels very “Star Trekky,” if that makes sense. It’s a bit of a cliché, sure; love being this supremely powerful emotion capable of saving the day can feel like a worn-out trope. But here, I think it worked well enough. Perhaps if we’d got just an extra line or two between Korby and Spock to technobabble some nonsense about love generating strong brainwave frequencies or something, maybe that would’ve been an improvement. Not essential, perhaps… but an improvement.

Love breaking through the delusion also set up the end of the episode, and Spock being able to get through to Chapel. Calling back to the story about her and Dr Korby climbing a mountain and looking out over the stars was creative and also cute, and despite my overall feelings about Spock being pushed into this love rivalry story that felt like something out of a low-budget Hallmark movie, this moment worked. Spock knew what he had to do; he took a chance on what he felt was the only way to break the illusion for Chapel, and hoped that doing so would shatter it for everyone else.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Nurse Chapel at the altar.
Chapel breaks free from the spell.

In The Squire of Gothos, the crew of the Enterprise arrive at a planet where Trelane is already present. Yet here, in Wedding Bell Blues, it appears as if Trelane has travelled to Earth… and I wish we’d learned a little about that. Why was Trelane interested in Earth, and why did he feel drawn to Spock when he had ten-plus billion people to potentially toy with? I just didn’t feel we got a satisfactory explanation for that, really. Yes, Trelane is a trickster and a child, but at least encountering him where he is – out in space – made a degree of sense. And for Q, he set puzzles and challenges for Picard, Janeway, and Sisko… but they always served some kind of purpose. Trelane is just playing around, which is the point of the story, but even kids who are playing have reasons for choosing the games they play.

One other thing I liked about Trelane, though, is how we can read his story of wanting to help people fall in love through the lens of what we know about Q. If you know me, you know I generally disliked Star Trek: Picard’s second season, in which Q prominently features. But at the end of that story, we learned that Q cares, in his own way, about things like love – and he has some kind of innate desire to help people fall in love. Or at least he does for certain select people! But this kind of connects with Trelane in Wedding Bell Blues; he saw how down Spock was about losing Chapel and he wanted, in his own somewhat twisted way, to “help.” That interpretation is there, even if it’s built on less solid foundations.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Trelane illuminated by red lights.
Trelane’s story can arguably connect to Q’s in Picard Season 2.

Love could be blossoming in Strange New Worlds this season. Spock and La’an seemed to share a moment towards the end of the story, dancing together. I interpreted their earlier scenes as purely friendly, with La’an – who apparently has a hidden talent for dancing – helping Spock learn to dance ahead of the Federation Day celebrations. But their moment at the end of the story, with La’an joining Spock as he sat alone, then asking him to dance? Maybe I’m reaching… but in the kind of rom-coms that Wedding Bell Blues borrowed from, those sorts of moments can lead to big romantic entanglements!

In addition, we also have the clearly burgeoning relationship between Uhura and Beto – Lieutenant Ortegas’ brother. When I saw Uhura and Beto in a pre-season promo photo, I thought he might’ve been some kind of villain; perhaps the photo wasn’t a particularly flattering one, but he was giving me a bit of a creepy vibe! In the episode itself, though, we got plenty of flirty banter between the two. Unlike with Spock, Chapel, and Korby, which I found way too cringeworthy, I generally enjoyed this sub-plot. Giving Uhura a love interest, particularly one with a connection to another member of the crew, could be a lot of fun.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Spock and La'an dancing.
They’re just friends… right?

Could Beto’s drone-camera and his filmmaking job become plot points in another story? I wondered if he might’ve had a role to play in Wedding Bell Blues while I was watching the episode; his camera, I suspected, might be able to see through Trelane’s disguise even if no one else could, and that could’ve led to the mystery unravelling. In any case, Wedding Bell Blues set up this hobby/job of Beto’s, and then called back to it to reinforce it, so I can’t help but think we might get something out of it further down the line. Watch this space, I guess.

Uhura got one of the best costumes in this episode! Not at the wedding/Federation Day party… her very 1960s-inspired outfit that she wore to the bar earlier in the story. Strange New Worlds has leaned into a ’60s aesthetic in a way that Enterprise and Discovery never really did. There are still a ton of thoroughly modern trappings, but the show has those connections to The Original Series. Uhura’s outfit was fantastic – but I wouldn’t say it looked out of place aboard this version of the Enterprise. That isn’t an easy line to walk, and generally I think Strange New Worlds gets it right most of the time. Uhura’s new hairstyle, which debuted in this episode, looks fantastic, too.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Uhura, Ortegas, and Beto in casual dress.
I love Uhura’s outfit in this sequence.

After the dust settled on the wedding/Federation Day, there are still a couple of lingering Gorn-related questions. I noted last time that Spock and Chapel’s plan to save Captain Batel didn’t involve removing her Gorn infection, but changing how they approached it so that the Gorn would be “re-absorbed” by her body. That line didn’t stick out too much at the time, but the fact that “re-absorbtion” and Captain Batel’s ongoing treatment was mentioned again here? It raises some questions! Is she going to be suffering some kind of ongoing Gorn-related health issue? And if so, could we see the Gorn return in a future story? Could the Gorn infection ultimately still claim her life?

I was surprised to see La’an so casually brushing off her Gorn encounter. I get why it had to happen for narrative reasons – with Ortegas clearly suffering after her near-death experience, having another character going through a similar Gorn PTSD-type situation might be too much. But La’an is a character who has been thoroughly defined by her encounters with the Gorn, both in the show and as part of her backstory. Yes, there’s a three-month time-jump at the beginning of Wedding Bell Blues, and we can argue that La’an might’ve processed some of what happened off-screen. But something about her line to Spock about the Gorn threat being over now… it didn’t sit quite right.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Captain Batel.
Is Captain Batel in the clear?

However, as mentioned it’s Lieutenant Ortegas who seems to be in focus for a lingering Gorn storyline. Although she seems to have physically recovered, there’s a psychological toll that she doesn’t seem to have addressed yet. She may not have even admitted to anyone that she feels haunted by the Gorn and by her experiences in captivity. This is clearly going to run for more than one episode, perhaps blowing up later in the season in a big way – or conversely, with Ortegas seeking help from someone like Captain Pike, Dr M’Benga, or even La’an. I felt that, if La’an had been the one to get this kind of PTSD-type storyline, she had a great connection already with Una, so she could’ve been someone to turn to.

Ortegas hasn’t been in focus as much across the first couple of seasons, and I don’t think it’s unfair to say that she doesn’t have a “bestie” in the same way as some of the other main characters do! That’s a limitation in some respects, but it also means that she could potentially talk to anyone – so maybe it’s better to say it opens up different possibilities. Dr M’Benga would be interesting both for his medical expertise as well as his own traumatic backstory from the Klingon war. Captain Pike could be very sympathetic, too. And La’an, I think, might make a particularly compelling character for Ortegas to seek out. Not only does La’an have that Gorn experience, but she was the one who rescued Ortegas from captivity, saved her life, and then carried her to the ship they used to make their escape.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing Ortegas being "haunted" by her Gorn encounter.
Ortegas is clearly haunted by her Gorn encounter.

As an aside: Wedding Bell Blues was creative in its use of reflections creative camera shots. We caught a glimpse of Trelane through the window before he first appeared, we saw the view directly from Beto’s camera-drone, and at the end, Ortegas’ feelings of being haunted by her Gorn experience were shown through a reflection in the window.

What do we make of the new nurse? The ensign that Una and Dr M’Benga went out of their way to keep aboard the Enterprise? Is he – as I suspect – going to take a villainous turn? Or is he being set up as a glorified redshirt; a Discovery-esque secondary character with minimal backstory, being fattened up to be slaughtered? Those are my two guesses!

Some of that may come later in the season… or not, if I’m totally overreaching. For now, it’s sufficient to say that I liked some of what Wedding Bell Blues had to offer – but I was less keen on its Hallmark movie plot. Spock and Chapel have run their course as a couple, and I’m glad that the series is finally seeming to put that idea to bed. But I’m not wild about all of these “emotional Spock” and “comedic Spock” storylines. There are other ways to include the character, other ways to demonstrate his growth, and other things to do with Vulcans besides joke about how formal and stuck-up they are.

Still frame from Star Trek: Strange New Worlds 3x02 Wedding Bell Blues showing a new nurse aboard the Enterprise.
Redshirt or secret bad guy?

I’m glad that Strange New Worlds doesn’t double up its episodes every week. Don’t get me wrong: I’d love to pay less for Paramount+, and a shorter season would help with that! But two episodes at once is a bit much; binge-watching some shows is a ton of fun, but for a brand-new season of Star Trek? I like to give the episodes room to breathe. A nice week-long gap is what I need!

So we’ve reviewed both of the Season 3 premiere episodes. They were pretty different, and obviously my preference would be Hegemony, Part II by quite a long way! But I did enjoy the Trelane-Q fan theory being confirmed all these years later, and it was fun to get a kind of Q-ish or Q-adjacent storyline for Spock. Dr Korby, despite a pretty disappointing love triangle story and a weak introduction, was a fun character, and a good foil for Spock as he was forced to team up with arguably his least-favourite human! And we got some fun moments with Sam Kirk, Uhura, Chapel, Ortegas, and her brother, too.

Not my favourite episode, thanks to its cringe humour and Spock-Chapel-Korby love triangle. But an episode with plenty of redeeming features.


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 3, Episode 1: Hegemony, Part II

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of spoilers for Star Trek: Strange New Worlds Seasons 1-3. Spoilers are also present for the following Star Trek productions: The Next Generation Seasons 3-4, Deep Space Nine Seasons 4-6, and Discovery Season 5.

After a frankly ridiculous two-year wait, Strange New Worlds is back! Hegemony, Part II is the conclusion to last season’s excellent cliffhanger, picking up right where we left off with the Gorn attack on the non-Federation planet Parnassus Beta. And, as always, I have a lot to say – so buckle up, this could be a long review!

The tl;dr is this: Hegemony, Part II wrapped up its key storylines… but perhaps didn’t have quite enough time to do so flawlessly. The episode was good, unquestionably, and I think the two parts of Hegemony form one of the show’s strongest and certainly most explosive and action-packed offerings. But as the credits rolled and the Enterprise set course for Earth, I couldn’t help but feel that an extra ten minutes or so would’ve been necessary to really achieve what this episode’s writers and director wanted. There were a few moments that were just a little too short, that needed a bit more explanation, or where we could’ve spent just a tad longer lingering on key characters. Maybe a fifty-five-minute cut of the episode would’ve been better than the forty-five-minute version we ultimately got.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captain Pike standing in front of the viewscreen, with two stars on the screen.
Captain Pike and the crew are back!

Before we go any further and get into the meat of the review, I’d like to give my usual disclaimer! Everything we’re going to talk about today is the entirely subjective opinion of just one Trekkie. If you detested Hegemony, Part II and think I’m rating it far too highly, or you love it more than I did and you feel I’m being unnecessarily harsh… that’s okay. There’s plenty of room in the Star Trek fan community for differences of opinion and polite discussion. I share this review with the online Trekkie community in that spirit.

We waited two years with the cliffhanger ending to Hegemony, and a massive part of that was the question of what would happen to Captain Batel. Would she survive her Gorn infection… and what would it mean for Pike if she couldn’t be saved? Batel was a great character to endanger; as a brand-new character, she could easily be killed off, and as someone so closely connected to Pike – whose future is set in stone – their relationship is doomed one way or another. We also saw, in Season 1, how deadly a Gorn infection could be with Hemmer’s untimely death. So again, to reiterate that: it was a fantastic storytelling decision to place Captain Batel in this incredibly dangerous position.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captain Batel in sickbay.
Captain Batel was infected at the end of last season.

So why, then, did the absolute fucking morons who’ve somehow managed to waddle into Paramount’s marketing department completely spoil Captain Batel’s survival weeks ahead of Season 3’s premiere? It completely ruined that storyline, undermined some genuinely tense sequences, and rendered some great performances by Anson Mount, Jess Bush, and Ethan Peck completely impotent. Thanks to her appearance in two trailers and photos released ahead of Season 3, we could tell that Captain Batel was going to survive. And while I concede that for a more casual audience that would be less of an issue (folks who don’t follow Star Trek on social media would’ve been less likely to see these spoilers) I still don’t think that excuses it.

This cliffhanger had been simmering away for two years, and while we knew Melanie Scrofano would be back as Captain Batel in Hegemony, Part II… her status in the rest of the season could’ve easily been kept under wraps. As soon as I saw her in those trailers, I knew she was going to survive, because those clips were clearly taken from after the Gorn conflict. And the photos released for subsequent episodes just hammered that home even more. There was absolutely no reason for this; there were other clips that could’ve been chosen, or Batel could’ve even been edited out of the clips in which she appears. Why go to all the bother of setting up this otherwise fantastic and engaging storyline, which was performed beautifully and emotionally by all involved, and keep it under wraps for almost two years… only to blow it with a few weeks to go? Paramount is utterly useless, which is why Star Trek as a whole is probably going to be disappearing before the end of the decade. But things like this are such incredibly basic mistakes that I cannot fathom how they were allowed to happen. Knowing Captain Batel would survive significantly harmed my enjoyment of this storyline in Hegemony, Part II – and there was just no need for that to have happened.

Promotional photo for Star Trek: Strange New Worlds Season 3.
Captain Batel’s survival was spoiled ahead of time for anyone who follows Star Trek on social media or who was paying attention to the ad campaign for the new season.

The sad thing about all of this is that, episode-ruining spoilers aside, Captain Batel’s storyline gave us the episode’s best and certainly most emotive performances. We got some fantastic moments with Anson Mount, as he beautifully portrayed Pike struggling with Batel’s condition, and Jess Bush, who took us through Chapel’s strengths and vulnerabilities when facing a traumatic situation. Ethan Peck showed off a softer side to Spock, here, too, picking up last season’s relationship with Chapel. We’ll get into that a bit more later – because Spock and Chapel have kind of run their course for me – but again, it was a solid performance and a new situation for Spock.

Melanie Scrofano spent a lot of Hegemony, Part II lying asleep on a table or bed, but when she was awake – both before and after her experimental surgery – she also contributed to some of the story’s most heart-wrenching moments. Asking Chapel to “take her out,” if there was no solution, and in those final scenes with Pike, we saw Captain Batel at her best and her most vulnerable simultaneously. That’s not an easy thing to communicate, especially with limited screen time, but it was utterly fantastic. It’s such a shame that this entire storyline was spoiled ahead of time for no good reason.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captains Pike and Batel in sickbay.
Pike with Batel at the end of the episode.

In The Original Series, there was a suggestion that Nurse Chapel had “a thing” for Spock. Strange New Worlds took this bare-bones idea and really expanded upon it, pairing them up in a romantic way. However, if Spock is to continue his character arc – one which should bring him more in line with the character we’re familiar with – then I think this relationship has run its course. And in Hegemony, Part II, I didn’t feel this side of Spock and Chapel’s story really added very much. It wasn’t as bad as anything Discovery did with its forced drama, but there were moments that came close, as Spock and Chapel seemed to lose focus on the task to talk about their relationship. I don’t think this otherwise-interesting story needed to be interrupted by relationship drama, and both characters seem to be on different trajectories right now. That’s for the best, and while their entanglement was occasionally fun and could be called back to in the future, keeping them as friends will, in my view, work a lot better going forward.

With Dr M’Benga missing in action, it fell to Spock and Chapel to perform Captain Batel’s life-saving treatment – and this was interesting. We could absolutely nitpick and say surely a ship the size of the Enterprise has at least one other doctor (as evidenced by Dr M’Benga’s original appearance alongside Dr McCoy in The Original Series), but for the sake of the story, I think it worked well! Spock and Chapel made a good pair in this kind of environment, tackling a problem neither of them was fully-qualified to solve and being forced to think outside the box. The callback to Una’s Illyrian heritage was good, and a creative way for the episode to technobabble its way to a resolution by relying on something which been set up all the way back in Season 1.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Spock and Nurse Chapel.
With Dr M’Benga nowhere to be found, it fell to Spock and Chapel to save Captain Batel’s life.

If you recall the episode Ghosts of Illyria, where we learned about Una, we also discovered that the Illyrians’ penchant for genetic engineering left their people particularly resistant to disease and infection. I love that Star Trek – and Strange New Worlds within its own story – has this depth of lore. A technobabble miracle could’ve always been found to save Captain Batel, but referencing events and characters from earlier in the show’s run strengthened this significantly, and gave Spock and Chapel’s plan a truly solid narrative foundation. It worked great – and it connected to Una’s backstory in a way I’ve been hoping Strange New Worlds will continue to do.

The only part of this that I felt was rushed was the surgery itself. While Chapel’s hand was literally on the scalpel (alright, the weird techno-device with blinking lights), Spock intervened and suggested changing their entire plan. That’s already a bit flimsy, in my view, and it came without much setup. A longer episode could’ve dedicated just a minute or two more to Spock and Chapel working out ideas, and stretched out this moment a bit longer, which I feel would’ve strengthened it. The idea of flipping the problem around was creative, but the explanation just felt a bit rushed in the moment, and I would’ve happily enjoyed seeing them actually enacting some part of their new plan.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing the surgery on Captain Batel.
This was not the ideal moment for a total change of plans…

Speaking of things that were rushed: Scotty and Pelia’s explanation of how the Enterprise could fly into the binary stars. It felt like Scotty came on the bridge, sat down, and worked out this incredibly complex plan in the span of just a few seconds, when he hadn’t been briefed or known anything about what was going on just a moment earlier. The prior sequence with Scotty and Pelia was great, and it did something I really hoped Strange New Worlds would do – give Scotty room to grow, showing us that he isn’t quite the miracle-worker from The Original Series just yet. That was communicated incredibly well, and I really hope we get more with Scotty and Pelia, building on their difficult history together and their somewhat antagonistic working relationship.

But the moment on the bridge needed more. We needed to see Pike, Pelia, and Scotty slow things down and figure out their plan at a more reasonable pace. Pacing of these technobabble ideas in many Star Trek episodes can feel rushed, so this isn’t a unique issue by any means. However, that doesn’t make it less of a problem here, and considering this scheme was the lynchpin of the entire operation to stop the Gorn… I just think we needed to arrive at it a bit more slowly to allow it to sink in. Could you even explain what Scotty’s idea involved? It was so rushed that I don’t think I could off the top of my head.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Scotty and Pelia on the bridge.
Scotty’s plan was explained a bit too fast for my liking.

As the apparently-final act in Strange New Worlds’ multi-season Gorn conflict story arc, I would’ve liked to have spent a bit more time on this moment. Planning, scheming, coming up with different ideas… kind of like we saw Rom, Dax, and O’Brien doing in the Deep Space Nine episode Call To Arms. That episode saw the characters trying to come up with a way to stop Dominion reinforcements coming through the Bajoran Wormhole, but the scene was just the right length, and we saw the characters talking through several different variants of the plan before settling on the one they ultimately chose to enact. The circumstances of the conflict are different in Hegemony, Part II, but the complexities of the situation involving Gorn hibernation rituals, stellar flares, and the engineering challenges of the Enterprise’s shields and hull still require some discussion and debate.

After I’d written in my notes that Strange New Worlds was doing exactly what I wanted to see with Scotty – showing that he isn’t perfect, that he has room to grow – this scene kind of undermined all of that. Scotty leapt into action, coming up with the perfect plan on the spot in a matter of seconds. And the plan was creative and interesting! I liked that Strange New Worlds, once again, is connecting back to story threads that had been set up in earlier episodes with the Gorn using light to communicate and having sensitivities to light. But again, I feel a fifty-five-minute episode could’ve communicated this at a better pace.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing the computer simulation of Scotty's plan.
I wanted this sequence to be a bit slower-paced.

Speaking as we were of Deep Space Nine’s Dominion War, I felt echoes of another fantastic episode in Pike’s desperate attempt to stop the Gorn. Sacrifice of Angels sees Captain Sisko, on the Defiant, making a last stand against an encroaching Dominion fleet, and Pike’s attempt to warn Starfleet and stop the Gorn invasion as their ships swarmed definitely reminded me of that moment. When Pike gave the order to open fire, and Una replied incredulously, reminding him they’re facing an entire armada… again I felt echoes of Sisko and Dax on the bridge of the Defiant. It was really impressive moment – in both episodes!

And we can kind of compare the resolutions to those stories, too. The Prophets intervened in Sacrifice of Angels, removing the Dominion fleet. Pike and Scotty’s solar flare plan to “put the Gorn to sleep” likewise averted the attack without actually turning it into a large-scale battle or a wider war. Star Trek has a knack for finding technological or engineering solutions, even to what seem on the surface to be military problems, and that’s been a core tenet of the franchise going all the way back to the beginning. Using the knowledge they’d gained about the Gorn in this way, the crew was able to turn back the tide and avert a wider invasion. That’s kind of a neat idea, even if parts of the buildup to it weren’t flawless. You could also compare this plan to Picard and Data putting the Borg to sleep in The Best of Both Worlds.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing the Enterprise approaching the Gorn armada.
Oh look, it’s the Battle at the Binary Stars

In my review of the Hegemony, Part I, I noted what I consider to be a particularly significant plot hole, and unfortunately, Part II doubled-down on it. In brief: Admiral April asserts that the Federation doesn’t want to become involved in a wider war with the Gorn, effectively ceding Parnassus Beta to the Gorn Hegemony. Because Parnassus Beta wasn’t a Federation colony, and April was choosing to prioritise Federation worlds, that was a sacrifice he was okay with making. But that doesn’t make sense in-universe.

The attacks on the USS Cayuga and the USS Stardiver by the Gorn are, in effect, declarations of war against the Federation. Parnassus Beta may not be a Federation world, but those starships are both Starfleet vessels crewed by Federation citizens. April’s argument makes no sense when he has that information, and the losses of the Cayuga and Stardiver were known to him by the time he boarded the Enterprise to debrief Captain Pike. Everyone was acting as if the only attack was on Parnassus Beta – but the attacks on not one but two Federation starships prove the Gorn’s wider militaristic intent. I could have happily entertained a storyline about appeasement, about not reacting emotionally when provoked, or anything along those lines. But for April, Pike, and everyone else involved to just ignore what happened to the two ships, and not even mention those attacks as a reason for or against taking certain actions… it rubs me the wrong way. I don’t think it makes sense based on what we know of April, of Starfleet, or even of Captain Pike himself. While I didn’t really expect Part II to completely change this angle based on what we saw last time, I’m a bit disappointed that the writers doubled-down on this mistake. It makes Admiral April look either uncaring to the point of sociopathy or totally incompetent, and I think Pike’s failure to bring up the attacks on Starfleet ships to support his case doesn’t do wonders for his characterisation, either.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Admiral April consulting a map of Gorn space.
Admiral April completely ignored the attacks on the USS Stardiver and USS Cayuga.

The final part where I think a slightly longer episode might’ve been beneficial was with La’an and the captured members of the away team. This is less important than Captain Batel’s treatment or Scotty’s plan, as I felt these scenes were generally pretty great. But spending an extra minute or two, spread across those sequences, might’ve allowed for a couple of things – Ortegas having to figure out how to pilot the Gorn ship and La’an taking a bit longer to locate the Gorn warship’s transporter codes. Both of those points seemed to be blitzed through quite quickly, and while they didn’t not work, I think they could’ve been improved with a slightly slower pace.

Think about it: you’re hacking into a totally alien computer system for the first time ever. And Strange New Worlds has gone out of its way to really emphasise the “other-ness” and truly alien nature of the Gorn, with no universal translator or even any real communication at all. So you hack into this computer, and just instantly scroll to the transport frequencies like you were finding your favourite song in Spotify. It took me ages to get the hang of Windows XP after I’d been used to Windows 98… do you really believe La’an is gonna hack the Gorn in an instant? She’s a security officer, not even an engineer or tech expert. I just think this could’ve benefited from another few seconds, even, showing her scrolling, taking wrong turns, or getting locked out and having to work around it.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Dr M'Benga and La'an aboard the Gorn vessel.
I found it hard to buy La’an’s perfect hack of the Gorn computer system.

Likewise with Ortegas. Ortegas’ story at the end of Hegemony, Part II is basically summarised in the line she repeats to herself: “I fly the ship.” But… it’s not a familiar ship. It uses a weird interface (that reminded me a little of Mr Garrison’s bike invention in South Park (if you know, you know)), it’s in an alien language, and frankly… “I’m a pilot, so I can pilot anything” is a bit of a flimsy excuse when you’re dealing with a totally different kind of technology. I would’ve liked to see her struggle, just for a moment, with figuring out the controls – and that could’ve actually added to the tension as the away team attempted to escape the Gorn while under fire.

I don’t think either of these are particularly egregious, but since we’ve been talking about moments that felt a little cut down or where we could’ve seen things expanded, I felt it worth including them.

Sticking with Ortegas for just a moment, Strange New Worlds really succeeded at convincing me that she was in danger. When the adult Gorn attacked her as the away team made their escape, I genuinely feared for her survival in a way that I didn’t with practically any of the others. I mentioned this in Part I in relation to Chapel; I tried to explain that Chapel was an awful choice for the kind of “death fake-out” that the story went for because she’s a familiar character and this is a prequel series. Ortegas has no known future – so the thought that she could genuinely be killed off was right there, front-and-centre.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Ortegas losing a fight with a Gorn.
Ortegas seemed to be in big trouble…

Obviously I’m glad that Ortegas seemingly lives to fight another day! We haven’t spent that much time with her, one-on-one, across both seasons of the show so far, and I think there’s a ton of potential in her character as a really enthusiastic pilot – something Star Trek doesn’t always have in its helm officers! But the way Hegemony, Part II signalled that she was in danger was done incredibly well. This is a series that has already killed off one main character, something Discovery and Picard refused to do, and I just think that adds to the stakes. Putting these new characters in danger, when they aren’t guaranteed to survive, ups the tension and drama and keeps me on the edge of my seat.

The injuries to the away team – and Ortegas in particular – were pretty gruesome and horrific, at least by Star Trek standards. I was reminded of Mass Effect 2′s “Collectors” in the depiction of the Gorn prison/feeding chamber, and the acid dissolving their skin, Ortegas’ injured hand, and the general slimy and grotesque feel of the place all added to that sense of the Gorn being totally otherworldly and alien. Star Trek’s depictions of humanoid aliens – the “nose and forehead” types – don’t always convey how truly different alien life might be, but this new take on the Gorn really does – and I like it!

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Ortegas' injured hand (with two missing fingers).
Ortegas’ injury was pretty brutal by Star Trek standards.

As I said either last season or in my write-up of Season 1, Strange New Worlds’ depiction of the Gorn is clearly influenced by the likes of the Xenomorphs from Alien – with a dash of Jurassic Park’s velociraptors thrown in for good measure! The acid, the slime, the ooze – all of that really adds to the kind of monstrous presentation of the Gorn that the show is going for, and it feels like a real masterstroke to take this under-explored alien race from classic Star Trek and reinterpret it, while also going into way more detail. I recently re-watched The Original Series’ Season 1 episode Arena, where the Gorn made their first appearance, and while the two shows have very different takes on the Gorn… I don’t think they’re a million miles apart. The DNA of Strange New Worlds’ Gorn is still present in Arena, and while there are different designs and there are clearly limitations to the older portrayal, the core concept of a reptillian monster remains.

Click or tap here to check out my write-up of Arena, if you’re interested.

Last year, I criticised Discovery’s fifth and final season for some pretty slapdash and amateurish uses of Paramount’s expensive AR wall! There were several places in that season where the AR wall was just not well-integrated with the physical props around it, and the effect looked cheap. Not so in Hegemony, Part II, where the AR wall stage was thoroughly transformed to become the Gorn prison. It was such a horrifying setting, and the AR wall helped bring it to life in a way that a static background arguably wouldn’t have. It’s one of the best uses of the AR wall I’ve seen so far, and proof that – at least sometimes – Paramount does know how to properly use the things it spends all its money on.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing the Gorn prison.
This was a well-constructed set.

Another area where Hegemony, Part II excelled in the visual department was its presentation of the binary stars. The CGI for the stars was fantastic, but what was even better was the cinematography at the episode’s climax, showing Pike and others on the bridge as they flew close to these binary stars. Parts of that reminded me of the film Sunshine (co-starring a certain Michelle Yeoh) which depicted a mission to the sun. Well worth a watch if you’ve never seen it, by the way! But that film also had characters in close proximity to a star, struggling with the radiation and bright light. For my money, Hegemony, Part II did a great job here.

The visual of the infant Gorn growing in Captain Batel’s body was also gruesome – and also inspired, perhaps, by Alien. The wriggling, pulsing creature under her skin was a horrifying thing to see – and I think it was so much better done as a physical prop than it would’ve been if it had been CGI. CGI is great, and it’s better today than it was when, say, Enterprise used it to create its take on the Gorn some twenty years ago! But I still enjoy physical special effects, especially in a franchise like Star Trek, so this proto-Gorn/Gorn foetus… thing was so much better for being created that way!

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captain Batel's Gorn-infected back.
Captain Batel’s Gorn infection. Yuck.

I will be curious to see whether Strange New Worlds follows up La’an’s story from this episode in future. She was clearly struggling with being back in Gorn captivity, having flashbacks to her childhood. I don’t think we need a Discovery-style “let’s all sit around and talk about our feelings” kind of thing, but if La’an is meant to be suffering with PTSD from her Gorn experiences, I hope the show doesn’t just completely drop this idea going forward. If we have truly seen the last of the Gorn in Strange New Worlds, she might not have to come face-to-face with them again, but there could and arguably should be some kind of follow-up to what she went through.

La’an and Una have established a strong bond, so perhaps Una could be the one she turns to at first, if indeed she’s struggling. There is value to good and well-written depictions of mental health, and while modern Star Trek hasn’t gotten this right a lot of the time, I’m willing to give the franchise another chance. At the very least, there’s a strong foundation for that kind of story to build on if the writers want to take La’an down that route in the future.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing La'an with a corpse.
I’ll be interested to see what comes next for La’an after this.

Captain Pike is also seemingly not at his best, with the toll of command and stress about Captain Batel clearly weighing on him. It was agonising for Pike to have to entrust Batel’s treatment to Spock and Chapel while he remained on the bridge, and you could see that etched on his face. His moments of hesitation also hammered home for me how he might be struggling – and feeling the heavy burden of command is something we know Pike feels. His first introduction – in The Cage – shows him talking to Dr Boyce about this very issue. Perhaps the Gorn conflict has exacerbated that for Pike, or maybe it was just the stress of Captain Batel’s condition. Either way, I think we got a complex and nuanced depiction of Pike in Hegemony, Part II, as he seemed to waver and hesitate, perhaps second-guessing himself, while also having moments of firey passion and intense vulnerability.

As I said above, this was a fantastic performance from Anson Mount. I’ve said this before, but I was sceptical of the decision to bring back Pike when he was announced as a character in Discovery’s second season – but I was so very wrong about that! This complex performance, taking Pike through the wringer as he had to balance protecting his ship, the wider Federation, and Captain Batel… it was a masterclass, truly.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captain Pike in the captain's chair, with his face in his hands.
Pike went through all of the emotions in this episode.

Martin Quinn has also been a joy to watch. Yes, there are issues with Scotty’s way-too-fast plan near the climax of the story, but his earlier conversations with Pelia showed a different side to the character, and Quinn brought that to life in a way I wasn’t expecting. Scotty is suffering after the loss of the Stardiver, and being forced to go toe-to-toe with Pelia again, listening to her berating him for not documenting his work, it was definitely something I think we needed to see. Scotty’s emotional reaction, storming out as he reiterated that his crew and commander are dead… it was heartbreaking stuff.

Here’s a question: does Captain Batel’s treatment and survival undermine Hemmer’s sacrifice in Season 1? Hemmer’s name was mentioned, albeit briefly, in Hegemony, Part I, but in Season 1 his act of self-sacrifice was presented as a brave decision. Not only did he spare himself a horrendous fate, he prevented new Gorn from being spawned and saved his shipmates. But Pike was right: Hemmer didn’t give them a chance to save him. It seems now, based on what we saw with Captain Batel, that there might’ve been a chance to save Hemmer’s life.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Pike and Batel in sickbay.
Could Batel’s treatment have worked for Hemmer, too?

This comes just a few episodes after All Those Who Wander (thirteen episodes later, if you’re keeping score). We’ve seen two characters suffer the same infection not that far apart, but only one of them was able to be saved. At the very least, I’d suggest this paints Hemmer as reckless or hasty; at worst, perhaps his death starts to feel like a bit of a waste. I like Pelia, and as a replacement for Hemmer I think she’s been a lot of fun. Her relationship with Scotty is interesting, too, and there’s a lot of potential there for both fun moments and some deeper conversations, perhaps.

But Hemmer was unique. He was Star Trek’s first ever Aenar (or Andorian of any kind) to be a main character, the first since Enterprise to revisit the Andorians and their Aenar sister race. I felt his death came too early in the show’s run; Hemmer had only been present in six episodes before his demise. As a result, we didn’t really get to know him particularly well, nor was there much of an opportunity to explore what an Aenar officer might be like. Hemmer’s visual impairment, pacifism, and even his relationships with most of his colleagues were things the show touched on but never got the chance to really delve into. I’m glad Captain Batel is still around, and having spent some time with Pelia, I think she’s been a fine addition to the cast, too. But this treatment for the Gorn infection, while clearly dangerous and experimental, kind of brought all of that back for me, and emphasised again how Hemmer departed the show a little too hastily.

Okay, enough about poor Hemmer! He wasn’t even in this episode.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Scotty walking away from Pelia.
Hemmer was replaced by Commander Pelia – and now Scotty has joined her.

Assuming that Hegemony, Part II is the culmination of Strange New Worlds’ Gorn conflict storyline… how do we feel about that? This is something that was set up early in Season 1, picked up steam in the wonderful horror-tinged All Those Who Wander, and that came back in a big way at the end of Season 2. Don’t get me wrong: I love that Pike and the crew found a scientific, non-violent solution to the Gorn threat. But given the buildup and the way it played out in the episode… was it good enough? Or was it maybe a little anticlimactic?

That word, “anticlimactic,” is what I put in my notes about the way this storyline wrapped up. I just can’t help feeling a little underwhelmed that, after two seasons of buildup, scarring backstories, a main character’s death, and a two-year-long cliffhanger, the Gorn basically being sent to bed without any dinner, like they were misbehaving toddlers, is the right way for this story to end. I think it also raises questions about the nature of the Gorn; if they’re really so easily manipulated, how did they invent things like warp drive in the first place? If they’re able to be triggered into hibernation by a few flashes of light… how did they ever make it to the stars? This version of the Gorn seems animalistic, not intelligent, and while we can see that they clearly possess spaceships and technology… I don’t think that gels with how the Gorn themselves are presented on screen. Had there been a different ending to this story – perhaps involving communication – I think that feeling could’ve been averted.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing a close-up of a Gorn's face.
You can’t eat Lieutenant Ortegas, you naughty little rascal! Now, off to bed with you!

I’m all for non-violence and peaceful conflict resolution! Some of the best Star Trek stories involve diplomacy, negotiation, and compromise. And even after Strange New Worlds reinterpreted the Gorn to be these kinds of animalistic monsters, I still felt it was possible we could’ve sat down with the Gorn leader and hammered out some kind of deal. Captain Pike and Admiral April would’ve been great at that, and I think we could’ve seen a very conflicted Captain Pike trying to negotiate a peace treaty while Captain Batel was fighting for her life. That could’ve been really interesting.

But this trick of the light – using the Gorn’s sensitivity to solar flares against them – I dunno. Perhaps because that part of the puzzle was resolved quite quickly, as discussed above, it just feels a little… underwhelming. Pike and the crew were staring down an invasion fleet one minute, then the next the Gorn just turned around and went home to take a nappy-nap. It… I’m struggling to find the right words, to be honest. I think “underwhelming” and “anticlimactic” are in the mix, though.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing Captain Pike on the bridge.
Pike and the crew tricked the Gorn… into going back to sleep.

Star Trek has always been a franchise that sought out scientific answers, even to the toughest questions. But something about the way Pike and the crew basically tricked the Gorn into abandoning their invasion plans isn’t quite sitting right. And if this is to be the Gorn’s final appearance in the series – which Pike implied it could be as the Gorn retreated – I wonder if that’s good enough. As a resolution to this two-part story, I think it works. But as the ending of a multi-season arc involving numerous characters across several episodes, which has been Strange New Worlds’ biggest ongoing story thus far? Hmm. I can’t help but feel a little underwhelmed.

I don’t think Strange New Worlds would’ve benefited from an ongoing war. We’ve seen that in Deep Space Nine, Enterprise, and Discovery in different ways – and some of those worked well. But for the kind of episodic, exploration-focused show that I’ve loved to see so much, a long-running war would’ve completely changed the tone – and not for the better, in my view. So in that sense, I’m glad Hegemony, Part II wrapped things up with the Gorn. But the pacing of Scotty devising the plan, and even the implementation of this attempt to trick the Gorn into going beddie-byes… it just doesn’t seem to quite fit with all of the dramatic moments that led up to it.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing a Gorn roaring.
An adult Gorn.

The space battles were tense and exciting, and the way the Enterprise moves in space feels much more responsive and three-dimensional than it did in years gone by. The design of the smaller Gorn ships felt like something right out of The Original Series with its three-spoke design, and it felt like a bit of a cool throwback in that sense. In Arena – the original version, not the remaster – there is no Gorn ship, but if there had been, I can absolutely picture it looking like Strange New Worlds’ Gorn vessel! Oh, and I loved the sequence as the away team escaped – the cutting back-and-forth between their ship and the pursuing Gorn was great, and it reminded me a little of Star Wars’ famous starfighter dogfights and the trench run!

The larger Gorn ships are truly spectacular! The closest thing in Star Trek I could think of was either the huge Dominion battle cruiser from DS9 or the massive Breen warships from Discovery’s fifth season. There was something, again, very “alien” about this design; it seemed like something from another sci-fi property – like Warhammer 40K, perhaps – rather than Star Trek! And I think I mean that as a compliment; this version of the Gorn needs a warship that embodies the same traits and the same design philosophy – and I think we got that both inside and out.

Still frame from Star Trek: Strange New Worlds 3x01: Hegemony, Part II, showing a Gorn warship.
The Gorn warship.

So that was Hegemony, Part II. I think the cliffhanger was wrapped up reasonably well, and if my biggest complaint isn’t actually to do with the story itself, but rather Paramount’s amateur-hour, cack-handed marketing… well, that’s not really the fault of the episode! I stand by what I said, though: a slightly longer cut, giving just a couple of extra minutes each to Scotty, La’an, and Chapel across their storylines would have been to the benefit of Hegemony, Part II.

So… roll on Wedding Bell Blues! It’s a bit of an oddity to see two episodes premiere at once, but it’s not unheard of in the current streaming landscape. With the Enterprise bound for Earth, and a wedding seemingly on the horizon, the next episode seems like it’ll switch things up and be a nice change of pace. I think we need that after two quite intense war stories!

Be sure to join me in the days ahead for a review of that. Until then, I hope this has been interesting!


Star Trek: Strange New Worlds Seasons 1-3 are available to stream now on Paramount+ in countries and territories where the platform exists. The first two seasons are also available on DVD/Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: The Original Series Episode Re-Watch: Season 1, Episode 18: Arena

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1, 2, and 3, Star Trek: Enterprise Season 4, and Star Trek: The Original Series Season 1.

It’s been more than five years since I set up this website. In that time, I’ve written hundreds – literally hundreds – of articles, essays, and reviews all about Star Trek. But this’ll be the first time I’ve written up a full re-watch of an episode of The Original Series. I must be the first Trekkie in history to write up a re-watch of an episode of The Animated Series before The Original Series! But this catastrophic failure of Trekkie-dom comes to an end today, as we sit down together to watch the classic first season episode Arena.

I’m going to split this article into two parts. We’ll talk about Arena on its face, including some of the episode’s production history – and the reason why the creator of the iconic Gorn costume went uncredited and unknown for almost a decade after the episode aired – and then we’ll talk about the Gorn themselves in a bit more detail. Spoiler alert if you haven’t watched Strange New Worlds and still plan to, but the Gorn appear prominently in that show. That’s actually part of the reason why I wanted to re-visit Arena ahead of the third season premiere!

Still frame from a TV advert for the Star Trek video game circa 2013 showing William Shatner and someone in a Gorn costume.
The Gorn and Captain Kirk…

Arena is an iconic episode – and the Gorn captain has to be one of The Original Series’ most recognisable villains. In fact, I was a little surprised not to see Arena on the list when I did my recent recap of IMDB’s top-rated Star Trek episodes – according to that site’s users, Arena ranks a measly 19th out of The Original Series’ 79 episodes! I think I’d have put it a fair bit higher than that; it’s gotta be a top ten episode, at the very least! It has a strong story, expanding our understanding of the Federation, while also containing enough of that esoteric sci-fi “weirdness” that makes Star Trek the franchise we know and love.

It’s also best-known, of course, as “the Gorn episode,” introducing the famous reptillian species to the franchise. But Arena is as much about another alien race – the Metrons – as it is about the Gorn. The Metrons feel, with the benefit of decades of hindsight now, almost like a prototype of what would become the Q Continuum – millennia ahead of the Federation, considering themselves to be enlightened, but not above a bit of interference in galactic affairs. The Metrons have never returned to Star Trek, though, and I can kind of understand why: for a “morality play” like Arena, they work well as a somewhat neutral arbiter. But as the franchise has expanded, we’ve seen fewer of these kinds of stories. Modern Star Trek in particular lends itself much more to the inclusion of the Gorn than it does the Metrons!

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing a Metron.
An unnamed Metron from the end of the episode.

Because the battle at Vasquez Rocks is so well-remembered, it can be easy to overlook the first part of Arena – but the away mission to Cestus III is one of the first season’s most tense combat sequences. Drawing on war films for inspiration, with an unseen enemy and whistling noises reminiscent of World War II-era mortars, the entire away mission to the destroyed outpost is – for the time, anyway – really exciting stuff. This is also one of the first away missions to be shot on location – i.e. not on a sound stage or backlot. Following the previous episode, Shore Leave, which was also shot in the Los Angeles area, Arena took the cast and crew to a set near Vasquez Rocks which had been built a few years earlier for a different television series.

I think I’m right in saying that it’s this away mission sequence in Arena, which used several pyrotechnic explosions to create the effect of the Gorn attack, that led to both William Shatner and Leonard Nimoy suffering from tinnitus – a condition that causes ringing in the ears and can be painful. The Original Series used pyrotechics throughout its run, but this battle sequence pushed the performers to act in close proximity to these explosive devices. Knowing the impact the sequence had on the actors, that does taint how we view it. Because as exciting and intense as the Cestus III mission was, no television scene is worth suffering from life-long after-effects.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Kirk being flung into the air by an explosion.
One of the explosions on Cestus III.

The first part of Arena, it could be argued, plays out similarly to Balance of Terror, which would’ve premiered just a month or so earlier. The attack on a Federation outpost, pursuing a powerful but unseen enemy… it starts the story in a familiar way. But the episode soon takes a completely different turn with the intervention of the Metrons. What begins with a deadly raid and an attack on the away team seems to be building up to another starship battle – but just as the Enterprise seems to be catching up to the Gorn vessel, the Metrons rebuke both ships and crews for their violent nature.

The Metrons are an interesting addition to the story. Rather than just another enemy encounter or a straightforward action story, their intervention puts a different spin on things. Kirk, who seemed hell-bent on revenge at first, is forced to confront the way he handled the interaction, and this idea of revenge at any cost – mutually assured destruction, perhaps – is thrust into the spotlight in an uncomfortable way.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing the crew on the bridge.
Spock, Kirk, and the crew on the bridge while the chase unfolded.

That’s part of the context behind Arena, this idea that seeking revenge isn’t healthy and is, in itself, a violent urge. But there’s more to it than that. The revelation that the Gorn considered Cestus III to be one of their planets, and that’s why they attacked the outpost, reframes things for Kirk, Bones, and the rest of the crew. The Federation may not have been aware of the Gorn claim, but either way, they settled an outpost on a planet that someone else considered to be their territory. There’s another analogy here that I think is particularly interesting.

The Original Series draws inspiration from the western genre. The idea of space as a new “frontier” conjures images of the wild west, and in Arena itself, Kirk refers to himself and the Enterprise as the only lawmen in this region of the galaxy. The Gorn, therefore, are this story’s metaphorical Native Americans, having a pre-existing claim to the land and attacking the Federation settlers who’d moved in on their territory. Maybe that wasn’t exactly how the story was written, but I think that reading is there, just beneath the surface. And for the 1960s – when the western genre was still riding high at the box office, with films like El Dorado, Ride in the Whirlwind, and The Good, the Bad, and the Ugly – that’s kind of a progressive idea. To make the point that, in this case, the Federation may have been in the wrong… that’s a pretty neat inversion of the typical western-inspired frontier story.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Dr McCoy.
Dr McCoy put it best: “we could be in the wrong.”

Vasquez Rocks has become an iconic location within the Star Trek franchise, and that really began here in Arena. The filming location, which is just inside the famous “thirty-mile zone” around the film studios in Los Angeles, has appeared in The Next Generation, Voyager, Enterprise, Picard, and two of the Kelvin films as well as The Original Series and The Voyage Home. It was a great choice for Kirk’s battle against the Gorn commander, and even though I’ve criticised some modern Star Trek productions for re-using the same filming locations too often, I think Vasquez Rocks is such an iconic spot that it gets a pass!

I absolutely love the original Gorn design, and even though it might not be as “realistic” as the updated variant seen in Strange New Worlds… I think there’s something special about the original costume. I always compared the Gorn to a Tyrannosaurus Rex – but that’s because I first watched Arena after having seen Jurassic Park in the mid 1990s! The design draws inspiration from real-world reptiles like the komodo dragon, using reflective, almost insect-like eyes and needle-sharp teeth to complement the monstrous design.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Kirk and the Gorn captain's first encounter.
I just love this costume.

Wah Chang designed the Gorn costume as well as many other iconic Star Trek props. The tricorder, the flip-open communicator, and tribbles were all his creations – but he went uncredited for all of it, and was unknown until members of the Star Trek fan community uncovered his role in the 1970s. Chang seems to have been commissioned by Desilu – Star Trek’s production company – in a weird legal grey area; director and producer Bob Justman wanted to use Chang’s work, but Chang wasn’t a member of the prop-makers union. In a kind of workaround, Desilu would “purchase” items from Chang, but he was never credited on screen for any of his creations.

This is another great example of the early Star Trek fan community pulling together! Chang’s role was eventually uncovered in the 1970s by Trekkies, who were keen to find out more about some of the show’s iconic props and designs. It’s one of those fun little stories that, were it not for the dedication of fans, would’ve simply never come to light. Chang’s contributions to Star Trek – not only the episode Arena, but really across the entire first season – helped to define the look and feel of this vision of the 23rd Century. Who knows where Star Trek would’ve been without him?

Two set photos from Star Trek: The Original Series showing the Gorn costume.
The original Gorn costume.

There are some great moments between Kirk and Spock in Arena, as they wrangle with the aftermath of the Gorn attack on Cestus III and what it could mean. In the context of Arena itself, disregarding any other Gorn stories, we can see both points of view. Kirk argues that the attack – which seems, at first, to be completely unprovoked – could be the precursor to a wider invasion, and as the only ship in the area, it falls to the Enterprise to prevent that. But Spock is also correct – without more information about what happened, who perpetrated the attack, and why… Kirk is kind of jumping to conclusions. His line about seeking revenge hits particularly hard.

We’ll get into this more in a moment when we discuss the Gorn, but this is one area where more recent Star Trek productions – and Strange New Worlds in particular – arguably re-frame this conversation. As a veteran of conflicts against the Gorn while serving under Pike’s command, Spock is acutely aware of how bloodthirsty and vicious the Gorn can be, and how single-minded they are when staking their claims to planets that the Federation already occupies. There is wiggle-room here, and nothing in Strange New Worlds explicitly contradicts Arena (at least as of the end of Season 2). But it does change how we perceive these conversations – which, it shouldn’t need to be said, supposedly take place a decade or so after the events of that show.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Kirk and Spock in Kirk's cabin.
The conversation in Kirk’s cabin.

Kirk’s hand-to-hand battle with the Gorn captain is a ton of fun. The lumbering monster reminds me of the titular Creature from the Black Lagoon with its heavy rubber suit and somewhat clumsy movements, and I just really love that kind of old-school style of creature design. The rubber suit may be old-fashioned compared to, say, the new dinosaur-inspired Gorn depiction from Strange New Worlds… but I think it’s light-years ahead of the awful CGI rendition that we got in Enterprise! The very “sixties” fabric used for the Gorn captain’s uniform just adds to the charm.

The fight has its tense and serious moments. Kirk’s two-handed attack, which we’ve seen him use to great effect across the show’s first season, has absolutely no impact on the powerful and muscular Gorn, which was interesting. We also see the Gorn’s own ingenuity as he devises a trap – Kirk ends up injured and seemingly about to be impaled… just in time for the ad break! But the fight also has moments that, almost sixty years later, seem almost cartoonish or campy. The obviously polystyrene rocks – which look even less convincing in HD on a large television set – are part of that.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing the Gorn captain using a communicator.
The Gorn captain.

Then there’s Kirk’s “Wile E. Coyote” moment! Sneaking up on the Gorn captain from atop Vasquez Rocks, Kirk plans to drop a very large boulder on his opponent. And look, I get it: it’s a smart move given the circumstances. But the way this sequence is framed and shot makes it look like something straight out of the old Road Runner cartoon. It’s a ton of fun, but perhaps less tense or serious to a modern audience than it was intended to be in 1966!

The fight ends with Kirk choosing to show mercy to his defeated and injured opponent, impressing the Metrons and showing that, despite his earlier feelings about the attack on Cestus III, Kirk has learned something from the experience. His final conversation with Spock suggests that Federation diplomats might be able to contact the Gorn and peacefully resolve the Cestus III dispute. This resolution was clearly successful, because according to Deep Space Nine, Cestus III had a Federation colony again in the 24th Century… though we never saw this on screen for ourselves!

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Kirk and a boulder.
Captain Kirk’s plan was clearly inspired by the great tactician Wile E. Coyote.

With Strange New Worlds’ third season coming up, I want to talk a little bit more about the Gorn, and how Arena still has relevance to Star Trek today.

The Gorn have become Strange New Worlds’ most important villain, filling a role that the Klingons arguably did in The Original Series, the Borg did in The Next Generation, or the Cardassians and Dominion did in Deep Space Nine. Gorn stories have had profound impacts on Pike and the crew, from La’an’s tragic backstory, through Hemmer’s untimely death, and ultimately leading to the attack on Parnassus Beta, the infection of Captain Batel, and the abduction of Ortegas and many surviving colonists.

Strange New Worlds took the barest of outlines of the Gorn – a race who, since Arena, had only made a couple of other appearances in Star Trek – and changed them into a genuinely intimidating and threatening villain. Strange New Worlds’ depiction of the Gorn blends together the likes of Jurassic Park’s velociraptors with Alien’s iconic Xenomorphs. The new series takes the foundation established by Arena – that the Gorn are kind of monstrous reptillians – but pads it out with newer inspirations from the horror and sci-fi genres.

Still frame from Star Trek: Strange New Worlds Season 2 episode Hegemony showing Captain Batel and a Gorn.
An updated depiction of the Gorn from Strange New Worlds.

If you take a straight reading of Star Trek as a whole, from the point of view of a “canon purist,” then I guess I can understand why this change might not work. It *is* a change, at the end of the day, and with Strange New Worlds being a prequel, the fact that a major conflict against the Gorn happened just a few years earlier – involving several of the same characters – arguably gets close to treading on Arena’s toes. I’m not a “canon purist,” though, and I’m perfectly happy to enjoy both of these different depictions of the Gorn on their own terms.

I wish I had the photoshop skills to bring Arena’s Gorn captain into Strange New Worlds! I think that would be a really funny visual, and would make a great little Star Trek meme. Highlighting the differences in these depictions would be fun, and much of that would come from how different they appear to be – even though, I would argue, in terms of how they’re depicted, the Gorn aren’t actually all that inconsistent.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a Gorn.
A Gorn from the Strange New World Season 3 trailer.

Think about it: the attack on Cestus III and the total destruction the Gorn wrought isn’t far off what we see on Parnassus Beta in Strange New Worlds. The Gorn captain still makes the same kinds of horror-inspired “monster” noises, emphasising how different this life-form is to our familiar characters. The differences are really twofold: the limitations of the visual effects of the time compared to a more modern production with a higher budget, and perhaps more importantly, the limitations imposed on broadcast television at the time in terms of how graphic and horrifying visuals could be. For the mid-1960s, the Gorn captain is pure horror – and I think we can forget that because of how much time has elapsed and the kinds of things television shows today can do that they couldn’t do back then.

All that being said, I still adore the original Gorn design. I think it was incredibly creative, and Arena is just a fantastic episode all around, really. I think the parts we tend to overlook – the mission to Cestus III, the spaceship chase, and the involvement of the Metrons – are arguably the story’s most interesting parts, and to reduce Arena to Kirk and the Gorn squabbling in the desert is incredibly reductive and does Arena a huge disservice.

Still frame from Star Trek: The Original Series Season 1 episode Arena, showing Kirk firing his cannon at the Gorn captain.
Captain Kirk fires his makeshift cannon.

So that’s it for now. The Gorn are coming back, though… and soon! Strange New Worlds’ third season is just a couple of weeks away at time of writing, and I’m really looking forward to the resolution of the cliffhanger from Hegemony last season. I’ll do my best to write up reviews of Hegemony, Part II and the rest of the episodes in a more timely fashion this time around!

I hope this has been a bit of fun. I’ve been wanting to do a full write-up of an Original Series episode for ages, but I kept putting it on the back burner for one reason or another. Stay tuned, though, because I’ll definitely return to Star Trek’s roots before too long! I’d love to tackle one of my favourite episodes next: The Doomsday Machine! I have no idea when that’ll be… but one of these days, for sure.

Live Long and Prosper!


Star Trek: The Original Series (a.k.a. Star Trek) is available to stream now on Paramount+ in countries and territories where the platform is available. The series is also available on DVD and Blu-ray. The Star Trek franchise – including The Original Series, Strange New Worlds, 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.

Stories To Tell Before It’s All Over…

A Star Trek: The Animated Series-themed spoiler warning graphic.

Spoiler Warning: Beware of spoilers for the following Star Trek productions: Deep Space Nine Season 6, Enterprise Season 3, Discovery Seasons 1-5, Picard Seasons 1-3, Prodigy Season 1, Strange New Worlds Seasons 1-2, and Starfleet Academy.

Eight years ago, Star Trek returned to its small-screen home after over a decade in the wilderness. However, in 2025, thanks to a corporate merger, an under-performing, loss-making streaming platform, and some laughably idiotic decision-making by morons in suits, it feels like Star Trek might, once again, be coming to the end of the road. The cancellations of all but one series, failures to get a new feature film off the ground, and Paramount+ continuing to flail around in a competitive market all indicate to me that Paramount and Skydance are at the very least considering bringing production to a halt.

There will be time in the months and years ahead to talk about who’s to blame and what precisely went wrong. But that isn’t the purpose of today’s article. Instead, I want to take a look ahead. Beginning with the assumption that Skydance/Paramount aren’t interested in producing more Star Trek after the second half of the 2020s, what stories should the franchise’s writers and producers aim to tell over the next three or four years? Is there room to resolve dangling story threads, throw in a bit of fan service, and perhaps revisit characters and factions we haven’t seen in a while? Or… should Star Trek’s corporate overlords roll the dice again and chase trends in the hope of bringing in new viewers?

A room with a table and chairs and a banner on the wall that reads "Star Trek: Boldly Going in 2017."
An early tease of Star Trek’s small-screen return.
Photo Credit: TrekCore

2016 doesn’t feel like a particularly long time ago. But it’s been nine years since we got those early teases of what would go on to be Star Trek: Discovery, and since then, production has ramped up only to tail off again far more quickly than I’d expected. To go from the excitement of Star Trek’s return to the very real prospect of its total cancellation in the span of less than a decade is making my head spin! But realistically, after the cancellation of most of the main shows and with the corporate merger seeming to have put a stop to any new announcements… that’s where we’re at. If Star Trek isn’t bringing in viewers and helping Paramount+ on its long road to profitability… what did we expect? Corporations aren’t going to piss away money forever on something that isn’t making a profit… even if the reason why Star Trek, in its current incarnation, has struggled is, I would very strongly argue, entirely the fault of executive fuckwits making appalling decisions!

The cancellation announcement of Strange New Worlds kind of embodies that for me. Season 3 is literally days away, the cast and crew are about to start making the rounds on the interview circuit, hype for the new season is beginning to build… and that’s the moment that Paramount’s executives decide to announce that the show’s cancellation. This coming just a couple of years after they had to rapidly un-announce a new Star Trek film when it emerged that none of the cast had actually signed onto the project. After the merger is complete and these morons are all laid off… I hope not one of them ever works in the entertainment industry again.

But as I said, that’s not what we’re here to talk about on this occasion!

Former Paramount CEO Bob Bakish in an official portrait.
Former Paramount CEO Bob Bakish.

I’ve been thinking a lot about some of the Star Trek stories that I’d most like to see. If Star Trek does get fully cancelled later in the decade, and remains off the air for a good number of years as happened in the ’70s and the 2000s/2010s… this could be it for me. This could be the last new Star Trek I’m gonna see. Because of my health, sticking it out to the 2040s or beyond for a possible, hypothetical revival seems… well, it seems unlikely, to be blunt about it! So the next few years could bring me the final batch of Star Trek stories that I’m going to be able to watch. It’s with that mindset that I approach this piece.

So let’s clear a few things up before we go any further. These story ideas are pure fantasy, meaning I have no “insider information,” I’m not claiming any of them will actually be made, and it’s very likely that nothing we’re about to discuss will ever actually be seen on screen! This is a wishlist from a Trekkie, and should be taken in that spirit. Secondly, all of this is the wholly subjective take of just one person. If you hate all of my story concepts, or if I don’t mention a favourite of yours… that’s okay. There should be enough room in the Star Trek fan community for different ideas and the kind of polite discussion that doesn’t descend into argument and toxicity.

With all of that out of the way, let’s take a look at some of my story ideas.

Story #1:
Bring back the Xindi.

Still frame from Star Trek: Enterprise Season 3 showing the Xindi.
Xindi in Enterprise.

The Xindi have technically appeared in Discovery – albeit in a non-speaking, background role. And Xindi-Reptillians were also seen in a slightly bigger capacity in Prodigy’s first season. But we haven’t gotten a proper Xindi story since Enterprise – not one that examines the Federation’s relationship to the faction, at any rate. I’d love to see the Xindi revisited in a big way, catching up with them after the events of Enterprise and perhaps finding out a little more about what became of them after the disappearance of the Sphere-Builders.

Starfleet Academy could, for instance, introduce a Xindi cadet – perhaps one of the first Xindi to be a Starfleet officer in some time. Or Captain Pike could be sent on a diplomatic mission to the Xindi homeworld barely a century after the attempted attack on Earth. Either of these shows could incorporate a Xindi storyline, and it would be a lot of fun to either lay the groundwork for a future Federation-Xindi alliance or see what became of that in the far future.

Still frame from Star Trek: Prodigy Season 1 showing two Xindi characters.
Two Xindi from Prodigy’s first season.

A story set in the far future could also reference the Sphere Builders and perhaps expand upon something Discovery never really explained: the ban on time travel. It always struck me as an impossible thing to enforce, especially given the shattered state of the Federation, but perhaps a Xindi character in Starfleet Academy could lecture the cadets on the dangers of trying to interfere with the past.

If Pike and the Enterprise visit the Delphic Expanse, we could get a story about the Xindi’s first attempt to reconcile with Earth. They might’ve retreated back to their homeworld after their defeat, and this could be the first time they’ve reached out to the Federation in decades. There could even be a resurrection of the plot to attack Earth, perhaps some disaffected Xindi faction feels that it’s the only way to restore their world to greatness. If so, Captain Pike could have to follow in Archer’s footsteps and stop them!

Story #2:
A sequel to In The Pale Moonlight.

Still frame from Star Trek: Deep Space Nine Season 6 showing Garak and Sisko.
Garak and Sisko.

Have you ever wondered what might’ve happened if the Romulans ever figured out what Garak and Sisko did during the Dominion War? I have! And it’s one of my all-time favourite fantasy storylines. I don’t think this would even need to include Sisko or Garak necessarily – though I’d love to bring back both Avery Brooks and Andrew Robinson to reprise their roles. But a story set sometime after the Dominion War could revisit this absolute cracker of an episode and address some of the lingering questions that it posed.

Though this could be another far future story, I guess, where I think it would work best would be in the Picard era. Perhaps the Romulans discover, in some of the documents and data that they saved from the supernova, the fake recording that Sisko and Garak created and revisit it, finally realising that it was fake. That could have massive implications for Romulan-Federation relations… or maybe the new Romulan government, relying on the Federation for aid and supplies after the cataclysm, would choose to cover it up. If Legacy had gotten off the ground, this would absolutely be a story I’d have wanted to see in that show.

Still frame from Star Trek: Picard Season 3 showing Seven of Nine.
This could’ve been a great episode of Star Trek: Legacy

I can picture it already: Starfleet contacts the Enterprise, ordering Seven, Raffi, Jack, and the rest of the crew to parley with the Romulans. Seven’s Romulan connections from Picard Season 1 could come into play here, justifying Starfleet tapping the Enterprise for the mission. Upon arriving at the new Romulan homeworld, several angry Romulans – leaders of the Senate and Tal Shiar, perhaps – confront her over the deception. Seven and the crew genuinely have no idea what’s going on; Sisko and Garak told no one. In desperation, Seven contacts DS9, potentially being received by a familiar face.

At this point, the story could go in lots of different directions – all with plenty of those shades of grey which made In The Pale Moonlight so compelling. There could be genuinely uncomfortable real-world parallels – the lies told in order to start wars, threats of aid being withheld from desperate survivors of the supernova, and good people forced into impossible situations by the actions of others a generation ago.

Story #3:
A 60th Anniversary Special.

Promo image for Star Trek: Voyager showing Janeway and Tuvok with Rand and Sulu.
Janeway and Tuvok with Sulu and Rand from Voyager’s 30th anniversary episode, Flashback.

In 1996, two episodes were produced that really aimed to celebrate Star Trek’s thirtieth anniversary: Trials and Tribble-ations and Flashback. Both were, in my humble opinion, excellent – though fans have a clear preference for Trials and Tribble-ations! It’s been a frankly astonishing twenty-nine years since then… meaning Star Trek’s 60th is just around the corner.

A decade ago, Star Trek Beyond was the only production released during the 50th anniversary year, but Discovery was already filming. This time, I’d really love to see Paramount go all-out, using all of the resources at their disposal, to really celebrate all things Star Trek. Obviously this idea felt more likely before the recent cancellation announcements, and I would note that we’ve already had an excellent crossover between Lower Decks and Strange New Worlds that kind of occupies a similar space! But that wasn’t an anniversary special… so I think Star Trek and Paramount can do something, at least, to mark the occasion.

Still frame from Star Trek: Strange New Worlds Season 2 showing Mariner, Boimler, and Pike in the crossover episode.
Star Trek has recently done an ambitious crossover episode.

There are two shows in production that could – somehow – cross over. The best idea I can come up with at this stage would be the Starfleet Academy cadets running a simulation of Kirk’s Enterprise… which I realise sounds a lot like the maligned These Are The Voyages, but I think that same concept could’ve worked if it had been handled better and wasn’t intended to serve as Enterprise’s finale! So let’s say that, under the direction of Tilly and Vance, the cadets are aboard Kirk’s Enterprise, using the sets built for Strange New Worlds. What next?

Well, Strange New Worlds already has Kirk, Spock, Uhura, and Scotty – so we could use those characters and revisit a classic episode from The Original Series! Perhaps something like The Doomsday Machine, with the cadets observing Kirk’s actions for their assignment. This could mutate into a “the holodeck done goofed” type of story, perhaps, with the cadets having to genuinely fight for their lives alongside Captain Kirk and Spock. It wouldn’t be a pure crossover in the sense that Pike and some of the other Strange New Worlds characters would be missing… but I think it could be a huge amount of fun.

Story #4:
Save Captain Lorca!

Promo still for Star Trek: Discovery Season 1 showing Captain Lorca with a phaser.
Captain Lorca.

This has been a theory/fantasy of mine going all the way back to the announcement of Section 31 in 2019! In short, the prime timeline version of Captain Gabriel Lorca, from Discovery’s first season, switched places with his Mirror Universe counterpart before the events of the show. Mirror Lorca is dead – but we never learned what became of our universe’s version of the character. Admiral Cornwell just assumed that he’s dead… but Lorca always struck me as a resilient, resourceful man. So maybe there’s a way that he managed to survive.

Section 31 obviously went on to be a completely different thing, but we still have a show set in the 23rd Century where this kind of rescue mission might be possible: Strange New Worlds! Captain Pike confirmed back in Discovery that he knows about the existence of the Mirror Universe, and while any crossover story would have to keep characters like Spock, Uhura, and Scotty out of it, I think it could be made to work. Furthermore, we could get a glimpse of Pike’s past; perhaps he served with Lorca before either of them assumed their commands, or maybe they became friends while working together as starship captains.

Still frame from Star Trek: Enterprise Season 4 showing the Terran Empire logo.
Captain Lorca is trapped in the Terran Empire.

In my fantasy version of the story, Admiral April would contact Captain Pike with a top-secret assignment. Starfleet has received a brief message from across the divide between universes, confirming that Captain Lorca is still alive. Based on what Starfleet learned from the USS Discovery’s time in the Mirror Universe, they’ve found a way to send a small ship through the looking-glass – and Pike, as one of the few officers aware of the Mirror Universe and because of his connection to Lorca, has been chosen to lead the mission. Pike would select Ortegas to be the shuttle’s pilot and another character – perhaps La’an for security or Pelia to keep the shuttle flying and maintain its systems – for a clandestine mission akin to the one Picard undertook in Chain of Command.

Once in the Mirror Universe, Pike and the others would have to trace the source of Lorca’s signal – it’s coming from a Terran Empire prison camp. They’d come up with a plan, break him out, engage in a shootout with a few Terrans, and possibly catch a glimpse of Mirror Spock before making it home safe and sound. I think this could be a really fun story – and a great way to bring Star Trek’s current crop of shows full-circle by returning to the events of Discovery’s first season.

Story #5:
Captain Pike vs. the Borg Collective!

Still frame from Star Trek: The Next Generation Season 2 showing a Borg drone in main engineering.
The first Borg drone ever seen in Star Trek.

Okay, now we’re getting silly. But I still think that a Borg Strange New Worlds episode isn’t as far-fetched as it sounds! Let me explain why. Firstly, just like the Captain Lorca episode above, this one would have to take place in an alternate timeline. Somehow, someway, thanks to some technobabble interstellar phenomenon, the Enterprise is thrust into a parallel universe – one in which the Borg have come to dominate the entire galaxy. Pike and the crew would have to face off against a horde of cybernetic adversaries while struggling to make it home.

Characters like Spock and Una could suggest that this cybernetic race – the Borg – might not exist in the prime timeline, potentially explaining how Pike’s run-in with the Borg was never mentioned by anyone else! I think that clears up that particular issue much better than Enterprise did with its Borg episode! But I also like the idea of leaving just a little bit of ambiguity right at the end – perhaps Pike submits his report, and the camera hangs on Admiral April as he looks pensive and concerned.

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Pike in his away team armour.
How would Pike handle the Borg threat?

After Picard arguably overdid it with the Borg, I can appreciate why bringing them back so soon might not be to everyone’s taste. And when there are so many factions and races from past iterations of Star Trek still waiting to be revisited, I can entertain the argument that doing another Borg story might not be the way to go. But when I think about the most iconic villains in Star Trek, the toughest enemies to beat, and the most frightening… the Borg are absolutely up there in all three categories, and I think they’d pose a massive challenge for Pike and the crew.

The most important thing for me is setting a story like this in an alternate universe, not the prime timeline. There’d be enough wiggle-room to have an encounter like this without treading on the toes of fantastic episodes like Q Who and The Best of Both Worlds that way.

Story #6:
Push the Burn into an alternate timeline.

Still frame from Star Trek: Discovery Season 3 showing the Burn destroying starships in a flashback.
The Burn.

As a parting gift to potential future Star Trek storytellers, I can’t think of anything this current crop of shows could do that would be better than pushing the Burn and the far-future setting into an alternate reality. Don’t get me wrong: I don’t want to see Discovery and Starfleet Academy decreed to be “non-canon,” and the far-future setting had some interesting ideas that led to some genuinely great episodes. But… as the ultimate destination for the entire Star Trek galaxy, the Burn and the post-apocalyptic hellscape it created are incredibly depressing. Not only that, they risk constraining future stories, making them feel meaningless or unimportant.

Any new Star Trek project set prior to the 32nd Century becomes, by default, a Discovery prequel. And when we know how awful Discovery’s far future was for pretty much everyone… that’s not great. It completely changes how we view stories like Picard’s third season; we knew, even subconsciously in the backs of our minds, that even if Picard managed to save the day and defeat the Borg, the Burn was still going to happen. No other Star Trek project has done more to restrict and reframe subsequent productions than Discovery’s third season.

Still frame from Star Trek: Picard Season 3 showing Spacedock under attack.
Any Star Trek episode or film set in the 23rd, 24th, or 25th Centuries becomes, by default, a prequel to Discovery’s far future… and the Burn.

And I think, all things considered, “post-apocalyptic Star Trek” didn’t work as intended – at least not in Discovery with the kinds of stories the production team wanted to tell. So let’s assume Starfleet Academy will get two seasons before a cancellation in 2027 or 2028. The absolute best thing that show could do in its final episode is find some way to push this version of the future into a pocket universe or alternate timeline. You’d have to come up with some kind of technobabble and a reason why; maybe the Burn will have knock-on effects that ultimately lead to some additional disaster, and the only way to prevent it will be to travel back in time and stop the Burn from ever happening. I don’t know. But there’s gotta be someone who could write a story like that!

What this story would have to do is thread the needle. Discovery and Starfleet Academy could continue to exist for folks who enjoyed them – and I certainly hope to be among the people who enjoy Starfleet Academy! But the main storyline of the Burn could push those shows into some kind of parallel universe – paving the way for Star Trek projects in the future to not have that massively depressing destination.

Story #7:
Star Trek: Legacy.

Still frame from Star Trek: Picard Season 3 showing the Enterprise-G.
The Enterprise-G.

This one isn’t a single “story” so much as an entire TV movie! In short, I’d love to see Terry Matalas’ Legacy pitch revisited, somehow. If we stick with our assumption that cancellation is coming, then it seems beyond unlikely that a brand-new big-budget series is going to get out of the starting gate. But maybe, just maybe, there’s room to turn Legacy into a Section 31-style TV movie. If it does well in that format, then who knows? Maybe Skydance/Paramount will want a continuation.

I really hope that the negative reception Section 31 received earlier in the year won’t dissuade Star Trek’s corporate overlords from revisiting the TV movie idea. There are so many stories that could work in that format – even if they couldn’t carry an entire series on their own. While I’d absolutely love to see Legacy in its originally-envisioned form as a full-blown series, a TV movie could be the next best thing… and a way to test the waters to see if the 25th Century could be Star Trek’s saviour.

Still frame from Star Trek: Picard Season 2 showing Seven and Raffi.
Seven and Raffi could return…

I’ve argued repeatedly that the Star Trek franchise can’t just coast on nostalgia and past successes, and needs to do more to bring new, younger fans on board. That’s something I hoped Section 31 could’ve done… but that doesn’t seem to have happened, unfortunately. A restructured Legacy, with just enough of a connection to Star Trek’s past without going overboard, could be the gateway into the franchise for new fans – connecting back to characters from The Next Generation era while setting the stage for new adventures in the 25th Century.

I’ll caveat all of this by saying that no one knows what was in the original Legacy pitch – it might’ve been absolute dog shite that we would’ve all despised! And there’s clearly a reason why Paramount didn’t go for it in 2022/23. But as with other missed opportunities in recent years – like Quentin Tarantino’s film idea – I can’t help but feel the decision not to move forward was the wrong one. Perhaps Legacy can still be revived, even if it has to be a one-off TV movie instead of a full series.

Story #8:
“Cardassia Prime.”

Still frame from Star Trek: The Original Series showing the USS Enterprise with the words "Cardassia Prime" in the style of an Original Series title card.

If you’re a regular reader, you might remember my fantasy “episode pitch” for Strange New Worlds from a few months back. I titled the story Cardassia Prime, and it would tell the story of first contact between the Federation and the Cardassians. But wait, there’s more! I’d also bring an elderly T’Pol into the story, serving as an ambassador and diplomat for the Federation in her later years.

The episode would start with Captain Pike receiving new orders – a Federation colony ship has been attacked by an unknown faction, and a special ambassador is coming aboard the Enterprise to help defuse the situation. The ambassador will be revealed as T’Pol – now well over a hundred years old, but still working for the Federation. I’d love to see some interaction between an elderly T’Pol and a younger Spock; perhaps she’d have some advice for him on working closely with humans and discovering personal connections with them that could foreshadow Spock’s deep bond with Kirk.

Still frame from Star Trek: Enterprise showing an elderly T'Pol.
This episode would feature an older T’Pol.

We’ll also discover that the aggressive, territorial power T’Pol has been sent to negotiate with is the nascent Cardassian Empire – and they’ve laid claim to a system that a Federation colony ship inadvertently ventured into. This kind of hostile first contact, with an emphasis on competing claims for star systems along a shared border, could set be the precursor to the Carsassian Border Wars of the 24th Century, foreshadowing events referenced in The Next Generation and Deep Space Nine. I like the idea of a non-violent resolution; Captain Pike shouldn’t have to fire his phaser even once, despite Cardassian intransigence!

We’ve never seen how first contact between Starfleet and the Cardassians went, and I just adore the idea of an episode bringing together elements from all three of Star Trek’s main eras: the 22nd Century, represented by T’Pol, the 23rd, obviously represented by Pike, Spock, and the Enterprise, and the 24th, represented by the Cardassians, who were first introduced in that era and who were a major antagonist. If you want a longer look at my “Cardassia Prime” story outline, you can find it by clicking or tapping here.

Story #9:
32nd Century Klingons.

Still frame from Star Trek III: The Search for Spock showing a Klingon Bird-of-Prey up close.
A Klingon Bird-of-Prey.

After shooting forwards in time far beyond anything we’ve seen in Star Trek before, Discovery disappointed me by showing us remarkably little of the galaxy in this era. With storylines focused on the next “massive galactic threat” and Burnham’s soap opera-like personal relationships, the show just didn’t even try to give us a bigger picture look at some of the factions and races we remember. A few were glimpsed – literally, just glimpsed in the background with a single character, like a Ferengi or Lurian. But we’ve seen hide nor hair of the Klingons.

Of all the races in Star Trek, the Klingons are perhaps the most iconic and narratively important. So it feels odd to have spent three full seasons in Discovery’s far future without so much as glimpsing a single solitary Klingon! There are so many ways this could’ve gone, too – the Klingons could’ve become fully-fledged Federation members by this time, returned to isolationism, or even broken their alliance to become an enemy once again.

Still frame from Star Trek: Deep Space Nine showing two Klingon leaders on DS9's viewscreen.
Gowron and Martok in Deep Space Nine.

And then there’s the Burn. The Burn was, in a roundabout way, caused by a Federation citizen aboard a Federation ship… so what would the Klingons make of that revelation? How did the Burn even impact their empire – or whatever was left of it by the 32nd Century? Is there still an extant Klingon state at all, or did their empire fall apart centuries ago, with surviving Klingons existing as second-class citizens under the jurisdiction of the likes of the Breen or Emerald Chain?

I’d love to see Starfleet Academy begin the process of answering these questions! Even though, as stated above, I think pushing this vision of the far future into a separate timeline would be for the best, I’m still curious to catch up with the Klingons in this era, finding out what happened to them in the centuries after we last saw them.

Story #10:
Tie up Picard’s loose ends… or some of them, at least.

Still frame from Star Trek: Picard Season 1 showing Narek's final on-screen moment.
Hi, Narek…

Who are the “alliance of synthetic life,” and what were their goals? Who created the mysterious transwarp anomaly/weapon? Could those two stories, from Seasons 1 and 2 of Picard, be related somehow? I’d love to get some closure on these two apparently-massive storylines that Picard’s writing team dropped without bothering to explain!

This is another storyline that could’ve emerged in Star Trek: Legacy… but I think there’s at least the potential for Starfleet Academy to tie up these loose ends. Even if all we get is a short scene, a few lines of dialogue, and confirmation that the super-synths tried to attack the Federation before being defeated by a renegade Borg ally… that would be something. Maybe we could learn that Starfleet established relations with the “alliance of synthetic life” and they maintain an embassy. If the writers really wanted to lean into this idea, we could even connect it to a synthetic character like the Doctor – who we know is coming back in Starfleet Academy’s first season.

Still frame from Star Trek: Picard Season 2 showing the assembled fleet and the mysterious anomaly.
The mysterious anomaly from Season 2.

As I’ve said before, Picard was a jumbled, contradictory mess of a show – one that dumped characters and storylines with no explanation, overwrote significant story beats from one episode to the next, and while it managed to pull out a satisfactory ending to its third season… there was a lot left on the cutting-room floor as the credits rolled. Getting some kind of closure to some of these points – even centuries later in a completely different context – would be fantastic.

As Trekkies, we like the world of Star Trek to make sense. And when whole storylines which appear to involve impossibly-powerful enemies and adversaries just disappear without a trace… well, that isn’t very satisfying. Even if Starfleet Academy could find time to include a couple of throwaway lines of dialogue referencing and providing some kind of closure to the super-synths and the mysterious anomaly… I think that would do a lot to improve how I feel about those storylines.

So that’s it… for now.

Concept art of the USS Excalibur from Star Trek Online.
Star Trek Online’s USS Excalibur.

With Strange New Worlds not even halfway through its four-and-a-half season run, and Starfleet Academy having been announced but not so much as glimpsed yet… it feels strange to be thinking about Star Trek as a whole potentially being shut down in just a few years’ time. However, unless something massive changes – and quickly – that seems to be what we’re headed for. It’s a depressing thought, especially since cancellation in the late 2020s could very well mean that these upcoming episodes and stories will be the last brand-new Star Trek I’ll ever see. But what can you do, eh?

I hope this has been an interesting thought experiment, at least. There are some stories and episode ideas that I’d really love to see brought to the screen over the next few years, and if they’re to be among the last in this current incarnation of Star Trek… well, let’s just hope they’re good ones!

Thanks for tuning in, and as always… Live Long and Prosper!


Star Trek: Strange New Worlds Season 3 and Star Trek: Starfleet Academy Season 1 are in production and will be broadcast on Paramount+ in the months ahead. Other Star Trek shows and films are already on the platform now, and may also be available on DVD and/or Blu-ray. The Star Trek franchise – including all episodes, films, series, and 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.

Star Trek “Top Fives” – Arguing With IMDB!

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for the following Star Trek shows: The Original Series, The Next Generation, Deep Space Nine, Voyager, and Enterprise. Minor spoilers are also present for Discovery, Picard, Section 31, and Starfleet Academy.

Today I thought we could have a bit of fun with the Star Trek franchise! If you didn’t know, IMDB – that’s the Internet Movie Database; a website all about films and TV shows – allows its users to rate episodes on a scale from one to ten. The site then brings all of these ratings together, allowing you to view a ranked list of the most-popular episodes in a television series. This time, I’m gonna pick the top five highest-rated episodes for the first five Star Trek series and talk a little about them. I’ll discuss what I liked – or disliked – about each episode, and then I’ll answer a simple question: would I include this episode among my personal favourites? Would it make the cut?

If that sounds like fun, then buckle up! Some of these are going to be controversial, that’s for sure.

Before we get into the list, I have a few caveats and points of note.

Promo photo for Star Trek: The Original Series showing the main cast circa Seasons 2-3.
Star Trek’s first crew.

Firstly, all of this is subjective, not objective! If I heap praise on a story you despise or criticise one of your favourites… that’s okay. There ought to be enough room – and enough maturity – in the Trekkie community for civil conversations and polite disagreement. This is all just one person’s opinion, at the end of the day. Secondly, I’m a huge Star Trek fan, and I have been since the early ’90s. I don’t adore every single episode, but I still consider myself a Trekkie and a supporter of the franchise, so nothing said below should be taken as “hate.”

Finally, I’m covering the first five Star Trek series – from The Original Series to Enterprise – in this piece, and I’m not counting The Animated Series nor am I including the cinematic franchise. Perhaps a future article can look at the newer Star Trek shows, though they have fewer episodes each and thus picking a top five might be a bit less interesting. For now, though, I’m sticking with the first five shows – so don’t expect any Picard or Lower Decks here. I’ll start with The Original Series and move forward through the shows in chronological order, finishing with Enterprise. Episode rankings are taken from IMDB as of mid-June 2025, and are listed in reverse order – starting with the fifth-highest and finishing with the highest-rated.

Phew! With all the details out of the way, let’s get started.

The Original Series Episode #5:
The Trouble With Tribbles, Season 2
IMDB Rating: 8.7/10

Still frame from Star Trek: The Original Series showing Kirk surrounded by tribbles.

The Trouble With Tribbles is absolutely iconic, and it’s one of the few episodes from The Original Series to have genuinely cut through to the mainstream in a big way. If you asked random non-Trekkies about not only The Original Series, but the Star Trek franchise as a whole, it wouldn’t be long before someone mentioned this episode, the tribbles themselves, or the iconic Kirk meme that was born here.

The Original Series could be funny, and The Trouble With Tribbles uses humour to great effect. The character of Cyrano Jones is a ton of fun, and while the conflict with the Klingons and the infestation of tribbles can be tense at points, the episode is best-remembered for its sense of humour. Kirk dressing-down the officers involved in the fight is also an iconic scene – though one that takes a completely different tone. This episode also spawned Trials and Tribble-Ations… which I suspect we’ll discuss in more detail in a moment.

Would It Make The Cut?
✅ Yes. ✅

The Original Series Episode #4:
Space Seed, Season 1
IMDB Rating: 8.7/10

Still frame from Star Trek: The Original Series showing Kirk and the crew discovering Khan in stasis.

Here’s a “hot take:” I think Space Seed’s status is overinflated because of The Wrath of Khan and how popular that film became. Don’t get me wrong, it’s still a good episode – but because its story is basically the prelude to such an important film for the Star Trek franchise, I think some folks might be over-appreciating it just a little. There are some great moments between Khan and Kirk, including an epic fight sequence, and we get to see Khan’s “superior intellect” firsthand for the first time.

Space Seed deals with genetic engineering, looking at how wrong that could go, while also using it as a critique of racism and the idea of a “master race.” It was also one of the first Star Trek episodes to delve into the history of the future; its vision of mid-1990s Earth and the Eugenics Wars have become integral parts of Star Trek’s canon. It’s an interesting episode in its own right, and not just because it set up The Wrath of Khan. However… there are stronger episodes from the first season of The Original Series, and while Space Seed is good, there are other episodes that I prefer.

Would It Make The Cut?
⛔ No. ⛔

The Original Series Episode #3:
Balance of Terror, Season 1
IMDB Rating: 8.8/10

Behind-the-scenes photo from the set of Star Trek: The Original Series showing a crew member with a clapper board and the Romulan Bird-of-Prey filming model.

Balance of Terror is another absolutely iconic episode. It introduced the Romulans, explored their historical conflict with Earth, and their surprising connection to Spock and the Vulcans. It introduced cloaking technology, the neutral zone, and the Romulan Bird-of-Prey, all of which have become integral parts of the Star Trek franchise, even appearing in recent seasons on Paramount+. This was also Mark Lenard’s first Star Trek role, playing the unnamed Romulan commander. Lenard would go on to play Spock’s father, Sarek.

The episode draws on World War II films – particularly submarine films where tense ship-to-ship combat took place without the enemy being in sight. It was one of the Star Trek franchise’s first battle or war stories, laying the groundwork for future space battles. The interplay between Kirk and the Romulan commander – recognising one another as kindred spirits – was incredibly poignant, and the xenophobic character of Lieutenant Stiles grounded the story and gave it another real-world parallel. Stiles was one of the first human Star Trek characters to express such feelings of hatred. Balance of Terror is, in a word, fantastic.

Would It Make The Cut?
✅ Yes. ✅

The Original Series Episode #2:
Mirror, Mirror, Season 2
IMDB Rating: 9.0/10

Still frame from Star Trek: The Original Series showing Mirror Spock.

If you’re a regular reader, you may have heard me say this before, but here goes: I really don’t like the Mirror Universe. It lends itself to pantomime-style, hammy, over-acted performances, practically no Mirror characters have any nuance, as they seem to care about nothing beyond murder, torture, and torturous murder, and the whole setting just feels incredibly flat, boring, and one-dimensional. Mirror, Mirror, as the first episode to explore this setting, was interesting at first, and I’m happy to cut it a bit of slack as the progenitor of this idea, though.

Furthermore, Mirror Spock might be one of the best Mirror Universe characters, as he’s shown to be willing to listen to our universe’s version of Kirk. Compared to some of the other caricatures we meet in the episode, Mirror Spock is definitely the most interesting and complex. I suspect that, were it not for the Mirror Universe’s over-use in modern Star Trek, or if Mirror, Mirror had been a one-off, I might rate it a bit more highly. I still think its an interesting episode, and certainly one of the better Mirror Universe stories even all these years later, but it’s also not one of my favourites… and I guess it’s kind of tainted by association with some other, far less-enjoyable visits through the looking-glass.

Would It Make The Cut?
⛔ No. ⛔

The Original Series Episode #1:
The City on the Edge of Forever, Season 1
IMDB Rating: 9.2/10

Still frame from Star Trek: The Original Series showing Kirk and Spock in the 20th Century.


I knew The City on the Edge of Forever was a popular episode, but I’ll be honest: I didn’t expect to see it at the top of the list, way ahead of the competition! This is a great story, though, one which really leans into the idea Gene Roddenberry had of making Star Trek episodes akin to fables, with complex themes of morality seen through a futuristic, sci-fi lens. The choice Kirk has to make in The City on the Edge of Forever is truly heartbreaking, and the buildup to it is played exceptionally well.

The first season of The Original Series was basically flying blind, seeing what worked. And clearly, time-travel to Earth in the recent past was something that resonated with audiences in a big way. For me personally, time-travel to 20th (or 21st) Century Earth has never been my favourite story concept in Star Trek, as what interests me the most is the franchise’s look at the future. And I would humbly suggest that the existence of the Guardian of Forever could challenge and completely change Starfleet’s mission of exploration – yet the Guardian was only revisited once, in The Animated Series, before disappearing for nigh-on fifty years! Given its popularity, though, and its apparent cut-through to a wider audience, perhaps The City on the Edge of Forever could be a great starting point for new fans?

Would It Make The Cut?
⛔ No. ⛔

The Next Generation Episode #5:
The Measure of a Man, Season 2
IMDB Rating: 9.1/10

Still frame from Star Trek: The Next Generation showing Picard and Dr Maddox.

Star Trek can do courtroom drama exceptionally well, and The Measure of a Man is a fantastic example of this kind of storytelling. It’s also an episode with a complex message about the nature of life and sentience – ideas which are arguably more important today, thirty-five years later, than they were at the time of its production. Because we’re attached to Data as a character after spending two seasons with him, and we’ve come to see him as a member of the crew, Bruce Maddox comes across as a real antagonist – someone who’s trying to use his position and a legal loophole to, in effect, “kill” Data.

The episode presents a challenge for both Picard and Riker, too. Riker arguably gets the tougher brief, having to argue against his friend’s right to exist and his sentience. But, as Data would tell him at the end of the story, he did what he had to do and played his part; refusal would’ve led to Data being turned over to Dr Maddox. Picard’s speech about the nature of life, and Starfleet’s mission to seek out new forms of life, is incredibly powerful, too. But… is The Measure of a Man one of the absolute best of the bunch from The Next Generation, when there are so many other outstanding episodes and stories? I’m not even sure it’s the show’s best courtroom episode, with The Drumhead being a genuine rival for that title!

Would It Make The Cut?
⛔ No. ⛔

The Next Generation Episode #4:
All Good Things…, Season 7
IMDB Rating: 9.1/10

Still frame from Star Trek: The Next Generation showing Beverly Picard in an alternate future timeline.

I’m pleasantly surprised to see the series finale here. All Good Things is a fantastic episode, and a great way to bring The Next Generation full-circle. Q makes a return, setting one of his best and most complex puzzles yet, challenging Picard to think about time itself in a non-linear way. Having three distinct time periods on the go in a single story was challenging, but it was so creative and clever how Picard instantly moved between them. There was some fantastic cinematography on this side of the story, too, with close-up shots lingering on Picard as he slid between the three different eras.

It was great to welcome back Denise Crosby as Tasha Yar, and to catch a glimpse of our characters’ lives in the future, too. Some of the ideas originally presented here would later become plot points in Star Trek: Picard more than twenty-five years later, keeping a thread of consistency across different iterations of the franchise. All Good Things was a spectacular finale, one that brought together the entire crew in different and creative ways, and its anti-time eruption was a genuine challenge and puzzle for Picard.

Would It Make The Cut?
✅ Yes. ✅

The Next Generation Episode #3:
The Best of Both Worlds, Seasons 3-4
IMDB Rating, Part I: 9.3/10
IMDB Rating, Part II: 9.2/10

Still frame from Star Trek: The Next Generation showing the Borg cube on the Enterprise's viewscreen.

For some bizarre reason, IMDB ranks the two halves of The Best of Both Worlds separately, but I’m amalgamating them for my list. This story brought back the Borg for their first major clash with Starfleet – and what a clash it was! The Battle of Wolf-359, Borg assimilation, Picard’s transformation into Locutus, Riker’s challenging relationship with Commander Shelby, and the Borg’s first major attempt to attack Earth. The tension builds slowly across the first part, culminating in Picard’s abduction and assimilation – a cliffhanger to end Season 3 in just the most shocking and incredible way!

Part II picks up the action, and sets a huge challenge for Riker – and the entire Federation. The crew of the Enterprise-D want to rescue Picard and undo the damage done to him by the Borg, but they’re also Earth’s last line of defence after the Borg Cube made light work of the assembled Federation ships at Wolf-359. The plan to kidnap Locutus, then Picard managing to break through his Borg assimilation just enough to strike the crushing blow… it was all pitch-perfect, fantastic, outstanding television. There’s a reason why The Best of Both Worlds is held in such high esteem.

Would It Make The Cut?
✅ Yes. ✅

The Next Generation Episode #2:
Yesterday’s Enterprise, Season 3
IMDB Rating: 9.2/10

Still frame from Star Trek: The Next Generation showing Picard, Riker, and Yar in an alternate timeline.

Now that I see how highly-ranked Yesterday’s Enterprise is, suddenly the decision to bring back the character of Rachel Garrett in the recent Section 31 movie makes a lot more sense! Joking aside, this really is a fun episode. One question I remember having, as a Trekkie in the early 1990s, was this: what happened to the Enterprise-B and Enterprise-C? Yesterday’s Enterprise introduces the Ambassador-class Enterprise-C and explains its pivotal role in history, maintaining the alliance with the Klingons and preventing a catastrophic war that threatened to wipe out the Federation.

We get an examination of a disturbing alternate reality, one in which the Federation and Klingons have been at war for years. Guinan plays a hugely important role, too, being the only character aware of how different the timeline could be. Tasha Yar makes a return, and this episode also tees up Sela as a future villain. Yesterday’s Enterprise also presents an impossibly tough decision for Picard, Garrett, Yar, and Lieutenant Castillio – returning the Enterprise-C to its own time means certain death for all on board, but staying in this war-ravaged future would likely mean the demise of the entire Federation.

Would It Make The Cut?
✅ Yes. ✅

The Next Generation Episode #1:
The Inner Light, Season 5
IMDB Rating: 9.4/10

Still frame from Star Trek: The Next Generation showing the Ressikan flute.

This wasn’t a huge surprise. The Inner Light is widely praised by fans of The Next Generation as one of the show’s best episodes. But I’ll level with you: I’m just not into it. There’s some emotional storytelling, sure, and the impact of these events would have repercussions for Picard. But I struggled to really connect with most of the long-dead people of Kataan, and this episode’s deliberately slow pace and departure from the Enterprise-D and most of our familiar characters just… well, to be blunt, I find it pretty boring.

I don’t hate The Inner Light, but it’s actually been a while since I even watched it; I tend to skip over it when re-watching The Next Generation as it just doesn’t do much for me. There are some positives, and I appreciate that this episode’s events were referenced more than once going forward; the impact it had on Picard’s character was significant. It also spawned one of the Star Trek franchise’s best and most-recognisable melodies: the Ressikan flute theme. However… it’s not among my favourite episodes, not from The Next Generation as a whole nor even from Season 5, which I generally consider to be the show’s strongest individual season.

Would It Make The Cut?
⛔ No. ⛔

Deep Space Nine Episode #5:
The Way of the Warrior, Season 4
IMDB Rating: 9.0/10

Still frame from Star Trek: Deep Space Nine showing Sisko firing a phaser.

The Way of the Warrior brought the character of Worf to DS9, establishing him as a regular for the second half of the show’s run. At first, I gotta admit that it felt a little odd to see Worf interacting with Sisko, Dax, and the others… but it didn’t take long for him to settle into his new role! The Way of the Warrior also re-established the Klingons as antagonists – at least for the remainder of the season. After the transformation in Federation-Klingon relations that we saw in The Next Generation, this was a change of pace, and it set up several fun episodes across the season.

Gowron and Martok were fun additions to the story, which also progressed the changeling infiltration storyline that was a precursor to the Dominion War. Worf’s inner conflict between his Klingon heritage, his friendship with Gowron, and his ties to Starfleet was on full display, and the way he had to navigate that difficult environment was riveting stuff. Michael Dorn put in one of his best and most complex performances as Worf, and Sisko got a bit of an arc that harkened back to his own considerations about his future in Starfleet from the beginning of Season 1. All in all, a fun, action-packed episode.

Would It Make The Cut?
✅ Yes. ✅

Deep Space Nine Episode #4:
Duet, Season 1
IMDB Rating: 9.0/10

Still frame from Star Trek: Deep Space Nine showing Darheel/Marritza's arrest.

Duet is an episode of twists and turns, double-bluffs and triple-bluffs – and it presents a fascinating story of a man trying to atone for the crimes of his government. Through the character of Marritza, Duet also examines the idea of the complicity of low-ranking personnel in heinous crimes, something we deal with all too often in the real world. Marritza forced Kira – and us as the audience – to see the Cardassians as more than just faceless thugs and murderers, exploring the complex nature of Cardassian morality and using that sci-fi lens to examine real-world conflicts.

Duet is a powerful story for Kira, and Nana Visitor puts in one of her best performances. It’s also a good story for Odo, as we see his steadfast dedication to finding out the truth – no matter what others might’ve wanted to believe or think. Duet builds its twists and turns masterfully, eventually leading to a genuinely heartbreaking conclusion. It’s a powerful episode, one that showed the benefits of Deep Space Nine’s slower pace and focus on a single setting.

Would It Make The Cut?
✅ Yes. ✅

Deep Space Nine Episode #3:
The Visitor, Season 4
IMDB Rating: 9.1/10

Still frame from Star Trek: Deep Space Nine showing Sisko zapped by some kind of electrical energy.

The Visitor has some interesting elements. It’s always fun for me, as a Trekkie, to catch a glimpse of a possible future for some of our beloved characters, and The Visitor shows us that. It’s also a relative rarity insofar as it’s a Jake Sisko episode – Jake only appeared in 71 episodes across Deep Space Nine’s run. Tony Todd, playing the older version of Jake, gives a genuinely emotional performance, which has to be one of the best individual performances by a guest star pretty much anywhere in Star Trek.

So I appreciate what The Visitor does. Its story highlights the importance of Benjamin Sisko and his role in the history of the Federation, it’s a great Jake-Ben story, focusing on their relationship, and its glimpses of the future were fun. However… it’s not one of my absolute favourites in Deep Space Nine, despite all of the positives. There are simply other episodes that I find to be more enjoyable, powerful, emotional, or entertaining, and while I’m not surprised to see The Visitor at or near the top of other fans’ lists… it wouldn’t be there on my own list. There isn’t one overwhelming “issue” or “problem” I can point to, which I guess is a tad frustrating. It’s simply that I could think of at least a dozen episodes I’d rank higher.

Would It Make The Cut?
⛔ No. ⛔

Deep Space Nine Episode #2:
Trials and Tribble-Ations, Season 5
IMDB Rating: 9.3/10

Still frame from Star Trek: Deep Space Nine showing O'Brien and Bashir with Kirk's crew.

Made to celebrate Star Trek’s thirtieth anniversary, Trials and Tribble-Ations was an incredibly creative episode. The filmmaking technology required to blend new actors in with old footage was still relatively new, having been pioneered by the film Forrest Gump, and I’m fairly sure I’m right in saying that this episode was the first time it was used for television. As a celebration of the Star Trek franchise, you could hardly think of anything better than a story connecting the old with the new – in this case, having Sisko and his crew travelling through time, meeting Captain Kirk and visiting the original USS Enterprise.

Such a premise could’ve felt gimmicky and fan-servicey. Worse, it could’ve been poorly-written! But Trials and Tribble-Ations was fantastic, and I can vividly remember watching it when it premiered, absolutely stunned at seeing the DS9 crew in TOS uniforms – and Captains Sisko and Kirk meeting face-to-face. The frame narrative involving the Department of Temporal Investigations was fun, too, and kept the story grounded in the 24th Century. The premise was exceptionally fun, the technology worked perfectly, and the end result was exactly what the writers and producers intended: a genuine “love letter” to Star Trek and the Trekkie community.

Would It Make The Cut?
✅ Yes. ✅

Deep Space Nine Episode #1:
In The Pale Moonlight, Season 6
IMDB Rating: 9.4/10

Still frame from Star Trek: Deep Space Nine showing the iconic "it's a fake" scene with Senator Vreenak.

Yes, yes, yes! In The Pale Moonlight is an absolutely outstanding episode, full of moral grey areas, sneaky schemes, and one of Star Trek’s most recognisable memes to boot! There was a time, shortly after its broadcast, when In The Pale Moonlight seemed incredibly controversial in the Star Trek fan community; I vividly remember conversations online about “betraying Gene’s vision of an enlightened future” and Sisko’s actions being so far beyond the pale that they’re indefensible! I’m both astonished and thrilled to see that the passage of time has been kinder, and that fans now appreciate just how brilliant this episode is.

Sisko and Garak made for a wonderful pair in this episode, scheming together to drag the Romulans into the Dominion War under false pretences. What holds the episode together, though, is the absolutely incredible log entry that Captain Sisko records. This is one of Avery Brooks’ best performances in the entire series, showing off his wonderful range as Sisko runs the gamut of emotions, re-telling the story of how he lied, broke various laws, and was complicit in the murder of a Romulan senator. An absolutely riveting, must-watch episode for any Trekkie.

Would It Make The Cut?
✅ Yes. ✅

Voyager Episode #5:
Message in a Bottle, Season 4
IMDB Rating: 8.7/10

Still frame from Star Trek: Voyager showing three Romulans on the bridge of the Prometheus.

I adore Message in a Bottle. The episode marks the halfway point of Voyager’s run, making it the perfect moment to establish a tentative link between the stranded ship and the Federation back in the Alpha Quadrant. It was also a ton of fun to get a story where the Romulans are the antagonists! Guest star Andy Dick made a perfect foil for Robert Picardo’s Doctor as a newer version of the Emergency Medical Hologram, and the two performers had great on-screen chemistry, leading to some absolutely hilarious interactions.

The USS Prometheus was an incredibly fun concept, too, and we got a really detailed look at the ship both inside and out, which was great. It was such a clever idea to send the Doctor’s programme to the Alpha Quadrant, and what resulted is not only one of Voyager’s funniest episodes, but one that packs a powerful emotional punch right at the end. After more than four years alone, Captain Janeway and the crew finally have one small link to Starfleet, and Starfleet promises to work on ways to get them home.

Would It Make The Cut?
✅ Yes. ✅

Voyager Episode #4:
Living Witness, Season 4
IMDB Rating: 8.7/10

Still frame from Star Trek: Voyager showing the Voyager simulation.

Living Witness has been a topic of discussion for a while here on the website thanks to Discovery’s far future setting! It was an interesting idea for an episode, one that took on the complex idea of the unreliability of history and memory, initially painting the crew of the USS Voyager as villains centuries after the ship passed by a planet. It’s definitely a story with a message, one that’s in keeping with Star Trek’s established formula of looking at real-world issues through a sci-fi lens.

Parts of Living Witness can feel challenging and even uncomfortable, as we’re forced to watch some very inaccurate depictions of the crew of Voyager. The Doctor has a hard time convincing people of his version of events, too, which adds another layer to this. But that’s part of the point and message of the story! All that being said, I think there are better Voyager episodes. Living Witness is creative and clever, and really, nothing about it is bad per se. I can just think of other episodes that I’d rank more highly.

Would It Make The Cut?
⛔ No. ⛔

Voyager Episode #3:
Timeless, Season 5
IMDB Rating: 8.7/10

Still frame from Star Trek: Voyager showing Chakotay, Kim, and the icy wreck of the USS Voyager.

Timeless shows us just how badly wrong Voyager’s journey could’ve ended up! Trying a new method of propulsion to reach the Alpha Quadrant, the ship ends up crash-landing, killing everyone apart from Chakotay and Harry Kim. The older versions of these characters – who’ve had years to sit with the consequences of what happened – travel to the wreck site to right that wrong. The crash sequence and the visual of the wrecked Voyager beneath the ice are both absolutely stunning and incredibly impactful.

I’m not usually wild about episodes where the magical, perfect Seven of Nine is the only one who can save the day! But in Timeless, her involvement works really well, and scenes with the Doctor and the older Chakotay and Kim are intense and emotional, too. It was also great fun to see Geordi La Forge in an episode of Voyager! A very creative premise and great execution.

Would It Make The Cut?
✅ Yes. ✅

Voyager Episode #2:
Scorpion, Seasons 3-4
IMDB Rating, Part I: 8.9/10
IMDB Rating, Part II: 8.8/10

Still frame from Star Trek: Voyager showing three Borg cubes and a large explosion.

IMDB counts the two halves of Scorpion separately, but I’m combining them. To be honest, Scorpion is a story I have mixed feelings about. Voyager over-used both the Borg and Seven of Nine in the second half of its run, and both of those issues kind of began here. On its own merit, Scorpion is great. The Borg and Species 8472 are both powerful and dangerous enemies, and the idea of Janeway teaming up with the Borg when there were no other options was a great twist on the anticipated Borg conflict. Seven of Nine, despite my later feelings about the character, also gets a great introduction.

And I guess the point of this exercise is to try to judge these episodes on their own. Scorpion may have led to too many Borg and Seven stories later on, but it should get a pass as the first of them – and arguably the best, too. It was definitely an explosive cliffhanger to end the show’s third season, and I like how truly different and “alien” Species 8472 feel compared to a lot of other Star Trek races we’ve seen. It’s also an important episode for Voyager, introducing Seven of Nine and setting the stage for Kes’ departure.

Would It Make The Cut?
✅ Yes. ✅

Voyager Episode #1:
Blink of an Eye, Season 6
IMDB Rating: 9.0/10

Still frame from Star Trek: Voyager showing the USS Voyager in orbit.

I’ll level with you: I did not see this coming! The only Voyager episode rated 9/10 by IMDB’s users is… Blink of an Eye? Really? I guess I’m more out-of-touch with the Trekkie community than I thought! Don’t misunderstand me: I don’t particularly dislike this episode. It’s an interesting premise and a fun look at a very “alien” kind of world. But as the best episode in Voyager’s entire run? Did the writer or director start a campaign to get people to upvote it, or something? I just… I genuinely would not have expected to see Blink of an Eye hailed as everyone’s favourite.

There was something in Blink of an Eye that I felt didn’t work particularly well. The Doctor supposedly spent years alone on the planet after a transporter glitch, but after a couple of lines of dialogue the profound impact that had wasn’t really explored or acknowledged. With that exception, though, I think Blink of an Eye makes good on a quite creative core idea. I certainly enjoy the episode and what it has to offer. But as the absolute best of Voyager? I’m afraid I’m still not convinced.

Would It Make The Cut?
⛔ No. ⛔

Enterprise Episode #5:
Zero Hour, Season 3
IMDB Rating: 8.5/10

Still frame from Star Trek: Enterprise showing three Xindi characters.

As the culmination of a season-long arc to stop the Xindi and their super-weapon, Zero Hour is intense. Hoshi is traumatised, Archer seems to make the ultimate sacrifice, and T’Pol commands Enterprise on a mission to destroy the Sphere-Builders’ base. There’s a lot going on, but it builds to an explosive finale… with just enough left at the very end for one final twist, a twist which sets up the beginning of Season 4 and the end of Enterprise’s Temporal Cold War storyline.

I found the conflict with the Xindi to be interesting overall, but there’s no denying that the season dragged its feet reaching this point. The time travel stuff was never my favourite part of Enterprise, so in that sense I’m glad to see Zero Hour as the beginning of the end of that particular ongoing storyline. Where this episode succeeds is with its core characters. Two pairings/interactions stand out: T’Pol with Trip and Archer with Hoshi. However, the story finds time to give everyone a moment in the spotlight, and its bittersweet moment as Archer is apparently killed while succeeding in his mission was, on first viewing, at least, genuinely impactful.

Would It Make The Cut?
⛔ No. ⛔

Enterprise Episode #4:
Azati Prime, Season 3
IMDB Rating: 8.5/10

Still frame from Star Trek: Enterprise showing Archer piloting a submarine.

Another episode from near the end of Season 3’s ongoing conflict with the Xindi and Sphere-Builders, Azati Prime sees Archer and the crew getting closer to their objective. We get to see Archer confront the creator of the Xindi weapon, Degra, and a bit more of an exploration of who the Xindi are and how the Sphere-Builders have been able to manipulate them. Archer’s “suicide mission” attack plan always felt a bit over-the-top, but in the context of the story it works well enough.

This is also the episode where we see the Enterprise-J – a future version of the famous starship. I enjoy the Enterprise-J sequence; I just wish the episode’s budget had allowed us to spend a bit more time in this setting! Though the Temporal Cold War was never my favourite part of the show, this moment with Daniels and Archer was surprisingly fun. As an episode taking place partway through a season-long story arc, it can be hard to know where to place Azati Prime, but I think it does its thing well enough.

Would It Make The Cut?
⛔ No. ⛔

Enterprise Episode #3:
Carbon Creek, Season 2
IMDB Rating: 8.5/10

Still frame from Star Trek: Enterprise showing the Vulcan Mestral.

I usually don’t enjoy Star Trek stories, in any series, which involve time travel to 20th or 21st Century Earth. So Carbon Creek, which is primarily a flashback, not even featuring most of the regular cast, taking place in the 1950s… it shouldn’t be an episode I care for very much. But you know what? It’s a surprising amount of fun, and watching a crew of pre-First Contact Vulcans struggling to exist in human society made for some funny and even emotional moments.

I’m glad there aren’t too many Carbon Creeks in the Star Trek franchise. Any franchise which overcomplicates its own fictional history risks turning viewers away or making future stories less impactful. But as a genuine one-off episode, this ’50s setting, dripping with cute Americana, really does work. The Vulcan characters are all distinct and engaging, T’Pol’s frame narrative as she recounts the tale to Archer and Tucker is fun, too, and yeah. Just an all-around enjoyable affair, and a bit of a change of pace.

Would It Make The Cut?
✅ Yes. ✅

Enterprise Episode #2:
Regeneration, Season 2
IMDB Rating: 8.5/10

Still frame from Star Trek: Enterprise showing Borg drones.

If you read my provocatively-titled piece Ten Star Trek Storylines That Should Be Non-Canon a few weeks ago… you might think you know where I stand on this one! Long story short, the history of Borg-Federation contact is already stupidly overcomplicated thanks to Voyager and First Contact. Throwing in this episode with Archer coming face-to-face with 24th Century Borg drones, and ending with them transmitting a message to the Delta Quadrant? I mean… it’s just another narrative hurdle, in a sense.

However! Regeneration is a ton of fun if you take it on its own merits. No one expected Captain Archer and his 22nd Century crew to encounter the Borg, and given that these Borg are from the future to boot? It made the Collective feel genuinely frightening and dangerous again, something I’ve argued that Voyager had begun to lose toward the end of its run. So yes, this episode complicates things for Star Trek as a whole, and it kind of makes Starfleet look incompetent! But… I really like it. And I’m pleased to see the controversy that swirled around the episode at the time of its broadcast has died down.

Would It Make The Cut?
✅ Yes. ✅

Enterprise Episode #1:
Twilight, Season 3
IMDB Rating: 8.6/10

Still frame from Star Trek: Enterprise showing Captain Archer laying in a medical machine.

I knew Enterprise fans thought quite highly of Twilight, but I don’t think I expected to see it top the list! This episode takes place in an alternate timeline, one in which the Xindi weapon was successful. I liked the subtle callback to The Wrath of Khan’s Ceti Alpha V, and the implication that, even if humanity had been able to remain hidden, another disaster was only a century away. That just added to the tragedy of the situation.

Where Twilight excels, though, is in its character relationships. This version of T’Pol, having lived with Archer for years as his caretaker, is much softer and completely different, and the relationship between them has clearly evolved. Jolene Blalock plays this incredibly well, so it’s no wonder, really, than this episode is held in such high esteem. Phlox, Tucker, and others also get moments in the spotlight as the Xindi finally track down humanity’s last outpost, and while the episode’s conclusion has always felt a little rushed to me, I think overall it’s a pretty solid story. After Season 3’s serialised arcs, this alternate timeline made for a fun change of pace.

Would It Make The Cut?
✅ Yes. ✅

So that’s it.

Photo taken during construction of the USS Enterprise set, circa 1977-78, during production on Star Trek: Phase II/The Motion Picture.
The USS Enterprise engineering set (later used for The Motion Picture and The Next Generation) under construction.
Photo Credit: Forgotten Trek

We’ve looked at the top five highest-rated Star Trek episodes for the first five shows… according to the randos over at IMDB, anyway! There were a few surprises in the mix – both in terms of inclusions and exclusions. Looking down the full episode ranking lists, I was genuinely shocked to see some of my favourites languishing in the lower reaches, and some episodes I generally don’t care for soaring high! But I hope this has been a bit of fun, at any rate.

I’m already formulating another idea – maybe taking a look at a few of the lowest-rated Star Trek episodes and sharing my thoughts on those, or doing the same thing again with the modern shows. If I’m gonna do that, though, I’ll actually have to finish watching Lower Decks and Prodigy! Those are still on my to-do list.

Thanks for joining me this time. And thanks to IMDB for publishing these ratings and lists. It was a lot of fun to revisit these episodes and spend a little more time in the Star Trek galaxy.


All five Star Trek series discussed above can be streamed on Paramount+ in countries and territories where the platform is available. The Star Trek shows are available to purchase on DVD; The Original Series, The Next Generation, and Enterprise are also on Blu-ray. The Star Trek franchise – including all shows, films, and other properties mentioned above – is the copyright of Paramount Global. Credit to IMDB for the episode ratings, which were accurate at time of publication in June 2025. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Bad News For Strange New Worlds…

A Star Trek spoiler warning graphic.

Spoiler Warning: Beware of very minor spoilers for Strange New Worlds Seasons 1 and 2, Discovery Seasons 1 and 2, and Picard.

If you follow Star Trek on social media, or really any of the big Star Trek fansites or channels, you’ve probably already heard the news that Strange New Worlds is to be cancelled after a truncated fifth season. I find this to be an especially disappointing blow, as Strange New Worlds has been the best show – and by far the best live-action show – since Star Trek’s small-screen resurrection back in 2017. Captain Pike has been telling us in voiceover form that the Enterprise is on a “five-year mission,” of course, but I’m not gonna lie: a big part of me was hoping that this show would continue to go from strength to strength, pushing past that five-year mark.

This decision is quite clearly coming from the corporate side. Paramount’s finances have been bad for a long time, Paramount+ is on shaky ground as very much a second-tier streaming service, and the ongoing Skydance merger seems to be pretty convoluted, even by industry standards. So I’m not stunned at this news – just as Discovery’s cancellation, Lower Decks’ cancellation, and the lack of interest in Star Trek: Legacy didn’t shock me too much, either. But that doesn’t make it any more pleasant or easy to digest.

Logo of Skydance - the corporation soon to merge with Paramount.
Skydance and Paramount are involved in a messy buyout/merger.

It seems odd to announce the cancellation at this stage: a few weeks before Season 3’s premiere, and potentially two, three, or even four years before the show’s fifth and final season will be broadcast. Is it not at least possible that high viewership and a strong fan reaction to Seasons 3, 4, and 5 could make the show a more intriguing business proposition? With the Skydance merger still ongoing and a new leadership team potentially coming in, mightn’t they be interested in the flagship series for one of Paramount’s biggest franchises? Or conversely, did Skydance insist on cancelling Strange New Worlds – and perhaps other Star Trek projects, too – ahead of the merger?

We may never learn exactly what happened or what the ins and outs of it all were. But it’s disappointing in more ways than one to learn that Strange New Worlds isn’t being given more of a chance. I don’t know what the show’s viewership has been like, but I would remind everyone that Season 1 wasn’t available internationally at first, so there’s only really been one full season that was available around the world on Paramount+ on broadcast day. It feels premature to cancel the show when you bear that fact in mind. And that’s not to mention that, historically speaking, Star Trek shows tend to improve as they go along, picking up more support and viewers from their second seasons onwards.

Behind-the-scenes photo from the set of Strange New Worlds Season 4 showing Adrian Holmes and Anson Mount in costume.
Adrian Holmes (Admiral April) with Anson Mount (Captain Pike) on the set of Strange New Worlds Season 4.

Then there’s the shortened fifth season. Season 5 will run to a mere six episodes instead of the usual ten. What, were those extra four episodes really fucking up the budget that badly? Is Paramount so broke that the corporation can’t stump up a few extra dollars for four episodes of a series that’s already in production, where the majority of its sets are already built, and the main roles are already cast? C’mon… that’s just pathetic.

Strange New Worlds has been the high-water mark of modern Star Trek. But, as with almost everything Paramount’s executive fuckwits have touched over the past decade, some appalling decision-making at the highest levels has worked against the show and its prospects. Oversaturation of the Star Trek brand is a major contributing factor, with Strange New Worlds having to compete for attention against four other Star Trek shows at various points, including episodes of Picard which were literally broadcast on the exact same day. Then there was the piss-poor decision to cut off the series from anyone outside of the United States during its critical first season. And even when Strange New Worlds was available and wasn’t being trodden all over by other Star Trek shows… it didn’t get much of a marketing budget, hardly any tie-in merchandise, and Paramount always seemed to treat the show as secondary to Discovery and Picard. Even as those shows came to the end of their runs, there wasn’t as much love for Strange New Worlds as there should’ve been.

Still frame from Strange New Worlds Season 1 showing Captain Pike on horseback.
Captain Pike in the series premiere.

I heaped praise on Paramount back in 2020 for commissioning Strange New Worlds. The show wouldn’t have come to exist without the incredibly positive reaction fans had to Pike and Spock’s roles in Discovery Season 2, and I think it’s worth acknowledging how at least some folks at Paramount had the basic business acumen to recognise that. Strange New Worlds was prioritised ahead of Section 31, arguably contributing to that series being put on hold and eventually re-worked into the TV movie we got earlier this year. And I stand by what I’ve said multiple times: that was the right decision. Fans were clamouring for more adventures with these versions of Pike and Spock, as well as for an episodic series that returned Star Trek to its roots. It’s no exaggeration to say that Strange New Worlds is the Star Trek show that I and many other Trekkies had been waiting for for a very long time.

There’ll be time in the months and years ahead to give Strange New Worlds a proper autopsy, discussing what went wrong, what went right, and what lessons the newly-formed Skydance-Paramount corporation can learn for Star Trek’s future… if Star Trek has a future beyond the next few years. But for now… I just feel like wallowing, to be honest with you. The timing of the news caught me off-guard, with Season 3’s marketing campaign ramping up, and while a five-season run is in keeping with modern Star Trek and with Pike’s “five-year mission,” I’m still disappointed to learn that the end is nigh for Strange New Worlds.

Still frame from Strange New Worlds Season 2 showing the USS Enterprise.
The USS Enterprise.

Let’s talk a little about the timing, because this really is a bit of an oddity, isn’t it?

We’re weeks away from Season 3’s premiere. A new trailer was released just a few days ago. The cast are soon gonna be out and about on the interview circuit. This is categorically not the time to announce that the show is being cancelled! It risks overshadowing the marketing push for Season 3, and it risks turning away potential viewers. What’s the point, after all, in tuning in for Season 3 if the show’s about to be canned? A lot of people won’t read the whole press release; they’ll hear “Strange New Worlds is being cancelled” and push the series out of their minds. Paramount has always struggled with timing – and with plenty of other incredibly basic things that practically every other entertainment corporation handles better – but even by their standards this is pretty bad.

The only thing I can think of to justify the announcement is this: the news was about to be leaked. Someone at Paramount got wind of an imminent leak and jumped in first, trying to head it off. Maybe that’s what happened… I don’t know. It seems to me to be the only logical justification for the timing of this announcement.

Promo photo from Strange New Worlds Season 2 showing Spock.
Spock.

So what does all of this mean for Star Trek’s future?

This might have to be the subject of a longer piece in the weeks ahead (when I’ve had more time to process things and get my thoughts in order) but I have a couple of things to say at this stage.

Firstly, I sincerely hope Strange New Worlds can be Star Trek’s last prequel series – at least for a good long while. There were fun moments in Enterprise, Discovery’s first couple of seasons, and the Kelvin films… but for a franchise that’s always been about looking to the future, prequels have never felt right to me. Strange New Worlds has, in my view, been outstanding… but if there is to be more Star Trek on our screens in the years ahead, let’s move the timeline along instead of re-treading old ground. Many Strange New Worlds episodes would’ve worked just as well – if not better – had they been set in the Picard era. A few small tweaks here and there and you’d be all set!

Still frame from the Strange New Worlds Season 3 teaser showing Captain Pike.
Star Trek doesn’t need another prequel series.

Secondly, I feel increasingly certain that, by the time we get to 2028 or 2029, Star Trek as a whole will cease production.

There are other projects in production right now: two seasons of Starfleet Academy and potentially at least one season of Tawny Newsome’s “workplace comedy” show. To me, a reasonably plausible timeline might see us get Starfleet Academy next year, Strange New Worlds Season 4 in 2027, Starfleet Academy and/or the comedy show in 2028, and Strange New Worlds’ finale in 2028 or 2029. But after that? Paramount’s merger will have fully concluded, and it’ll be up to the new executives to decide what – if anything – they want to do with Star Trek.

When Paramount+ was beginning its painfully slow rollout a few years ago, I said that I wouldn’t be surprised if the streaming platform doesn’t make it to the end of the decade. And despite talks of a potential merger of Paramount+ with another platform, I feel like that looks more and more likely, too. The future of streaming feels like it’s going to consolidate around a few large, profitable platforms, meaning second-tier, unprofitable ones like Paramount+ are on the way out. I don’t see the merger changing that, either.

The logo of Paramount+ on a blue background.
Will Paramount+ survive the decade?

What that means for Star Trek is that, if the franchise survives, it’ll likely be licesned out to someone like Netflix or Amazon in the future, rather than being made for Paramount’s own platform. Even in the Paramount+ era we’ve seen this; Prodigy was recently licensed to Netflix, though that deal is shortly coming to an end. With Netflix having been burned before, though, with both Discovery and Prodigy… will they want to make another investment in this beleaguered brand? If Star Trek kind of fizzles out in the second half of the 2020s, will it be an appealing prospect to any big streaming platform in the future?

Maybe we’re getting ahead of ourselves. It’s still possible that the remaining seasons of Strange New Worlds or Starfleet Academy will bring in new viewers, attracting new eyes to Star Trek at just the right time to greenlight more from the franchise! Maybe that’s a little too optimistic for this moment, but my point is that you never know. Strange New Worlds is fantastic with its episodic storytelling, and Starfleet Academy has the potential, at least, to appeal to younger folks. There are a couple of glimmers of hope there, I feel.

Still frame from the Strange New Worlds Season 3 trailer showing multiple main characters with wine glasses.
Here’s to Strange New Worlds

But none of that can hide the disappointment of today. Strange New Worlds – the show spawned by a fan campaign and which quickly became the best thing Star Trek has done in years – is cancelled. And Season 5 won’t even manage a measly ten episodes.

I’m glad that Star Trek was resurrected in 2017, and there have been some fantastic, hilarious, and emotional episodes produced over the past eight years. But we’re seeing the effect of Paramount’s epic mismanagement now; shows failing to find an audience, being either cut off from the world or squashed up too tightly together, and ultimately the result is premature cancellation. I don’t know what the future might hold for Star Trek beyond Strange New Worlds’ finale… but I hope whoever’s in charge of the franchise by that point does a better job than the current crop of executive morons.

Despite this disappointing news, I still hope to watch and review Strange New Worlds Season 3 later this summer, so be sure to check back for that. Until then… well, I don’t really have any encouraging or optimistic words to end on, I’m afraid.


Star Trek: Strange New Worlds Seasons 1 and 2 are available to stream now on Paramount+ and are also available on DVD and Blu-ray. Season 3 will premiere on the 17th of July. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – remains the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The End of an Era

A Star Trek-themed spoiler warning graphic

Spoiler Warning: Beware of minor spoilers for Star Trek: Enterprise.

I’m a few days late (my cat needed an emergency trip to the vet; she’s fine now, don’t worry!) but the 13th of May was the twentieth anniversary of Enterprise’s final episode. These Are The Voyages saw the controversial series end in similarly controversial fashion, with what many fans continue to believe is one of the least-impressive finales in the franchise’s history. But this piece isn’t about These Are The Voyages. Instead, I thought it would be interesting to step back in time to those dark days in 2005 and think about how far Star Trek had fallen – and the franchise’s seemingly-impossible resurrection barely four years later.

I’ll let you in on a little secret – a secret which, for someone who runs a website partly themed around Star Trek, might seem shocking! I wasn’t a regular Enterprise viewer during the show’s original run. Here in the UK, Enterprise was broadcast on Channel 4 in the first half of the 2000s, and while I still considered myself a Trekkie at the time, I just found myself less interested in the show and what it was trying to do. It coincided with a busy period in my life, too, which probably didn’t help!

A sketch of the NX-01 Enterprise from Star Trek: Enterprise (originally a downloadable desktop wallpaper from the official Star Trek website).
A sketch of the NX-01 Enterprise.

It wasn’t until years later, after Enterprise had gone off the air, that I bought the DVD box sets and watched the series in full. I’ve said it before and I’ll say it again: I misjudged Enterprise when it was in production, and I regret not watching the show and doing more to support it during its original run. For me, Enterprise has become a great counter-argument to an expression one hears all the time in online fan communities and the wider discourse around media in general: “no one asked for this/who’s asking for this?” In 2001, I don’t think many Trekkies were asking for a prequel series like Enterprise. But twenty years later the series’ reputation has been rehabilitated for a lot of those folks, with Enterprise routinely being held up alongside the shows of The Next Generation era and included in Star Trek’s “golden age.”

I first came to hear of Enterprise’s announcement on the radio sometime around the turn of the millennium, and I can vividly remember thinking that I didn’t want a Star Trek prequel. The franchise had always been about looking ahead to the future, so stepping back in time for a kind of navel-gazing series about its own fictional history – which would have to be heavily constrained by the weight of hundreds of episodes dictating what could and couldn’t be introduced – just seemed wrong for Star Trek. And all of this was happening at a time when another infamous prequel – The Phantom Menace over in the Star Wars franchise – had been received incredibly poorly. I tuned in for Enterprise’s premiere in late 2001, but after that I only watched the series sporadically until I picked up those DVDs.

The main cast of Star Trek: Enterprise Season 3.
The main cast in a publicity photo for Season 3.

But as I said: this isn’t meant to be all about Enterprise!

In 2005, although I hadn’t been a regular viewer of Enterprise, I was still bitterly disappointed to learn that no more Star Trek was being made. Ever since I’d first found my way into the fan community almost fifteen years earlier, Star Trek had been a mainstay on our TV screens. I’d bought most of the films and a few episodes on VHS, I was starting to collect The Original Series and The Next Generation on DVD (remember those big chunky plastic boxes the first sets of DVDs came in?) and I had action figures, video games, and other merch, too. Star Trek’s apparent cancellation felt… personal. It felt like I was losing a part of myself – and a connection to my childhood/adolescence.

By 2005, I was done with school and university and I was working full-time. When we’re in our late teens and early twenties, life can feel like it’s changing fast, and that was the case for me, too. I’d moved out, first to a shared flat at university, then all the way across the Atlantic for a year-long exchange programme, and then again to a large city for work. I was in what I thought was my “forever” relationship and was working toward an engagement, and juggling all of these changes while balancing my fragile mental health. One of the few consistent things in my life was Star Trek, and even though I wasn’t particularly bothered about Enterprise at the time, I just expected the franchise would continue indefinitely. I guess you could say I was taking Star Trek for granted, unable to conceive of the idea that there’d be no new films or episodes being produced.

Photo of the chunky plastic boxes used for Star Trek: The Original Series DVDs in the mid-2000s.
Remember when Star Trek DVD box sets looked like this?

I was also far less aware of behind-the-scenes events in those days – or perhaps I just didn’t do the legwork to find out! I was dimly aware of the fact that Enterprise and Nemesis hadn’t been well-received in some quarters of the fan community and hadn’t been financially successful, but what that really meant for Star Trek was kind of over my head. The idea that the franchise might disappear entirely due to this lack of support – and an inability to turn enough of a profit – was something that didn’t really click for me until it happened.

If you’d asked me in the days after Nemesis but before Enterprise’s cancellation what I thought the future held for Star Trek, I’d have said that I’d expect Enterprise to run to the “standard” seven seasons, and toward the end of its run there’d be at least one new series announced. On the Star Trek forums and fansites of the time, rumours abounded of pitches for new shows! Two that we know were actively worked on included one set on the USS Titan with Troi and Riker, and another titled Star Trek: Federation, which would’ve been set hundreds of years after The Next Generation era. Ironically, both of these ideas would be seen on screen – albeit in very different ways from how they were originally pitched – in the rebooted Star Trek franchise after 2017!

Still frame from Star Trek: Lower Decks Season 2 showing Riker.
We did eventually get to see Riker’s time in command of the Titan!

All of this is to say that Enterprise’s cancellation, and the fact that Viacom/Paramount weren’t interested in commissioning a new series, came as a huge shock in 2005 – and a bitter personal blow. Star Trek had been a big part of my life, especially in the 1990s as I navigated school, social life, adolescence, and all of the drama and nonsense that comes with that! It had been an escape from the real world sometimes, a chance to feel like I was part of a better world, and even a way to connect with people around me – especially at university. It took a while for the idea of Star Trek’s cancellation to sink in – and I’d be lying if I said it wasn’t a depressing idea and something I struggled with.

I was far from the only person to have been left disappointed by a television show being cancelled, of course. And I’m sure we all have our examples of single-season shows that didn’t get the love and attention we feel they deserved! Two of mine, by the way, would be Space Precinct and Terra Nova – but those are stories for another time, I guess! To get back on track, Enterprise’s cancellation was – as I say in the title of this piece – the “end of an era.” The series had come to an end, but so had Star Trek itself. That was difficult for me to really wrap my head around, and I spent several days in a bit of a tailspin, frequenting Star Trek forums and fansites, desperate for any news of a new show or some kind of last-second reprieve. Obviously nothing was forthcoming.

Still frame from Star Trek: Enterprise 4x26 showing Troi on a holographic replica of the NX-01 operating a scanner.
Scanning for signs of life…

Taking stock of Star Trek as a whole felt incredibly bittersweet. There had been some fantastic adventures with all of the different crews of Deep Space Nine, Voyager, and the various Starships Enterprise – but I still wanted more. After feeling lonely and isolated as the only Trekkie in the small rural area where I grew up, I’d gone on a journey with the franchise as it grew in popularity, finding new friends who shared at least some of my passion for Star Trek. I’d even tried to introduce my then-girlfriend to the franchise – though she wasn’t particularly interested, despite my best efforts!

I could appreciate the good times I’d had with Star Trek: classic stories like The Best of Both Worlds, the intrigue of tales like In The Pale Moonlight, and Voyager’s epic seven-year journey home. With the franchise being converted to DVD, and re-runs still happening on television, I didn’t feel like I was in danger of never seeing Star Trek again… but I still wanted more. This property that had been so big in the ’90s, so omnipresent on our television screens, and just so damn good couldn’t possibly be over. I was left feeling dejected.

Still frame from Star Trek: The Next Generation Season 2 (The Royale) showing the Enterprise-D orbiting a green planet.
I’d been a massive fan of Star Trek through the 1990s.

For the franchise to have fallen so far in such a short span of time was stunning. The second half of the ’90s saw three Star Trek shows on the air pretty much continuously here in the UK: The Next Generation, Deep Space Nine, and Voyager were on television three nights a week, and when new seasons weren’t airing re-runs of older episodes would take their place. Star Trek books, action figures, and other products were in shops, even in the small towns around where I grew up. Star Trek versus Star Wars was the nerdiest argument you could have… and it just seemed as if the franchise was on top of the world. Star Trek had made it – so how did it all go so wrong so quickly?

In 1996 and 1998, there’d been three Star Trek projects in the span of a single calendar year: seasons of Deep Space Nine and Voyager, and the films First Contact and Insurrection. It seemed like you couldn’t move for Star Trek, and as the Trekkie in my friend group, I was finding myself being asked more and more often about the franchise and which episodes were best. Star Trek’s growth just seemed… unassailable.

Still frame from Star Trek: Insurrection showing Data wielding a phaser pistol.
In 1998, there’d been three Star Trek projects on our screens at the same time.

By early 2005, rumours of Enterprise’s struggles were all over fansites and forums. But even so, I genuinely expected a reprieve for the franchise as a whole. Enterprise could be written off as an unsuccessful experiment, and Star Trek could get back to producing another show like The Next Generation or Deep Space Nine. That was how I felt, and even when I saw people discussing cancellation and talking about the failures of Nemesis and Enterprise together, I guess I was just in denial about the severity of the problem.

When the news broke, it was a shock. And it really felt like the end of an era; we’d soon come to see Star Trek as this complete package – ten films, five shows, and that’s it. The recent arrival of the DVD box set meant that Star Trek would never be too far away, and I planned to finish my collection and acquire every single episode! But when it seemed as if Star Trek was really over… I was upset.

Still frame from Star Trek: Enterprise 4x26 showing holo-Archer in a damaged section of his ship.
Captain Archer (or rather, a hologram of him) in These Are The Voyages.

It wouldn’t be too long, though, before a new rumour hit the internet! A Star Trek revival was being planned, helmed by the incredibly successful J J Abrams – creator of Alias and Lost and the director of Mission: Impossible III. To go from the dejection of Enterprise’s cancellation and Star Trek’s apparent end to this reboot within a year or so was wild; the mid-2000s were a strange time to be a Trekkie, that’s for sure! This film would ultimately turn out to be Star Trek ’09, the reboot that kicked off the Kelvin timeline trilogy.

So what’s the point of revisiting 2005 twenty years later? Why drag up those old feelings and memories now that Star Trek is back on our screens in a new streaming landscape?

Promotional poster for Star Trek: Strange New Worlds Season 3 showing Pike and the crew.
Star Trek’s back… right?

The truth is… I feel echoes of 2005 right now. If you’re a regular reader, you might remember my essay 2022: A Great and Terrible Year for Star Trek, in which I took Paramount and the franchise’s producers to task for the many missteps and mistakes they’d been making. The worst problem, at least as far as I see it, is franchise fatigue. Star Trek has quickly become oversaturated in the first half of the 2020s, and it’s genuinely difficult to keep up with everything, even as a big fan and as someone who literally runs a Star Trek website.

Moreover, Star Trek’s fan community doesn’t seem to be adding a lot of new members, despite some valiant attempts by writers and creative folks. Projects like Prodidy, Strange New Worlds, and Section 31 should’ve been rolling out the welcome mat to untold numbers of new viewers and fans, but mismanagement by Paramount has squandered many of those opportunities. At time of writing, I think Star Trek is maybe a year away, two at the most, from another 2005.

Still frame from Star Trek: Prodigy 1x01 showing the discovery of the USS Protostar.
The wreck of the USS Protostar…

And I don’t want that to happen. There are still lessons that Paramount hasn’t learned from 2005 that need to be applied. And there are new challenges that the franchise faces in a transformed media landscape that Paramount has utterly failed to get to grips with. As I’ve said before: 20th Century thinking is desperately failing to keep Paramount afloat in the 21st Century.

I love Star Trek. I loved it in 2005 and I love it today. I want to see Star Trek continue because I want as many people as possible to fall in love with this incredible universe and the wonderful characters who inhabit it. But as Paramount is caught up in a complicated buyout/merger, and as its streaming platform continues to struggle, I don’t see a bright future for Star Trek. I hope that I’m wrong, and I hope the franchise’s name still has the power to bring in curious viewers. But as I look around at cancellations, mismanaged projects, franchise fatigue, and more… I definitely feel echoes of 2005 all over again. I hope the next couple of years won’t also turn out to be the end of an era.


Star Trek: Enterprise and most other Star Trek films and shows discussed above can be streamed on Paramount+ in countries and territories where the platform is available, and may also be available on DVD and/or Blu-ray. The Star Trek franchise – including all 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.

Strange New Worlds Season 3: The Trailers and Teasers

A Star Trek-themed spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Strange New Worlds Seasons 1 & 2, as well as the trailers, clips, and teasers for Season 3.

As soon as I published my Strange New Worlds Season 3 wishlist last week, Paramount decided to drop a brand-new trailer! I really do have the worst timing when it comes to these things; it isn’t the first time something like this has happened! Today, I thought we really ought to take a look at the trailer, as well as the two other “clips” that have been revealed so far. Knowing my luck, Paramount will release another one later this afternoon!

In 2024, we got to look at two extended clips from Strange New Worlds Season 3. I must’ve missed the second one; the only one I’d seen was the Vulcan one that I talked about in my look at Star Trek’s Comic-Con showing last summer, but Paramount also released another clip that I think got lost in the marketing blitz for Section 31. As the TV movie’s January release got closer, that’s where my Star Trek focus fell, anyway!

Ten promotional posters for Strange New Worlds Season 3 - featuring main and recurring characters.
Most of the main and recurring characters.

We’ll start with the clips and then look at the trailer, because there’s plenty to say about all three.

The Vulcan clip I’ve already covered – check out my piece about Star Trek at Comic-Con by clicking or tapping here – but to briefly recap, it depicts Pike and several other members of the crew being “turned into Vulcans” for some kind of mission to Spock’s homeworld. The surgery appears to be much more than just cosmetic, with the away team seemingly taking on Vulcan personality traits and suppressing their emotions. One thing I didn’t mention last time (because I hadn’t really thought about it) is this: isn’t Vulcan emotional suppression something that requires a lot of education and training? I mean, Vulcans don’t just come out of the womb with natural barriers to feeling their emotions; we’ve seen from Spock in Strange New Worlds itself how this ability is a learned one, not a natural phenomenon.

I know this probably sounds nit-picky, but I like Star Trek (and every other fictional setting that I get invested in) to remain basically consistent. Star Trek stories from as far back as the episode Sarek in The Next Generation era showed how Vulcans are not naturally emotionless; this is a learned trait or skill that takes a long time to master. And while I hope this episode is fun – which it looks like it will be – I think Star Trek should be consistent with these things.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Pike, La'an, Uhura, and Spock in Vulcan costumes carrying Vulcan weapons.
Pike and the crew – in their Vulcan guises.

I’m also cognizant of the fact that, in basically every Vulcan-centric story so far, Strange New Worlds has taken a comedic approach. There’s a lot of fun to be had with the Vulcans, don’t get me wrong, but in Strange New Worlds a lot of it has relied on a peculiarly American style of “cringe” humour that I just personally don’t find all that funny. This new Vulcan episode looks to be taking a similar approach to those used in Season 1’s Spock Amok and Season 2’s Charades. Both of those stories relied on a premise summed up thusly: “Vulcans are all uptight, formal, and proper, so wouldn’t it be funny if something went wrong?” It’s basically slapstick; the same kind of comedy used in mid-century films like The Bellboy or Carry On Teacher. I can tolerate that kind of thing in small doses, but after Strange New Worlds has already done the whole “aren’t these stuck-up Vulcans kind of funny?” thing twice already, maybe a more straight-laced Vulcan episode might’ve been a change of pace.

There’s no shortage of examples in Star Trek of how Vulcan episodes can be entertaining, emotional, and funny – without necessarily going to such a comedic extreme. While I’ll be happy to give this episode a chance when it premieres and I don’t want to render judgement prematurely, a big part of me hopes there’ll be more to it than just cringe humour and an unserious, comedic look at Spock and the Vulcans. I kind of feel like Strange New Worlds is getting close to exhausting that premise.

Promo photo for Strange New Worlds Season 3 showing four characters in Vulcan makeup.
A promotional still released for the Vulcan episode.

With all of that being said, the idea of an episode harkening back to the likes of Amok Time and perhaps some of Enterprise’s Vulcan stories is intriguing, and I like the idea of a story set on Vulcan which could expand beyond Spock and T’Pring. Bringing more of the characters into the episode in this way – by surgically altering them to be Vulcans – opens up a lot of different possibilities. There’s definitely going to be a comedic angle to this story – we can all see that already! But perhaps there’s also going to be a chance to spend some time with other Vulcans and take a look at aspects of Vulcan history and culture that we’ve seen elsewhere in Star Trek.

This could also be a fun way to bring back a character like Sarek. In my wishlist, I talked about the possibility of bringing in James Frain, who played the character in the first two seasons of Discovery. That could be a lot of fun, and we could get a closer examination of Sarek’s feud with Spock, perhaps. Strange New Worlds also teased Sybok – Spock’s half-brother – in Season 1, and he could be a fun character to include. Maybe we could learn why Sybok was apparently hospitalised or imprisoned, and set the stage for his role in The Final Frontier.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Spock in a Vulcan costume.
Will this episode revisit Spock and his family?

The second longer clip is the one I’d totally missed until now, but you might’ve already seen it a few months ago. This clip was released in the autumn, but somehow it managed to elude me!

This clip appears to pick up right after the cliffhanger at the end of Hegemony, with Captain Pike on the bridge of the Enterprise after learning that La’an, Ortegas, and a large number of the Parnassus Beta colonists have been abducted by the Gorn. It could be the very first scene of Season 3 – but there could also be something else in between, perhaps set on the Gorn ship with the abductees or even at Starfleet with Admiral April. In any case, the clip was exciting and definitely left me wanting to see the continuation of this story!

There was a lot of tension on the bridge as Pike and the crew had to figure out their options. Unable to defeat the Gorn vessel and with no way to retrieve the kidnapped officers and colonists, the only thing they can think of is to place a kind of rudimentary tracking device on the ship – allowing them to keep track of this specific Gorn warship in what seems to be a spiralling conflict. I liked the way Pike and the rest of the crew considered different ideas – and how they were all that perfectly-written Star Trek technobabble that we all know and love!

Promo photo for Strange New Worlds Season 3 showing Mitchell, Pike, and Una on the bridge of the Enterprise.
Mitchell, Pike, and Una on the bridge in a promotional photo.

It was also fun to see Una take the helm – with Ortegas missing in action, someone else had to sit in that seat, and Una seems to know how to handle the ship! My only real criticism is that the whole thing took only three minutes or so – which doesn’t seem like a lot of time for the crew to have co-ordinated a complicated shield-breaking manoeuvre. I liked the idea of ramming the Gorn ship, I just felt we could’ve seen a bit more work on the bridge or in engineering to prepare the Enterprise for this unconventional tactic.

We’ll have to see how that shakes out in the finished episode, though!

After the cliffhanger, Season 3 promises to start with a bang. As I said last time, I wonder if Strange New Worlds is teeing up this Gorn conflict to run across multiple episodes this season, or whether it’ll be resolved somehow in that first episode. With a fourth season confirmed (and already in production) could the war with the Gorn spill over into next season, too? There’s a lot to consider on that front! I really appreciate Strange New Worlds’ episodic nature, though, so I hope that if the Gorn war does run on, it doesn’t come at the expense of the wonderfully diverse storytelling we’ve been enjoying across the first couple of seasons.

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

Finally, in this clip (and at the end of Hegemony) something appears to be affecting Captain Pike. I noted in my review of Hegemony that in the final seconds of last season, Pike seemed to freeze – almost like he wasn’t sure what to do. In this clip, he seemed to be experiencing something else, though, not merely an adrenaline rush, fear, or exhaustion… but something different. My first thought was that it could be related to his time crystal – the warping effect at the very end of the clip, with Pike remaining in focus as the bridge seemed to dissolve around him, felt like something Discovery’s time crystal could’ve done.

There’s also the possibility, perhaps, that Pike is infected with the Gorn parasitic eggs like Captain Batel, and he’s beginning to feel the impact. And we can’t discount the possibility that Strange New Worlds is going to do what both Picard and Discovery have done (with varying results) and try to tell a story about Pike’s mental health and the burden he feels. That would be in character – going all the way back to The Cage we got a scene with Pike talking about the responsibility of command and how it weighs on him. Pike had already been through a lot on the day the clip is set – Captain Batel is in mortal danger and he’d just learned that several of his crew had been abducted. So it’s not unreasonable to think those events would impact the captain. If Strange New Worlds is going down this road, though, I hope there’s enough time to do justice to a storyline like this. Unfortunately, modern Star Trek hasn’t always got that right.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Captain Pike as the Enterprise jumps to warp.
Is everything okay with Captain Pike?

The final trailer (so far, at least) was much more diverse. Rather than just a single extended clip, we got teases that seem to come from multiple episodes. There’s less to go on in terms of story, but there were a ton of interesting-looking things in the mix! I’ll try to hit everything, but please forgive me if I miss one or two. I’ve watched the trailer several times over, but my ageing brain might not have taken everything on board!

Let’s start with the Gorn. We got a similar visual of Gorn ships bearing down on the Enterprise as we saw at the end of Hegemony and in the Gorn-themed extended clip that we just talked about. That’s almost certainly from the first episode of the season, picking up right after the cliffhanger. There was also a shot of an adult Gorn – this time without a space suit! The monstrous depiction of the Gorn, clearly inspired by Alien’s xenomorphs, will definitely carry through into this season. Captain Pike and La’an also seemed to be aboard a Gorn vessel, or perhaps on a Gorn planet, firing phaser rifles.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a Gorn roaring.
A Gorn.

I saw what looked like eggs or egg sacs in one clip, and while that could be from a different episode, it looks like it’ll be related to the Gorn. If Starfleet (or Captain Pike and the Enterprise on their own) are taking the fight to the Gorn, could they have figured out a way to even the odds? If so, perhaps that’ll be the way this Gorn conflict is brought to a close – a kind of stalemate.

I’m also intrigued by what looked like – and bear with me on this – a zombie Klingon!

We only saw this character for a handful of frames, so I could be totally misreading it, but we saw a Klingon with a whip and then what looked like a zombified Klingon. Perhaps this Klingon has been infected with Gorn parasitic eggs – that was my first idea. But this could also be a completely different story focusing entirely on the Klingons. If it’s going to be “zombies,” perhaps we’re getting another horror episode along the lines of Season 1’s All Those Who Wander.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a Klingon roaring.
Is this… is this a zombie Klingon?!

There was also a very brief clip of Dr M’Benga running away from someone – or something – that was following him through a door. I couldn’t be totally clear on that, but whoever was following him looked like they could have the same kind of infection as the Klingon in the previous clip. Those could easily be from the same episode, and having Dr M’Benga present would make a ton of sense – he could be looking for a cure for whatever this contagion is that affected the Klingon and presumably other people, too.

The main talking point coming out of this trailer has obviously been the throwback, retro sci-fi aesthetic that at least one episode will employ! I’m getting kind of “Captain Proton” vibes from these clips, which seem to lean into a deliberately old-fashioned look. Star Trek, of course, took inspiration in its early days from old sci-fi serials, something that Voyager’s writers acknowledged with their Captain Proton creation. I’ll be curious to see how this plays out – maybe it’ll be something like last season’s Subspace Rhapsody, where strange space phenomena mess with the Enterprise! Or it could be something completely different.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Kirk, Ortegas, and Chapel on the bridge of a spaceship.
Kirk, Ortegas, and Chapel aboard a very retro ship!

Star Trek has made a bit of a mess of holographic technology, so although we arguably “shouldn’t” be seeing a holodeck in this era… we clearly will be in at least one episode. This could be a fairly standard “the holodeck done goofed” story, with the main characters trapped in a holographic environment. Or it could be something closer to Season 1’s The Elysian Kingdom, which transformed the crew into characters from a fairy tale. Maybe these aren’t the real characters at all, they’re just holograms with the same appearances! This holodeck story seems to be distinct from the retro sci-fi story above, but they could be part of the same episode if we’re dealing with technology which can change the way the ship and crew look.

Pelia “wiring up” the Enterprise with, of all things, telephones, though… I’m really not sure what to make of that one! Parts of the ship looked darker than normal, so could there be a power drain forcing the crew to fall back on analogue technology? If so… why do they even have old-fashioned telephones on board? Perhaps these clips are all part of the same story and we’re going to get an episode all about analogue technology that features a holodeck, a retro sci-fi serial, and an underpowered Enterprise with telephone wires running everywhere!

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Spock and La'an on what looks like a holodeck.
Spock and La’an on a holodeck.

Could Strange New Worlds be about to confirm a very old Star Trek fan theory?!

If you missed this one, many fans have speculated that Trelane – from The Original Series episode The Squire of Gothos – is a member of the Q Continuum. That theory has been doing the rounds since The Next Generation premiered, but it’s never been officially confirmed in canon. In one clip in the trailer, a character who looks very similar to Trelane, and is wearing a similar costume, raised his hand and snapped his fingers in a very Q-like manner! So does that mean we’re getting a Trelane/Q episode this time… and if so, will that old theory finally be confirmed?

Trelane was arguably less dark than Q, but this character – judging by their facial expression – looked quite serious, at least in the very brief clip we saw. So maybe we’re not going to get a fun and whimsical adventure, but something a bit deadlier? That’s a total guess, but it would certainly be a bit of a change from what fans might be expecting!

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a man in an ornate coat snapping his fingers.
Is this a new take on Trelane?

Other short clips from the trailer seemed to include a three-armed alien – which could be the first live-action depiction of an Edosian. Arex, from The Animated Series, was an Edosian, and the race has also been seen in Lower Decks, but never in live-action. The face looked, to me, closer to the Kelpiens than what I’d have expected a live-action Edosian to be, but it was a very short clip so maybe in the finished episode we’ll see more. This could also just be a background character, though!

I also saw a blue-tinted star, the Enterprise (and several other ships) docked at a planet or starbase encased in a dome, Uhura having a drink with someone who instantly gave me bad and creepy vibes, and the Enterprise being rocked by a “Praxis effect” shockwave of some kind. There’s not a lot to go on in any of these clips, but they all definitely feel exciting in different ways, and I’m curious to see where all of these episodes are going to go!

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a three-armed alien character.
Is this three-armed character an Edosian?

There were several other clips that could be from the Gorn fight, including one of Captain Pike encountering a strange-looking spaceship or shuttlecraft. I’m not sure if this is a Gorn vessel or not, but Pike’s away team uniform and the general darkness of the setting make me think it’s at least a possibility. There was also a clip of the Enterprise’s shields being impacted by some kind of light or plasma; again there’s not much to go on in either of these very short clips, except to say that they’re intriguing and exciting.

Spock and Chapel seem to have gotten back together in one clip – though something about it feels “off;” maybe it’s Spock seeming too emotional. In any case, I’m thinking that this could be a dream, an alternate timeline, a flashback, or something else – anything other than simple reality! This clip could be from the Vulcan episode, or it could be set on the dome-starbase mentioned a moment ago.

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing a river, a floating platform, a dome, and several spaceships.
A dome-covered planetoid or starbase.

So I think that’s everything for now. Those are all of the things I noted from these three clips and trailers, at any rate!

It took me a while to work my way through Strange New Worlds Season 2, but when Season 3 arrives later this year I hope to get through all ten episodes in a more timely manner! There are a ton of interesting ideas presented in these trailers, and I’m really excited to see what Season 3 will have in store when it arrives this summer.

If I had to pick, I’d obviously say that a conclusion to the Hegemony cliffhanger is one of the things I’m most keen to see – but I’m also particularly intrigued by the diseased or “zombified” Klingon that we saw. What kind of episode will that be – and am I even close to right with my guess?

Still frame from the Star Trek: Strange New Worlds Season 3 trailer showing Pelia with her hand on her hip.
Pelia (and the rest of the crew of the Enterprise) will be back on our screens this summer!

The retro sci-fi thing looks… interesting. At least, I hope it will be. I gotta confess that Captain Proton was never my favourite part of Voyager, and I just hope a story that uses that kind of aesthetic won’t be too self-referential and “meta” to the point of killing the joke. Some shows and franchises which run for a long time can do that, and it ends up feeling less fun than fan-servicey sometimes. I don’t like to be a buzzkill, though, and I will definitely go into all ten episodes with an open mind!

So that’s all for now. When the season premieres later in the year, please check back. I’m hoping to review all ten episodes, and if there’s the opportunity, perhaps I’ll even craft a theory or two, too. I hope this has been a fun look ahead.


Star Trek: Strange New Worlds Season 3 will premiere on Paramount+ in countries and territories where the service is available in Summer 2025. Seasons 1 and 2 are out now on Paramount+ as well as on DVD and Blu-ray. The Star Trek franchise – including Strange New Worlds 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.

Strange New Worlds: Season 3 Wishlist

A Star Trek-themed spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Strange New Worlds Seasons 1 & 2, including the season finale. Spoilers are also present for Enterprise Season 3 and Picard Seasons 2 & 3.

Today we’re going to take a look ahead! There’s been a recent hint that Strange New Worlds might premiere at the end of July; a so-called “leak” from Sky in the Netherlands put the show’s broadcast date in Europe on the 1st of August, and with the 31st of July being a Thursday – Strange New Worlds’ usual broadcast day in its first two seasons – that could line up. I’d been working on the assumption that we’d see the show sometime in the late summer or autumn, so if Strange New Worlds runs for ten interrupted weeks beginning on the 31st, that would take it through August and September with the season finale airing at the beginning of October.

Whether or not that timeframe is anywhere close to accurate, though, it got me thinking about Season 3 and what I’d like to see whenever Strange New Worlds returns!

Strange New Worlds has been, for me, the absolute highlight of modern Star Trek. There have been a couple of episodes that weren’t as good as the others, sure, but the show’s episodic tone feels like a breath of fresh air after Discovery and Picard. Spending more time with Captain Pike has been wonderful, too, and I’m really hoping for a renewal announcement sometime soon to give the series a thoroughly-deserved fifth season. Perhaps there’ll even be some kind of celebratory episode in Season 4 to mark Star Trek’s sixtieth anniversary!

Behind-the-scenes photo from Star Trek: Strange New Worlds Season 3 showing a clapper board.
Season 3 is coming soon!

But we’re getting ahead of ourselves a little! What I’d like to do today is share some of my wishes for Strange New Worlds Season 3 – the things I really want to see, and perhaps one or two pitfalls that I hope can be avoided. Despite taking a long time to work my way through Season 2, I’m really looking forward to Season 3 and hoping for another outstanding batch of episodes!

Before we get into the wishlist, a couple of important caveats. First of all, this is just the subjective opinion of one old Trekkie. If I miss something that seems obvious to you or “wish” for something that you think sounds atrocious… that’s okay! There’s plenty of room in the Star Trek fan community for polite discussion and differences of opinion. Secondly, I’m not claiming that anything below will definitely be part of Season 3 of Strange New Worlds. I have no “insider information;” I’m just a random Star Trek fan sharing their thoughts!

So let’s talk about some of the things I’d like to see in this upcoming season.

Wish #1:
Keep the episodic format.

Promo photo for Star Trek: Strange New Worlds Season 3 showing Pike, Una, and Mitchell on the bridge.
Captain Pike, Mitchell, and Una on the bridge.

This has to be my biggest single wish for Season 3. As I said earlier, Strange New Worlds being a largely episodic show is one of the best things about it – and one of the best decisions that Paramount has taken with the Star Trek franchise in decades. It’s not just that Picard, Discovery, and even Prodigy have been pretty serialised affairs, but basically every sci-fi and fantasy show on TV is, too. In its heyday, Star Trek was an episodic franchise, and I can’t be alone in thinking it works better that way. Being able to visit different planets and meet new aliens every week is part of what makes Star Trek feel like Star Trek, at least for me, and it’s really been wonderful to see Strange New Worlds bringing this back.

There’s still room for characters to grow and evolve, as we’ve seen already in the show’s first couple of seasons. But with Season 2 ending on a cliffhanger – and a possible war with the Gorn breaking out – I’m a tad nervous that Paramount plans to focus on the Gorn storyline at the expense of others this time around. I really hope that won’t happen, because I really think it’d be to Strange New Worlds’ detriment.

Promo photo for Star Trek: Strange New Worlds Season 3 showing Spock wearing a space suit.
Spock in a teaser image from Season 3.

Across just twenty episodes and two seasons, Strange New Worlds has had episodes in a diverse range of genres – from horror and war to comedy and even a musical. I really hope the show’s writers keep that wonderful mix of different stories going, because it’s a huge part of what makes Strange New Worlds so enjoyable. I also think it’s helping the show – and by extension, Star Trek as a whole – stand out in a streaming landscape that’s overwhelmingly dominated by serialised storytelling.

Episodic storytelling allows a range of characters to be in focus across the season, not just one or two primaries with a handful of supporting roles. Writing the show this way also gives us a lot more opportunities to meet different aliens, visit different planets and locations, and for the Enterprise’s five-year mission to genuinely feel like one of exploration. By keeping this episodic tone, Strange New Worlds can get back to Starfleet’s mission of seeking out new life – with detours, here and there, of course!

Wish #2:
Revisit Una’s Illyrian heritage.

Promo photo for Star Trek: Strange New Worlds Season 3 showing a close-up of Una.
A promotional still of Una as she’ll appear in Season 3.

After standing trial at the beginning of Season 2, we didn’t spend a lot more time with Una. Crucially, her Illyrian heritage – which caused such problems for her – wasn’t so much as mentioned again, and we never got to see her interacting with any other Illyrians. I hope that this genuinely interesting backstory won’t just be ignored in Season 3, because there’s a ton of potential to expand our understanding of Una as a character – and also revisit a faction we haven’t seen since Enterprise.

There are a lot of ways a story like this could go, and it wouldn’t have to be the main focus of an entire episode necessarily. Perhaps Una could be given a B-plot in which she has to return to her homeworld for some reason, or some of her relatives could come to visit her aboard the Enterprise. How would her surviving family members react to seeing her serving aboard a Federation ship? Are there any lingering ill feelings from the Illyrians toward Starfleet given their run-in with the NX-01 Enterprise and the Federation’s ban on genetic engineering? Those could be interesting angles to explore.

Still frame from Star Trek: Enterprise showing a damaged Illyrian spaceship.
A 22nd Century Illyrian starship as seen in Enterprise.

As we were just saying, Strange New Worlds is an episodic show – so after Una’s true backstory was revealed in Season 1, and she stood trial in Season 2, the show just had other things to do and other stories to tell. That’s totally okay; I don’t want a multi-episode arc where only the Illyrians are in focus! But it would be nice to call back to those earlier episodes and not just completely ignore this side of Una. Her Illyrian heritage is part of what makes her the Starfleet officer she is – and I think there are interesting and creative ways the show could approach the topic.

If we don’t get much of this in Season 3, then perhaps it can be included in Season 4 or 5 instead!

Wish #3:
Some kind of character growth for Scotty.

Still frame from Star Trek: Strange New Worlds Season 2 showing Scotty on Parnassus Beta.
Scotty may remain aboard the Enterprise in Season 3.

In my review of Hegemony, I noted how Scotty seems to have arrived in Strange New Worlds pretty much fully-formed. He’s confident enough to interrupt two captains when they’re having a private conversation, and he’s mechanically skilled enough to have built a Gorn transponder out of random pieces of equipment he found on a Federation science ship. So… where does that leave this younger version of the character? Is there any potential to see him grow and evolve now that he’s presumably going to be a recurring or even main character on Strange New Worlds?

Another element of Strange New Worlds that I’ve really enjoyed has been seeing how Spock and Uhura in particular started out at least somewhat different to how they are in The Original Series. Both of them have changed and grown over the course of the show’s first couple of seasons, and in Spock’s case, I’d argue that he still has a way to go to become the stoic, logical Vulcan that we’re familiar with. Even Kirk, though very much a secondary character, has room to grow in order to become the captain we know and love.

Still frame from Star Trek: Strange New Worlds Season 2 showing Pelia and Scotty.
Pelia with Scotty at the end of Season 2.

So I’d like to see Strange New Worlds show us, somehow, that Scotty isn’t perfect just yet! Maybe he’s not as confident as he seemed on Parnassus Beta, and he needs the mentoring of a senior officer like Pelia before he can become the “miracle worker” from The Original Series. Perhaps he’s mechanically skilled but inexperienced when it comes to working on a Constitution-class ship, and he’ll need some time to adapt. Or maybe he’s a bit socially awkward with people he doesn’t know very well, and it’ll take someone like Uhura to help him come out of his shell after he transfers to the Enterprise. Any or all of these could be interesting ways to give Scotty room to grow.

Part of the point of doing a prequel series, especially one that focuses on familiar characters, is to expand their backgrounds and show us how they became the people we remember. If Scotty arrives fully-formed, with perfect engineering skills and the same basic personality that we’re familiar with from The Original Series, it might well be fun to spend some more time with him… but it’ll also be a bit of a missed opportunity.

Wish #4:
Bring back Sarek to explore more of his feud with Spock.

Promo photo for Star Trek: Discovery Season 1 showing Sarek.
Sarek (as he appeared in Discovery’s first season).

I genuinely enjoyed James Frain’s take on Sarek in Discovery’s first two seasons. Strange New Worlds has already brought back Spock’s mother, Amanda, and she’s been a welcome addition to the show. Journey To Babel suggested that Spock and Sarek became estranged when Spock chose to study at Starfleet Academy instead of the Vulcan Science Academy, but I’ve always wondered if there might be more to it than that. I guess technically this would come close to treading on the toes of “canon;” Amanda told Kirk in The Original Series that Sarek and Spock have been estranged for eighteen years, and Strange New Worlds takes place ten years or so earlier. But I think it could still work!

In any case, it would be fun to see Sarek again, and even if we don’t learn a lot more about this feud and estrangement, seeing the awkwardness of Spock having to navigate the complicated situation could make for a fun or interesting episode. Perhaps the Enterprise could be called to Vulcan for an assignment, and Sarek and Amanda would come aboard – or Spock could be invited to their home.

Still frame from Star Trek IV: The Voyage Home showing Spock and Sarek at Starfleet HQ.
Spock and Sarek in The Voyage Home.

Sarek and Captain Pike didn’t meet face-to-face in Discovery, but there could be a relationship there to build upon that we haven’t seen. And this could also be a way for Strange New Worlds to reference Discovery and Michael Burnham; I’m surprised that Spock hasn’t talked more about his adopted sister. There’s no reason for him to keep this a secret, and it could have implications for someone like Ortegas – a veteran of the Klingon war that Burnham had a role in sparking.

An episode featuring Sarek could also bring back T’Pring – Spock’s wife. The teaser clip from last year’s Comic-Con (and one set photo) seem to suggest a Vulcan story will be part of Season 3, so at least we know we’re going to get something to do with the Vulcans! As to whether Sarek will appear, though… I mean, why not?

Wish #5:
Cross over to the Mirror Universe and find Captain Lorca.

Promo photo for Star Trek: Discovery Season 1 showing Captain Lorca holding a phaser.
Captain Lorca.

Trekking with Dennis asking for a Mirror Universe episode?! Has the world gone mad?! Seriously, though, despite my general dislike of the Mirror Universe as a setting (and its overuse in modern Star Trek), if there’s one good reason to visit Star Trek’s most famous parallel universe it’s this: rescuing the prime timeline version of Captain Lorca.

Lorca was a big part of Discovery’s first season, but the man we came to know was actually an imposter: he’d switched places with his prime timeline counterpart and sought to use Discovery and her spore drive to get back to his home universe. That seems to imply that the real Captain Lorca got stranded in the Mirror Universe, and despite Burnham and Admiral Cornwell thinking he’s dead, I can’t shake the feeling that Lorca might’ve found a way to survive!

Still frame from Star Trek: Enterprise showing the Terran Empire emblem.
Could Lorca have found a way to survive in the Terran Empire?

We know that Pike is aware of the existence of the Mirror Universe; he said as much to Georgiou in Discovery’s second season finale. With Pike and Lorca having been Starfleet captains at the same time, it stands to reason that they know each other – and perhaps they’re even friends. Somehow, Lorca might be able to get a message across the divide between universes, leading Starfleet to send Pike on a particularly difficult rescue mission!

I think Spock would have to be kept out of this story – prime Spock, at least. It could be fun to see Mirror Spock, if only for a scene or two! Uhura and Scotty would also have to be left out, so as not to tread on the toes of Mirror, Mirror. Perhaps Captain Pike takes someone like Ortegas on a specially-modified shuttle, spends time in the Mirror Universe while he tracks down and saves Lorca, and then returns to the Enterprise. I think it’s a really fun idea, one that would connect Strange New Worlds back to Discovery while also allowing for a visit to a very different setting.

Wish #6:
Don’t introduce another character from The Original Series.

Promo photo from Star Trek: The Original Series showing most of the main cast.
The main characters of The Original Series.

Spock, Uhura, Chapel, Kirk, and now Scotty – Strange New Worlds is filling out its main and secondary rosters with a lot of legacy characters! Some stories featuring characters we remember from The Original Series have been great and will continue to be great in Seasons 3 and 4, too… but as I said before Strange New Worlds premiered: I don’t want the show’s main focus to be on these people. It’s just as important to spend time with people like Pelia, Ortegas, and La’an – as well as Pike, Dr M’Benga, and Una.

So with all that in mind, let’s not introduce someone like Chekov, Sulu, or Dr McCoy this time! I think having yet another Original Series character would start to unbalance Strange New Worlds, tipping the scales in that direction a little too much. I already noted, in several of my Season 2 reviews, that Captain Pike seemed to be less present in what fans originally called “the Captain Pike show,” and I think there’s a real danger that the writers will choose to focus on legacy characters at the expense of the rest of the crew. A good mix of stories featuring legacy characters sometimes, new characters other times, and different pairs and groups working together is what I want to see going forward.

Still frame from Star Trek: The Original Series showing several characters materialising in a transporter beam.
An away mission…

If the likes of Kirk and Scotty stick around – as I assume they will – and no one else is leaving the show or taking on a lesser role, there’s really not a lot of room in the cast for another legacy character. Season 3 is gonna be ten episodes long, and in order for the show to spend time with the growing group of characters it already has, there just won’t be time to do justice to someone like Dr McCoy or Sulu. Plus, if someone like that were introduced for a one-off story, there’s gonna be a huge temptation to keep them around and bring them back, as we saw with Paul Wesley’s Kirk. Now, I’ve found Wesley’s take on Kirk to be a ton of fun and I’m glad there have been episodes where he was included. But I’m also conscious of the fact that too many legacy characters could overwhelm Strange New Worlds and detract from what made it so appealing in the first place.

There’s a parallel here with Star Trek: Picard. That show introduced several new characters, but jettisoned all but one in between its second and third seasons, leaving character arcs incomplete, stories untold, and quite frankly, a bit of a mess in its wake. There was a mad rush to bring back Picard’s friends from The Next Generation for “one last adventure”… but that was never how Picard was originally pitched. As much fun as Season 3 was, there was also a ton of wasted potential in new characters that just never got a turn in the spotlight. I really hope Strange New Worlds won’t repeat that mistake.

Wish #7:
A major storyline for Ortegas.

Still frame from Star Trek: Strange New Worlds Season 2 showing Ortegas in the captain's chair.
Ortegas in the captain’s chair.

For Season 2, actress Melissa Navia requested a reduced role, which explains why her character – Lt. Ortegas, the Enterprise’s pilot and helm officer – wasn’t a huge presence. Ortegas is probably the new character we’re least-familiar with at this stage, and I think it would be great if we could get at least one episode in Season 3 where we learn more about her, her history, or where she gets more of a central role.

It was fantastic to see Ortegas play a role in Hegemony, finally getting her wish to be part of an away mission and showing off her piloting skills. We also came to learn that she’d been a test pilot for Starfleet – harkening back to the early days of NASA and space exploration here in the real world, where many of the early astronauts were test pilots. Ortegas also served during the Klingon war, as we saw in Under the Cloak of War, so that could be another piece of her history to delve into at some stage.

Still frame from Star Trek: Strange New Worlds Season 2 showing Ortegas pilotting a shuttle.
Ortegas on an away mission.

As I was saying above, I’d really like to get to know some of the new characters created for Strange New Worlds. We’ve spent some time with La’an, Hemmer got a bit of development before his untimely demise, and we’re getting to know Captain Batel, too. I hope that the time is right for an Ortegas spotlight, giving her a significant storyline of her own in one episode next season.

If I had to create something, I’d want to go with a story all about piloting. We could flash back to Ortegas’ time at Starfleet Academy, perhaps, showing her testing out a brand-new type of shuttlecraft or fighter. And we could get a story akin to something like Drive from Voyager’s seventh season – an episode that focused on shuttle racing. At any rate, I’d like a storyline that really puts Ortegas in the pilot’s seat, and even if it was just a one-time thing that took up half of one episode, getting to spend a bit more time with her would be fantastic.

Wish #8:
A connection to a storyline from Enterprise and/or The Next Generation era.

Behind-the-scenes photo from Star Trek: The Next Generation showing the USS Enterprise-D filming model.
The filming model of the Enterprise-D from The Next Generation.

If you haven’t read it yet, please check out my “pitch” for a Strange New Worlds episode that I’ve titled Cardassia Prime, because I go into detail about a hypothetical story that would bring together elements from across the Star Trek franchise. Click or tap here to check it out!

In short, I’d love to see an episode that brings together narrative elements from Enterprise or something from The Next Generation era – and ideally does both. There are many ways this could go, but I really like the idea of an older T’Pol meeting up with Spock, giving him advice on serving in Starfleet, and showing us a glimpse of her life a century or so after we last saw her. That could be a ton of fun.

Still frame from Star Trek: Enterprise showing an elderly T'Pol.
T’Pol could still be alive in the mid-23rd Century.

Given that Strange New Worlds has also brought back the exploration side of Star Trek in a big way, I’d also like to see Pike’s Enterprise making first contact with a faction we’d come to spend more time with in the 24th Century. In my fantasy episode that I linked to above, I suggested that the Cardassians would be a great choice. First contact with the Cardassians has never been shown on screen, and if it didn’t go well it could foreshadow the conflicts that the Federation would have with the Cardassian Union in the 24th Century. Plus we’ve only seen the barest glimpses of Cardassians in modern Star Trek, despite how important they were in Deep Space Nine.

But really, this kind of story could involve any race or faction from The Next Generation, Deep Space Nine, or even Voyager – though the latter might be a bit tricky! Captain Pike could make first contact with anyone from the El-Aurians to the Breen, or we could even see the return of someone like the Xindi or Suliban. Strange New Worlds has done new and creative things with the Gorn, so maybe a faction that was only seen once – like the Sheliak or the Klaestron – could be ripe for further exploration.

Wish #9:
Captain Pike versus the Borg!

Still frame from Star Trek: Voyager showing several Borg Cubes flying away from an explosion.
Borg vessels and an exploding planet…

In my provocatively-titled piece “Ten Star Trek Storylines That Should Be Non-Canon,” I argued that Enterprise’s Borg episode – Regeneration – added an unnecessary complication to the already muddled history of Borg-Federation contact. I’ve also made the case that Star Trek has over-used the Borg in recent years – most notably in Picard, where the Borg were present in different ways in all three seasons. So why do I think a Borg story would work in the 23rd Century, then?

First of all, this is pure fantasy! I’m 99.9% sure that Paramount wouldn’t do a “Captain Pike versus the Borg” story under any circumstances, so let’s state that up front. But if I think about incredibly fun one-off episode ideas, bringing back the Borg for a battle with one of my favourite Starfleet captains in what I consider to be the best modern Star Trek show… I’d really like to see how creative Strange New Worlds could be with the Borg Collective. Would it be fan-servicey to a ridiculous degree? Probably. But would it be a ton of fun? I think so!

Behind-the-scenes photo from the set of Star Trek: Picard Season 3 showing a Borg character and two makeup artists.
Touching up a performer’s Borg makeup on the set of Picard.

Star Trek exists in a multiverse, right? There are parallel universes beyond the ones we’ve seen on screen, so who’s to say there isn’t an alternate timeline where the Borg overran the Alpha Quadrant in the 23rd Century? Through some kind of space phenomenon, Captain Pike and the crew find themselves in this parallel universe, having to battle the Borg while also searching for a way home. Someone like Spock could even theorise that the cybernetic race that dominates this universe may not exist in the prime timeline, giving some justification for how this storyline could co-exist with what we already know of the Federation’s history with the Borg.

A parallel universe could also be a great opportunity to re-work and modernise the Borg. Although Picard’s second season quickly went off the rails, I stated in my review of the season premiere that the new depiction of the Borg Queen – with an updated design and new abilities – was genuinely frightening; by far the scariest and most intense the Borg had been in a long time. Strange New Worlds has dipped its toes in the horror genre already with episodes featuring the Gorn, so this kind of story could take on a similar tone. I think it would be a blast, anyway!

Wish #10:
Surprise me!

Still frame from Star Trek: Strange New Worlds Season 2 showing several main cast members singing.
Not like this, though…

Alright, I guess this one’s just a big old cliché, but it’s my list so I’m keeping it! Strange New Worlds has, over the course of just twenty episodes so far, contained plenty of twists, turns, shocks, and surprises – and I hope we’ll get more of that this time around. There’s been a mixture of comedy, horror, exploration, adventure, and so much more, and most of the time I haven’t been able to predict what was going to happen or what kind of episode was coming up next. I’m absolutely in love with a show that can surprise me, and I really hope Strange New Worlds can continue to do so.

For example, I have no idea what’s going to happen to Captain Batel following the events of Hegemony. Batel was one of the characters featured in the Season 3 promotional posters… but does that mean she’s safe? Or is Paramount deliberately trying to mislead us? I genuinely don’t know whether Dr M’Benga and Nurse Chapel will be able to cure her condition in time, nor how Captain Pike would react if she passed away. It’s a genuine cliffhanger which is keeping me on my toes!

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Batel in sickbay.
Captain Batel is in stasis.

We’re obviously going to get at least one Gorn conflict episode at the beginning of the season, and there’s also at least one Vulcan storyline in the mix, too. But beyond that, I really have no idea where Strange New Worlds is going to take us in Season 3. Will there be an episode with the Klingons, perhaps? Or a deep cut to a random storyline from The Animated Series that hasn’t been mentioned on screen for decades? I like not knowing, and I like that Strange New Worlds is the kind of show that can take me on this kind of adventure!

This also ties back into what I was saying about episodic storytelling. Discovery and Picard both had season-long storylines – and while they could be mysterious and surprising in their own ways, they were also a lot more linear. Captain Pike’s crew encounter different aliens and visit different places every week, and that’s led to some genuinely unexpected storylines and episodes. As I said above, it just feels right for Star Trek.

So that’s it!

Cropped promotional poster for Star Trek: Strange New Worlds showing the shadow of the Enterprise.
The Enterprise (and her crew) will be back soon!

With Season 3 perhaps arriving in late July or early August, we don’t have that long to wait. Less than four months from now, Strange New Worlds could well be back on our screens, and I really can’t wait to see what the series has in store!

I hope this wishlist has been a bit of fun and maybe a little interesting, too. I’d love to see the show include everything we’ve talked about – but some are definitely firmly in the realm of fantasy! The most important thing for me is that Strange New Worlds remains a largely episodic series – albeit one with character growth and some of the other modern trappings that serialised TV has brought to the table. When each episode has a different planet or new alien race to encounter, it opens up a ton of storytelling options. Strange New Worlds has done courtroom drama, horror, comedy, and even a musical – and I’m really excited to see what’s going to come next.

Still frame from Star Trek: Strange New Worlds Season 2 showing the Enterprise under attack by the Gorn.
The Enterprise under attack by the Gorn in the Season 2 finale.

When Strange New Worlds returns later this year, I’ll do my best to follow along with reviews. I don’t have the best track record – it took me a while to get caught up on Season 2! But I’d really like to follow along week-to-week this time if I can, so I really hope you’ll join me for that. Who knows, I might even craft a theory or two, too, if the series lends itself to such things!

Thanks for checking out my Strange New Worlds wishlist. If you haven’t seen my Season 2 episode reviews, you can find them all by clicking or tapping here. Earlier this year I also checked out the Section 31 TV movie, and you can find that review by clicking or tapping here. There’s more Star Trek content to come here on the website, but until then… Live Long and Prosper!


Star Trek: Strange New Worlds Season 3 will premiere on Paramount+ in countries and territories where the platform is available later in 2025. Seasons 1 and 2 are available to stream now and are also out now on DVD and Blu-ray. The Star Trek franchise – including Strange New Worlds 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.

What If…? Star Trek Edition!

A Star Trek-themed spoiler warning graphic.

Spoiler Warning: Beware of spoilers for the following Star Trek productions: The Next Generation Season 1, Deep Space Nine Season 6, Voyager Season 1, Generations, Star Trek ’09, Discovery Season 2, and Picard Season 2.

Almost four years ago I had a lot of fun writing a piece here on the website called “What If…? Star Trek Edition!” I took the basic concept behind the then-new Marvel miniseries What If…? and applied it to several storylines from the Star Trek franchise that I found interesting. Speculating and getting creative was a blast, so… let’s do it again!

If you missed the miniseries (or my earlier post), I’ll briefly explain how this works! We’re going to look at five stories from across the Star Trek franchise and ask a simple question: what if things went differently? What would the consequences be for Starfleet, the Federation, and some of the characters we’ve come to know and love if, for example, Spock wasn’t resurrected on the Genesis Planet or Captain Janeway and the USS Voyager tried to reach the Gamma Quadrant terminus of the Bajoran wormhole? I covered both of those topics in my post from 2021, by the way, so be sure to check it out – you can find it by clicking or tapping here.

Still frame from Star Trek: Voyager showing Kim and Quark.
Harry Kim and Quark.

Alternate history has been an interest of mine for a long time – so we can consider this an “alternate history of the future,” if you like! With the Star Trek franchise slowly but surely heading toward the 1,000-story mark, there are a lot of places where narratives could branch, and where the Star Trek galaxy could end up in very different situations! As a Trekkie, and as someone who likes to spend time in this setting, it’s a ton of fun to come up with these ideas and consider how they might play out.

As always, a couple of important caveats! All of this is the entirely subjective take of one old Trekkie. If you hate all of my ideas, think I’ve got the wrong end of the stick, or if I miss something that seems totally obvious to you… that’s okay! There ought to be enough room in the Star Trek fan community for differences of opinion. None of this is close to being “canon,” anyway, so there’s even less of a reason to get upset about completely made-up Star Trek stories that will never be seen on screen!

Alright, let’s jump into the “what if” scenarios!

What If…? #1:
What if… Captain Picard and Q never met?
The Next Generation, Picard Season 2

Still frame from Star Trek: The Next Generation Season 1 showing Picard meeting Q for the first time.
Picard’s first encounter with Q.

This is a really interesting one – and it might not go the way you think! Looking back over Picard’s run-ins with Q during The Next Generation, there really aren’t many places where we could say that their interactions had wide-ranging consequences. I have my pet theory that Q deliberately saved Picard and the Federation by making them aware of the Borg threat (click or tap here for that one, it’s one of my favourite Star Trek theories!) but that’s not the angle I’m gonna take today. In this case, we’re going to say that – for whatever reason – Picard and Q never met, never developed their complex relationship, and Q never set any puzzles for Picard to solve. In fact, Q stayed away from humanity and Starfleet altogether in this alternate timeline.

As noted, Q’s interactions with Picard and the crew of the Enterprise-D almost always involved problems or scenarios of his own devising. So without Q on the scene, the Enterprise-D’s mission actually proceeds slightly more smoothly than it did in the series; the absence of Q doesn’t matter in a big way to the seven-year cruise. Every other episode and story plays out more or less the same, from the mystery at Farpoint Station to the ship’s destruction over Veridian III. Picard assumes command of the Enterprise-E, then the Romulan rescue armada, before retiring from Starfleet.

Still frame from Star Trek: The Next Generation showing the Enterprise-D in orbit of a green planet.
The voyages of the starship Enterprise would proceed in exactly the same way… just without Q’s occasional shenanigans!

But here’s where things change. After the mission to rescue Soji and being named Chancellor of Starfleet Academy, Admiral Picard is aboard the USS Stargazer when a mysterious anomaly is detected. The Stargazer, the Excelsior, and a handful of other ships race to the scene, where they’re confronted by a massive subspace anomaly that Seven of Nine thinks could be a huge transwarp conduit. Attempts at communication fail, and with only a handful of Starfleet ships on the scene, there’s no way to prevent the conduit from unleashing its triquantum waves.

Aboard the Stargazer, Picard and the crew look desperately for solutions – but there are none. Without the Borg, their vessel, and their knowledge of the situation, there’s no way to stop the transwarp conduit from doing what it was designed to do: launching a massive attack on the Federation. Its triquantum waves blast across several sectors of space, destroying the Starfleet ships as they attempt to escape, as well as several starbases and Federation colonies. Having expended its initial wave of energy, the conduit then falls eerily silent, as if waiting for instructions… or for its operators to emerge.

Still frame from Star Trek: Picard showing the mysterious transwarp anomaly.
This time, there’s no one to stop the transwarp anomaly…

Because Star Trek: Picard was a jumbled mess of a show, we don’t know who made the transwarp anomaly. My pet theory is that it’s something to do with Season 1’s super-synths, but it could also be the Borg, the Dominion, or any one of a number of Star Trek baddies! In this timeline, though, the anomaly’s initial attack would be successful – because there’d be no Q to throw Picard and his friends into the alternate reality that eventually led to Dr Jurati’s assimilation and the creation of a Borg splinter group. Without the Jurati-Borg’s presence at the site of the transwarp anomaly, there was no way to stop its energy from being unleashed.

What would happen next? I’d imagine that whoever made the anomaly would be pleased with its success, and if it was a transwarp conduit – as Seven theorised – then it could serve as a gateway for any ships that the attacker had. With a devastated sector and no intact ships remaining in the area, any invader would quickly be able to establish a massive bridgehead right in the heart of Federation territory, and if they have more transwarp conduit weapons… who knows? The next target could be Earth.

What If…? #2:
What if… Section 31 and the Federation accidentally created the Borg?
Deep Space Nine, First Contact, Discovery Season 2

Concept art for Star Trek: The Next Generation showing three Borg designs.
Early concept art of the Borg.

If you’re a regular reader, you might remember my theory that Discovery’s second season – which featured a time-travelling spacesuit and an AI that could “assimilate” humans using nano-bots – was originally pitched as a “Borg origin story.” So what if that’s actually what happened? In this timeline, Section 31 and the Control AI are going to be uncovered as the true progenitors of the Borg!

Here’s how it went down: after chasing Captain Pike and the USS Discovery all over the quadrant, Control and its fleet of automated drone-ships finally have them cornered. Using the assimilated body of Captain Leland, Control boards Discovery and attempts to seize the all-important Sphere Data that it needs – but the battle in space is going poorly, and Control seems to be on the verge of defeat. Not wanting to give up, Control switches tactics. Instead of the Sphere Data, Control races to the science lab and steals the Red Angel suit that Burnham and the crew have finished working on.

Still frame from Star Trek: Discovery Season 2 showing Captain Leland holding a phaser.
The “assimilated” Captain Leland.

Staring down an armada of allied ships in space and Discovery’s security team just outside the doors, Control is trapped. With no other options, Control uses the Red Angel suit to escape – but because the suit is malfunctioning, Control ends up in the distant past. Trapped on a planet in the far-flung Delta Quadrant, anchored in time the same way Gabrielle Burnham was, Control surveys its surroundings. The planet is primitive, populated by humanoids in an early stage of development – with no spacefaring technology. Control has some nano-bots remaining, and the Red Angel suit… but that’s it. It decides that the best course of action is to assimilate some of the local humanoids and work on producing more technology – hoping to one day return to Federation space and finish what it started.

For me, the biggest question is this: does the Borg Collective still know all of this as of the late 24th Century? Or has the passage of time and countless assimilations over the millennia led to this information being forgotten, buried somewhere in the depths of the Collective’s knowledge? My personal take is that this is something the Borg Queen would know – but in the Collective’s run-ins with Starfleet, it’s gone out of its way to avoid revealing this truth.

Still frame from Star Trek: Discovery Season 2 showing the Red Angel suit opening a portal.
The Red Angel suit can be used to travel through time.

But the Borg Queen is clearly not the same as Control – so what happened there? Perhaps the Queen regards Control as her “ancestor,” in a sense, or maybe Control merged with a particularly strong personality that it assimilated early on. Dr Jurati, in Picard’s second season, merged with the Borg Queen rather than simply becoming a Borg drone, so the same principle could apply here. It does beg the question, though, as to why the Borg Collective didn’t set its sights on Earth and humanity decades earlier if Control’s desire for revenge is hard-coded into the Collective’s DNA!

More interestingly, I wonder what Starfleet would make of this revelation. Let’s say that, after the Battle of Sector 001, Starfleet was able to analyse the remains of the Borg Cube and found remnants of 23rd Century Federation programming in the Borg’s systems. Further analysis eventually led to one inescapable conclusion: the Control AI is the basis for the Borg, making the biggest threat to the galaxy an accidental Federation creation. Perhaps that knowledge could be used by Starfleet’s Borg experts to find a weakness or a way to communicate… but it would also be a serious blow to morale.

What If…? #3:
What if… the USS Voyager was destroyed over Ocampa?
Voyager Season 1

Still frame from Star Trek: Voyager showing the USS Voyager exploding.
The destruction of the USS Voyager!

In this alternate timeline, we’re going to say that the USS Voyager and the Val Jean – Chakotay’s ship – were both transported to the Delta Quadrant as we saw in Caretaker. But during the battle for the Caretaker’s Array, it’s Voyager, not the Val Jean, that ended up being destroyed by the Kazon. Some survivors made it to the escape pods and were taken aboard by the Maquis, with Chakotay ordering B’Elanna to fire up the engines and get the ship out of range of the Kazon as quickly as possible!

The first character we’d miss would be the Doctor – and with no surviving medical staff (and apparently no medically-trained Maquis, either) that would quickly become a problem for the crew of the Val Jean. I’m also going to suggest that Neelix and Kes wouldn’t be a part of this crew – or if they were involved, they’d remain aboard Neelix’s ship rather than try to cram aboard the already-overcrowded and cramped Maquis raider. As to what else would be different… well, it depends on who survived the destruction of Voyager.

Photograph of the original Maquis Raider model from Star Trek: Deep Space Nine and Star Trek: Voyager.
Chakotay’s Maquis raider – the Val Jean.

I’m going to assume that Captain Janeway went down with the ship – as she once told Naomi Wildman that it’s part of a captain’s duty. That was half-joking, perhaps, but I can’t see Janeway abandoning the ship while any members of the crew were still aboard, so I’m gonna say she was lost with Voyager. Among the survivors, though, would be Tuvok, Harry Kim, Tom Paris, and B’Elanna Torres, as well as Seska, Ensign Wildman, and engineer Carey. There’d likely be a clash between Tuvok and Chakotay over command decisions, but Chakotay would pull rank – figuratively speaking – and remind the Starfleet survivors that they’re aboard his ship, so he’s in charge. However, as a concession given the difficult situation, he’d offer senior roles to Tuvok and Carey, and Kim would take up a role on the bridge.

Living conditions would be difficult, though. Voyager was kind of inconsistent with this, but we got hints in several episodes that there might’ve been about twenty-five or so Maquis aboard Voyager. If we assume that there’d be at least forty survivors from Voyager’s original complement of 150, the Starfleet personnel would outnumber the Maquis – which could lead to a lot more tensions aboard a Maquis ship than it did aboard Voyager. The small raider – which probably wasn’t equipped for a long voyage – would struggle to accommodate so many people, and with fewer replicators (if they even worked at all) the ship would have to make many more stops to forage and hunt for food and supplies.

Still frame from Star Trek: Voyager showing a close-up of Chakotay in the series premiere.
Chakotay would remain in command of his Maquis vessel.

Equinox offers an excellent look at how a ship less well-equipped than Voyager might’ve handled being stranded in the Delta Quadrant. Despite the Val Jean’s personnel being arguably better prepared to survive than Captain Ransom’s crew, the limitations of the ship, the difficult living conditions, and the constant danger would all take a toll on the survivors. Morale would be low among the Starfleet personnel after Janeway’s death, and the reality of the situation would sink in for them over the first few days as they struggled to adapt. Having to share bunk beds and malfunctioning replicators would lower morale even further.

Chakotay would do his best to avoid the Kazon, and without the technologically-advanced Voyager to pursue, I daresay they’d be less interested in chasing the Val Jean, so the ship would make slow but steady progress toward the Alpha Quadrant. After several months (or perhaps a year) of planet-hopping, the Val Jean would encounter something strange: an old Earth automobile floating in space. This would lead them to a planet with a human settlement; the descendants of abductees from Earth. Most of the Starfleet personnel would disembark here, choosing to stay on the planet rather than remain aboard Chakotay’s ship. Chakotay and the Maquis would stay for a while, too, enjoying the friendly atmosphere and making repairs to their ship. After an extended stay, though, would anyone want to re-join the mission back to the Alpha Quadrant on a ship dangerously unsuited for such a voyage?

What If… #4:
What if… the Romulans figured out what Sisko and Garak did?
Deep Space Nine Season 6

Still frame from What We Left Behind: Looking Back At Deep Space Nine showing a sketch of Garak.
Garak.

Perhaps this one won’t always be a “what if!” One of my fantasy Star Trek episodes is a follow-up to the outstanding Deep Space Nine episode In The Pale Moonlight, and I’d really love to see a sequel of sorts one day. But for now we’re going to make up our own version – and connect it to other parts of Star Trek, too!

There are two time slots for this, and both are interesting – so this is kind of two “what ifs” in one!

Firstly, we have the obvious question: what if the Romulans figured out what happened before the end of the Dominion War?

Still frame from Star Trek: Deep Space Nine showing Senator Vreenak.
The Romulans have figured out that “it’s a faaaaaake!”

Shortly after the Breen joined the Cardassians and the Dominion, the Tal Shiar uncovers the truth behind the assassination of Senator Vreenak. How they figured it out doesn’t matter; all we need to know is that the proof is irrefutable. As a result, the Romulans terminate their alliance with the Federation and Klingons at the worst possible moment – just as Breen weapons are proving to be a tactical and technological hurdle for the allies to overcome. Worse, a few days later the Romulans announce a non-aggression pact with the Dominion, shortly followed up by an official alliance. In short, the Romulans have switched sides.

It’s no secret that the Romulans have long coveted Federation systems, and promises from the Dominion about ownership of Vulcan combined with a need for revenge swayed the Romulan senate. They began collaborating openly with the Dominion, sharing technology like cloaking devices with their new allies. The Cardassian rebellion led by Damar would be quickly crushed by the combined might of the Dominion, Breen, Romulans, and Cardassian collaborators, and would be far less effective and far-reaching. With the axis shored up and bolstered by Romulan troops and Romulan intelligence, they’d be back on the front foot ready to press home their advantage. The obvious first targets are Bajor and DS9; control of the wormhole would be vital. From there, it could be a very short war indeed…

Still frame from Star Trek: Deep Space Nine showing Garak and Sisko.
Garak and Captain Sisko.

The second scenario is the one I still hope to see on screen one day. In this timeline, the Romulans discover what happened – but only years after the war is over. The destruction of their homeworld took a toll, and the Romulan Empire is in a difficult position. Romulan leaders demand the extradition of those responsible, but with Sisko “missing in action” and apparently residing with the Prophets, there’s really no one to prosecute. Garak’s involvement remains unknown, and he wouldn’t stick his head above the parapet!

But the Romulans would make a fuss, doing whatever they could to make life difficult for Starfleet. One action the Romulan government takes is cutting off Federation researchers from a derelict Borg vessel that they control, and ordering all Romulans to leave Federation space. The result? Soji doesn’t head to the Artifact, Laris and Zhaban leave Earth, and the synths at Coppelius Station remain hidden from Starfleet. But not necessarily hidden from everyone

What If…? #5:
What if… Captain Kirk didn’t die on Veridian III?
Generations

Still frame from Star Trek: Generations showing Picard at Kirk's grave.
Picard stands over Kirk’s grave.

This is one of the biggest “what-ifs” in Star Trek – at least for fans of a certain age! Kirk’s death in Generations was controversial, though I’d argue it was at least fitting for his character that he gave his life in an act of sacrifice, saving the crew of the Enterprise-D and the population of Veridian III from the Nexus. But in this alternate timeline, Kirk and Picard are able to stop Soran without Kirk losing his life.

Kirk would reunite with Picard and then meet up with the crew of the crashed Enterprise-D, before boarding a rescue ship bound for Federation space. Upon reaching a starbase, Kirk would be absolutely stunned to disembark only to be greeted by Spock and Montogomery Scott! Scotty had survived to the 24th Century in a transporter buffer (as seen in the episode Relics) and of course, Vulcans live longer lives than humans so we know that Spock is also still alive. This reunion would be incredibly touching, and Kirk would spend time with his old friends, catching up on almost eighty years of Spock’s life and also learning of Scotty’s 24th Century adventures.

Still frame from Star Trek: Generations showing three starships departing Veridian III.
Kirk would board a rescue ship and return to Earth.

Kirk would be debriefed by Starfleet Command about his time in the Nexus and would also seek out other members of his crew. Dr McCoy would have passed away, but at least one other member of the Enterprise’s bridge crew – someone like Uhura or Chekov – could still be alive in this time period, though they’d be very old! Kirk would visit them at their home, catching up on the events of their lives after he’d last seen them. Having decided to retire from Starfleet around the time the Enterprise-B was commissioned, Kirk would consider returning to his home – which has been preserved as a museum by Starfleet for the last eighty years – but I’m not so sure that that’s what he’d do.

We know that, in between the events of Relics and Star Trek ’09, Scotty was still working in some capacity – it’s in this era that “transwarp beaming” is invented. I’m going to say that, for the purposes of this alternate timeline, Kirk would return to Starfleet. In an unofficial capacity at first, he’d work with Scotty and Spock, and might also be visited by an old rival: the Klingon Captain Kor, now a Dahar master. Kor would invite Kirk to Qo’noS, where he’d see the results of his work to bring about peace between the Federation and the Klingon Empire.

Still frame from Star Trek III: The Search for Spock showing Kirk out of uniform at his home.
Kirk could still have some adventures and new experiences in the 24th Century.

Kirk would also be present at the launch of the Enterprise-E, reuniting with Picard as the ship undertook her first cruise. Scotty would also be present, having opted to join his former captain at the launch of the latest ship to bear the name Enterprise. Kirk and Scotty would have departed the ship shortly before the Battle of Sector 001, though. Kirk would be offered a promotion back to the rank of Admiral, and he’d join Starfleet Command in an advisory role; many senior Starfleet officers and admirals would call upon the famed officer for advice.

Where I think Kirk could be most influential, though, is in the aftermath of the synths’ attack on Mars. In the prime timeline, Picard was unable to convince Starfleet to proceed with their plan to help the Romulans, but I think Kirk would be on Picard’s side here. As a living legend and someone of such high standing in Starfleet Command, Kirk’s word would carry a lot of weight. As a result, Picard’s rescue armada would be rebuilt, and many more Romulan lives could be saved before the Hobus supernova. Among the evacuees would be Nero’s family – meaning Nero never attacks Spock’s ship, the two are never pulled into a black hole, and the alternate reality seen in Star Trek ’09 would never begin.

So that’s it!

Concept art for Star Trek: The Motion Picture showing the USS Enterprise in drydock.
Concept sketch of the USS Enterprise in drydock from The Motion Picture.

We’ve taken a look at five “what if” scenarios set in the Star Trek universe. I hope this has been interesting – and perhaps a bit of fun, too!

There are a lot of places in Star Trek where things could’ve gone very differently, and something as small as the absence (or presence) of a single individual has literally changed the course of history for the Federation and the entire galaxy. I can already think of plenty of other “what ifs,” so stay tuned! I’d love to revisit this idea again one day.

There’s plenty more Star Trek content coming up here on the website. So far in 2025 we’ve talked about some of my head canon, as well as some Star Trek stories that I wish weren’t canon at all! I’ve also reviewed the Section 31 film and finally caught up with Season 2 of Strange New Worlds. Season 3 will premiere later this year and I’ll definitely have something to say about it when it’s here! Until then, see you… out there.


Most Star Trek series and films discussed above are available to stream now on Paramount+ in countries and territories where the service is available. The Star Trek franchise is also available on DVD and Blu-ray. The Star Trek franchise – including all films, shows, and 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.

Strange New Worlds Episode Pitch: “Cardassia Prime”

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: Deep Space Nine, Enterprise, Lower Decks, and Strange New Worlds.

Today I’d like to try something a little different. Rather than talking about Star Trek stories that we’ve already seen, I want to write a “pitch” of my own Star Trek episode. This is a story that I think would be a great fit for a future season of Strange New Worlds – or even to celebrate Star Trek’s upcoming sixtieth anniversary. I came up with the idea a couple of years ago, and I’ve already talked about it more than once here on the website.

In brief, what I wanted to create was a Star Trek story that brings together elements from different parts of the franchise – specifically the three different eras in which Star Trek shows have mostly been set (the 22nd, 23rd, and 24th Centuries). Combining these different parts of Star Trek results in what I think would be a really enjoyable episode, one which fans of different Star Trek shows could appreciate. Bringing these different elements together could be a fantastic way to celebrate Star Trek as a whole, too, and with the sixtieth anniversary coming up, part of me hopes that Paramount has planned something along the same lines.

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Pike.
Let’s create our own adventure for Captain Pike!

A couple of notes before we get started. Despite the title, this is not an “official” pitch! I’ve never had any official contact with Paramount or the creative team behind Strange New Worlds, and although I enjoy writing and have worked on websites, marketing material, and video games in a professional capacity in the past, I’m by no means a scriptwriter or creative type myself. This “pitch” is just for fun; it’s a concept that I think would make for a great Strange New Worlds episode… but it’s one that will certainly never be made.

And as I always say: this is all just one person’s take. If you don’t like this idea and think it wouldn’t work as an episode of Strange New Worlds, that’s totally okay! The Star Trek fan community is big enough for people to have very different opinions about what does and doesn’t make for a fun story. This is one that I think could work well – but I won’t be offended if you disagree!

Photo of Gene Roddenberry with a model of the USS Enterprise c. 1970s.
Gene Roddenberry in the early 1970s.

So let’s get started by talking about the different elements I’ll be including. This episode, which I’m giving the working title of Cardassia Prime, will bring together characters and factions from three different parts of the Star Trek franchise. Representing the 23rd Century we of course have Captain Pike, Spock, and the rest of the crew of the USS Enterprise! But they aren’t the only familiar faces who’ll be making an appearance this time.

Strange New Worlds is set a century after the events of Enterprise, but with the long lives of several Starfleet races (and even humans in this era) it’s always seemed plausible to me that some characters may still be alive. I wanted to create a story in which an Enterprise character came aboard Captain Pike’s ship – and the most obvious choice has always been T’Pol.

Still frame from Star Trek: Enterprise Season 3 showing T'Pol (with old age makeup).
An elderly T’Pol, as seen in the Enterprise Season 3 episode .

T’Pol was the NX-01’s first officer, science officer, and Vulcan attaché, serving under Captain Archer during that ship’s missions of exploration and first contact. She stood by Archer’s side during the Xindi conflict, and played a role in changes to the Vulcan government in the 22nd Century, too. She was also instrumental in the creation of the United Federation of Planets. Everything we know about Vulcans tells us that there’s a high likelihood of T’Pol still being alive in the mid-23rd Century; both Spock and Tuvok lived exceptionally long lives, so there’s no reason to think T’Pol wouldn’t. She could even still working for the Federation or Vulcan government in some capacity as of the time Strange New Worlds is set.

I’ve taken this as a starting point for T’Pol and given her a job similar to Spock’s in The Next Generation two-part episode Unification. For the sake of this story, we’ll say that T’Pol – who played a major role in deepening the alliance between humans and Vulcans that ultimately led to the creation of the Federation – has since taken on an ambassadorial, diplomatic role for the alliance, and it’s in this capacity that she joins Captain Pike’s ship.

Still frame from Unification (Star Trek: The Next Generation) showing Spock.
T’Pol’s job as a Federation ambassador and diplomant will be comparable to that of Spock’s in Unification.

What I’d love to see here, beyond the main thrust of the episode’s plot, is the interaction between an older T’Pol and the younger Spock. As the first Vulcan to work extensively with humans and serve aboard a human starship, T’Pol will surely have pearls of wisdom to impart, and may even look at Spock very favourably as someone following in her own footsteps. Although we’re dealing with two cool, logical Vulcans, I think there’s the potential for some genuinely emotional moments between T’Pol and Spock.

T’Pol will present Captain Pike with his new orders shortly after coming aboard: the Enterprise is to proceed to a region of space where a Federation colony vessel has accidentally caused a diplomatic incident by straying into a star system claimed by an unknown alien power. T’Pol’s orders are to defuse the situation and prevent it from escalating into a conflict; Pike’s are to get her there at top speed and do whatever she needs him to do to make it happen. We could see, in the opening act of the episode, T’Pol arriving aboard a Vulcan shuttle similar to the one used by Spock in The Motion Picture, as I think that would be a neat little callback and a fun visual presentation.

Still frame from Star Trek: The Motion Picture showing Spock's warp shuttle.
T’Pol could arrive aboard the Enterprise on a shuttle like this one.

The alien power at the centre of the story will be revealed to be the Cardassian Empire – as you’ve probably already figured out from the title! The Federation colony vessel was apprehended while attempting to scout planets in a star system that the Cardassians claim as one of their own, and this will be how the Federation and Cardassians made first contact – something that has never been depicted or explained on screen before.

By creating this backstory of the initial contact between the Federation and Cardassians, one in which war will be barely averted thanks to the efforts of T’Pol and Captain Pike, I think we can lend a bit of perspective to stories in The Next Generation and especially Deep Space Nine. We’ll uncover another chapter of Federation-Cardassian relations, and show that things got off to a rocky start – perhaps lingering ill-will from this incident even contributed to the border wars that we know the Federation and Cardassians fought in the years before The Next Generation.

Crop of the cover of the comic Star Trek: Defiant showing a Cardassian with several Cardassian spaceships in the background.
The Cardassians will be this episode’s antagonists.
Image Credit: IDW Publishing/Paramount

Because the Cardassians haven’t been seen in detail in Star Trek’s modern era, I think a lot of fans will be thrilled to welcome them back to the franchise. By setting up the Cardassians as the episode’s adversaries, we continue the theme of seeing them as an enemy that was present in Deep Space Nine, but by making the Federation colony ship the one to have made a mistake, we give them at least the barest bones of motivation for acting the way they do toward Starfleet and our heroes. These are not one-dimensional, “evil-for-the-sake-of-it” baddies, and they are able to be negotiated and reasoned with.

In fact, this episode won’t be violent. Captain Pike won’t have to whip out his phaser – or if he does, he won’t have to fire a shot. In true Star Trek style, communication, understanding, and cooperation will be the order of the day, and once it becomes clear what happened – that the colony ship inadvertently entered space claimed by the Cardassians – a pathway will be present that leads to a peaceful resolution. It will take all of T’Pol’s century of experience to avert a conflict and get these negotiations over the line, but it will be possible. Spock will have a role to play here, too.

Still frame from Star Trek: Strange New Worlds Season 2 showing Spock.
Spock will join forces with T’Pol.

As a faction we spent so much time with in Deep Space Nine, we know a fair amount about how the Cardassians operate. They’re secretive, militaristic, and can be xenophobic. They fiercely defend their territory, have no qualms about conquering and subjugating others, and have a rigid legal code in which guilt is usually presumed.

But with more than a century of experience under her belt, T’Pol will be able to find a peaceful solution. Neither side wants war, and it’s ultimately going to be in both parties’ best interests to resolve the current situation peacefully – though both Starfleet and the Cardassians will stringently monitor their borders from this point onwards!

Still frame from Star Trek: The Original Series showing the Romulan Neutral Zone on the Enterprise's main viewscreen.
This episode will establish the Cardassian-Federation border.

In terms of the structure of the episode itself, I think I’d open with a short teaser in which Captain Pike, Spock, and perhaps other members of the bridge crew are preparing for the arrival of an ambassador. They’d be wearing their finest dress uniforms as the shuttle arrives, and there’d be an “honour guard” similar to the one seen in Journey to Babel. When T’Pol is seen for the first time, that’s when the opening titles would kick in. The next sequence would see Pike assign Spock as T’Pol’s aide while she’s aboard the ship, leading to some scenes between them in which we’d get the aforementioned bonding while en route to Cardassian space.

Spock would be curious about T’Pol; she’s somewhat of a legend in his eyes, as one of the first Vulcans to work so extensively with humans, and he sees parallels to his situation. There’s almost a kind of hero worship in the way Spock views T’Pol – something Chapel or Una might tease him about if they have a moment together later in the episode!

Still frame from Star Trek: Enterprise Season 2 showing T'Pol sat at a table.
T’Pol.

As the Enterprise arrives in this new star system, the ship would be confronted by at least one Cardassian vessel. I’d want this ship to look like a stripped-down Galor-class vessel; different enough to be distinct, but similar enough in style and shape that it would be recognisably Cardassian for returning fans. I’m no graphic designer (as you can probably tell) but I think it’s important given the type of story we’re crafting that the design of the new ship is similar enough that it could reasonably be part of the same Cardassian Union that we’re familiar with.

The same would be true of the Cardassians’ uniforms. I wouldn’t want an exact duplicate of the Cardassian armour that debuted in The Next Generation, but as above with the way their ship looks, uniforms/armour would need to be familiar enough that a returning fan could recognise it and understand that it’s part of the same faction – just from an earlier era.

Still frame from Star Trek: Lower Decks showing a Cardassian spaceship.
I’d like the Cardassian ship to be reminiscent of the Galor-class but without being identical.

The Cardassian leader would angrily tell Pike to leave the system, threatening the Enterprise before abruptly ending the communication. Pike would then summon T’Pol to the bridge, letting her take the lead when it comes to speaking to the Cardassians. Long-range scans would be able to detect the colony ship – but it’s under guard, and the Cardassians aren’t going to just let the Enterprise rescue it without putting up a fight. Not wanting to trigger a war – and perhaps thinking back on his experiences in the episode A Quality of Mercy – Pike would talk with La’an and Una about a backup plan… just in case T’Pol’s negotiations fail.

At this point, we’d learn that the Cardassians have long been aware of the Federation – but because of how closed-off their society is, they chose to spy from afar rather than make contact. This revelation would be unsettling; Spock would remark that the Cardassians know far more about them than they do about the Cardassians, leaving them at a disadvantage in either combat or communication.

Still frame from Star Trek: Deep Space Nine showing a former commander of Terok Nor on a viewscreen.
The Cardassians’ first message would be abrupt and aggressive.

T’Pol would refute this, saying that she’ll use the Cardassians’ assumptions about humans, Vulcans, and the Federation to undermine their claims and turn things to her advantage. Hailing the Cardassians again, T’Pol and Pike propose face-to-face negotiations; these will take place not aboard the Enterprise, but aboard the Cardassian ship. T’Pol will represent the Federation, bringing with her Spock as an aide, Sam Kirk as an anthropological expert, and Uhura to help with any translation or communication issues.

As the away team heads to the transporter room, Pike convenes a meeting of the remaining senior officers. Pelia will bring Scotty along to the meeting, which is to further explore a backup plan – rescuing, if necessary, T’Pol and the away team as well as the impounded ship. La’an and Scotty will work on a tactical/engineering assignment to bring down the Cardassian ship’s shields; Pike wants to keep something in reserve in case things go off the rails.

Still frame from Star Trek: Strange New Worlds Season 2 showing La'an.
La’an will be paired up with another legacy character this time!

The interior of the Cardassian ship will probably have to be just one room to keep the budget down, but with the AR wall I’d hope it could be a decently-sized space with a table for the two delegations to sit at. In keeping with the design philosophy we discussed above, there should be enough familiar elements to be recognisably Cardassian but without being a carbon copy of something from Deep Space Nine. I’m thinking of a familiar Cardassian computer display, perhaps doorway arches that are reminiscent of those aboard DS9, and similar lighting and colour schemes.

The Cardassian leader will argue that, under Cardassian law, the colony ship has been rightfully impounded and they have no plans to release it. They were guilty the moment they entered the system, and the Cardassians believe in the presumption of guilt. Unless T’Pol can actively prove their innocence, he plans to send the crew and colonists to a labour camp and seize the ship.

Still frame from Star Trek: The Next Generation (Chain of Command) showing three Cardassians sat at the Enterprise-D's briefing room table.
The Cardassian delegation will insist that the Federation colony ship violated their laws.

There will be some difficulty with the universal translator at this point, so the conference will go into recess. Uhura will be confused; the translation stopped working for no reason and she can’t figure out why. Spock begins to examine their equipment, but T’Pol will reveal the ruse: she deactivated the translator to give the team a bit of extra time to prepare a defence.

T’Pol will contact Pike, asking him to scan the system for any sign of a Cardassian presence or any kind of beacon or subspace buoy that could’ve warned the colony ship to keep away. Pike promises to do so and sets the crew to the task. With the translator “repaired,” T’Pol can begin her defence.

Still frame from Star Trek: Strange New Worlds Season 2 showing Uhura at her post.
Uhura will have a role to play in the away mission.

T’Pol will argue that the colony ship couldn’t have violated any law as there was no way to tell that the Cardassians have laid claim to this apparently-empty system. There are no Cardassian settlements, no space stations, and no obvious military presence. To any passing ship, the system appeared empty, and the colony ship was well within its rights to enter the system and begin performing scans.

The Cardassians will dispute this, saying that ignorance of the law is not an excuse for breaking the law. The colony ship entered their system, that is beyond dispute. Furthermore, by conducting scans, the ship could’ve been spying for the Federation, trying to discover Cardassian military secrets. T’Pol remarks that, just because that’s how the Cardassians operate, it doesn’t mean Starfleet behaves the same way. She appeals to the Cardassians’ knowledge of Vulcans, reminding them that Vulcans are incapable of lying; if she swears the colony ship wasn’t spying, then it wasn’t.

Promo photo for Star Trek: Enterprise Season 4 showing T'Pol.
T’Pol will use the Cardassians’ knowledge against them.

Pike contacts the away team, confirming that there’s no way the colony ship could’ve detected any Cardassian presence in the system. The Cardassians left no warning, no buoy enforcing their claimed border, and no indication whatsoever that they considered this empty system to be their territory. T’Pol thanks Pike for the information and adds it to her argument. She then chastises the Cardassians for arresting the crew of the ship without cause, and suggests that, if the captain won’t release the colonists, she’ll take the matter directly to the Cardassian government.

The Cardassian captain is clearly rattled by this idea, as he wants to solve the matter himself. Seeing the potential for a career-ending incident, he backs down – but insists that the Enterprise and the colony ship leave the system immediately. T’Pol agrees, noting that the system will be declared off-limits to future Federation vessels heading this way. She adds that, now first contact has been made, it would be logical for both the Cardassian Union and the Federation to designate a formal border; the Cardassian captain nods, and the away team departs.

Still frame from What We Left Behind: Looking Back at Star Trek: Deep Space Nine showing Gul Dukat (in HD).
Despite the Cardassians’ attitude, a peaceful resolution will be possible.

Back aboard the Enterprise, Scotty and La’an have struggled to find a way past the Cardassian ship’s defences; Scotty remarks that their ship is almost a perfect match for the Enterprise in terms of weapons and shields; a shooting match between them could go either way. Even with Ortegas’ fancy piloting, the vessels would still be evenly matched if a fight were to break out.

With the situation now under control, the Cardassians release the colony ship. Pike gets confirmation that the crew and colonists are all accounted for an unharmed, and the two ships depart the system. First contact with the Cardassians was eventful – but fortunately, non-violent.

The original matte painting which represented the Cardassian homeworld in The Next Generation and/or Deep Space Nine.
Cardassia Prime – the original matte painting.
Image Credit: Frogland Archive/Heritage Auctions

In her cabin, T’Pol would be sending a final message to Federation HQ before preparing to disembark. Spock enters, telling her how he appreciated getting to work with her on this assignment – and he will escort her to the transporter room. T’Pol gives Spock some words of advice on working with humans – but as she stands on the transporter pad, she gives Spock a smile before dematerialising. Spock finds this “fascinating,” and the credits roll.

Obviously I didn’t write any dialogue; this is an outline or concept rather than a full script! But I hope I’ve been able to communicate the broad strokes of what this Cardassia Prime episode would look and feel like.

A photograph of the original filming model of a Cardassian Galor-class spaceship.
The original Galor-class studio model.

My objective was to bring together elements from the 22nd, 23rd, and 24th Centuries, tying together all three of Star Trek’s “main” eras with one narrative arc. This storyline would also avoid treading on the toes of anything previously established in Star Trek; unlike Strange New Worlds’ introduction of the Gorn, for example, or Discovery’s redesign of the Klingons, the history of how the Cardassians and Federation made first contact has never been so much as mentioned. All we know for sure is that, as of the mid-24th Century, there had been a conflict of some kind situated on the border. This story would foreshadow that in a way, while also connecting events in the 24th Century to this earlier time period.

We absolutely could flesh out this story a lot more. In my head, the negotiation sequence is quite tense and takes up much of the middle and latter part of the episode. T’Pol and the Cardassian captain – who could be played by an actor who previously had a role in Deep Space Nine – would talk around each other for several minutes, and there’d be a real sense that she and the away team were in danger. I also wanted to make sure that Pike and the other characters back on the ship weren’t just sitting on their hands – though there could be a lesson there, I suppose!

Still frame from What We Left Behind: Looking Back at Star Trek: Deep Space Nine showing Marc Alaimo.
I’d love to bring back a familiar actor from the Deep Space Nine era (Dukat actor Marc Alaimo pictured) to play this episode’s Cardassian captain.

I was a little hesitant to put this story treatment together for one primary reason: Jolene Blalock, who played T’Pol in all four seasons of Enterprise, had seemingly retired and hadn’t expressed a wish to return to the role. However, Blalock was convinced to reprise her role (albeit in voice form only) in Lower Decks, so I no longer feel it’d be impossible for Strange New Worlds to bring her back for a role like this.

Given the show’s place in the timeline, it’s not completely implausible to think one of the NX-01’s human crew members could still be around – Dr McCoy lived long enough to attend the launch of the Enterprise-D, after all! But given that they’d all be over 100 years old by the time of Strange New Worlds, it seems less likely that any of them would be as involved in Starfleet or as active. We could do something like Relics, bringing in a character who’d been in some kind of stasis for a long time, but when I considered all of the ways to include a character from Enterprise, the most logical choice was T’Pol.

Promo image for Star Trek: Lower Decks Season 5 showing T'Pol.
T’Pol recently appeared in Lower Decks.

So that’s my “episode pitch!” I hope you didn’t get too attached to it, because it’s never going to be produced. Still, it’s fun to speculate and fantasise, and with Star Trek’s sixtieth anniversary approaching, I’d really love to see at least one episode that really celebrates different aspects of the franchise’s history. Since Star Trek returned to the small screen there have been plenty of moments where characters or factions from past iterations of the franchise have appeared – and that’s fantastic. I haven’t heard much about a potential sixtieth anniversary crossover or special episode, though, and realistically if something like that is gonna happen, production will need to begin fairly soon.

In 1996, Star Trek made a splash for its thirtieth anniversary! Deep Space Nine created the wonderful Trials and Tribble-ations, splicing the new and old footage to transport the cast into a classic episode of The Original Series. And some fans tend to overlook the equally enjoyable Flashback, which saw Captain Janeway and Tuvok pay a visit to the USS Excelsior under Captain Sulu’s command. I was a massive Trekkie back in ’96, and I remember the UK’s official Star Trek magazine ran a special edition for the anniversary. I think I still have my copy in the attic somewhere… I wonder if it’s worth anything?

A sketch of the NX-01 Enterprise, cropped from a StarTrek.com wallpaper.
The NX-01 from Star Trek: Enterprise.

We’ve veered off-topic somehow! To get back on track, I’d love to see an episode like my imagined Cardassia Prime as part of Star Trek’s sixtieth anniversary celebrations. A story which brings together different parts of the franchise, including a character crossover, feels like the perfect way for the franchise to celebrate all things Star Trek and to write a “love letter to the fans.” I’m glad that I was able to finally put (metaphorical) pen to paper and share the bare bones of this idea with you.

Strange New Worlds’ third season is coming up later this year, so I hope you’ll stay tuned here on the website for my take on the show’s real episodes when they arrive! Until then, I hope this has been a bit of fun. Thanks for joining me on this adventure with Captain Pike and the crew!


Star Trek: Strange New Worlds Seasons 1 & 2 are available to stream now on Paramount+ in countries and territories where the service is available. The series is also available on DVD and Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties mentioned above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

“Post-Apocalyptic Star Trek:” What Went Wrong?

A Star Trek-themed spoiler warning.

Spoiler warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-5. Spoilers are also present for the following Star Trek productions: Strange New Worlds Seasons 1-2, Picard Season 3, Prodigy Season 2, and pre-release info for Starfleet Academy.

Did Discovery’s “post-apocalyptic” take on Star Trek work as intended from Season 3 onward? If not… what went wrong? Why might a far future setting with a galaxy in ruins have been the wrong choice for this franchise? If another group of writers had tackled the same concept in a radically different way, could it have worked better? What does it all mean for Starfleet Academy? Those questions and more are what we’re going to ponder today!

Although Discovery has now concluded its five-season run, there are still topics to consider and debate. And it’s only now – after the series has concluded and we’ve seen three full seasons of its far future setting – that we can truly begin to wrangle with the “post-apocalyptic Star Trek” idea that began in Season 3. I held out hope for a while – particularly when Season 5’s marketing material and trailers seemed to be teasing a different kind of story – that Discovery might be able to do something creative, interesting, and engaging with this new idea. But, for me at least, post-apocalyptic Star Trek didn’t really work.

Cropped promo poster for Star Trek: Discovery's third season.
Discovery’s “post-apocalyptic” setting began in Season 3.

I think it’s worth discussing this subject for a couple of reasons. Firstly, Discovery was the franchise’s flagship series during its run. It brought Star Trek back to its small screen home after more than a decade in the wilderness, teed up the excellent spin-off Strange New Worlds, and for our purposes today, it also created this far future setting. Shooting forward in time centuries beyond The Next Generation, Picard, and even anything we’d seen in time travel episodes elsewhere in the franchise, Discovery had a completely virgin, unspoiled setting and time period for the writers and producers to craft.

Secondly, while Discovery may be over, there’s more Star Trek to come – at least for the next couple of years. A second spin-off – Starfleet Academy – intends to keep this far future timeline going, and it’s not impossible to think that Paramount might want to set new films or shows in this era, too. Given the issues Discovery had, it’s important to understand what worked about the setting and what didn’t – so future creatives can double-down on the positives while avoiding a repeat of the mistakes.

Behind-the-scenes photo of the cast and crew of Star Trek: Discovery Season 3 at a table read.
The cast and crew at a table read for the Season 3 finale.

As always, a couple of important caveats before we go any further. This may be a controversial topic; Discovery has always elicited strong reactions from the Star Trek fan community (to put it mildly!) It’s worth keeping in mind that all of this is the entirely subjective opinion of one old Trekkie. I’m not claiming that I’m right and that’s that – different folks will have different opinions about some of these storylines and narrative concepts, and that’s okay.

If you followed along with my Discovery reviews, you’ll know that I’m a fan of the series on the whole – not any kind of hater. Some storylines worked better than others, and I pulled no punches in criticising episodes and narrative choices that I didn’t like. But I’m glad Discovery exists and remains a part of Star Trek’s official canon! The fact that we’re talking about whether the post-apocalyptic tone worked from Season 3 onwards – and what I personally didn’t like about it – shouldn’t be taken as me “hating” Discovery or any of its writers and producers. I share my opinion with the Star Trek fan community in the spirit of polite discussion.

With all that being said, if you aren’t in the right headspace to tackle a potentially controversial subject, that’s totally okay. This is your opportunity to jump ship if you’d rather not get into the weeds with Discovery and its “post-apocalyptic” tone.

Concept art from Star Trek: Discovery Season 2.
Concept art of Season 2’s time-wormhole.

To begin with, I think we need to consider why Discovery’s post-apocalyptic vision of the future exists at all. I tackled part of this question in a different article – which you can find by clicking or tapping here – but here’s the short version: Discovery wouldn’t have left the 23rd Century if the writers, producers, and executives were happy with the show. The decision to shoot forwards in time is, in my opinion, a tacit admission from the folks at CBS that setting Discovery a decade before Captain Kirk’s five-year mission was a mistake. It was an attempt to rectify that “original sin” which, some may say, came two seasons too late.

But leaving the 23rd Century behind didn’t mean Discovery had to arrive in a galaxy devastated by the Burn. That was a creative choice on the part of the show’s writers and producers; an attempt to transplant Star Trek’s core themes of hope for the future, optimism, peaceful exploration, and a post-scarcity society into a completely different environment. And to be clear: I don’t think Discovery’s writers lost sight of what those concepts were or what Star Trek had been, as some have suggested. But they misunderstood how important those things were to the foundation of Star Trek’s setting, and why it was so important to see a vision of the future where many of the problems of today have been solved. In attempting to be clever and subversive – or perhaps thinking they knew better – they robbed Star Trek of not only its most important defining feature, but also one of the key differences between Star Trek and most other popular sci-fi and fantasy worlds.

Still frame of Alex Kurtzman and Michelle Paradise at an interview promoting Star Trek: Discovery Season 5.
Discovery’s co-showrunners for Seasons 3-5: Alex Kurtzman and Michelle Paradise.

A post-apocalyptic setting clearly appealed to executives at CBS because of how popular it had proven to be elsewhere. From the late 2000s and through the entire 2010s, shows like The Walking Dead, Falling Skies, The 100, Jericho, The Strain, and 12 Monkeys had found critical and/or commercial success, as had films like Children of Men and Snowpiercer, and games like The Last Of Us and the Metro series. Star Trek has occasionally set trends in entertainment – but it’s also never been shy about following them. After two seasons of Discovery that had proven controversial – and crucially, hadn’t been a resounding success commercially – piggybacking on an apparently popular trend wasn’t an awful idea in principle.

Discovery’s creatives wanted to take Star Trek’s foundational sense of optimism and hope and completely reframe it; using the same core ideas but in a radically different way. By taking away Starfleet and the Federation, and leaving much of the galaxy devastated, in ruins, or struggling for resources, there was potential – they believed – to tell stories about bringing people back together, finding hope in a bleak setting, and even considering the impact of this level of devastation on the crew’s mental health.

Early concept art from Star Trek: Discovery Season 1 of the USS Discovery.
Early concept art of the USS Discovery circa 2016.
Image Credit: Frogland Archive

At the peak of the Cold War, with America and the Soviet Union staring each other down atop piles of nuclear weapons that could destroy the planet, The Original Series presented a peaceful future in which humanity had overcome those struggles. Later, in the 1990s, Deep Space Nine’s Dominion War didn’t show a devastated Federation on the brink of defeat, it showed good people struggling to save the “paradise” that had been built. These shows were different from one another in many ways – but at the core, one of the foundational pillars of Star Trek is that the future is bright and it’s going to be worth fighting for.

This is something fundamental to Star Trek; it’s a huge part of what makes the franchise what it is. And there’s a massive difference between a show that says “humanity has overcome all of these obstacles, so let’s explore the galaxy” and one that says “everything is ruined but we can rebuild.” These two narrative ideas both have the themes of optimism and hope – but they’re very different kinds of optimism and hope, and they’re presented in totally different ways. It’s not so much that one works and the other doesn’t; see the list of post-apocalyptic media above, all of which use those themes and ideas in some form. But in this case, the post-apocalyptic setting took away something foundational from Star Trek’s setting, utterly transforming Discovery into a completely different kind of series.

Still frame from Star Trek: Discovery Season 3 showing multiple starships exploding.
The Burn.

Here’s the bottom line: Discovery didn’t do anything exceptional with its post-apocalyptic setting. I still think such a massive change to the core of Star Trek would’ve attracted criticism even if the show’s writing had been exceptional from Season 3 onwards, but the simple fact is that it wasn’t. There were some decent episodes and creative ideas in the mix, don’t get me wrong… but Discovery’s biggest problem both before and after this switch to a post-apocalyptic setting was that its storytelling was small, repetitive, and overly reliant on levels of interpersonal conflict and relationship drama that we seldom get outside of soap operas. In short, Discovery’s post-apocalyptic setting turned out to be nothing more than background noise; set dressing for less-interesting stories to play out in front of.

Such a huge change to Star Trek’s galaxy and the damage done to the Federation needed more time in the spotlight and it needed to serve a purpose. In Season 3, part of the story focused on the Burn and figuring out what happened. This story was an ultimately frustrating one, with dead ends and red herrings before arriving at an ending that no one could have predicted. Season 3 teased viewers with a mystery, stringing us along and seeming to reveal clue after clue in different episodes, only to then pull a bait-and-switch to something out of left-field that didn’t feel properly set up. It was pretty annoying – and I know I wasn’t the only one who felt that way at the time.

Still frame from Star Trek: Discovery Season 3 showing an alien marketplace.
A 32nd Century market.

Worse, though, was that Season 3 spent such a long time on what felt like unimportant fluff in comparison to the Burn. The first episodes of the season showed us how far the Federation had fallen; humans on Earth couldn’t even travel as far as Titan, within their own solar system – such was the shortage of fuel and supplies. Earth and Vulcan had both withdrawn from the Federation, and Starfleet wasn’t able to contact many of the Federation’s outlying member worlds and colonies. But instead of exploring what this could mean and telling a story about figuring out what went wrong and how to fix it… Discovery’s writers told half-baked stories about depression, Burnham’s on again-off again relationship with Starfleet, Book and Burnham’s love affair, and more.

To be clear: I don’t think the post-apocalyptic setting would’ve been the right choice regardless, for the reasons outlined above. But Discovery’s writers didn’t even give that premise or the far future setting a chance to win me over. Instead, they tried to jump right back in with stories about Michael Burnham: Chosen One™ – and it just fell so incredibly flat.

Cropped page from the Star Trek: Discovery comic Adventures in the 3nd Century showing Burnham sitting at a console.
Michael Burnham in the comic book Adventures in the 32nd Century.
Image Credit: IDW Publishing/Paramount

There was a metaphor buried in the far future setting that could’ve been timely. But the end of Season 3 ruined it. By taking one of Star Trek’s core technologies – warp drive – and saying that the galaxy as a whole was running out of fuel, there was a chance for Discovery to do what Star Trek has always done: use a sci-fi lens to examine a real-world issue. We rely too heavily on limited supplies of fossil fuels here in the real world, and Season 3 could’ve made a point about the need to innovate, invent new methods of travel and power generation, and tie those issues into the theme of rebuilding and coming back stronger. That could’ve been a powerful story if done well, and it also could’ve finally found a proper use for Discovery’s most controversial addition to Star Trek: the spore drive.

But the discovery of a near-unlimited cache of dilithium toward the end of the season totally undermined all of that. It would be like writing a story about Earth running out of oil and humanity coming together to build new vehicles and methods of power that don’t rely on fossil fuels… only for the story to end with a massive untapped oilfield being discovered. This mixed messaging, and unwillingness to commit to telling stories that could’ve taken advantage of this kind of setting, really tripped up Discovery. The most powerful – and potentially interesting – ideas that could’ve been explored in this kind of setting were just left feeling flaccid and half-hearted.

Still frame from Star Trek: Discovery Season 3 showing Tilly, Saru, and Burnham with a hologram of the dilithium planet.
The Verubin Nebula contained a massive cache of dilithium – and the answer to the mystery of the Burn.

Many post-apocalyptic shows and films tell character-focused stories, and these settings can lend themselves to high-stakes drama. But most of the time, the environment that the characters are confronted with – whether that’s a zombie apocalypse, an ecological disaster, a pandemic, or something else – is at least part of the cause of the tension and interpersonal conflicts. A character like The Walking Dead’s Governor is who he is because of the world he inhabits. Many of the arguments between characters in shows like The Strain or films like City of Ember happen because of the environment they’re in. Even relationships can begin – or be ended – by the stresses of a post-apocalyptic life, as we see in films like Shaun of the Dead or shows like 2008’s Survivors. But Discovery couldn’t even get this right most of the time.

Most of Discovery’s storylines in the far future could’ve worked just as well – better, even, in some cases – without the post-apocalyptic backdrop. Seasons 4 and 5 in particular are both in this camp. The Dark Matter Anomaly that devastated parts of the galaxy would’ve arguably been more impactful if it had been attacking a fully-intact Federation. And the threat of the Breen attack and the Progenitors’ device in Season 5 is the same. They would’ve worked in the same way Deep Space Nine’s Dominion War did: as threats to Star Trek’s post-scarcity technological “paradise.”

Still frame from Star Trek: Discovery Season 3 showing the flag of the Federation.
The flag of the Federation in the 31st Century.

Smaller storylines are also in this camp. Detmer’s half-arsed mental health story in Season 3, Culber’s equally weak depression in Season 4, Adira and their quest to help Gray be seen again, Burnham and Book’s mostly awful on/off relationship, the Ni’Var stories involving Romulans and Vulcans working together… would any of these have worked less well, or even been noticeably different, without the Burn and the devastation it had caused? Or would they have been able to play out almost exactly the same, beat for beat?

Taking the idea of societal collapse as a starting point, Discovery’s writers could have tied in themes of mental health. The character-focused storytelling that they wanted, with high levels of drama and plenty of “therapy-speak,” was potentially well-suited to the post-apocalyptic environment they’d created. But there was almost no attempt to link these two ideas; instead, characters would suffer or sulk for reasons completely unconnected to the world they found themselves a part of. This feels like a horrible missed opportunity considering the kind of show Discovery’s writers and producers wanted it to be.

Concept art for Star Trek: Discovery Season 3 showing Michael Burnham.
Concept art of Burnham (and her costume) produced for Season 3.

For some reason, since Star Trek returned to the small screen, there’s been an insistence on serialised storytelling – but only for one season at a time. Self-contained narrative arcs have been the order of the day, which meant that the Burn, its origin, and crucially, its aftermath were only really in focus in Season 3. A couple of clips at the beginning of Season 4 – as well as a handful of throwaway lines of dialogue here and there – referenced the Burn, but for the most part, it disappeared after Season 3 was over.

There is a partial justification for this: Discovery’s production team were never sure whether cancellation was coming. If there might’ve been one thing worse than a devastated galaxy and an apocalyptic event, it would be leaving the reason for all the destruction unexplained with the show abruptly going off the air! So in that sense, I get why those decisions were taken. Star Trek was still finding its feet in a new entertainment landscape, CBS and later Paramount were on shaky ground amidst the “streaming wars,” and there was no guarantee of a renewal. Setting up the Burn and explaining it in a single season makes sense in that context.

But dumping the Burn after Season 4, and not doing more to explore the consequences of this massive event… that makes less sense to me.

Still frame from Star Trek: Discovery Season 3 showing Su'Kal aboard the wreck of the Khi'eth.
Su’Kal at the source of the Burn.

Star Trek in its heyday was a primarily episodic franchise. There were season-long arcs in Deep Space Nine and Enterprise, as well as Voyager’s seven-year journey back to the Alpha Quadrant. But even in those frameworks, episodic storytelling was still the order of the day for Star Trek. I think it’s no coincidence that the best episodes Discovery told were the ones that were somewhat standalone. Episodes like Season 2’s An Obol for Charon, Season 3’s Terra Firma, Season 4’s Choose to Live, and Season 5’s Face the Strange are all at least partly self-contained affairs. Strange New Worlds has also taken on a much more episodic tone – something that has made that series an absolute joy to watch.

At the start of Season 4, I hoped that Discovery would go down a more episodic route. The Burn could be a starting point, and Discovery could’ve hopped to different planets across the Federation as the galaxy began to rebuild from its aftermath. A story of bringing hope to people who’ve been struggling to get by could have been exceptional if handled well, and the Burn – despite the issues it caused for Star Trek as a whole – was the perfect entry point for telling stories like that. Switching up Discovery to become a more episodic show could’ve given more of the cast a chance to be in the spotlight, with episodes focusing on different planets and different people every week.

Still frame from Star Trek: Discovery Season 4 showing the "butterfly aliens" from the first episode.
Burnham’s brief encounter with these “butterfly aliens” was about as close as Discovery came to the idea of rebuilding the Federation.

To me, this feels like an open goal; a golden opportunity for Discovery to prove the haters wrong. It was a chance to do something meaningful with the Burn and the post-apocalyptic setting that Season 3 – with its unfolding mystery and close focus on Burnham – didn’t really have much time for. Moreover, it would’ve been a great way to explore other aspects of this 32nd Century setting, catching up with factions and races from past iterations of Star Trek.

Despite spending three seasons in the far future, we didn’t so much as glimpse a Klingon. Races like the Ferengi were seen in the background and there were throwaway lines that mentioned the Borg and the Gorn, but none of them ever showed up on screen. Given that the devastation of the Burn was supposedly a galaxy-wide thing, Discovery did absolutely nothing to show us what some of the most iconic and beloved factions in Star Trek were doing in this era or how they were coping. And then there’s the elephant in the room: the Burn was, in a roundabout way, caused by a Federation ship operating under orders from Starfleet HQ. What would the likes of the Klingon Empire or the Cardassian Union do if and when they learned that truth?

Still frame from Star Trek: Very Short Treks showing Garak.
How would the Cardassians have reacted to the Burn – and its Federation origin?

Let’s draw the bare outline of a potential story that would take the Burn as a starting point, tie in one of Star Trek’s well-known factions, and use it as a springboard for some character-focused storytelling. This is just a thought experiment, but I think it’ll illustrate the point I’m trying to make!

After discovering the truth behind the Burn and ensuring it won’t happen again, Captain Burnham and the crew are tasked with jumping to the Klingon homeworld, where a Federation ship has gone missing. Upon arriving at Qo’noS, Discovery is confronted by angry Klingons telling them to leave, and they learn the missing ship has been impounded and its crew are being held. The Klingons, whose empire has fractured and who have been suffering the effects of the Burn for a century, blame the Federation for what happened – and in addition to holding one ship captive, they’re massing for war.

This would be hugely triggering for the crew of Discovery – they’re veterans of the 23rd Century Klingon war, a war Burnham still blames herself for causing. It brings back horrible memories for her and another member of the crew, and they have to wrangle with those feelings while trying to avert a war. The Klingon fleet is low on dilithium, but they’re willing to expend the last of their dwindling resources on a quest for vengeance. It falls to Burnham, Admiral Vance, and perhaps President Rillak to talk them down – offering to re-instate the Khitomer Accords and share the cache of dilithium with the Klingons.

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Pike speaking with a Klingon on the viewscreen.
An episode re-introducing the Klingons could’ve really leaned into the idea of a galaxy devastated by the Burn and its aftermath.

An episode like this would take Discovery’s post-apocalyptic setting and actually do something with it – using it as the driving force for all of the tension, drama, and personal conflict in the story. The Burn devastated the Klingon Empire and they blame the Federation. Burnham has to come face-to-face with the Klingons for the first time since the war, trying to prevent another conflict while also wrangling with the trauma of the last one. Crucially, we’d get to explore one of Star Trek’s most iconic alien races and catch up with them centuries after we last saw them.

If Discovery had told stories like this one, which took the post-apocalyptic tone as a foundation, I think it could’ve been more successful. At the very least, such stories would’ve made the Burn and its aftermath more meaningful, and we’d have gotten a broader exploration of the consequences. Life in a post-apocalyptic setting was never really in focus in Discovery, and aside from the first two episodes of Season 3 and a handful of other scenes here and there, it never stuck the landing. I’m not saying my story outline as proposed above is perfect, but it would at least have leaned into this post-apocalyptic idea and done something more with it.

Behind-the-scenes photo from Star Trek: Discovery's third season showing Book and Burnham.
Behind-the-scenes during production on Season 3.

Instead, much of the rebuilding and diplomacy seems to have taken place off-screen – if we’re to imagine it happened at all. After defeating the Emerald Chain and securing the Verubin Nebula and its dilithium, Starfleet and the Federation seem to have instantly rebuilt, with very little mention of the Burn and its century-long aftermath in Seasons 4 and 5. Considering how massive and transformative this event was for the galaxy, that’s just not good enough. If there was ever a place where the old Creative Writing 101 adage “show, don’t tell” was important, it was here!

Discovery would still have faced an uphill battle, I fear. Ruining the galaxy, devastating the Federation, and forcing survivors to scrounge for resources for decades feels antithetical to Star Trek in so many ways. But if there had been a conscious effort to lean into this idea and use it as a springboard for storytelling that was well-suited to a post-apocalyptic environment, it could at least have worked better or been less bad. The combination of a post-apocalyptic setting with stories that just didn’t fit made things noticeably worse.

Behind-the-scenes photo from Star Trek: Discovery's third season showing most of the main cast with guest star Kenneth Mitchell.
The cast during production on Season 3.

That’s before we come to “the prequel problem,” though.

In brief, Discovery is set in Star Trek’s prime timeline – no matter what some fans might say or what head canon explanations we have, at time of writing Discovery remains in the prime timeline. Everything we’ve seen on screen from Enterprise in the 22nd Century to Picard at the dawn of the 25th takes place in this same setting – which means that the prime timeline is destined to be devastated by the Burn. Going back to watch older episodes of Star Trek doesn’t feel much different, at least not to me, but the Burn and all the chaos and ruination it caused is sure as heck going to taint future stories.

Take Picard’s third season as an example. Admiral Picard and his crew had to come together to defeat a conspiracy targeting Starfleet – and after a hard-fought struggle, they won and saved the day. But because Picard Season 3 premiered after we learned about the Burn in Discovery… at least some of its impact was blunted. Now, don’t get me wrong: Picard Season 3 wasn’t spectacular in its own right. But it was the best and certainly the most complete and coherent story that series had to offer – and yet because we know the Burn is coming in the future, it almost doesn’t matter what Picard and his friends did.

Still frame from Star Trek: Picard Season 3 showing Picard and Jack with the Enterprise overhead.
Other Star Trek productions – like Picard’s high-stakes third season – are also affected by Discovery’s post-apocalyptic setting.

You can look at this problem in two ways.

Firstly, we know in the back of our minds that the Federation will survive – no matter how high the stakes may be in a future project. When Admiral Picard was staring down Vadic and the Borg-Changelings, we knew that, somehow, they’d prevail and Starfleet would win the day. This is the basic problem many prequels have; it was present in multiple episodes of Enterprise, for example, even when that show was at its best.

Secondly, anything our heroes do is rendered somewhat impotent – or at least it’s tainted because we know that, no matter how hard they may work to save the day, the Burn’s gonna happen anyway. Earth and Vulcan will leave the Federation, dilithium will be in short supply, the galaxy will be in ruins, and it will be decades before rebuilding can begin in earnest. Any future story set in the prime timeline – whether it’s Strange New Worlds with its Gorn conflict, Picard’s battle against the Borg, or whatever happened at the end of Prodigy that I still haven’t seen – is a direct prequel to the Burn and the events of Discovery’s third season. Knowing that, even on a subconscious level, is a constraint on any story that aims to raise the stakes.

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Batel and a Gorn.
A Starfleet officer and a Gorn in Strange New Worlds Season 2.

Star Trek exists in – to use a modern term – a persistent shared universe. With the exception of the Kelvin films, which are off to one side, every other show and film exists in the same timeline, and no other series until Discovery has done so much to change the trajectory of that timeline for all of the others. By leaping forward by centuries, and then enacting this massive, galaxy-altering event, Discovery’s writers definitely left their mark on Star Trek. But like a crudely-graffitied penis on the wall of a bus shelter, it’s not exactly a mark that the rest of us wanted to see.

If Discovery existed in a vacuum – as it arguably did at the start of its first season – then perhaps I could understand this change a bit more. It would still be a massive change, and it would still be a constraint on future episodes in a way no other storyline arguably has been. But at least if Discovery were the only Star Trek show in town, racing into the future and depicting an event on this scale would’ve been more understandable and less… selfish.

Concept art from Star Trek: Discovery Season 1 showing the interior of a spaceship.
Concept art of the USS Shenzhou from Discovery’s first season.
Image Credit: Frogland Archive

Discovery’s third season was in production alongside Picard, Lower Decks, Prodigy, Section 31, and also while pre-production work was happening on the pitch for what would eventually become Strange New Worlds. The show’s producers and writers went out of their way to assure fans that Discovery remained in the prime timeline – and that, by extension, the world they were building in Season 3 is the ultimate destination for the prime timeline. And then, either ignorant of the impact it would have or not caring about it, they went ahead and wrote a story that not only altered the entire galaxy for their own show and any potential spin-offs, but for every other Star Trek show, too. Everything from Strange New Worlds to Prodigy became, by default, a prequel to Discovery. And because Discovery’s writers don’t do half measures, they went all-in on the Burn – devastating the entire galaxy, basically ending the Federation as a faction for decades, and utterly transforming Star Trek in the process.

In order for there to be a post-apocalyptic setting (which Discovery largely ignored after the first couple of episodes of Season 3) there had to first be an apocalyptic event. Because Discovery has never turned down the tempo or lowered the stakes, this event naturally had to impact not just the ship and crew, nor even the Federation, but the entire galaxy. And the consequence of this choice is that every subsequent Star Trek production, no matter how hard they try to ignore it, will take place in a pre-Burn galaxy. The Burn is locked in; it’s the direction of travel for the Federation and Starfleet. Not only is that a massive constraint on future stories… it’s also incredibly depressing for a franchise that has always been about a hopeful and optimistic depiction of humanity’s future.

Still frame from Star Trek: Discovery Season 3 showing the junkyard planet.
Slaves at an Emerald Chain scrapyard in the 32nd Century.

When we talked about “head canon” a few weeks ago, I argued that it might be better for Star Trek as a whole to quietly push Discovery’s far future into an alternate timeline. That doesn’t mean abolishing it altogether, but if a future episode – say in the upcoming Starfleet Academy series – were to incorporate that… I think it would be for the best. Star Trek, in my view, ought to do more with the 25th Century setting established by Picard, but the Burn and Discovery’s post-apocalyptic future hangs over any potential new shows or films right now.

Speaking of Starfleet Academy, what does this all mean for the upcoming spin-off?

A series set at Starfleet Academy has been talked about for decades. Gene Roddenberry had the idea originally; his version of the show, as conceptualised in the late ’60s, would’ve seen Kirk and Spock meeting for the first time. Picard’s second season also teased us with a glimpse of the Academy around the turn of the 25th Century – and Prodigy also included similar themes in its second season. But this version of Starfleet Academy has been conceived as a spin-off from Discovery, not only set in the same time period but also bringing in several regular and recurring characters. The likes of Reno, Admiral Vance, and Tilly will be joining the show from Discovery.

Aeriel photo of the Tillman Water Reclamation Plant in Los Angeles.
The Tillman Water Reclamation Plant and Japanese Garden was the filming location for Starfleet Academy during The Next Generation era.
Photo Credit: City of Los Angeles/L.A. Times

I could spend the next few paragraphs lamenting Starfleet Academy’s place in the timeline and explaining why I think it’d work better in the late 24th or early 25th Century. But let’s not do that, eh? Instead, let’s talk briefly about how Starfleet Academy could be more successful with this post-apocalyptic setting than Discovery was.

First of all, let’s try to move back toward episodic storytelling. Look at what Strange New Worlds is doing – it’s possible to mix standalone stories with season-long arcs, and that blend works so much better than anything Discovery or Picard did. That doesn’t mean you can’t have a villain or a big, explosive storyline, as Strange New Worlds has repeatedly proven. It would be so much closer to what Star Trek has been in the past – and, I would argue, much closer to what fans want to see from this franchise.

Behind-the-scenes photo from Star Trek: Starfleet Academy showing the main cast and crew at a table read.
The cast and crew of Starfleet Academy – the series is already in production.

Next, if Starfleet Academy is going to be set in this post-Burn era, the show really needs to lean into that in a way that Discovery didn’t. The show’s blurb talks about how the Academy is re-opening for the first time in decades… so that needs to be a big storyline. As the galaxy begins the slow process of recovery and getting “back to normal” after decades of decline, devastation, and depression, what does that mean for the new cadets, their families, their instructors, and their homeworlds? How has the environment these kids grew up in impacted their lives? Star Trek often does storytelling by analogy – so this could be a way to examine the real-world impact of the covid pandemic on education, just as an example.

Finally, I’d like to see an examination of the consequences of this galaxy-wide event on at least one other faction. Perhaps Starfleet Academy’s villain – who will be played by veteran actor Paul Giamatti – could be a member of a familiar race or faction seeking revenge for the Burn’s impact on his homeworld. At the very least, the Burn and the devastation it caused should be a significant factor in explaining who this character is and what motivates them. Having to survive in a broken, shattered world takes a toll – and that could explain why this villain is as bad as he is.

Still frame from Billions showing Paul Giamatti's character.
Paul Giamatti (Billions, John Adams, etc) will play a villainous character in Starfleet Academy.

Discovery did very little of that. Most of the show’s villains in Seasons 3, 4, and 5 weren’t bothered about the Burn or the post-apocalyptic landscape. The only exception, really, was Zareh; I at least felt that – over-the-top though he was in some respects – he was shaped by the world he inhabited. The rest? Generic, scenery-chewing bad guys who could’ve easily been part of a totally different story set in another era – or another franchise, come to that.

I don’t think Starfleet Academy can really “save” Discovery. By that I mean I don’t think we’re going to look back at the Burn and Discovery’s take on this post-apocalyptic setting after a couple of seasons of Starfleet Academy and re-frame it or change how we think about it. But there is potential, if I’m being as optimistic as I can be, for the new series to make more of this setting than Discovery did, and to perhaps use the post-apocalyptic tone in a different and more successful way, a way better-suited to the environment that the Burn and its aftermath created.

Still frame from Star Trek: Discovery Season 4 showing Captain Burnham addressing a group of cadets.
Captain Burnham and Academy cadets.

At this point, you can probably tell that I’d never have given the green light to a storyline like the Burn if I’d been in charge of the Star Trek franchise in the late 2010s! A post-apocalyptic tone clashes in a fundamental and irreconcilable way with Star Trek, taking away one of the franchise’s core beliefs and the main way it differentiates itself from other sci-fi properties. Even if the storytelling in Seasons 3, 4, and 5 had been stronger, this transformational change to what Star Trek is would have still been a hurdle; even the best narrative concepts and ideas that I can think of would’ve struggled.

But the truth is that, while Discovery did manage some solid episodes after arriving in the far future, the main story arcs weren’t all that spectacular. The Burn itself was a frustrating mystery that had too many dead ends and red herrings, and storytelling after Season 3 completely sidelined not only the Burn but the post-apocalyptic environment that it left in its wake. Discovery’s writers, in a rush to do other things and tell different stories that mostly focused on one character, didn’t do anywhere near enough to justify the Burn and the massive impact it had on the world of Star Trek.

Cropped promo poster for Star Trek: Discovery's third season.
Burnham and the crew on a promotional poster for Season 3.

In one of the first pieces I ever wrote here on the website, back in January of 2020, I warned that a post-apocalyptic setting might not be the right choice for Star Trek. But I gave Discovery a chance to impress me and to do something with that idea that I might not have been expecting. Unfortunately, I don’t think the show really did that. Most of its storylines – both big and small – didn’t need a post-apocalyptic setting to work, and the setting itself fundamentally altered Star Trek – not only for Discovery, but in a way, for every other show, too. One of the core tenets of Star Trek since its inception had been that humanity could overcome the struggles of today and build a better future. Discovery took that better future and upended it – really without a good reason or a narrative that justified something of that magnitude – and in doing so, changed the entire franchise. Sadly, I feel this was a change for the worse.

“Post-apocalyptic Star Trek” was wrong in principle and wrong in practice. It misunderstood why themes of hope and optimism worked in the franchise in the first place, it took away one of the foundations upon which successful Star Trek stories had been built for more than half a century, and it seems to have come about from an unfortunate mix of corporate leaders wanting to jump on a successful trend and writers who thought they were smarter and more creative than those who came before them. While Discovery didn’t abandon or lose sight of the themes of optimism and hope that had been so important to the franchise, it bastardised them and used them in completely different – and too often ineffective – ways.

The original Star Trek: Discovery logo (in use for Seasons 1 & 2).
Discovery’s writers and producers chose a post-apocalyptic tone beginning in Season 3 – and it didn’t work.

Moreover, “post-apocalyptic Star Trek” was executed poorly. The Burn – the event that caused all this devastation – unfolded in a frustrating way in Season 3, and I got the sense that for more than a hundred years, everyone in Starfleet had just been sitting on their hands as the world crumbled, waiting for Michael Burnham: Chosen One™ to swoop in, provide all the answers, and save the day. The Burn and its aftermath was then largely ignored in Seasons 4 and 5, despite offering the series – and the franchise – a chance to tell some genuinely interesting stories that could’ve expanded our understanding of this far future setting. By refusing to lean into the post-apocalyptic idea, Discovery’s writers failed to take advantage of the storytelling potential they had created.

Next, “post-apocalyptic Star Trek” impacts the rest of the franchise – from The Original Series to Picard. All of these shows now take place in a pre-Burn world, changing the way we understand them and perceive them on repeat viewings. For new Star Trek stories produced in the years ahead, this is going to be a lot worse because they’re basically all prequels to Discovery and its post-apocalyptic vision of the future. That knowledge challenges future stories and puts a brake on them in a way we haven’t really seen before.

Still frame from Star Trek: The Original Series Season 1 showing Kirk and Spock on the bridge.
All of Star Trek (except for the Kelvin films) now takes place in a setting we know is bound for an apocalyptic disaster.

Finally, “post-apocalyptic Star Trek” is likely going to be a constraint on Starfleet Academy. I want to be hopeful and optimistic about that series – and I have no doubt that, just like Discovery, there will be at least some fun and creative episodes in the mix. But the backdrop to the show is still a galaxy devastated by the Burn, and I don’t really have confidence in the current production and writing team at Paramount when it comes to doing something meaningful with that. If Starfleet Academy only pays lip service to Discovery’s post-apocalyptic world before racing off to do another “the entire galaxy is in danger!” story, it’ll feel like a waste. If that’s the kind of story the show’s writers want to tell, why not set it in a different time period that might be better-suited to that kind of story?

At the end of the day, a post-apocalyptic setting works for some stories and doesn’t for others. For the stories Discovery’s production team wanted to tell, it just wasn’t necessary for the most part – especially not after Season 3. Unlike other one-off ideas in Star Trek that the franchise has been content to brush aside, this one was so transformative and so utterly changed what Star Trek’s galaxy looks like that walking away from it isn’t possible. There just doesn’t seem to have been any kind of plan for where to take the series after Season 3 or how to use the post-apocalyptic setting to tell stories that wouldn’t have been possible in other iterations of the franchise.

Cropped promo poster for Star Trek: Discovery's third season.
Michael Burnham and the USS Discovery.

So let’s answer the question I posed at the beginning: what went wrong? Fundamentally, “post-apocalyptic Star Trek” wasn’t a good idea as it deviated too far from the franchise’s foundations and roots. It was executed poorly, with most stories either ignoring the post-apocalyptic setting outright or not using it to inform characters or narrative beats. And it relegates any future production set after The Next Generation era but before Discovery’s third season to the status of a prequel, with all of the problems that can bring.

I don’t hate Discovery. There are some genuinely great episodes in the mix, including after the show shot forwards in time. Coming Home, for example, really hits a lot of the emotional notes that it aimed for, especially in the scenes and sequences set at Federation HQ and around Earth. Face the Strange was creative and fun, and a story like Choose to Live felt like classic Star Trek in the best way possible. But given how the show didn’t lean into this post-apocalyptic setting in a big way, devastating the Federation, Starfleet, Earth, and the entire galaxy just doesn’t sit right. It didn’t come close to finding a narrative justification, and given the scale of the change and the resonating impact it will continue to have… that’s not good enough.


Star Trek: Discovery Seasons 1-5 are available to stream now on Paramount+ in countries and territories where the platform is available. The series is also available on DVD and Blu-ray. Star Trek: Starfleet Academy is in production and will premiere on Paramount+ in the future. A broadcast date has not yet been announced. The Star Trek franchise – including Discovery 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.

Ten Star Trek Storylines That Should Be Non-Canon

Spoiler Warning: There are spoilers ahead for the Star Trek franchise.

We’ve recently talked about some of my Star Trek “head canon” – i.e. theories and ideas I have about Star Trek that aren’t confirmed on screen, but make sense to me! Click or tap here to check out that piece, by the way… I talk about things like cloaking devices, the Borg, and more. If that article was about things in Star Trek that aren’t canon but should be, then today we’re gonna do the exact opposite! These are ten Star Trek storylines that I fully believe should be non-canon.

Before we go any further, a couple of important caveats. First of all, this is a controversial subject! As Trekkies, we all have different opinions about what makes a fun and successful Star Trek story… and that’s okay. There should be enough room within the Star Trek fan community for differences of opinion and disagreement without spiralling into arguments. Everything we’re going to talk about is the entirely subjective opinion of one Star Trek fan, and I’m well aware that my opinion will be the minority one in some cases. As I’ve said before: no theory or opinion is worth getting angry or worked up over!

Early concept art of the Enterprise-D.
Image Credit: Forgotten Trek/Frogland Archive

It should go without saying, but none of these stories or episodes will ever actually be “removed” from Star Trek’s canon. The title is really a tongue-in-cheek way of me saying that I either dislike a particular storyline or feel that its presence in the broader Star Trek universe is a stumbling block for other narratives that I prefer. This isn’t like that awful clickbait article that did the rounds a few months ago claiming that “Discovery is non-canon now!!1!” This is just for fun; a thought experiment for people like us who like to spend a bit more time with the Star Trek franchise after the credits have rolled.

With all that being said, if you aren’t in the right headspace to get into some potentially controversial Star Trek topics, this is your last chance to nope out!

Let’s jump into the list.

Storyline #1:
The destruction of Romulus.
Star Trek ’09, Picard, Discovery, et al.

Romulus was destroyed by a supernova.

In Star Trek ’09, the destruction of Romulus was kind of haphazardly thrown in as a way to justify Spock’s involvement in the story and tee up Nero as a villain. And at the time that film was being written, I guess it’s not unfair to say that a full-scale revival of the Star Trek franchise on the small screen seemed beyond unlikely! But after Star Trek was brought back and returned not only to the prime timeline but to the late 24th Century (and beyond), the destruction of Romulus has proven to be a difficult storyline for subsequent productions to navigate.

Picard was the first to pick up this story thread in its first season, showing a few flashbacks to Admiral Picard and his Romulan rescue plan. Romulan refugees also cropped up in Season 1… but the show didn’t really know what to do with them or how to handle the Romulans as a whole after the loss of their homeworld. The character of Elnor could’ve been a great point-of-view character for exploring this post-destruction Romulan Empire… but Picard’s writers had other ideas, and the character was abandoned.

Elnor was unceremoniously dumped before we could spend much time with him.

Discovery brought back the idea of Romulan-Vulcan reunification in the far future, and managed at least one creditable effort with that premise. But again, this story was a one-off and didn’t really go much further, even when Vulcan leader T’Rina became a recurring character. The fact that Romulus had been destroyed – centuries in the past from this vantage point – didn’t really come up in a big way, either, and I reckon Discovery’s Ni’Var storyline could’ve worked just as well without it.

The Romulans are one of Star Trek’s most iconic villains – perhaps in third place behind only the Klingons and Borg. To destroy their homeworld – the core of their empire – for what was essentially a throwaway scene and the backstory of an over-the-top villain… I dunno. It feels extreme, which Star Trek ’09 was in some ways. But any stories set after the late 24th Century are now constrained by this massive narrative beat, and will arguably miss out on one of the franchise’s best villains. The Romulans are certainly one of Star Trek’s most shadowy, clandestine factions, and damaging them so severely that it would take them decades if not centuries to recover, while also impoverishing at least some of their survivors… it places real constraints on future stories.

Storyline #2:
Suspiciously human-like aliens on many different planets.
The Original Series

These are meant to be aliens. From outer space.

When we reach the final frontier and explore strange new worlds… we’re going to meet aliens and totally new forms of life. We aren’t going to encounter an exact duplicate of Earth, a planet where everyone dresses like it’s Germany in the 1930s, or a planet where whose inhabitants – who don’t look even remotely alien – think they’re living in Ancient Rome. In a word… these old episodes of The Original Series (and some from The Next Generation, too) aren’t sci-fi enough!

There’s a perfectly reasonable explanation for this, of course: it was the ’60s, and The Original Series had a limited budget to work with. The show would use stages and props that had been built for other projects, or Paramount’s backlot, meaning explanations had to be found and aliens created to fit with those existing sets. There were also limitations to the prosthetics, puppets, and practical effects that could be designed and built, and with twenty-five episodes per season to write… some liberties had to be taken with the way aliens looked and behaved.

Kirk leads an away team to Miri’s planet: a clone or twin of Earth.

But for me… let’s just say I’ve always been less keen on these too-human alien societies. I think there’s an interesting head canon explanation (that I go into in more detail in a standalone piece that you can find by clicking or tapping here) that basically says that these are lost or forgotten human colonies from the early days of pre-Federation spaceflight. But that only works if you buy into my theory! As presented on screen, we’re meant to take these societies to be Earth-like aliens… and I just don’t think that works if we’re taking Star Trek seriously as a sci-fi universe.

Space is big and space is weird – so there are bound to be incomprehensible things out there for our heroes to encounter. But too often, especially in The Original Series, we’d get these “aliens” that were not only physically indistinguishable from humans, but whose societies and even planetary geography was identical to some part of human history, too. Don’t get me wrong, many of these episodes are a ton of fun and they’re part of what made Star Trek what it is today. But I just don’t think they have a place in the franchise any more… and they haven’t for decades.

Storyline #3:
Most of the mission to 2024.
Picard Season 2

Los Angeles as seen in Picard Season 2.

I’ve had a piece in my writing pile for a couple of years tentatively titled “Star Trek: Picard – The Movie,” in which I’m going to argue that Picard’s second season (which I generally didn’t like) would work so much better as a cut-down two-hour-ish movie rather than a ten-episode season. I’d keep the attack on the Stargazer and the arrival of the Borg, I’d keep the Confederation timeline and the Borg Queen’s corpse, and I’d keep Agnes’ assimilation. But after that I’d cut out almost all of the 21st Century stuff, including all the revelations about Picard’s past and Q being on his deathbed, streamline the story by saying Q’s real objective was to prevent the mysterious anomaly from destroying the Federation, and launch Picard and his friends back to the bridge of the Stargazer.

For me, Picard’s second season spent way, way too long wallowing in a boring 21st Century environment that robbed the story of basically everything that feels like Star Trek, and I didn’t enjoy it. There was the kernel of an interesting idea, with Picard having to confront childhood trauma. But that storyline completely fell apart, it didn’t expand our understanding of Jean-Luc Picard as a character in any meaningful way, and parts of it felt almost like “torture porn;” throwing Picard (and other characters like Raffi and Rios) into a series of traumatic events that served no real narrative function. Picard’s story just didn’t give us much of anything, Raffi’s was undone with seconds to spare at the end of the season, and Rios’ story was written in a weirdly contradictory way to facilitate his exit from the series.

The new USS Excelsior.

So I’d cut out all of that, and I’d streamline Picard’s second season into a much more reasonable two-hour movie. There’d still be time for what I said in my review was one of the best and most frightening presentations of the Borg that we’d seen in decades, there’d still be a way for Q to play a part, and we could hop over to the Confederation timeline for a little while to get a Mirror Universe-inspired alternate reality look at Picard and Earth. But the mission to the 21st Century could be seriously cut back to only a few minutes, with perhaps one objective for Picard and the gang: to ensure the Europa Mission launches on cue.

I really ought to finish writing up my longer piece on this idea, because I can’t fully do justice to it in just a few paragraphs! Stay tuned here on the website, because I daresay I’ll get around to it one of these days! For now, suffice to say that Picard’s random wandering through 21st Century Los Angeles (and a suspiciously California-like France) should be dumped.

Storyline #4:
Captain Archer versus the Borg.
Enterprise Season 2: Regeneration

Reed and Archer take on the Borg.

I genuinely enjoy Regeneration as a one-off episode, and I think it was a fun idea to bring the Borg into Enterprise… even if it was pretty obvious that the reason for doing so was to boost the show’s flagging ratings. But stepping back and thinking about what it means for the history of Borg-Federation contact, Regeneration really screws with a timeline that has already been meddled with!

There are three angles to approach this from, and all of them are bad. Firstly, we have what this storyline says about Picard and the crew of the Enterprise-E. First Contact made clear that Picard had ordered his ship hidden so as not to accidentally interfere with humanity’s first warp flight and the Vulcans’ arrival on Earth. But apparently they totally ignored, forgot about, or didn’t think to scan for Borg debris from the ship they’d destroyed. It presents Picard and co. as incompetent at best when it comes to cultural contamination, and given how meticulous we know he is… it just doesn’t track that there’d be all this debris left behind, including fully intact and functional Borg drones.

An assimilated shuttle versus the Enterprise.

Next, the Borg sent a message to the Collective in the Delta Quadrant, basically making the whole First ContactRegeneration story a time-loop paradox. It also seriously muddles the question of how and when the Borg first encountered humanity. Was it when they received this message? Was it when they assimilated the Hansen family in the 2340s? Voyager had already messed with the Borg quite a lot thanks to Seven of Nine and the Borg Queen, so this additional complication was not helpful! Turning the story of humanity’s first contact with the Borg into this kind of paradox is not what I wanted to see.

Finally, there’s what this story says about Starfleet. Captain Archer encountered a race of cybernetic beings who sent a message to the Delta Quadrant. Years later, the Federation took in El-Aurian refugees whose planet had been attacked by the Borg. Yet for some reason, by the 24th Century, all knowledge of both of these events was suppressed, deleted, or just not taught at the Academy. Given how hard Archer and his crew had to work to stop a handful of drones, you’d think they’d have recorded the details of what they did and what they were up against so that future Starfleet explorers wouldn’t be starting from scratch. This is a typical “prequel problem” of the kind Enterprise created on more than one occasion. For all of these reasons combined, though, Regeneration’s 22nd Century Borg storyline joins this list.

Storyline #5:
Warp 10 as a hard limit on travel.
The Next Generation, Voyager Season 2: Threshold, et al.

The Enterprise-D jumps to warp.

Star Trek has been pretty inconsistent with how warp speeds and travel times are depicted. I have a head canon explanation that basically says Starfleet re-designates warp factors as newer and faster engines are created… but that only goes part of the way to plugging some of the apparent plot holes that almost six decades’ worth of stories have accumulated! Long story short, most Star Trek productions from The Next Generation onward present warp one as the speed of light and warp ten as an unachievable goal; a speed that would allow instantaneous travel anywhere in the galaxy. But that doesn’t fit with what we see on screen.

What is “transwarp?” Is it speeds faster than warp 10? The Borg seem to be able to travel beyond warp 10 through their transwarp network, potentially cutting the time needed to reach Earth from the fringes of the Delta Quadrant from decades to hours. Then there’s the notorious Voyager episode Threshold, which saw Tom Paris and Captain Janeway travel faster than warp 10 (though still not fast enough to reach Earth), before mutating into salamanders.

It’s Paris and Janeway…

I think it would be so much better if Star Trek dropped this idea that warp 10 is a kind of hard limit. Speeds beyond what we understand as warp 9.9999 are clearly possible, as we see the Borg, the Kelvan Empire, Arturis’ species, and many others are able to travel far faster than Starfleet. So why not drop this idea in favour of new warp factors – perhaps a show or film set in the Picard era could introduce the first warp 12 engine, for example, and Star Trek could grow from there.

Threshold as an episode can pretty much be written off, too! I don’t think anyone will miss it. Recent developments, like the Kelvin timeline’s transwarp beaming and Discovery’s spore drive, can also be used to travel great distances in a short period of time. There’s potential for future stories to pick up these threads, too.

Storyline #6:
The Prophets are responsible for Sisko’s birth.
Deep Space Nine Season 7: Image in the Sand + Shadows and Symbols

A photo of Sisko’s Prophet-posessed mother.

Star Trek has never believed in things like fate or destiny, and for me, this storyline about the Prophets deliberately conceiving Benjamin Sisko so he could one day become their emissary is dangerously close to that idea. It also turns Sisko’s entire arc across Deep Space Nine into a giant predestination paradox; he became the emissary because the Prophets created him. It challenges and undermines really his entire personality all for the sake of having a twist in a couple of episodes.

Part of what was interesting about Deep Space Nine was the intersection of religion and science. The Bajorans worshipped the “gods” of the wormhole, but Sisko and the rest of the Starfleet crew saw them as just another alien race to make first contact with. And Star Trek has always leaned more on the science angle than the religious whenever questions like this have come up; as the audience, we’ve always been on Starfleet’s side, too, seeing entities and aliens like these as another race in the galaxy – not deities who are responsible for guiding the lives of our heroes. Deep Space Nine ventured into spirituality in a big way, and until Seasons 6 and 7 mostly stayed on the right side of that line.

A high-definition render of the Bajoran Wormhole from the documentary What We Left Behind.

These episodes kicked off a longer story arc across Season 7 which also involved Kai Winn and Dukat. The conflict between the Pah-Wraiths and Prophets took on this Christian apocalyptic tone, with Sisko akin to an almost Christ-like figure, predetermined from before his conception to play a pivotal role in this struggle. While this story was interesting in its own right, it’s also inherently un-Star Trek in a significant way.

Because the Prophets exist outside of linear time, that gave Deep Space Nine’s writers a lot of wiggle-room. But for me, this paradox was a bridge too far. Star Trek can and should tackle religious themes, but in my view it works best when stories take a more detached and scientific approach to these topics.

Storyline #7:
The Klingon-Augment virus.
Trials and Tribble-ations, Enterprise Season 4, et al.

A Klingon affected by the Augment virus.

I don’t believe that every single aspect of Star Trek demands an on-screen explanation. The Klingons that Kirk met in The Original Series look different from those that we’d later see in The Motion Picture and from The Search for Spock onward – and that’s okay. Fans could make head canon explanations if they wanted, but there was just no need for an in-universe explanation of this change in prosthetic makeup… especially not one so convoluted.

The origins of this can be traced back to the otherwise excellent Trials and Tribble-ations – the Deep Space Nine episode made for the Star Trek franchise’s 30th anniversary. That story saw the crew of DS9 interacting with Kirk’s crew, using newly-developed editing techniques to integrate new characters with old footage. It was an incredibly creative episode and a fun story… but it came with a problem! At one point, a couple of characters make reference to the way Klingons look, asking Worf about it. This was the first on-screen acknowledgement that something had changed.

Worf’s line in Trials and Tribble-ations was the first on-screen acknowledgement of the aesthetic changes the Klingons underwent.

Enterprise, several years later, took this idea and ran with it, crafting an intricate (and pretty dumb) multi-epiosde arc that introduced the Klingon-Augment virus: a genetically-engineered creation that infected Klingons with human DNA, physically changing their appearances. In the writers’ minds, this “closed a plot hole,” but I would argue very strongly that it was one that never needed to be closed. Even if it did, and even if we desperately want to find a way to acknowledge the change in makeup used for the Klingons with an in-universe explanation… I just found this particular story to be convoluted and weak.

More recent Star Trek projects have, thankfully, quietly dropped this idea. The Kelvin films and Discovery admittedly had their own issues with re-interpreting the aesthetics of the Klingons, but Strange New Worlds – which is set in the 23rd Century and has featured the Klingons on more than one occasion – has basically reset the way they look. There’s no reason to bring up this idea again – and I sincerely hope Star Trek can continue to walk away from it!

Storyline #8:
The Burn (as part of the prime timeline).
Discovery Seasons 3-5

The Burn.

Discovery’s second season probably had some of its best individual performances, thanks to the inclusions of Captain Pike and Spock. But for me, most of Discovery’s best episodes actually came after the series shot forward into the far future, leaving behind much of what we’re familiar with in the Star Trek galaxy. Unfortunately, though, Discovery’s writers and creatives wanted the show to focus more on Burnham’s increasingly soap opera-like personal relationships and attempts at depicting characters overcoming traumatic events (that mostly didn’t work as intended). As a result, we didn’t spend as much time as I’d have liked with either the Federation or other factions in this potentially-interesting setting.

Another piece I’ll have to write up in full one day is whether Discovery’s “post-apocalyptic Star Trek” idea worked or even came close to working. But for now, I think we can at least make the case that the Burn is a pretty depressing future for the prime timeline, and that pushing Discovery’s far future into some kind of pocket universe or alternate reality wouldn’t be a terrible idea for the franchise as a whole.

Discovery never really did anything with its “rebuild the Federation” idea.

I’m hopeful that there will be more Star Trek on our screens in the years ahead – and that at least some of it will return to the 24th and early 25th Centuries. But any show or film using that setting (or really any pre-Burn setting) becomes, by default, a prequel to Discovery’s third season. That means, in the backs of our minds, we know that no matter what our new heroes might do, however they might find creative ways to save the day… the Federation and much of the galaxy is going to end up devastated in a few hundred years anyway. It puts a brake on future Star Trek stories in a way that we haven’t really seen before.

If Discovery had done more with the idea of rebuilding the Federation and restoring Starfleet values to the galaxy, that feeling would persist but it would be somewhat lessened, I feel. But because that didn’t happen, the Burn and its aftermath really are little more than fluff; background details for other, less-interesting stories to play out in front of. Given the sheer scale of the Burn and the devastation it wrought… that’s not good enough for me. I don’t want to remove Discovery’s latter seasons entirely, as there’s some good storytelling in there and some fun episodes. But finding some way to push it out of the prime timeline and into some kind of alternate reality… let’s just say it would be a net positive. Maybe in Starfleet Academy?

Storyline #9:
Neelix’s romance with Kes.
Voyager Seasons 1 & 2

Blegh.

This is an uncomfortable one… but Neelix’s love for Kes in some early episodes of Voyager didn’t have the cutsey or romantic vibes that the writers may have been hoping for. The age gap between Neelix and Kes made the whole thing feel a bit… icky. Thankfully it wasn’t in focus for too long, because if it had been I genuinely think it could’ve ruined Neelix as a character.

Ocampans are a very short-lived species, and Kes was either one or two years old in Voyager’s premiere. The implications of that when considering Neelix’s feelings are just unpleasant, but even if you push that to the back of your mind, there’s no getting away from the fact that Kes is basically a teenager or young adult while Neelix is in the Talaxian equivalent of middle age.

A jealous Neelix.

We’d also see Neelix getting possessive of Kes, with episodes like Parturition and Twisted being prime examples of this. The contrast between Neelix’s usual jovial, friendly persona and the jealousy and anger he could feel has genuinely uncomfortable undertones. For anyone who’s ever been in a toxic relationship with a narcissistic or possessive partner, there are parallels in this presentation of the two sides of Neelix that could be triggering.

I wish we’d got to spend more time with Kes; in my view, she was unfairly dumped from Voyager. In recent years there’s been speculation as to exactly what happened behind-the-scenes, informed, at least in part, by actress Jennifer Lien’s struggles and issues. I don’t really want to get into all of that, but suffice to say that I would have happily kept Kes as part of Voyager’s roster if I’d had the option. But I’m glad that this Neelix romance angle didn’t stick around beyond the first couple of seasons – and that it was only present in a big way in a handful of stories.

Storyline #10:
The Borg Collective has a leader.
(And she’s weirdly obsessed with a couple of random humans for some reason).
First Contact, Dark Frontier, et al.

The Borg Queen in her first appearance.

This could be one of my most controversial Star Trek “hot takes,” but… the Borg Queen kind of ruins the Borg. What made the Collective so scary in its first appearances was that it was akin to a force of nature; incomprehensible, unstoppable, and unable to be reasoned with. The Borg operated as one hive mind, with no individuals or individuality, united in common purpose: the pursuit of technology and an unknowable idea of “perfection.”

The Borg Queen was created because the producers/writers of First Contact believed that the film needed a villain for Picard and Data to wrangle with – a unique individual Borg who could have more personality than any drone. But this completely misunderstands what the Borg represented and what made them so frightening. In doing so, it robbed the faction of one of its most important and unique features. The Borg Queen’s apparent obsession with Picard, Seven of Nine, and humanity as a whole developed from this… and really takes a lot away from the original concept of the Borg as this incomprehensible, uncaring, unknowable adversary.

A different depiction of the Borg Queen.

A big part of many Star Trek episodes (so much so that it’s become a cliché) is “they were only trying to communicate!” Many of the franchise’s stories present our heroes with apparently hostile aliens or scenarios, only to learn later that what they wanted was to talk or be understood. Other stories introduce a villain who can ultimately be reasoned with, even if they initially seemed hell-bent on destruction. The Borg’s original presentation, prior to the introduction of the Borg Queen, precluded even the pretense of negotiation, compromise, or really any kind of meaningful communication. The Borg had one objective, and there was no way to dissuade them from it. They viewed humanity and the Federation as a resource, and nothing more.

By introducing a Borg leader, someone who has a unique personality (even though she claims to be a manifestation of the Collective; I’m not buying that based on how she comes across on screen) the most unique trait the Borg had has been erased. And what replaces it is little more than a generic “I’m evil for no reason and I love it” scenery-chewing bad guy. The Borg, prior to the Queen’s appearance in First Contact, were so much better, so much more frightening, and completely unique.

So that’s it… for now!

The Klingon monastery on Boreth.

We’ve talked about ten Star Trek storylines that should be non-canon… at least in my completely subjective opinion!

I hope this has been interesting. It’s certainly been a bit of fun for me to revisit some of these episodes and stories. Some, like Enterprise’s Borg episode, are totally fine in isolation… but start to create problems when you think about them in the wider context of the Star Trek franchise. Others, like Neelix and Kes as a couple, didn’t work from day one and I’d be happy to just pretend the whole thing never happened! None of these storylines will ever actually be “removed” from Star Trek’s canon, though, so if one of your favourites is on the list, don’t panic!

We’ve talked about questions of canon quite a lot in the past few weeks, and I’ve had a lot of fun writing about some of these subjects. My “Borg teasing” theory is something that I’ve been kicking around for literally decades, and I also had fun adding to my list of minor things in Star Trek that bug me! I don’t know what’s next – perhaps a longer write-up of one or two of the points on this list could make for a fun article or essay. Stay tuned, though, because there’s plenty more Star Trek to come here on the website in the weeks and months ahead!


Most of the TV shows and films referenced above are available to stream on Paramount+ in countries and territories where the platform is available. The Star Trek franchise is also available on DVD and Blu-ray. The Star Trek franchise – including all episodes, films, and 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.

Star Trek: The Borg Teasing Theory

Spoiler Warning: Beware of spoilers for the following Star Trek productions: The Next Generation Seasons 1-3, Voyager Seasons 4-7, First Contact, Enterprise Season 2, Prodigy Season 1, and Picard Seasons 1-3.

Let’s talk about everyone’s favourite Star Trek villain: the Borg Collective!

Okay, maybe that’s a tiny bit of an exaggeration! But the Borg are certainly up there as one of the Star Trek franchise’s most iconic and frightening villainous factions, and there’s no shortage of theories and speculation in the Star Trek fan community about how the Borg operate and what their methods and overall goals are. I thought we could touch on one aspect of that today.

I briefly outlined what I’m calling the “Borg Teasing Theory” in a post here on the website a couple of days ago. That piece was all about some of my personal head canon explanations of unseen, unexplained, contradictory, or vague things from across the Star Trek franchise – but I thought this particular theory warranted its own full article! Click or tap here to check out the rest of my head canon, if you’re interested in my take on the likes of warp factors and cloaking devices.

The Borg are coming!

So what’s the tl;dr of this theory? In brief: the two major Borg attacks on Earth during The Next Generation era – as depicted in The Best of Both Worlds and First Contact – weren’t 100% serious attempts to assimilate the entire planet or the Federation. They were, in a word, teases. The Borg Collective hoped to push Starfleet and humanity to develop new weapons, shields, scanners, and medical technology in the years after their incursions – which they would then be able to assimilate when they launched a full-scale invasion at some point in the future. In short: the attacks were not attempts at total conquest and were not intended to fully succeed at assimilating Earth.

We’ll get into detail in just a second, but before we go any further, I have a couple of important caveats. Firstly, all of this is the entirely subjective take of just one old Trekkie. If you hate this theory, think I’ve got it completely wrong, or feel I’ve misunderstood some key part of Star Trek that would invalidate it… that’s okay. None of this is canon or likely to ever be confirmed on screen anyway! Secondly, I’m not claiming to be the sole inventor of this theory. Other Trekkies may very well have come up with similar ideas independently, and I’m not taking credit for anyone else’s work or theories.

A Borg drone.

Finally, a word about fan theories. I like writing and I like Star Trek, so writing about Star Trek is a fun way for me to spend a little more time in this world. But no fan theory – not even one that seems totally plausible – is worth getting upset or worked up over. As I said a moment ago, none of this is canon and may very well be totally debunked in the future. Given the status of the Borg Collective after Picard Season 3 (and Paramount’s shaky finances), we may never get another Borg story anyway. But this is supposed to be a fun exploration of a theory I’ve had kicking around in my mind for decades, not something to take too seriously.

Phew, that was a lot! But with the caveats out of the way, it’s time to jump into the theory!

Let’s start by explaining what this “tease” is. As I outlined briefly above, I believe that the Borg were not fully serious or committed in their two attacks on Earth. My evidence for this is simple: on both occasions, the Borg sent only one single ship to Earth. A Borg cube can contain, depending on which episode we use as a source, up to 100,000 drones. Given the size of Starfleet, the number of ships at the Federation’s disposal, and even just the population of Earth itself (which could be somewhere in the region of 9-10 billion in the 24th Century) one ship and 100,000 drones doesn’t seem like a large enough invasion force.

A Borg cube hovering over Earth…

Assuming the Borg cube from either Wolf-359 or the Battle of Sector 001 managed to defeat Starfleet’s armada and Earth’s planetary defences, and was able to successfully transport down all of its drones, the logistics of assimilating such a large population don’t track. If Earth’s population is 10 billion and there are 100,000 Borg, that’s a ratio of 100,000-to-one – meaning each Borg drone would need to have a hand in the assimilation of 100,000 humans. With only a single ship, any ground invasion would be vulnerable to Starfleet regrouping and returning; the destruction of the cube would cut off Borg forces on the ground.

Despite jokes I’ve made before about Earth being undefended, it’s still the headquarters of the Federation, with Starfleet Academy and Starfleet HQ on the planet, too. There are going to be thousands of armed Starfleet security personnel, Federation HQ guards, Section 31 operatives, and others on the planet. Even if resistance was scattered at first, and the Borg were able to shut down Starfleet communications, resistance on Earth would be ferocious. To jump over to a different franchise for a point of comparison: look at the Reaper war in the Mass Effect series. The Reaper invasion of Earth was hampered at every turn by resistance fighters from all walks of life, led by the remnants of the Alliance military. There’s no reason to think a Borg attack on Earth wouldn’t lead to a similar resistance movement springing up, with armed civilians led by Starfleet personnel.

Even under extreme pressure, Starfleet tactical personnel would mount a significant resistance to any Borg invasion of Earth.

With the Borg preoccupied with a war of attrition on the ground, their sole vessel in space would be vulnerable. The cube might’ve been able to beat off Starfleet’s initial armada, but that was a hastily thrown together gaggle of whatever ships were on hand when the Federation realised what was coming. Ships were brought out of mothballs and unqualified officers were tapped to take command. With Starfleet being better-prepared and having time to regroup – while also calling on allies like the Klingons – round two against the cube would go a lot better!

So even if the initial attack was successful and the Borg managed to defeat a defence force and land drones on Earth, it would be a matter of time – days or perhaps a couple of weeks – before Starfleet would be back with a much larger fleet. The Borg cube may have beaten the Federation’s hastily-arranged defence ships, but the full might of Starfleet, combined with Klingons and other allies and backed up by tactical data gained from the earlier battle, would – in my opinion – have a strong chance of destroying the Borg’s only vessel in the system. After that, it’s just a case of landing as many troops with modulated phasers (and Klingon bat’leths) and mopping up the remaining drones.

Klingons wielding bat’leths could cut through a Borg army!

To me, this is the most likely outcome for both the Battle of Wolf-359 and the Battle of Sector 001. And the Borg, having studied humanity and the Alpha Quadrant, are undoubtedly aware of this. One ship, even maxed out with as many drones as possible, simply can’t assimilate Earth on its own – let alone expand the fight to the rest of the Federation and its allies.

But why do I think the Borg Collective has the resources to launch a bigger attack? Simple: take a look at the Collective in its Delta Quadrant home in Voyager. The Borg’s Unicomplex alone contained more than a trillion drones, with the entire Collective perhaps comprising quadrillions of Borg. There may be tens or hundreds of thousands of Borg cubes – not to mention other Borg outposts, space structures, and assimilated planets. The sheer scale of the Borg Collective is what makes it so powerful, so frightening, and such a dangerous opponent. So why would the Borg choose to attack Earth in such a small-scale way?

The destruction of the Borg cube in First Contact. Did the Borg plan for this outcome?

Given how powerful a single cube could be, a fleet of perhaps a dozen would make light work of anything Starfleet and its allies could muster. And with two million drones instead of just 100,000, the Borg’s ground offensive would be much quicker and would be more easily able to overcome any resistance. The assimilation of Earth could proceed much more smoothly – with only a minimal amount of extra investment from the Collective. For a faction with 10,000 ships, using twelve on this one task is barely a drop in the ocean. We’ve seen the Borg assimilate other Delta Quadrant races, like Arturis’ species from the episode Hope and Fear, using “overwhelming force.” One single cube is not, I would argue, the kind of overwhelming force needed to conquer Earth and the Federation.

So to be clear: this part of the theory states that the Borg have the means to easily overpower and outgun the Federation and its allies and achieve the task of assimilating Earth. They have no reason not to go all-in and fully commit to this invasion; they aren’t worried about loss of life, there’s no Borg economy to be damaged by building extra ships, and if their target is to fully conquer Earth and the Federation, they could do so with ease. But they don’t do that. Instead, on two separate occasions they’ve sent a single cube. Why?

The Enterprise-D battling a Borg vessel.

To answer that, we first have to consider what the Borg are and how they operate. The Borg are a hive mind, operating as one. They have assimilated – according to their own sources – at least 10,000 species across the thousands of centuries that they’ve existed. But because they’re one hive mind, they lack creativity. They lack inventiveness – and with that, we can infer that they don’t have the ability to create brand-new technologies any more.

The hive mind is adaptable, and having been introduced to something – say, a particular phaser modulation – the Borg can adapt. Adaptations are rolled out at transwarp speeds across the entire Collective, meaning that any Borg encountering that specific phaser modulation in future will be protected. But adapting to something isn’t the same as inventing – and this lack of creativity and inventiveness could be a problem for the Collective.

After being exposed to a new technology or weapon, the Borg can adapt.

So how does the Collective acquire new technology, then? If they don’t develop things themselves they must get them from somewhere, right? I mean, the Borg are more technologically advanced than the Federation and that didn’t happen by accident! The answer is simple: the Borg acquire everything from information to technology through assimilation.

This was their weakness when confronted with Species 8472. They couldn’t assimilate a single member of the species or one of their ships, so they were left blind and helpless. And this, I would posit, is the fundamental reason why they “tease” certain species – like humanity. We probably aren’t a unique case; I believe this is a tactic that the Borg will have deployed on countless other occasions against similarly creative and adaptable species. But it’s a tactic that the Collective knows can work to its advantage.

The Borg were unable to assimilate any member of Species 8472 or their technology – rendering them blind and ineffective against their attacks.

The objective is simple: by making a relatively small demonstration of their power, the Borg incite fear in their targets. This fear leads to huge investments in weapons, shields, starships, and the like… all of which the Borg want. On one hand, the Borg want to see if their target can find a weakness in the Collective and its technology so they can prevent anyone else from exploiting it in the future – basically rolling out a Collective-wide “patch” to fix any weaknesses or vulnerabilities that the target species may have identified. And on the other hand, the Borg want any species they target to have achieved their full potential – giving the Collective the best, newest technologies that the target could create. This is how the Borg – at least in my opinion – are able to acquire new technologies.

And this is what they’re doing to Earth, humanity, and the Federation at large. By launching these attacks, the Borg are pushing the Federation and Starfleet to develop new technologies, whether that’s weapons, ships, medical supplies, transporters, shields… the list goes on. Perhaps the second incursion was intended to see how far Starfleet’s new inventions had come, or maybe it was just a second “tease” to force Starfleet to keep working and keep inventing. Either way… it worked.

A Borg drone being killed by a phaser blast.

Why would the Borg target Earth, though? It’s not like they need Earth specifically for its location or resources, and Earth isn’t even close to the Borg’s native territory. The Borg are mostly in the far-off Delta Quadrant, though they may have colonies or outposts somewhat nearer to the Federation, such as on the El-Aurian homeworld. So the question remains: why Earth? When there are so many other planets and species in between the Borg’s home territory and the Federation, why jump halfway across the galaxy for an invasion?

We already know that the Borg don’t assimilate everyone they come across. In fact, the Borg can be downright picky – opting to ignore the Kazon, for instance, as they were deemed “unworthy” of being assimilated as they’d somehow detract from the Borg concept of perfection. It stands to reason that some species may be of more interest to the Borg – even those in a faraway part of the galaxy. I think the El-Aurians are a prime example: their homeworld, while nowhere near Earth, seems not to have been on the very borders of Borg space, either. Yet the El-Aurians were targeted – perhaps for their telepathic powers, or perhaps because the Borg considered them a threat. This is a species, lest we forget, that has tangled with the Q Continuum and forced them to the negotiating table. The same basic reasoning may apply to humanity.

The Borg deliberately targeted the El-Aurians (Guinan’s people), even though they may not have been anywhere near Borg space.

Humanity has to be one of the most resilient and creative species that the Borg have ever encountered. Humans were able to track a Borg vessel and develop technologies to keep themselves hidden from the Collective while studying them – this is what Seven of Nine’s parents, the Hansens, did in the 2340s. This may have been the Borg’s first encounter with a human… and their curiosity was piqued!

Then, not long after the assimilation of the Hansens, the Borg received a strange message. Originating two centuries ago in a far-flung part of the galaxy, it told the tale of a time-traveling sphere, a planet of spacefaring people, and a climactic battle. The Borg who survived the Battle of Sector 001 had crash-landed on Earth in the past, only to be awakened by humanity in the 22nd Century. Captain Archer and his crew were able to stop them – but not before they sent a message to the Collective in the Delta Quadrant. Between the message from the past and the assimilation of the Hansens, the Borg must’ve realised how significant Earth and humanity could be for the Collective.

A small group of Borg were able to signal the Collective in the 22nd Century.

After receiving this “blast from the past” transmission, assimilating the Hansens, or both, the Borg had humanity and Earth in their sights. But rather than launch a full-scale invasion in 2350 – years before the Enterprise-D’s encounter with a cube – the Borg took a more subtle approach. Firstly, they may not have been entirely certain of Earth’s location, instead sending ships to scout the Alpha and Beta Quadrants for signs of humanity and the Federation. Then, rather than attack straight away, the Collective bided its time, launching small-scale attacks on outlying colonies along the Neutral Zone to see what would happen.

By attacking both Federation and Romulan outposts (as seen in the Season 1 finale of The Next Generation), the Borg may have hoped to trigger a conflict between the two powers – before swooping in later to attack both of them. Or, perhaps more likely, this was the Borg’s first attempt to assimilate humans en masse to see if they were worth bothering with – and picking outlying colonies makes a lot more sense than rushing to Earth straight away. The Romulans may have been collateral damage, in that case.

The Borg destroyed multiple human colonies before attacking Earth.

In any case, the Borg determined that humanity was a worthwhile target – something that was only further confirmed by their encounter with the Enterprise-D a few months later. As an aside: Q may very well have saved humanity by his intervention in Q Who! I have a longer piece on this subject – which you can find by clicking or tapping here – but here’s the short version: the Borg knew about humanity and Earth years before Starfleet knew about them. By hurling the Enterprise-D into the path of a Borg vessel, Q gave Picard and the Federation valuable insight into the Collective, forewarning them of the attacks to come.

With the Borg determined to assimilate humanity, decisions had to be made about how to do so. The hive mind, operating as one, makes such decisions at light-speed, and after confirming humanity was a suitable target for assimilation, the Borg decided to “tease” the Federation, pushing them to design new weapons, shields, starships, medical devices, and so on… all so that the Collective could assimilate it later, adding to their perfection. This is how the Borg operate, and it’s why they chose to launch small-scale attacks against Earth instead of simply arriving en masse with overwhelming force.

Original concept art of the Borg.
Image Credit: Frogland Archive/Forgotten Trek

From the Borg’s perspective, this approach is a win-win. Either their attack succeeds in full, with humanity and Earth being assimilated over a period of weeks or months, giving the Borg control of the planet and a staging-post for a larger-scale invasion of the Federation. Or it “fails” to achieve that objective, but in doing so provides the Collective with incredibly valuable tactical data on Starfleet, Earth’s defences, and so on, while also pushing the Federation to develop new technologies. The Borg want these technologies – either to “patch” vulnerabilities and weaknesses they may not be aware of or to add to their perfection.

There are real-world parallels. The Second World War led to the creation of modern-day computer technology, rocketry, and atomic power. The First World War led to huge advancements in flight, artillery, and motor vehicles. These are just a couple of examples from our own history of how war and devastation can lead to technological change. The Borg, I would argue, seek to artificially inflate the pace of technological advancement by baring their teeth and showing their target a tiny fraction of their power. In desperation, Starfleet and the Federation began working at pace to develop everything from phasers to starships – all ripe for assimilation by the Collective.

The first Borg drone ever seen in Star Trek.

So that’s the theory.

The Borg were not fully invested in assimilating Earth either in 2367 or 2373 – their only two direct attacks on Earth. These incursions had a different goal: pushing humanity and the Federation to develop new technologies that the Borg could assimilate later, when the time was right. By revealing themselves and showing Starfleet a glimpse of their power, the Borg believed their new target would, in effect, work for them, designing and building new weapons, ships, and other devices that the Collective no longer had the creativity to invent for itself.

To me, this theory made sense even as far back as when I watched First Contact in the cinema in 1996! Developments in Voyager, Enterprise, and more recently in Picard, too, have only added to this theory, expanding it and deepening my belief that the Borg really weren’t serious about conquering Earth. To them, the attacks served a different purpose. It took almost everything Starfleet had to beat the Borg, but given the sheer size and scale of the Collective, we know they had the resources to commit more ships and more drones to an attempted invasion of Earth. There has to be some reason why they didn’t send two or three cubes instead of just one – and to me at least, this idea makes the most sense and squares that circle.

Romulans and Borg as seen in the Lower Decks opening titles.

I hope this has been interesting! I doubt that this theory will ever be confirmed – and it may even be actively debunked one day, if we ever get another Borg story. Some of you might think that the Borg’s time travel in First Contact (or some other plot point from a Borg episode) already negates or invalidates this theory… and that’s okay! As I said at the beginning, this is just a fan theory or head canon, and it’s all subjective at the end of the day. I share this theory with the Star Trek fan community in that spirit.

Speaking of Borg stories… will we see another one in Star Trek anytime soon? After Picard did three separate Borg or Borg-adjacent stories in its three seasons, and with the Collective having appeared in Prodigy and Lower Decks in recent years… I think it might be a while before the Collective makes another appearance. I certainly think it should be a while; I can’t be the only one who feels a little burned out on the faction, especially after their omnipresence in Picard. If and when the Borg return, I hope it’s in a big way. I’ve been kicking around the idea of a “Borg invasion” series for a while – and that could be a really interesting way for Star Trek to go one day in the future. If a fourth Kelvin timeline film ever gets off the ground, I don’t think it’s impossible to think we could see the Borg there, too.

But unless and until any of that happens… this is my theory! I hope you enjoyed this write-up and found it interesting.


The Star Trek franchise – including most episodes and films cited above – can be streamed now on Paramount+ in countries and territories where the service is available. The Star Trek franchise is the copyright of Paramount Global. Header font/text courtesy of textstudio.com. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Head Canon

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series Season 1, Deep Space Nine Season 6, Voyager Seasons 1, 5, and 6, First Contact, Discovery Seasons 1-3, Strange New Worlds Season 1, and pre-release information for Starfleet Academy.

Star Trek has a wonderfully rich and engaging setting – a fictional universe that operates by established rules that have been built up over decades. This “canon” is part of what makes Star Trek feel like Star Trek… and while I’m not a stickler for the tiniest minutiae of canon, the fundamental building blocks of the Star Trek franchise need to remain consistent for stories to work.

There are some places where Star Trek’s writers have been deliberately vague and ambiguous, and others where an apparent “plot hole” has been created, either by a new story seemingly overwriting an old one or by one of the prequel shows making an apparent change to what had been previously established. These things can pass by inoffensively enough, but as Trekkies, I think we have a natural curiosity about this setting – and a need to ensure that things make sense in the context of Star Trek’s long-established universe!

An AI-generated image of a head floating above a cannon.
It’s… head cannon.

So that’s where head canon comes in. If you’re unfamiliar with the term, head canon (or headcanon, if you prefer; I like to write it as two separate words) is basically just a fan-made explanation for something that doesn’t appear on screen. A famous example from the Star Trek fan community is the belief some fans hold that Kirk and Spock were engaged in a romantic relationship. That’s something never shown on screen (nor even explicitly hinted at), but nevertheless has become popular in some quarters of the fan community.

There are also head canon explanations for apparent plot holes and head canon expansions that go beyond what we see on screen. Over the years, I’ve come up with several of my own – and it’s these that I want to share with you today.

Still frame from How Sharper Than A Serpent's Tooth showing Kirk and the crew on the bridge of the Enterprise.
Arex, Kirk, and Walking Bear on the bridge of the Enterprise.

Before we get started, a couple of important caveats! Firstly, this is head canon. None of this is official, none of it has ever been seen on screen, and it’s likely that none of it will ever be confirmed. I’m not saying that I’m right and that’s that – other fans can and will disagree, and that’s okay. I’m not claiming to be the only originator of some of these ideas. It’s very likely that other Trekkies have independently come up with similar head canon explanations for some of the story beats we’re gonna talk about today – so please don’t think I’m trying to take sole credit!

This is also the entirely subjective opinion of one old Trekkie. If you hate all of my ideas, if I miss something that seems obvious to you, or if my head canon explanations don’t make sense to you… that’s totally okay, too. There’s enough room in the Star Trek fan community for polite discussion and disagreement – and there’s no need to get into a fight about totally hypothetical things that will almost certainly never be confirmed on screen!

With all of that out of the way, let’s look at some head canon!

Head Canon #1:
There are different types of cloaking device.

Still frame from Minefield showing the NX-01 Enterprise and two de-cloaking Romulan vessels.
22nd Century Romulan vessels de-cloaking.

Prior to Enterprise, it was pretty well-established that Starfleet’s first encounter with a cloaking device came when the USS Enterprise, under Kirk’s command, engaged a Romulan warbird that was attacking Earth Outposts along the Neutral Zone. Cloaks continued to be used by the Romulans, Kligons, and others into the 24th Century – but Starfleet only used a cloaking device on a couple of occasions.

Enterprise changed all of that, firstly with the Suliban’s cloaking technology – which, admittedly, was never explicitly called a “cloaking device” on screen – and later when the Romulans were introduced. Since then, both Discovery and Strange New Worlds have set the precedent that cloaking devices were known to Starfleet years before Kirk’s encounter with the Romulans. So how can we square this circle?

Still frame from Into The Forest I Go showing a simulation on the USS Discovery's viewscreen (cropped).
A Starfleet simulation of a Klingon cloaking device.

My answer is that there must simply be different types of cloaking devices. Not only that, but Starfleet Intelligence is working around the clock to figure out how to detect cloaked vessels. Similar to how the code-breakers of World War II worked to break enemy encryptions and read messages, Starfleet is locked in a constant battle to un-cloak cloaked ships.

Perhaps in the aftermath of Discovery’s Klingon War, Starfleet thought they’d finally broken the cloaking encryption – and that’s why Kirk was so surprised to see the Romulan warbird disappear from his sensors. Every time the Romulans or Klingons invent a new type of cloak, Starfleet gets to work figuring out how to recalibrate sensors to break through. This “arms race” could have been going on for decades – or even centuries.

Head Canon #2:
The USS Enterprise had a refit after Pike left the captain’s chair.

Still frame from A Quality of Mercy showing Pike and Ortegas on the Enterprise's bridge.
Strange New Worlds’ take on the bridge of the Enterprise.

Aesthetic changes from one Star Trek production to another usually don’t bother me very much – and I happen to really like the design of the USS Enterprise as it’s depicted in Strange New Worlds. The ship looks great inside and out, and some of the sets feel larger and more expansive than they did in past iterations of Star Trek, which allows for different types of shots, more characters on screen at once, and so on. But there’s no denying that the redesign hasn’t been wildly popular with every Trekkie!

So my suggestion here is simple: after Pike stepped down as captain of the Enterprise, the ship underwent a refit. Kirk would assume command of the refitted vessel in time for the five-year mission that we’re familiar with from The Original Series. This allows both versions of the Enterprise to exist in the same timeline without treading on anyone’s toes!

Still frame from How Sharper Than A Serpent's Tooth showing a top-down view of the bridge of the Enterprise.
The Enterprise bridge in The Animated Series.

There is precedent for ships being refitted and completely transformed. The Enterprise itself famously underwent a refit a few years after the events of The Original Series – we see the final stages of that refit in The Motion Picture, where changes made to the ship became a significant plot point early in the film. So not only does Starfleet regularly refit its ships, but the Enterprise itself has been refitted at least once.

It really isn’t much of a stretch to think that a ship that’s at least a decade old by the time of The Original Series (something confirmed in The Animated Series more than fifty years ago) would have had at least some modifications and changes made to it. And given what we see on screen, the ship has changed!

Head Canon #3:
Warp factors are re-designated as newer and faster engines are designed.

Still frame from Subspace Rhapsody showing the familiar flash of light effect after the USS Cayuga went to warp.
A flash of light left by a ship jumping to warp.

Warp speed has always been pretty ambiguous in Star Trek – and that’s a genuinely good decision! Pinning down exact speeds and distances risks constraining future stories, so leaving things vague and open-ended gives writers maximum manoeuvrability. But there are some instances where speed seems to vary a little too much!

Just to give one example, at the beginning of First Contact, the Enterprise-E was stationed near the Neutral Zone. But Captain Picard was able to get the ship back to Earth in record time when the Borg attacked; Starfleet had already begun to battle the Cube while the Enterprise-E was light-years away, yet the ship made it back in time.

Still frame from Nemesis showing the Enterprise-E at warp.
The Enterprise-E at warp.

So here’s my head canon: warp five in Enterprise is not the same as warp five in The Next Generation. As new engines are designed and built, warp factors change. Instead of having to keep adding new decimals to warp 9.99999, Starfleet would simply revise how warp factors are calculated and referred to – accounting for discrepancies in speed and travel time.

There are still some holes in this idea, like what Starfleet’s “transwarp” experiment was and how it can take 75+ years to traverse the galaxy at warp 9.975 while warp 10 is supposed to be instantaneous travel everywhere. But I think the idea of Starfleet changing the way warp factors are calculated and referred to makes some degree of sense – and it could explain why some travel times appear to vary wildly.

Head Canon #4:
Voyager didn’t run out of torpedoes and shuttles because the crew built replacements.

High-definition digital render of the USS Voyager (credit: TrekCore/Robert Bonchune).
The USS Voyager.
Image Credit: Robert Bonchune/TrekCore

I’ve actually tackled this idea before in a longer article – click or tap here to check it out! In short, some Trekkies have argued that the USS Voyager should have run out of torpedoes and shuttlecraft during its time in the Delta Quadrant – picking on a line from Season 1 in which Janeway said that there was “no way” to replenish the ship’s supplies. But I disagree with the idea that this is a plot hole and I can explain why in two words: Delta Flyer.

We see the crew of Voyager build not one but two Delta Flyers after getting stranded in the Delta Quadrant, using the ship’s industrial-sized replicator to do so. Though this may have been a drain on resources, it wasn’t fatal to the ship and crew by any stretch – so much so that they were able to build a like-for-like replacement when the first Delta Flyer was lost.

Still frame from Extreme Risk showing the Delta Flyer under construction.
The Delta Flyer’s construction.

Furthermore, we saw Voyager trade with numerous planets, ships, and stations during its journey home – potentially acquiring resources like antimatter that may be needed for torpedoes, engine parts for shuttles, and so on. Maybe some things can’t be replicated, but through trade, Voyager could have been able to acquire these resources.

In short, I’ve never bought into the idea that Voyager firing “too many torpedoes” is a problem, and I think it’s easily explained through a combination of a resourceful crew, powerful replicators, and bartering.

Head Canon #5:
Fashion trends, hairstyles, uniform designs, etc. change over time – just like they do in the real world.

The main cast of The Original Series Season 2 in a promo photograph.
The cast of The Original Series.

Take a look at photos from the 1970s, 1980s, and 1990s. It’s really easy to see how fashion sense and style changed in a relatively short span of time out here in the real world. Now look at the arguments some Trekkies were making about uniforms or hair styles being “wrong” in certain new Star Trek productions. It seems silly… doesn’t it?

Discovery was set ten years before The Original Series. It’s not a stretch to think that hairstyles and designs for things like uniforms might’ve changed in that time. When Discovery debuted with its all-blue uniforms, I liked the idea of that style and colour existing in between Enterprise’s submarine-style boiler suits and the more familiar Starfleet uniforms of the later 23rd Century.

The main cast of Discovery Season 1 in a promotional photograph.
Some fans weren’t keen on Discovery’s uniforms.

The same principle can apply to alien races and other factions. Why were bald Klingons a problem in Discovery, for example? It didn’t bother me – and a simple head canon explanation could be that the Klingon Empire went through a phase of preferring shaved heads in times of war. Maybe it was a revival of ancient Klingon culture, maybe other Klingons did it in honour of their leaders.

There are some oddities with Starfleet’s uniform choices that have been introduced by different Star Trek productions. The Next Generation and Deep Space Nine seemed, for a time, to establish that space stations and starships had the same combadges but different uniforms, for instance – until that went out the window! But I don’t buy into the arguments that some Trekkies have put forward about these design and aesthetic choices. It really isn’t much of a stretch to think that the 23rd and 24th Centuries go through different fashion trends.

Head Canon #6:
The “Borg Teasing Theory.”

Behind-the-scenes photo from The Next Generation showing the original model of the Borg cube.
The filming model of the original Borg cube.

I find it interesting that the Borg Collective – with its massively superior technology, huge fleet of near-unstoppable ships, and untold legions of drones – never really made a serious effort to conquer the Federation. On both occasions where the Borg directly attacked Earth, they sent a single ship and – at most – a few tens of thousands of drones. Why?

I’ve had a theory for a long time (that I really must write up in full one day!) that the Borg Collective has been “teasing” the Federation. Not for fun – but to push Starfleet to develop newer and better technologies for them to assimilate. It’s not unfair to suggest that humanity is one of the most resilient, creative, and versatile species that the Borg had encountered as of the mid-24th Century, but even so, conquering the Federation shouldn’t pose a challenge based on what we saw of the scale of the Collective in Voyager.

Still frame from First Contact showing the Borg Queen.
First Contact introduced the Borg Queen.

We know that the Borg seek “perfection,” and that they even ignore whole species if they think they have nothing to offer. Humanity clearly has plenty to offer the Borg… but in their push for even greater perfection, might the Borg be trying to see how far they can push the Federation?

The Borg attacks on outlying colonies, and later their attacks on Earth, prompted Starfleet to develop new and better weapons, shields, and medical technology. The Borg may have been hoping to assimilate these technologies later on – partly to add to their arsenal, but also partly to prevent them being used against them in a future conflict. By “teasing” the Federation with these smaller – but still pretty devastating – incursions, it’s basically a win-win for the Borg. Either their sole cube succeeds and assimilates Earth, then the rest of the Federation, or in its failure it not only gathers a ton of data, but also pushes Starfleet to develop newer and better things to assimilate in the future.

Head Canon #7:
Discovery Season 2 was originally going to be an “origin story” for the Borg.

Still frame from Discovery Season 2 showing the pseudo-assimilation of Captain Leland.
The “assimilation” of Captain Leland.

Is there such a thing as “production-side head canon?” I’m adding this one to the list either way! In short, no one is gonna be able to convince me that Discovery’s Control AI and time travel story in its second season was originally created/pitched as anything other than a Borg Collective origin story.

The way the Control AI was able to “assimilate” Captain Leland and others, using nano-technology, is just too eerily similar to the way the Borg operate to be a coincidence. When you add into the mix Burnham’s time travel suit… the stage was set for Control to become the progenitor of the Borg.

Still frame from Such Sweet Sorrow showing the Red Angel just out of focus.
The Red Angel suit could travel through time.

With relatively few tweaks to the final act of Season 2, Control could’ve seized Burnham’s Red Angel suit and, perhaps staring down the barrel of a Starfleet armada, escaped into the past. Crash-landing on a remote Delta Quadrant planet, Control could use its remaining nanites to conquer the native humanoid population… setting the stage for the Borg Collective to be a Federation creation.

Now, I’m not saying this would’ve been a good story. And I’m definitely not saying that Discovery’s writing team could’ve pulled it off successfully. Those are moot points now, anyway. But unless someone comes forward with concrete, definitive proof that Season 2’s Control/time travel story was never intended as a Borg story… well, let’s just say that would be a tough thing to convince me of! I have a longer article about this theory, by the way, and you can find it by clicking or tapping here.

Head Canon #8:
The Romulans eventually discovered Sisko’s underhanded tactics.

Still frame from In The Pale Moonlight showing Senator Vreenak's famous "it's a fake" line.
“It’s a faaaaaaake!”

One of my fantasy Star Trek stories is a follow-up to the outstanding Deep Space Nine Season 6 episode In The Pale Moonlight. But unless and until that happens, I’ll have to make do with my personal head canon! In short, I struggle to believe that Sisko’s actions in that episode – where he lied, schemed, and murdered his way to an alliance with the Romulans – would never come to light.

Whether this would set the stage for a full-scale conflict or not isn’t certain, and with the Romulan Empire in a much-weakened state in the early 25th Century, perhaps they wouldn’t be spoiling for a fight. Romulan leaders might even want to keep the revelation a secret, not only because it shows them in a bad light, but in order to avoid jeopardising an alliance that they relied upon in the aftermath of the loss of Romulus and Remus.

Still frame from In The Pale Moonlight showing Sisko looking directly at the camera.
I think the Romulans will eventually uncover the truth…

So how could it happen? The only people involved were Garak and Sisko, and neither would be likely to spill the beans. Garak, though, might’ve boasted about his achievements in private, if not to Dr Bashir then to someone else back on Cardassia. It’s one of his biggest achievements if you think about it, and it could become a legend within the re-established Cardassian intelligence agency.

More likely, though, would be the Romulans re-examining the fake “evidence” of the Dominion plot to invade. Garak believed that any imperfections in the recording would be written off as damage from the shuttle explosion, but I’m not so sure. Under proper forensic examination, would the fake recording really hold up? Or could Senator Vreenak have sent a message warning about the forgery before his assassination? There are multiple ways this could go – and serious consequences for Starfleet if and when the truth comes out!

Head Canon #9:
Starfleet will find a way to prevent the Burn – pushing Discovery’s far future into an alternate timeline.

Still frame from Su'Kal showing a flashback to the Burn.
The Burn.

If you’re a regular reader, you might remember that – only a few weeks ago – I pushed back hard against the idea that some or all of Discovery has been “rendered non-canon” by one brief clip in Lower Decks. And to be clear: I stand by what I said then! Discovery, at time of writing, remains fully canon, and its far-future setting is the ultimate destination for the prime timeline.

But the Burn is particularly depressing, and knowing that the Federation will suffer such a horribly devastating blow – even if not for centuries – potentially changes how we react to stories set in the 23rd, 24th, and 25th Centuries. So my current head canon is this: at some point in the future, perhaps after Discovery’s new spin-off, Starfleet Academy, has finished its run, the far future setting will be quietly dropped. If there’s more Star Trek being made at that point, or at some point in the future, it will either totally ignore those events or perhaps even find a way to imply that they didn’t happen.

Still frame from That Hope Is You II showing a simulation/recording of the origin of the Burn.
The Burn originated on a wrecked ship in a toxic nebula.

We’ll need to discuss this in more detail on another occasion, but I don’t think that Discovery’s “post-apocalyptic Star Trek” idea worked. I don’t think the concept was a good one in and of itself, but I also feel that the execution was poor. Aside from a few moments in Season 3, Discovery never really did a lot with the idea of rebuilding the Federation, and the things we did see were smaller moments that were blitzed past to get to other, generally less interesting stories.

So I think there’s a case to be made to quietly push Discovery and Starfleet Academy into their own timeline at some future point. In my head, it works better that way – allowing Discovery to continue to exist and for Starfleet Academy to hopefully build on the foundations it laid, but also not constraining future stories that may be set in the 24th or 25th Centuries.

Head Canon #10:
Section 31 regularly uses cloaking devices.

Still frame from Section 31 showing a Section 31 ship.
A Section 31 vessel of the late 23rd/early 24th Century.

Maybe I’m forgetting or overlooking an episode, but I can’t remember seeing Section 31 using cloaked ships. It seems logical to me, though, that the Federation’s black ops/off-the-books security organisation would take advantage of cloaking technology whenever possible. Starfleet may be bound by the Treaty of Algeron not to use cloaking devices… but does anyone really think that Section 31 – an organisation which has attempted genocide and overthrown governments – would abide by the law?

Section 31’s use of cloaked ships could also explain things like their abduction of Dr Bashir in Inquisition – the faction’s first appearance in Star Trek. That episode left it deliberately unclear how Section 31 was able to infiltrate DS9 to capture Bashir, but if you imagine them using a ship with a cloaking device, things start to fall into place.

Still frame from Inquisition showing a close-up of Sloan.
Deputy Director Sloan.

Starfleet (and presumably the Federation government, too) refuse to officially acknowledge Section 31’s existence – at least in the mid/late 24th Century. So that makes it easy for them and their ambassadors to deny that any officially-sanctioned Starfleet or Federation ship is using a cloak in violation of the treaty with the Romulans. The Federation would, presumably, deny the existence of any such vessel and would abandon any captured Section 31 operative to their fate.

An organisation that likes to exist in the shadows would, surely, want to take advantage of every possible way to hide. Cloaks in Star Trek are imperfect – but they’re still very useful pieces of kit. For spies and assassins, a cloaked ship could be the difference between reaching a target and failing the mission. Section 31 would obviously use this technology – even if we’ve never seen it!

So that’s it… for now.

Still frame from The Undiscovered Country showing General Chang looking at the Enterprise.
The Enterprise-A on a Klingon viewscreen.

I have a few other ideas that I didn’t have time for on this occasion – so stay tuned, because I might revisit this subject in the future. It was a bit of fun for me, and pretty cathartic to talk about some of these ideas. Several of these head canon explanations are things I came up with years or even decades ago, so it’s definitely fun to air them for the first time!

As I said at the start, this is just for fun and isn’t something to argue about or get upset over. Head canon is a great way for fans to plug holes or expand stories – but it isn’t worth taking too seriously; none of this will ever be seen or confirmed on screen. In fact, it’s quite likely that some of what we talked about today will be actively debunked in future!

I hope you’ll stick around here on the website, as there’s more Star Trek content to come! I finally finished reviewing Strange New Worlds’ fantastic second season a few days ago, and earlier in the year I took a look at the Section 31 TV movie, too. I hope you’ve found some of these head canon ideas interesting, in any case.


Most Star Trek shows and films discussed above can be streamed on Paramount+ in countries and territories where the service is available. Most of the Star Trek franchise is also available on DVD and Blu-ray. The Star Trek franchise – including all films, shows, and 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.

Star Trek: Strange New Worlds Episode Review – Season 2, Episode 10: Hegemony

A Star Trek-themed spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds Seasons 1-2. Minor spoilers are also present for the following Star Trek productions: The Original Series Season 1, The Undiscovered Country, and Lower Decks Season 2.

I’m kind of glad that it’s taken me such a long time to finish watching Season 2 of Strange New Worlds. A lot of you have been sitting with the cliffhanger ending to Hegemony for over a year already, but I’ll glide smoothly into Season 3 in just a matter of weeks! Are you jealous?

Joking aside, Hegemony was a great episode – and the Star Trek franchise’s first big cliffhanger ending to a season in a while. There are a couple of narrative beats that I wasn’t as keen on, which we’ll get into in due course, but Hegemony was a fantastic way to end the season. There was a constant sense of tension throughout, which peaked at key moments in the story, a fun re-introduction of a classic character from The Original Series, and plenty of action to boot. I’d probably say that Hegemony doesn’t quite hit the same level as A Quality of Mercy did at the end of Season 1, but that’s an exceptionally high bar for any episode to aim for!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the arrival of the Gorn ship.
The Gorn are coming!

In The Next Generation era, it seemed that almost every season would end with the words “to be continued!” From The Best of Both Worlds at the end of TNG Season 3 to Zero Hour at the end of Enterprise’s third season, there were only three seasons of Star Trek that didn’t end on a cliffhanger. But since the franchise returned to the small screen in 2017, we’ve tended to get self-contained serialised stories that run for a single season apiece. The closest is arguably Discovery Season 2, which ended with the ship and crew heading into an uncertain future – but that season also wrapped up all of its other key storylines by the time the credits rolled (probably because cancellation was a legitimate concern).

I respect the confidence of Strange New Worlds’ writers and producers to create a story like this as a way to end Season 2. It was bold because a third season was not confirmed (at least, not publicly) at the time Hegemony was being written. A season-ending cliffhanger also feels like “classic Star Trek” in the best possible way, and coming at the end of a largely episodic season that’s seen Pike and the crew thrown into a mix of different adventures… it just feels right. I’ve said more than once that Strange New Worlds is the high-water mark of modern Star Trek, and Hegemony with its cliffhanger ending is yet another example I can point to when critics ask what I mean by that!

Still frame from Star Trek: The Next Generation (cropped) showing the words "To Be Continued..."
Hegemony is the first season-ending cliffhanger in a while!

Hegemony’s cliffhanger ending does leave me feeling concerned, though, at least in one sense. Obviously we know, and have known for a while, that Seasons 3 and 4 are coming – and that’s great! Strange New Worlds isn’t going to be abandoned with this ending left unresolved. But one of the best things about Strange New Worlds has been its return to a more classic style of episodic storytelling – something which, I would argue, really suits the Star Trek franchise. Particularly after the wholly-serialised Discovery and Picard, bringing Star Trek back to its roots – while retaining character arcs and other modern trappings – has been wonderful to see.

Because Hegemony ended in such a way as to tease a longer story – perhaps a season-long arc involving a conflict with the Gorn, akin to Deep Space Nine’s Dominion War – I’m a little concerned about Season 3 stepping away from that episodic style. I hope I’m wrong, and the very small glimpses of Season 3 that we’ve caught so far don’t seem to be all about the Gorn, which is positive. I’m just hoping that what’s made Strange New Worlds such a joy to watch over the past couple of years won’t be watered down by the Gorn story that debuted in Hegemony, as it’s a storyline that could easily lead to that kind of longer arc.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the bridge of the Enterprise with Pike standing close to the viewscreen.
Captain Pike watches from the bridge as the Gorn attack.

That being said, I won’t deny that I love a good battle or war story in Star Trek – and the aforementioned Dominion War arc in Deep Space Nine happens to be one of my favourites. Within Deep Space Nine’s longer seasons, there was still plenty of time for one-off stories alongside episodes about the war, and if the Gorn war is to continue in Strange New Worlds across Season 3, I’d hope the writers and producers will be able to strike a similar balance. It’s more difficult to do that in an age of cut-down ten-episode seasons than it was when Star Trek shows would regularly churn out twenty-two or even twenty-six in a year… but getting a mix of different stories should still be possible.

Hegemony built on Season 1’s excellent episode All Those Who Wander in more ways than one, and if there is going to be a longer, more protracted conflict that plays out over several episodes, we can re-frame that story as a serious bit of foreshadowing. After Memento Mori had re-introduced the Gorn in style, All Those Who Wander ramped up the fear factor, making the classic Star Trek race feel more like the Xenomorphs from Alien. It was this horror tone that continued though Hegemony, both in scenes set on the planet Parnassus Beta and aboard the wreck of the USS Cayuga.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing a close-up of a young Gorn.
Strange New Worlds has re-invented the Gorn.

As an aside: I love the name Parnassus Beta for a planet! It feels like something straight out of The Original Series, using a Latin- or Greek-sounding word for the name of the system. Where I was less keen, unfortunately, was the very generic “21st Century North American town” design used for the planet’s surface. Hand-waved away with a “but they wanted it to look like this, though” line from Captain Batel… I just felt the designers could’ve done something to make Parnassus Beta look a little more futuristic.

And look, I get it: there are limited budgets for any episode of Star Trek, so decisions have to be taken and compromises need to be made. Given that we mostly saw Parnassus Beta in the dark and boarded up after the Gorn attack, I think it was passable enough. Its introduction reminded me a little of The Original Series episode Operation – Annihilate! parts of which were filmed on location in California. In that sense that “classic Trek” vibe was present… but I’m not sure that’s necessarily a positive in this case! I guess I’d just have preferred to see a more futuristic take on a human colony rather than one that very clearly took place on a studio backlot (the Parnassus Beta scenes were filmed on a set created by Amazon Prime Video for the series Reacher, according to Memory Alpha).

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing a street on Parnassus Beta.
Parnassus Beta.

As underwhelming as Parnassus Beta may have been in daylight, after the Gorn descended – and seemingly blocked out the sun – the place took on a completely different atmosphere. There were elements borrowed from both the horror and war genres on this side of the story. Parts of Parnassus Beta felt like they were from a World War II film with commandos parachuting into occupied Europe; others felt more like a werewolf or vampire flick. The monstrous young Gorn even reminded me of Jurassic Park’s velociraptors.

And this was reflected in the way the sets were designed and dressed. Boarded-up windows, thrown-together shelters, blood-stained walls showing the aftermath of a battle or abduction… this blend of horror and war tones soaked Parnassus Beta and turned a really bland and uninspired 21st Century settlement into a colony under siege. The aftermath of the Gorn attack was chaotic and bloody, with the few survivors that Captain Pike and the away team encountered hiding from the aggressors outside.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Ortegas on the planet's surface.
Parnassus Beta came alive after the Gorn attack.

The descent to Parnassus Beta in the shuttle was a fun sequence. It was great to see Ortegas in her element; she’s up there with Tom Paris, for me, as one of the few bona fide pilots in Star Trek, and it’s clear how good she is at her job and how much she loves it. There was a NASA vibe to her line about being a test pilot, and I liked that little harkening back to the early days of spaceflight.

Melissa Navia, who plays Ortegas, had asked for a reduced role in Season 2, so I was glad to welcome her back for this sequence. The “dropship” idea was creative, and we got to catch a glimpse of the surface of Parnassus Beta beyond the confines of the colony. It looked like a jungle or rainforest, at least at first glance, which was neat.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Ortegas piloting a shuttle.
Ortegas in the pilot’s seat.

Let’s talk about Parnassus Beta’s status as a non-Federation human colony – and how that relates to both the episode Hegemony and the rest of Star Trek! As Trekkies who like to get lost in this world, it’s genuinely interesting to learn more about the galaxy, and how not every human colony is founded with Federation membership in mind. I think the existence of a colony like Parnassus Beta ties into classic episodes, not only where non-Federation worlds have been featured… but where Starfleet repeatedly encounters very human-like “aliens!”

I made the same point during Lower Decks’ second season after we were introduced to the Hysperians: a non-Federation group of humans who’ve based their society around medieval chivalry. The way in which these colonies are established and governed could account for the existence of planets like 892-IV in Bread and Circuses, the Earth twin world in Miri, and even Sigma Iotia II from A Piece of the Action. All of these feature societies inspired by old Earth civilisations… and I kind of like the idea that, somewhere in the 21st or 22nd Centuries, before the Federation existed and kept meticulous records, humans settled on distant worlds and brought aspects of their culture with them. You could even throw in the Irish stereotypes from Up The Long Ladder as another example… though maybe the less said about that the better, eh?

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the USS Enterprise.
The USS Enterprise arrives at Parnassus Beta.

The point is… as disappointing as Parnassus Beta may have been from a visual standpoint, it does match up with other Star Trek stories about human colonies, particularly colonies outside of the Federation’s jurisdiction. Star Trek was first imagined, in the 1960s, as taking inspiration from America’s “Wild West,” and what could be more fitting than independent groups striking out on their own to settle the “wilderness?” And – if we continue to stretch the metaphor – what could be more fitting than the existing residents of that wilderness, whom the colonists apparently didn’t care enough to find out about, striking back?

So does that make the Gorn the Native Americans in our analogy? I guess that’s a little uncomfortable, too. But never mind! Parnassus Beta was an interesting setting in concept, and the relationship between Starfleet and some of these outlying human colonies is something I’d like to see explored in more detail in the future. Knowing what we know about the Maquis and other human settlements beyond the borders of the Federation, it was really interesting to get a tease of that in a 23rd Century context.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the landscape of Parnassus Beta with a shuttle flying above it.
The shuttle arrives at Parnassus Beta.

However, Parnassus Beta and its non-Federation status led to one of the biggest contrivances in Hegemony. Admiral April explained to Captain Pike that Starfleet wanted to avoid all-out war with the Gorn… which is fair enough. And to that end, the Federation was willing to essentially sacrifice the thousands of settlers on Parnassus Beta by refusing to sanction a response or a rescue operation, effectively ceding the planet to the Gorn and abandoning the colonists to a rather grizzly fate. That part tracks, and as much as we might be on Pike’s side and want to help, there’s an internally consistent logic to this side of the story.

But the attack on the USS Cayuga changes the dynamic completely – and no one in Hegemony so much as mentioned that. The Gorn didn’t only attack a non-Federation colony: they also attacked and destroyed a Starfleet ship. The Federation may have no jurisdiction over Parnassus Beta, and I could believe that they’d be willing to abandon the planet to its fate in an attempt to appease the Gorn. I mean, we have similar stories in The Next Generation and Deep Space Nine with human colonists near the Cardassian border, and the same thing happened there. But the attack on the Cayuga was an attack on Starfleet and the Federation; it was an act of war.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the wreck of the USS Cayuga.
The Gorn had attacked the USS Cayuga and murdered most of her crew.

This is the central conceit of Hegemony, and it doesn’t work. In order for us to believe that Starfleet and the Federation want to avoid war with the Gorn, we have to believe that they’re willing to do so at all costs, including sacrificing their own officers and ignoring the attack on two of their own ships. Because we later learn from Scotty that not only was the Cayuga destroyed, but so was his ship, the USS Stardiver. Starfleet may not have known about the Stardiver at the time of April’s message, but they did know about the Cayuga.

In order to get to the rest of the episode and its genuinely wonderful and engaging story, we first have to get around this narrative obstacle. And try as I might to rationalise it, it doesn’t make a lot of sense. “Open war is upon you, whether you would risk it or not.” Those were Aragorn’s words in The Lord of the Rings, as he explained to King Theoden that Saruman and Sauron were on the march, and there was no way to avoid taking part in the battles to come. In the case of Hegemony, the Gorn have declared war on the Federation by the attacks on the Stardiver and Cayuga, no matter what Starfleet’s Admirals might want. By refusing to sanction a rescue mission or allowing the Enterprise to retaliate, forcing Pike to stay on one side of an arbitrary, Gorn-designated demarcation line, Admiral April and Starfleet were not acting rationally within our understanding of Starfleet and the Star Trek universe.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Pike's conversation with Admiral April.
Admiral April ordered Pike to avoid antagonising the Gorn… after he already knew that the Gorn had attacked at least one Starfleet vessel.

And I think this is why I’d rank Hegemony lower than last season’s All Those Who Wander. Gorn attacks on Starfleet are a regular enough occurrence that Starfleet has contingencies in place, but when the Gorn obliterate a Federation starship they’re unwilling to recognise the reality of the situation. Maybe there’s meant to be a metaphor there, something about the drawbacks and limitations of appeasement or the necessity of smaller states being protected under the umbrella of larger alliances. But I don’t believe that’s how it comes across – it reads, to me, like everyone in the episode basically ignored this massive event in order to skip to the action set-pieces and to give Pike’s mission a “disobeying orders” foundation.

If we take our Wild West metaphor from a moment ago and drag it out further, this would be akin to the United States in the late 1800s seeing an army unit attacked on the frontier and doing nothing to respond because the town they were visiting happened to be outside of US jurisdiction. Would that have happened? Would any modern-day military accept an attack on one of its units and refuse to respond in kind? Starfleet is the Federation’s military – and while the attack on the USS Cayuga need not lead to all-out war, at the very least it would give Pike and Starfleet some leeway to respond instead of blindly agreeing to the Gorn’s terms without so much as attempting to negotiate. If we were solely dealing with the attack on the colony, this story would’ve worked so much better. But by bringing the Cayuga into it, it complicates things – and not in a good way, unfortunately.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing an Okudagram of Parnassus Beta.
Starfleet Command ordered Pike and the crew to stay on their side of this demarcation line.

There’s something inherently un-Starfleet about abandoning officers to their fate – especially when that fate has been shown to be nothing short of an agonising death. We could point to dozens of episodes across the history of the franchise – from The Galileo Seven in The Original Series to First First Contact in Lower Decks – where Starfleet officers have done everything in their power, including breaking the rules, to avoid leaving someone behind. And while that’s exactly what we see Pike and the crew do… they’re forced to disobey a very un-Starfleet order in the process.

Some Star Trek stories have a “badmiral” as either a quasi-antagonist or a straight-up villain. Others have shown admirals who are out of touch or even incompetent. And occasionally, as in a couple of notable Deep Space Nine episodes featuring Admiral Ross, we’d catch a glimpse of the weight of command. These stories could show how someone in a senior position has to deal with more than what we see on screen; our protagonists aren’t always privy to all of the information or don’t have a bigger-picture view of the situation.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the senior officers in Pike's briefing room.
Pike and the senior officers in the briefing room.

The best spin I can put on Hegemony’s Admiral April is that he isn’t sharing everything he knows, or that he’s struggling with the burden of command at a time of war. However… I don’t think that’s really how it comes across, and it feels like the writers of the episode far too quickly brushed aside the implications of an attack on the USS Cayuga and the USS Stardiver in order to tell a story about Pike and the crew disobeying orders to do the right thing. The problem, at least for me, is that the weak setup risks undermining that story. When it’s a story that works so well and has so many highlights… that’s just a bit of a shame.

But I guess, in the grand scheme of things, all of this probably feels like a glorified nitpick. Hegemony did explain that Parnassus Beta was outside the Federation, and Admiral April’s orders were clear. Perhaps I’ve overthought this aspect of the story somewhat… but it didn’t sit quite right with me for the reasons I’ve tried to explain.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Pike's hand activating a sealed crate.
A crate of experimental anti-Gorn weaponry.

Captain Pike’s storyline in Hegemony works… in the context of his relationship with Captain Batel and of his relatively small arc across Season 2. By the way: am I imagining things, or was Pike less of a presence in most of the stories this season? It felt like he was all over Season 1 but had been taking more of a back seat this time around. Perhaps we’ll have to explore that subject on another occasion.

To get back on topic: when I look at Pike’s story in Hegemony, I’m also looking at it in the context of Season 1. In particular, Pike doesn’t seem to have learned the lessons of A Quality of Mercy – at least insofar as triggering a potentially massive, Federation-threatening war goes. Pike’s personal story in last season’s finale was all about his impending disability and finding a way out of it… but it was also a story that touched on how to deal with a challenging adversary and how a few seemingly small mistakes can lead to conflict.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Pike on the away mission.
Did Pike act recklessly in Hegemony?

To me, it seems as if the Captain Pike of Hegemony hasn’t even met the Captain Pike of A Quality of Mercy. Sure, he has a personal stake in rescuing any potential Cayuga survivors due to his relationship with Captain Batel. But the actions he takes are deliberately provocative, disobeying an order from Admiral April and putting himself and his entire crew at ground zero of a potential war with the Gorn. For him to not even acknowledge the events of last season as he starts down this path feels… strange.

Both episodes put Pike face-to-face with a complex situation, a powerful enemy, and a potential conflict. Both episodes make clear that one mistake could lead to all-out war. Pike sees firsthand – and also hears from his future self – what the consequences of the Romulan war would end up being. Shouldn’t one of the lessons he learned last season be to be more cautious? Or are we going to try to argue that Kirk’s “shoot first, ask questions later” approach was the right one, so that’s what Pike ultimately took away from the situation?

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Pike in uniform on the bridge.
Why do I feel like Captain Pike hasn’t remembered what he learned last season?

It just feels a bit of a narrative oddity that Pike is in a comparable situation just ten episodes later, but doesn’t appear to acknowledge it in any way. Maybe he’d still prioritise his relationship with Captain Batel and want to do everything he could to rescue her, the colonists, and any other survivors. I mean, that seems like the right outcome based on everything we know of the character. But how a character reaches their destination is just as important – and is often more important – than the destination itself. Pike could still have led this unsanctioned rescue mission, but having seen A Quality of Mercy and the difficult challenge he faced when coming into conflict with the Romulans… I just feel this episode could’ve done something to acknowledge that and make it clear how Pike felt and how he was drawing on those earlier experiences.

We talked about Strange New Worlds as an episodic series, and that’s genuinely one of the best things about it from my perspective as a Trekkie. But it’s never been an entirely episodic show, and that blend of the “monster of the week” with characters who grow and evolve feels like the perfect mix of classic and modern television storytelling. While I guess this probably seems like another big nitpick, for me it felt odd that Captain Pike was thrust into two comparable situations just ten episodes apart… and the latter story made no attempt to acknowledge that fact.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Pike in the final shot of the episode.
Captain Pike at the end of the episode.

We’ll shelve that for now, and focus on one of the weaker elements of Hegemony for just a moment. I found Spock and Chapel to be a wonderful pair across the first two seasons of Strange New Worlds, and Spock’s reaction to Chapel’s apparent death or abduction genuinely did a lot to carry the storyline. His scenes with Una in particular were powerful, and I don’t want what I’m about to say next to detract from that. This was great character-focused storytelling.

But… Chapel was one of a handful of characters whose presence, for a storyline like this, dramatically lowers the stakes. Strange New Worlds is a prequel to The Original Series, so anyone who’s seen it or has more than a passing familiarity with it knows that the likes of Uhura, Spock, and Nurse Chapel are characters on that show. That means, from the point of view of Strange New Worlds, they’re indestructible. For a storyline that wanted to have high stakes, and to put a character in danger… picking one of the characters that fans know will still be around when the credits roll took a lot away from it.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Nurse Chapel laying unconscious on the floor.
Chapel was never in any danger.

When Captain Batel was missing, I could genuinely believe that Strange New Worlds was about to kill her off. When she revealed to Captain Pike her parasitic Gorn infection, I likewise believed that her death could be imminent (though we’ll talk about that more in a second!) But when Nurse Chapel was apparently dead, killed along with the rest of the Cayuga’s crew… it simply wasn’t possible. And that knowledge lowered the stakes for me on this side of the story. Spock’s reaction to it did a lot to help this part of the episode and carry it across the line, as did Pike’s embrace of Chapel when he realised she’d survived. But on its own, I’m afraid it was a victim of the “prequel problem” that some storylines end up facing.

Although this storyline did a lot for Spock, giving him an emotional problem to tackle that he struggled with, I can’t help but feel there were other characters Strange New Worlds could’ve chosen to endanger. Someone like Pelia, Una, or La’an would’ve genuinely felt at risk of death in a way that Chapel didn’t, and the reaction of Spock – or a different character who might’ve been closer to the person in danger – could’ve still been present. Again, this is a consequence of Strange New Worlds being a prequel and using so many legacy characters. In future seasons, that constraint may get even tighter.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Spock sitting in a chair.
This was a good storyline for Spock, in spite of a weak foundation.

Spock excelled in Hegemony, for me, in his scenes with Una. I know not everyone watched (or liked) Short Treks, but if you remember the short episode Q&A… I felt their conversation was built on those foundations. That short episode saw Spock’s initial arrival aboard the Enterprise – several years before The Cage and Discovery’s second season – and put Spock and Una together as they got stuck in a turbolift.

This sequence leaned into their relationship – the beginnings of which had been shown in Q&A – and it also gave Una an excellent opportunity to shine. In this moment she wasn’t merely a commander, taking over from Pike on the bridge as he led the dangerous away mission, but a mentor, counsellor, and friend. It was absolutely worth the detour to remind us of that side of Una – and her capabilities as a leader who could inspire and offer comfort to those under her command.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Una looking at Spock.
Una with Spock on the bridge.

Scotty – this younger version of the character – got one of the best introductions in modern Star Trek. It reminded me more than a little of Star Trek ’09 and how that incarnation of Scotty first appeared, only with much darker undertones. For the first time in Star Trek, Scotty is being played by a Scottish actor, which is great to see. James Doohan did a fantastic job as Scotty in The Original Series, becoming one of the franchise’s most iconic and oft-quoted characters, so there are big shoes to fill for Martin Quinn – assuming Scotty will stick around in Season 3. Based on what we saw in Hegemony, I’m impressed.

Strange New Worlds has been transformative for Nurse Chapel, taking a secondary character from The Original Series and giving her some genuine depth. For Uhura and Spock, we’ve seen them as younger, less-experienced, slowly growing and evolving into the characters we’re familiar with. Scotty, for me, would probably lean more on the Spock side than the Chapel side, and I think there’s room to show where he came from before he became the miracle-worker that we all remember!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Scotty's introduction.
Scotty has made his Strange New Worlds debut!

I’m going to assume Scotty will be at least as present in Season 3 as Paul Wesley’s Kirk has been in Season 2, and there really is a ton of potential in this introduction. I’d love to explore more of his relationship with Pelia, which was hinted at in Hegemony, perhaps learning why this brilliant engineer didn’t get a good grade in her class at Starfleet Academy. There seems to be a bit of tension there, and a power imbalance, but I could see Pelia guiding Scotty as he grows into the role of the Enterprise’s chief engineer.

On the other hand, Scotty’s introduction and his technobabble explanations of force-field traps and Gorn transponders means he arrives almost fully-formed – at least in terms of his technical mastery. Scotty’s janky, thrown-together Gorn transponder is one piece of evidence that was highly significant to the story, but also his force field trap and the lure he created should be included there as well. Scotty clearly possesses all of the ingredients to become the chief engineer we’re familiar with – even the confidence to interrupt two senior officers when they were having a conversation!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Scotty with his transponder device.
Scotty aboard the crashed shuttle.

The question I have, with Scotty’s introduction, is what will become of Pelia? Pelia has been, for me, a bit of a disappointment this season. Not in terms of her moments on screen; I think she’s fantastic, and Carol Kane has done a wonderful job bringing her to life. But rather, Pelia has been almost absent since she joined the crew. Her biggest moment arguably came in Tomorrow and Tomorrow and Tomorrow – but that was a version of the character from more than two centuries in the past. Moments where engineering solutions have been needed have instead fallen to characters like Spock, Ortegas, and even Uhura, with Pelia playing a much smaller and more supporting role than I’d have expected from the chief engineer in a Star Trek series.

So if Scotty is about to join the crew of the Enterprise on either a temporary or permanent basis, becoming even a secondary character as Kirk has been… where does that leave the already-reduced role for Pelia? I think it would be a shame if she was brushed aside to give more screen time to Scotty; as much as I like bringing back legacy characters and bridging the gap between Pike’s Enterprise and Kirk’s, I don’t want all of the show’s time to be spent on that. There needs to be a balance between old and new characters – and with Pelia already seeming to play second fiddle, even in her own department, bringing Scotty aboard could make things worse.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Pelia reuniting with Scotty.
Pelia and Scotty have met before…

The counterpoint to that, of course, is that with an established relationship to build on, and with Pelia’s knowledge of the Enterprise and her systems, we could get a kind of mentor relationship going on. Seeing Scotty grow – in confidence, if not in ability – into the character we’re familiar with under Pelia’s tutelage could be fun to see. And furthermore, it could give the writers more of a reason to include her in stories set in engineering.

The technobabble on Scotty’s side of the story, though – to get back on track – was wonderful. His explanations for how he threw together the false sensor reading generator and the Gorn transponder were pure technobabble and pure Star Trek, and I really do love that! It felt like classic Star Trek in the best way possible, and technobabble explanations with big, random words thrown in have always been a part of what made the franchise so fun. The props created to represent these pieces of kit were also throwbacks, resembling things we’ve seen in The Original Series. Again, I’m absolutely there for all of that!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Sam Kirk holding a sensor device.
Sam Kirk with Scotty’s sensor device.

I touched on Captain Batel a moment ago, and I’d like to get into her storyline in a bit more detail. Batel is very much an auxiliary character to Captain Pike – she’s giving him a reason to keep going in light of his impending accident, and the relationship they’ve embarked on is cute, sweet, and a little awkward, sometimes. They make a fun, very relatable pair. Pike’s fear of losing her – and his relief at discovering that she was still alive – was expertly emoted by Anson Mount.

Gorn eggs, though… was it too soon to bring back this idea after All Those Who Wander? I mean, it’s only been eleven episodes since Hemmer was infected and killed off, and I felt that Hegemony might be straying a little close to repetitive territory with Captain Batel’s infection. If this idea was brand-new for the episode, I think it would’ve been a lot more powerful – but it would’ve needed setting up, and there probably wasn’t time for that! If Strange New Worlds limits this infection to Hemmer and Batel, it will probably be okay. But I’d encourage the writers to avoid adding even more Gorn egg infections in Season 3!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Batel's infected forearm.
Was it too soon to bring back the parasitic eggs?

Batel’s infection raises a big question, though: is she going to survive? On the one hand, it would be a profoundly odd storytelling move to have her infected but alive at the cliffhanger only to say “oops, we can’t save her” and kill her off in the first episode of Season 3. But on the other hand… Captain Batel kind of has to go, one way or another. I don’t mean that because I don’t like her character; on the contrary, she’s been a wonderful addition to the series, she’s given Pike a whole new dimension that we hadn’t really seen before, and Melanie Scrofano has put in a truly exceptional performance. She brings the right balance of command authority and personal warmth to make Batel a believable character – and a sweet partner for Captain Pike.

But at the same time, Pike’s knowledge of his future means their relationship can’t be sustained. Either they’ll have to break up, or… well, the writers will find another way to get Captain Batel out of the way. There could be an engaging story there, with Pike having to come to terms with grief and loss. Batel was a great character for Hegemony to put in danger (twice) because her departure from the show feels like an inevitability one way or another. Unlike with Chapel, who we all knew had to survive somehow, Captain Batel really did feel – and still does feel – like she could be about to be killed off.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Batel hugging Captain Pike.
A sweet embrace.

Partly this is because of the kind of show Strange New Worlds has been. Killing Hemmer before the end of Season 1 was a serious loss for the show… but it also really raised the stakes for all of the other new characters. With the exceptions of those we know survive to The Original Series or beyond, no one is safe. I criticised Discovery and Picard during their runs for putting their characters into dangerous situations, but refusing to go one step further and killing off all but the most minor secondary characters. Strange New Worlds has successfully raised the stakes in that regard, and if Captain Batel joins Hemmer in the “murdered by Gorn eggs” grave… that feeling will only grow.

Main character deaths are a hallmark of modern television storytelling, and in that sense Strange New Worlds is taking the lead of shows that pioneered what I’ve termed the “disposable cast” – the likes of The Walking Dead and Game of Thrones, where no character could feel safe. There are limitations to this, due to the presence of legacy characters and the show’s prequel status, but as we saw this time with Captain Batel, Strange New Worlds can still elicit those feelings – and do so in style.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Captain Batel and a young Gorn.
Captain Batel may not be long for this world…

I liked the zero-g battle between Spock, Chapel, and the adult Gorn aboard the wreck of the USS Cayuga. It felt a little silly to me that other areas of the ship retained their artificial gravity… I mean, did you see the state of the wreck? There was hardly anything left of the Caygua, so how was gravity still functioning?! But on the damaged bridge, in spacesuits and without gravity, the fight was genuinely exciting. Slowed by the lack of gravity and air, Spock wasn’t able to grab his phaser in time, and as it went spinning across the vacuum, I felt a lot more of the tension and excitement than I had until that point.

I think I’m right in saying that this is the first adult Gorn to be seen on screen in Strange New Worlds. I confess that I have a real die-hard appreciation for the old rubber suit from Arena; there’s just something special about those old practical effects that the modern redesign can’t touch. But for the way this version of the Gorn are being depicted, as scarily intelligent monsters, I liked the way this character looked. And I appreciate that there was an effort to use real practical effects for this sequence – a performer in a Gorn suit – rather than making the entire thing a CGI creation.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing a Gorn wearing a helmet.
A Gorn in a spacesuit…

After the tense fight with the Gorn commander, his death actually felt pretty brutal. Drifting out into space with a damaged helmet, injured and leaking air… that’s a pretty gruesome way to go for anyone! The fact that it happened to a monstrous Gorn might’ve taken something away from that, but I actually found it to be an incredibly brutal moment – at least by Star Trek’s usual standards.

Sticking with the wreck of the Cayuga, I thought the set redresses worked pretty well. Sometimes in Star Trek, it can be pretty obvious when an existing set is being recycled and is supposed to be a new setting – Discovery’s transporter room trying to pass itself off as a Ba’ul prison cell in Season 2 is still one of the worst, and the first example that comes to mind! But the changes made to the corridor and especially to the damaged bridge really sold me on the wreck of the Cayuga as a real place, and it made a fun setting for Spock’s stand-off with the Gorn.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing Spock on the wreck of the Cayuga, activating a rocket.
Spock on the Cayuga’s ruined bridge.

Should we address the status of Gorn-Federation contact? I mean, we’ve done other nitpicks so far in this review… so why not? If you wanna get technical about it, The Original Series first season episode Arena made it pretty clear that Starfleet hadn’t encountered the Gorn before. Because I didn’t review individual season 1 episodes of Strange New Worlds (the show wasn’t “officially” available outside of the United States for months after its premiere) I didn’t get a chance to address this at the time.

Long story short… I don’t really give a shit if Strange New Worlds contradicts Arena. Internal consistency and “canon” are important up to a point, but given the quality of the writing in all of Strange New Worlds’ Gorn episodes so far, I really don’t think it matters. If we were dealing with a bigger faction, one that had played a role in numerous episodes across multiple shows, then I might be more on the side of the canon purists. But given that the Gorn only ever appeared once in The Original Series and once in Enterprise, I’m content for Strange New Worlds to explore this faction in more depth. I think they work better as antagonists because of how unexplored they are than Discovery’s Klingons did, and I’m genuinely enjoying this “spacefaring monster” idea.

Still frame from Star Trek: The Original Series Season 1 showing the Gorn captain.
The Gorn captain from Arena.

This depiction of the Gorn led to an interesting conversation between characters. How do we define a “monster,” and given that the Gorn are clearly at least as intelligent as humans, do they even fit that definition? In fact, seeing as the Gorn appear to have access to technology that surpasses the Federation’s capabilities – a jammer that can block transporters, sensors, tricorders, and warp engines all at once is clearly much more advanced than anything Starfleet has – is “monster” even close to accurate?

As an aside: did it seem like the Gorns’ jammer affected their own sensors? Because it felt that way to me, and I wonder if we might learn more about how the Gorn acquired this technology in a future episode. The idea that their most powerful weapon also renders their own ships and soldiers blind is an interesting one – and after Scotty’s comments about a solar flare sending the Gorn into a hunting frenzy, we could be primed to learn more about them. My theory? I wonder if there’s someone behind the scenes manipulating the Gorn or pushing them to attack the Federation.

Maybe we’ll have to elaborate on that idea one day!

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing an adult Gorn trying to open a hatch.
Could someone (or something) be influencing or manipulating the Gorn?

The “monster” conversation was a genuinely interesting one. It reminded me a little of Kirk’s anti-Klingon feelings in The Undiscovered Country, and it could’ve been a great way to make a point about how all of us can very easily “other-ise” cultures and peoples that we don’t understand. All-out war is a very real possibility here, but Star Trek has always been a franchise that promoted understanding, bridging cultural differences, and peaceful exploration. Perhaps there’s a story, somewhere, about how the Gorn don’t see humans as equals, and how it’ll take negotiation and convincing to get them to, y’know, stop eating us.

I could’ve happily spent longer on this conversation, and I think La’an would’ve been an interesting character to linger on. We’ve already seen her history with the Gorn, her fear, and how her feelings toward them can drive her… but how would she react to negotiation and peace? That could be an interesting angle for the series to explore. I love a good alien monster as much as the next sci-fi fan, don’t get me wrong, but the Gorn aren’t mindless animals – they’re warp-capable and intelligent, and I’d like to see that side of things explored in more detail one day.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing La'an and Captain Pike sitting on a bench, taking shelter.
La’an and Captain Pike on Parnassus Beta.

This review is already running long, so I think we’d better start to wrap things up. Hegemony was an outstanding episode, up there with the best of the best from Seasons 1 and 2. It was a fantastic way to close out Strange New Worlds’ wonderful second season, while also teeing up a story that could – in theory – run for multiple episodes across Seasons 3 and 4. The conflict with the Gorn is fascinating, and the Gorn themselves make for a wonderfully monstrous and intimidating adversary. My only concern is that Strange New Worlds has been a breath of fresh air with its return to episodic storytelling, exploration, and even some of Star Trek’s more ethereal and “weird” storylines… and I don’t want to sacrifice that for a serialised season-long story. Discovery and Picard already burned me out with repeated “the entire Federation is in imminent danger” storylines… so I hope that Hegemony can be a two- or three-part story and nothing more.

There were a couple of contrivances that saw Starfleet Command (and everyone else in the story) skip over the Gorn’s attack on a Federation vessel, and I confess I found that difficult. But once I got past that, the rest of the episode played out in truly exciting style, closing out the season with a bang. I had a truly wonderful time with Captain Pike and really the entire crew – and I can’t wait to find out what happens next when Season 3 arrives later this year.

Still frame from Star Trek: Strange New Worlds Season 2 Episode 10 (2023) showing the USS Cayuga at the beginning of the episode.
The USS Cayuga.

This finally finishes my Strange New Worlds Season 2 episode review series – a series that I began when the show was first airing back in 2023. It took me so long because I basically burned out on Star Trek for a while, and I still have two full seasons of Lower Decks and some Prodigy episodes to get caught up on before I’m fully back up to speed with Star Trek. I’m probably the only reviewer who watched Section 31 before Subspace Rhapsody and Hegemony, so I hope you’ll forgive the lateness of these final reviews.

As I said at the beginning, though, it kind of worked out well for me, because now I don’t have so long to wait for the continuation of this wonderful story! Season 3 is well into post-production, and while we don’t have a broadcast date just yet, I would expect to see it in the summer or perhaps early autumn. There’s less congestion to the schedule this time around, so hopefully Paramount will give Star Trek room to breathe. That’ll give me time to get caught up on some of those other shows, right?

Season 3 will be on our screens before too long, though, so I hope you’ll join me for more reviews and perhaps a dash of theory-crafting. No promises, but I’d like to think I’ll get through Season 3 in a more timely fashion this year! And until then, stay tuned here on the website for more Star Trek content. In the first couple of months of 2025, I’ve already reviewed Section 31 and written up my recollections of Voyager to celebrate that show’s thirtieth anniversary. There’s more to come, so until then… Live Long and Prosper!


Star Trek: Strange New Worlds Seasons 1 and 2 are available to stream now on Paramount+ in countries and territories where the platform is available. The series is also available on DVD and Blu-ray. The Star Trek franchise – including Strange New Worlds and all other properties discussed above – is the copyright of Paramount Global. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Strange New Worlds Episode Review – Season 2, Episode 9: Subspace Rhapsody

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Strange New Worlds Seasons 1-2.

I’ve been putting off this review.

After I re-started my Strange New Worlds Season 2 episode reviews in the autumn, this episode stood out as one that I just wasn’t looking forward to or was even interested in, so when it was the next one in the lineup I found myself procrastinating.

I will tell you up-front that I’m generally not a fan of non-animated musicals. I adore musicals in the theatre; seeing Wicked shortly after its West End debut is genuinely one of my favourite memories. And I like Disney-style animated musical films, too. But live-action musical films have never been my cup of tea.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Kirk and Una dancing.
Una and Kirk dancing aboard the Enterprise.

Worse, musical episodes in shows that are otherwise not musicals have been – in my subjective opinion, naturally – universally terrible. Whether it was in Supernatural, Buffy the Vampire Slayer, or even Scrubs… I really didn’t like what was on offer. I’m a fan of the camp and kitsch as much as the next person, but musical episodes have always been a bridge too far. They feel offputting, immersion-breaking, silly, and even fan-servicey sometimes.

So it’s with that background that I approach Subspace Rhapsody.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Uhura holding a tricorder.
Let’s analyse and dissect Subspace Rhapsody.

I’m gonna do something a little different for this review. Rather than waste your time and mine with a two thousand-word explanation of why I’ve never liked musical episodes, I want to try to stay positive and focus on some of the things I liked or appreciated about Subspace Rhapsody. Because I’m not gonna lie to you: I would rather hammer a rusty nail into my scrotum than watch this episode again. It was so far beyond cringeworthy that I barely got through it once.

First of all, let’s talk choreography and songwriting.

Creating a musical – any musical, really – is a lot of work. Trust me, I know: I used to do amateur dramatics, and we’d always have songs and performances in our shows! Rehearsing Subspace Rhapsody must’ve been a challenge, and for choreographers and vocal coaches, having to work with actors who are not natural singers nor particularly practised in musical theatre will have been an additional challenge. A lot of work went into writing songs, working with the actors to get the best possible take when recording the songs, and especially choreographing some of the bigger dance routines. Getting multiple performers to dance and sing in unison is a creative and technical feat. The fact that I didn’t enjoy the result doesn’t mean I can’t appreciate the skill that went into it!

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing the main cast singing the final song of the episode.
Singing and dancing at the episode’s climax.

Redoing the Strange New Worlds opening theme as an a capella piece was creative, too. I actually didn’t mind the result – it was different from the usual theme (which happens to be one of my favourites in the entire franchise) while being familiar enough to still fit the opening titles. It was the right choice for this episode, and whoever came up with the idea deserves praise! As do the performers who vocalised the theme and the sound mixers who brought it together.

Secondly, the premise of the episode – a random space phenomenon causing chaos on the Enterprise – feels like something straight out of The Original Series or really any pre-Enterprise show. Subspace Rhapsody, in concept, wasn’t a million miles away from episodes like The Naked Time, If Wishes Were Horses, or Masks, which I mean as a compliment. Star Trek has always been ethereal and, for want of a better term, “weird” in its take on sci-fi, particularly in The Original Series and the early part of The Next Generation. It’s hard not to look at Subspace Rhapsody’s core concept through that lens, and stepping back to that style of storytelling after the intensely dramatic Discovery and Picard is a welcome change.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Spock and the improbability field.
The improbability field felt like something right out of classic Star Trek.

The quantum uncertainty field – or improbability field – felt so familiar, in fact, that I could’ve sworn it had been used somewhere else in Star Trek before! Not for musical reasons, it just seemed like a very familiar term. I was wrong about that, it was actually new for Subspace Rhapsody, but the concept felt very “Star Trek.” We’ve seen space phenomena lowering peoples’ inhibitions, making dreams come alive, or turning the Enterprise into a stone pyramid, so why couldn’t there be something out there forcing people to sing? It’s not so outlandish that it couldn’t be part of Star Trek’s occasionally wacky galaxy!

The one side of this that I felt didn’t work as well as intended was the danger posed by both the field itself and the Klingons’ response to it. At no point did I feel the crew of the Enterprise – or the wider Federation, come to that – were in any real danger. And I know in Star Trek stories the heroes always find a way to save the day… but that isn’t what I mean. Plenty of episodes and films can still feel tense, even though at the back of our minds we know there’s going to be a solution. But Subspace Rhapsody didn’t convey that feeling well enough for me, even when the Klingon ships were bearing down on the Enterprise.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Captain Pike communicating with the Klingons.
The Klingons were partial antagonists in Subspace Rhapsody.

I was, I must admit, pleasantly surprised with the quality of the singing in Subspace Rhapsody. Often, when non-singers are pressed to take on musical roles… it’s kind of obvious, and all the auto-tune in the world can’t hide a lack of talent and training. To my surprise, most of the cast did well – even though it could be obvious that the singing was pre-recorded and everyone was just miming along. Still, I’ll take reasonably good lip-syncing over bad singing any day of the week!

Sticking with the songs, there are a couple more positives. I appreciate that the songs were all original – this wasn’t a “jukebox musical,” trying to recycle out-of-copyright songs from years gone by. Having the crew sing about their feelings and what was going on around them was silly, yes, but better than if they’d burst into a rendition of something like Button Up Your Overcoat or Embraceable You. Songwriting takes talent, and putting together original songs inspired by classic musicals on a budget is no mean feat.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Chapel singing.
All of the songs were original.

There must’ve been a temptation to try to emulate the style of composers like Lin-Manuel Miranda, creating pieces of music with a much more modern style. For my money – which, admittedly, doesn’t go very far in an episode like this one – Subspace Rhapsody was better-served by generally sticking with a more trad-pop style. The episode’s final musical number (its grand finale) was a bit of a departure from that, but trying to do the whole episode in that style, or with a mix of genres like disco or hip-hop, wouldn’t have been a positive.

Obviously Subspace Rhapsody was a great episode for Uhura, picking up her character arc from Season 1 and referencing how Hemmer had inspired her. Her growth as an officer, and finding her place both in Starfleet and aboard the Enterprise, were also instrumental to her role in the story, helping her discover a solution to the improbability field. We didn’t get to learn a lot about Uhura this time, nor did she really change over the course of the story, but her role in Subspace Rhapsody felt like the culmination of her arc across the show’s first two seasons. It was nice to see.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Uhura holding a padd.
Subspace Rhapsody was a big episode for Uhura.

Subspace Rhapsody was also a great episode for La’an – particularly her relationships with Kirk and Una. La’an lanced the boil of her feelings for this reality’s version of Kirk, and while it didn’t go the way she might’ve wanted, there’s something cathartic in the act of confession. Hopefully it’ll settle those feelings for her going forward. This felt like a pretty relatable moment; who among us hasn’t had feelings for someone and tried, awkwardly, to talk to them? I know I’ve been in the position of feeling conflicted about whether to confess how I feel and how to go about it! It’s part of the human condition.

La’an and Una make a fun pair; there’s a kind of big sister/little sister relationship between them, sometimes. For Una to be the one La’an turned to when she was struggling with what to do about Kirk felt natural in the context of their relationship across the series so far, and deepening their bond was something I appreciated this time.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing La'an sitting on her bed.
La’an evolved her relationships with Kirk and Una this time.

The one character I’d argue that Subspace Rhapsody didn’t handle well was actually Captain Pike. Firstly, Pike seemed to trip over a pretty basic relationship hurdle in a way that didn’t feel right for his character. The “issue” in his relationship with Captain Batel was so incredibly simple that it didn’t make a lot of sense to me that he wouldn’t simply propose a different kind of vacation or try to find a compromise. Allowing something so small to eat away at him and potentially damage their relationship just doesn’t feel like something Pike would do – even though, again, it was kind of a relatable moment. Sometimes in relationships something small can seem intimidating, and maybe the story wanted to get at Pike being inexperienced with this kind of thing. It was still wide of the mark, but at least I get what the story wanted to say.

Secondly, Pike is known for his inspiring speeches and his ability to motivate his crew. For him to delegate that task at the episode’s climax – with potentially huge stakes and the survival of Starfleet on the line – didn’t seem right. Uhura was well-positioned to speak to the crew, sure, but no one does inspiration quite like a ship’s captain. We’ve seen Pike take on that role several times already in both Strange New Worlds and Discovery, and while I get this was Uhura’s moment… the way the script brushed Pike aside to get there didn’t sit right with me.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Captain Pike with his hand outstretched.
This wasn’t Captain Pike’s strongest episode.

We should also talk about Spock and Chapel, who seem to have come to the end of their brief relationship. I liked the callback to The Original Series on this side of the story – Roger Korby was a character from the Season 1 episode What Are Little Girls Made Of, and having him name-dropped here was interesting. I wonder if Korby will be mentioned – or even seen on screen – in Season 3.

I found both Spock and Chapel to be relatable on this side of the story… because I’ve been both of them at different points in my life. Leaving someone behind to take advantage of a once-in-a-lifetime opportunity is hard, and being the one left behind as a partner goes somewhere you can’t follow… that’s probably even more difficult. Spock’s intense feeling of rejection really hit me in a way I wasn’t expecting, and I think it also shows how far Spock still has to go in order to become the stoic Vulcan we’re familiar with from The Original Series. This younger version of the character is still carrying more of his emotional human side – and it came through in that moment.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Spock.
Spock is still – on occasion – an emotional character.

There were several creative camera shots in Subspace Rhapsody, as well as some great special effects and animated moments. La’an gazing out of the window during her solo song, complete with a zoom out to the Enterprise, was great – and it’s a pretty uncommon shot in Star Trek, when you think about it. Una and La’an floating with the artificial gravity having been deactivated was also a neat effect, and another rarity!

The Enterprise and three Klingon ships performing a kind of ballet in space was exceptionally creative, too, and tied into the theme of the episode really well. It was well-animated, and I liked seeing the D7 class (referred to as a K’t’inga class in the episode) back on screen once more. I also liked the classic warp effect that was used near the end of the episode as the Enterprise headed on to her next adventure.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing the USS Enterprise and three Klingon ships.
Even the Enterprise and the Klingon ships couldn’t resist dancing.

Speaking of the Klingons, I felt more than a little of Deep Space Nine’s General Martok in Bruce Horak’s Garkog. Not only do the two characters each have a missing eye, but Horak seemed to be channelling J G Hertzler in his performance, particularly in his first scene. Garkog was a pretty minor character in the grand scheme of things, but it was sweet to welcome back Bruce Horak for the second time this season. I still think it was a mistake to kill off Hemmer so early, by the way!

I could’ve spent another scene or two with the Klingons. We got to see their musical “dishonour” on screen, but I would’ve been interested to get a different perspective on the improbability field phenomenon. Maybe we could’ve seen Garkog and his crew trying to find a solution before their encounter with Pike and the Enterprise.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Klingon General Garkog mid-song.
General Garkog.

There were a couple of funny lines in Subspace Rhapsody that successfully won a smile. Pelia’s line in the briefing room about using the “zipper” was one, and Kirk’s a moment later about how he “almost understood” what Spock was saying was also a bit of fun. I would say that Kirk’s unspecified “commission review” felt like a bit of a clumsy way to shoehorn him into the story, but once he was aboard the Enterprise I enjoyed having him around.

So I think that’s everything I had in my notes this time.

Subspace Rhapsody was borderline unwatchable for me, and unless someone duct-tapes me to a chair and holds my eyes open, A Clockwork Orange-style, I will never watch it again. It was categorically not “my thing,” and I’m okay with that. Star Trek is an experimental franchise, and I welcome the creative team striking out in new directions, trying different things, and keeping Strange New Worlds a largely episodic project. As long as they don’t try to make a fully-musical series, I think I can cope with Subspace Rhapsody as a one-off.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing La'an peeking out from behind a wall.
La’an is spying on someone…

There were positives in the mix. Uhura and La’an got great moments of characterisation, Spock was particularly relatable, and it was fun to welcome back Paul Wesley as Kirk. His take on the character is fantastic, and I’m genuinely looking forward to spending more time with him in future. There was also some excellent cinematography and visual effects work.

On the musical side of things, here’s what I’ll say. There are some styles of storytelling, movie making, and entertainment in general that I personally don’t like or aren’t “my thing.” But I can still appreciate the skill, effort, and work that went into their creation, and I can acknowledge that they are exemplars of their genres. I don’t like opera, for instance, but I can still appreciate the years of training needed to sing that way, or the months of work and rehearsing that go into the staging of an opera.

Still frame from Star Trek: Strange New Worlds Season 2 (2023) showing Pelia, La'an, and Spock singing.
Pelia, La’an, and Spock.

And that’s how I feel about Subspace Rhapsody, at the end of the day. I didn’t enjoy it – and I knew I wouldn’t before I watched it, hence all the procrastination – but I can tell that the cast, crew, and production team had a ton of fun with it. A lot of effort and practise went into some of the more involved musical numbers, and there was some genuinely great choreography – at least from my perspective as a layman. And as a Trekkie, I can appreciate other parts of the story even if the musical side of things really didn’t do it for me.

I hope this didn’t feel like too much of an attack on Subspace Rhapsody. If you liked it, or if you’re more a fan of musicals than I am, that’s great. And I will say that it looked like it would’ve been a lot of fun to work on as a dancer or background performer! It just wasn’t for me. I promised myself I wouldn’t watch Hegemony until I’d seen Subspace Rhapsody, so I really needed to get this out of the way to get to the end of the season! I’m ready to jump into that episode now… so stay tuned for what will hopefully be a more positive review sometime soon.


Star Trek: Strange New Worlds Seasons 1-2 are available to stream now on Paramount Plus in countries and territories where the service is available. The Star Trek franchise – including Strange New Worlds – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek Films: My Tier List

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for all fourteen Star Trek films, including Section 31.

Almost five years ago, I put all of the Star Trek films into a ranked list. I talked about what I liked and didn’t like about each, and tried to justify my choices! But since I wrote that list, a couple of things have happened. Firstly, I’ve gotten better at using images here on the website – that old piece looks pretty janky in comparison to some of my more recent articles. But secondly – and way more importantly – there’s been a new Star Trek film since then!

I think Trekkies are still a little divided on whether the made-for-streaming Section 31 should count as a Star Trek “film,” and I get that. But for me, Section 31 has the runtime of an (admittedly rather short) film, it’s not a series, miniseries, or anything like that, it has mostly original characters, and it was afforded a higher budget than any individual Star Trek episode would’ve been. For all intents and purposes, Section 31 counts as the newest Star Trek film – the fourteenth since 1979… and hopefully not the last!

Promo photo of Star Trek: Section 31 showing Quasi.
Section 31 is the most recent Star Trek film, and it’s on this list!

So today, I’m going to revisit the Star Trek films, this time using the internet-friendly tier list format that you might’ve seen on a couple of other occasions here on the website! I think most folks have a vague idea about tier lists at this point – but if you don’t, I’ll happily explain how it works.

Instead of giving each film a number from 1-14, which would be hard, we’re going to assign each film one of five tiers: D, C, B, A, and S. D-tier films are the least-enjoyable with noticeable flaws, C-tier titles are average or “just okay,” B-tier films are a step up, being above average, A-tier titles are getting really good, and S-tier is reserved for the absolute cream of the crop! Why is S-tier the top instead of A or something like A-plus? The truth is… I don’t know! But that’s the way everyone else does it, so I’m sticking with it! Some tier lists also include an F-tier for absolute disasters, but since I don’t consider any of the fourteen Star Trek films to be that bad, I’ve opted not to include it on this occasion.

A tier list with ranks S through D and fourteen question marks where the entries would be.
Let’s fill out this blank tier list together!

Now that the explanation of the format is out of the way, a handful of important caveats!

Firstly, all of this is subjective, not objective. There is no “objectively best” Star Trek film, and even within the fan community opinions vary wildly on which titles are better and what makes for a good Star Trek story. So if I rank a title you hate highly or speak ill of your favourite… that’s okay! There ought to be enough room in the fan community for civil conversations and polite disagreement.

Secondly, this piece supersedes my old film ranking list, and I have made a couple of changes to where films were ranked five years ago. I’ll be leaving the old piece as it is, though – it’s a part of the website and it would be silly to delete it! But going forward, this is the official Trekking with Dennis Star Trek films tier list!

Still frame from Star Trek: The Motion Picture showing the assembled crew.
Admiral Kirk addressing his crew in The Motion Picture.

Third, I’ll rank each production in order of release, beginning with The Motion Picture and finishing with Section 31. Then I’ll show you the final tier list at the end. I’ll do my best to explain what I liked and/or didn’t like about each title to justify my ranking – but please feel free to vehemently disagree if you like!

Finally, all of this is just for fun! I like writing, I like Star Trek, and finding an excuse to talk about some of the Star Trek films that I love – or that I haven’t seen in a while – is supposed to be a bit of escapism. Nothing about this should be taken too seriously, because the point of Star Trek for me has always been entertainment and escaping to a fun vision of the future.

With all of that out of the way, let’s begin.

Film #1:
The Motion Picture (1979)
Tier: S

Still frame from Star Trek: The Motion Picture showing Spock in a space suit.

The Motion Picture had a complicated production history! It was originally envisioned as a television series, bringing Star Trek back as Phase II in the late 1970s after re-runs of The Original Series had been growing in popularity. Actors had been cast, sets were being designed, and scripts were written… but then, in 1977, another sci-fi film’s wild success led to Phase II being reimagined as a feature film. Star Trek as a cinematic franchise was born!

In my experience, Trekkies tend to underrate and underappreciate The Motion Picture. In a very literal sense, much of the visual language of Star Trek was born here, not in 1966: metal Starfleet badges, the warp core as an upright glowing tube, angled corridors, Starfleet Headquarters, the re-designed Klingons… and so much more. Sets built for The Motion Picture would remain in continuous use all the way through Enterprise’s cancellation in 2005, defining what makes Star Trek look like Star Trek for millions of viewers.

Still frame from Star Trek: The Motion Picture showing Admiral Kirk in a hallway.

The Motion Picture also has one of what I consider to be the best starship introductions in the franchise – something that set the bar for other shows! Kirk and Scotty’s shuttlepod flight to the refit Enterprise – complete with Jerry Goldsmith’s Academy Award-nominated score – is beautiful, and I get teary-eyed every time I watch it. It’s one of the best moments in Star Trek for me, and everything about it is pitch-perfect.

I get that The Motion Picture’s main story isn’t for everyone. It was also a bit of a mess, with re-writes continuing even during filming, and that probably didn’t help. But for me, The Motion Picture plays out like an extended episode of The Original Series. It’s ethereal, thought-provoking, and not overladen with fast-paced action set-pieces. I think that’s to the film’s credit, even if many don’t agree.

I have a longer piece about The Motion Picture, written in 2019 to mark the film’s 40th anniversary. You can find it by clicking or tapping here.

Film #2:
The Wrath of Khan (1982)
Tier: S

Still frame from Star Trek II: The Wrath of Khan showing a close-up of Khan.

For many folks, The Wrath of Khan is still the Star Trek franchise’s high-water mark; a film that no other in the franchise has even come close to. I wouldn’t go that far personally – I think there are a couple of other equally brilliant films, as we’ll talk about in a moment – but The Wrath of Khan is definitely up there! The mix of sci-fi with high-octane action proved to be a perfect blend for Kirk and the crew, with a vengeance-obsessed Khan becoming one of the best villains not only in Star Trek, but in all of cinema.

The Wrath of Khan has one of the best and most intense starship battles in the franchise. Drawing inspiration from submarine and naval battles in World War II films, the fight between the badly-damaged Enterprise and Khan’s USS Reliant is incredible. The sequence builds up tension masterfully – by showing the extent of the damage to the Enterprise, by robbing Kirk and Khan of their sensors in the nebula, and with Spock cleverly explaining Khan’s “two-dimensional thinking” as a way to convey the tactics of starship battles in a three-dimensional space.

Still frame from Star Trek II: The Wrath of Khan showing the USS Reliant on the Enterprise's viewscreen.

Toward the end of The Wrath of Khan, we also get one of the most poignant and emotional moments in any film in the franchise… or really anywhere in the entirety of Star Trek, come to that. Spock’s death – sacrificing himself to save the Enterprise and his friends – really hits hard. Even though on my first viewing of The Wrath of Khan I already knew that Spock would be resurrected, there’s still a real emotional weight to this moment. Star Trek has attempted to do similar things with other characters (we’ll look at a couple further down the list) but none came close to matching this moment.

Ultimately, The Wrath of Khan was the first film to wrest control of Star Trek away from its creator, Gene Roddenberry, and to try new and different things with this cast of characters. It’s very different in tone and style from The Original Series, but that turned out to be a net positive for many fans – and many new fans, too. The Wrath of Khan firmly established Star Trek as a cinematic franchise.

Film #3:
The Search for Spock (1984)
Tier: A

Still frame from Star Trek III: The Search for Spock showing the surface of the Genesis Planet.

Sandwiched in between the ever-popular Wrath of Khan and the light-hearted Voyage Home, I think some folks can overlook The Search for Spock. As the middle part of a trilogy, the film has the difficult task of moving the story along but without being able to draw all of its story threads to a firm conclusion. For my money, though, it’s a great film – and it manages a complicated sci-fi story exceptionally well.

The Search for Spock gave us an extended look at the re-designed Klingons from The Motion Picture, and also introduced the Klingon Bird-of-Prey, arguably the faction’s most iconic spaceship. It’s the film which re-introduced the Klingons in a big way, expanded the Klingon language, and introduced starship and uniform designs that have become inseparable from the faction. The Klingon Empire as we know it would not be the same – and might not be a big part of Star Trek at all – without The Search for Spock and its main villain, Kruge.

Still frame from Star Trek III: The Search for Spock showing Uhura wielding a phaser pistol.

I’ve always appreciated the design of the Genesis Planet. The story of its creation is a bit “out there,” even by Star Trek standards, but the practical sets, props, and puppets created to represent the Genesis Planet all feel like ’80s sci-fi at its best. And yes, as a child of the ’80s I’m acutely aware of my biases here! But when I compare the way that The Search for Spock looks to modern Star Trek, with its CGI and AR wall… I can’t help it. I know what I like!

As the film that destroyed the original USS Enterprise, The Search for Spock was always going to court controversy. But I don’t agree with the take that “all of the odd-numbered Star Trek films are bad,” lumping The Search for Spock in with The Final Frontier. There are some wonderful moments of characterisation for David Marcus, Kirk, Dr McCoy, and others. And thanks to the insistence of director Leonard Nimoy, all of the main cast members got moments in the spotlight.

I have a longer piece about The Search for Spock – which was the first Star Trek film I watched – and you can find it by clicking or tapping here.

Film #4:
The Voyage Home (1986)
Tier: B

Still frame from Star Trek IV: The Voyage Home showing Kirk and Spock on a bus.

Maybe this is a “hot take,” but I’ve never been wild about The Voyage Home. As with similar Star Trek stories involving time travel to the modern day, its ’80s setting has left the film feeling so much more dated than any other in the cinematic franchise, and while I enjoy a good ’80s comedy as much as anyone else… it’s not necessarily what I want from a Star Trek film.

That being said, I don’t hate The Voyage Home by any stretch. It has some incredibly funny moments as Kirk and the crew attempt to navigate a time period that’s completely alien to them. Moments like Kirk asking if $100 is “a lot” of money, or Scotty trying to use a mouse to talk to a computer spring to mind as laugh-out-loud moments, and Spock having to cover his Vulcan ears to pass as a human is a fun look. Kirk and Spock’s confrontation with a punk on a city bus was also a hilarious moment.

Still frame from Star Trek IV: The Voyage Home showing HMS Bounty approaching the sun.

On the sci-fi side of things, I really like the design and power of the “whale probe.” I think it’s unintentionally one of the franchise’s most unnerving alien creations, too. Its design harkens back to The Doomsday Machine’s planet-killer, but its power is used completely differently. The idea that this machine could simply disable all of Starfleet – and Earth – without breaking a sweat is already frightening, but when it can’t be reasoned with or even communicated with… that’s outright terrifying. Sometimes the Star Trek franchise can lean too heavily on “nose and forehead” aliens, but the likes of the “whale probe” remind us that the galaxy is a dangerous and sometimes incomprehensible place.

The Voyage Home did something Star Trek has often done: used a sci-fi lens to examine real-world issues. In this case, the loss of biodiversity and humanity’s impact on the environment were in the spotlight. The message was simple: we can’t predict the consequences of even a single species going extinct, and we should do everything we can to preserve biodiversity on Earth. That’s a good message, and it’s presented in a fun, creative story.

Film #5:
The Final Frontier (1989)
Tier: D

Still frame from Star Trek V: The Final Frontier showing Kirk, Spock, and Dr McCoy camping.

I said at the beginning that I wasn’t giving any F-tier rankings, and The Final Frontier is kind of the reason why. I get why folks don’t like it, and I think it has some obvious narrative weaknesses, as well as a smattering of sub-par special effects that make it less visually impressive than other titles in the franchise. But it isn’t a complete cinematic failure on par with something like Baz Luhrmann’s Australia or The Rise of Skywalker, so I think we can safely say that even the least-impressive Star Trek films avoid that ignominious fate!

Star Trek has delved into religion and religious-adjacent subjects before, so the idea of an alien claiming to be the god figure from various cultures isn’t totally out of left-field. But the execution of this storyline leaves something to be desired, and I just don’t think The Final Frontier really knew what it wanted to say or where it wanted to take this heavy idea.

Still frame from Star Trek V: The Final Frontier showing Scotty laying unconsious on the floor.

The film also suffers from a little too much interference from William Shatner, who exercised his contractual right to helm a Star Trek film after Leonard Nimoy had his turn in the director’s chair. Shatner wanted to tell a story that put Kirk – and Kirk alone – centre-stage, as the sole character who could stand up to Spock’s villainous half-brother. Changes were made to the first draft of that story, when Nimoy objected to Spock’s characterisation, but Shatner’s determination to put Kirk front-and-centre still comes across.

I don’t believe that The Final Frontier is irredeemably bad. There are some wonderful moments, too, like the campfire sequence with Kirk, Spock, and McCoy, Scotty’s line “I know this ship like the back of my hand,” and the away mission to Nimbus III. McCoy’s incredibly painful backstory is also one that hits close to home, and has to be one of DeForest Kelley’s best and most emotional scenes with the character. Kirk’s line to Sybok about “needing” his painful and traumatic moments – that they define who he is – is a powerful idea, too. I just feel that, taken as a whole, The Final Frontier misses the mark with some of its storylines and loftier concepts.

Film #6:
The Undiscovered Country (1991)
Tier: A

Still frame from Star Trek VI: The Undiscovered Country showing Starfleet officers and Klingons at a diplomatic dinner.

After the disappointment of The Final Frontier, it took some persuading for another Star Trek film to be greenlit. In 1991, with The Next Generation well underway and work progressing on spin-off ideas, there were some at Paramount Pictures who argued that Star Trek had moved on from The Original Series and its characters. A proposal to reboot Star Trek with a Starfleet Academy film was seriously considered, but ultimately Gene Roddenberry and others were able to convince the studio to allow the cast one final film to end on. The Undiscovered Country was thus given the green light.

The story here is great, and incredibly timely! The script uses the Federation and Klingons as a metaphor for the end of the Cold War; communists had been swept from power in 1989, and the Soviet Union was itself dissolved just days after the film’s premiere. The story of old rivals finding a path to peace, and old warriors with grudges finding a way to bury the hatchet, was an exceptionally powerful one – even if Gene Roddenberry hated the depictions of Kirk and Starfleet when he was shown an advance copy of the film.

Still frame from Star Trek VI: The Undiscovered Country showing the attack on Kronos One.

We get to see an exploration of the Klingon Empire, including one of its brutal prison colonies, and how the Klingons of the 23rd Century came to be neighbours and rivals rather than enemies by the time of The Next Generation’s 24th Century. There was even a role for TNG’s Michael Dorn, who played an ancestor of Worf. The Undiscovered Country did a lot to bring Star Trek’s two eras together, and as one crew departed the stage, work on the next expansion of the franchise began. Deep Space Nine would premiere just over a year after The Undiscovered Country had been in cinemas.

The “Praxis effect” – a two-dimensional circular shockwave created by a planet exploding – was named for the destruction of the Klingon moon seen in The Undiscovered Country! In a very real sense, the film’s legacy goes far beyond the Star Trek franchise, with similar visual effects still being used in sci-fi and fantasy to this day. Special effects were great across the board, and The Undiscovered Country also has a fantastic ship battle between the Enterprise, Sulu’s Excelsior, and a cloaked Bird-of-Prey.

Film #7:
Generations (1994)
Tier: S

Still frame from Star Trek: Generations showing Picard and Data in the stellar cartography room.

Is it controversial to say Generations is a good film? Because I honestly think it’s one of the franchise’s best. Bringing Kirk and Picard together was an absolute joy to watch, and I think it came at just the right moment, too – the film represents a handing of the torch from one crew to another. It didn’t come too soon, as this kind of story would’ve overshadowed The Next Generation’s characters before they’d found their feet. But by 1994, I really think the time was right for this kind of epic crossover.

I find Dr Tolian Soran to be an incredible villain, too. His motivations were easily understood, and while he absolutely needed to be stopped… part of me sympathises with him. The presentation of the Nexus as this heaven-like paradise realm, where time has no meaning and your heart’s desires can be made manifest, is the perfect motivation for someone like Soran – whose quest takes on a quasi-religious tone as a result.

Still frame from Star Trek: Generations showing the Nexus approaching Soran, who has his arms raised.

Generations killed off Captain Kirk, drawing a line under Star Trek’s original incarnation. Kirk would, of course, remain important to Star Trek, and it wouldn’t be the final time we’d see a member of his crew on screen. But in that moment it did feel very final – and Kirk’s act of sacrifice to save Picard’s crew and the population of a planet he didn’t even know… it was an intensely emotional sequence.

Generations does a lot to explore the connection between Picard and Guinan, which would go on to be important in Star Trek: Picard, too. It was also a great film for Geordi and Data – the latter receiving his emotion chip and really expanding his programming beyond what he’d been capable of before. All of the main characters got a turn in the spotlight, and there were moments of mystery, emotion, and action throughout this wonderful film.

I wrote a longer piece about this film’s villain, Dr Soran, and you can find it by clicking or tapping here.

Film #8:
First Contact (1996)
Tier: A

Still frame from Star Trek: First Contact showing the Enterprise-E and other Federation vessels firing their weapons.

First Contact is a fantastic film. But I’m docking a couple of points because of one element it introduces that I feel complicates – and crucially, detracts from – one of the franchise’s best, most iconic, and most frightening villainous factions. I’ll have to elaborate on this one day in a standalone piece, because there’s too much to fit into a few sentences right now, but in short: the Borg Queen kind of ruins the Borg for me. Worse, her presence takes away a lot of the Collective’s fear factor – especially when we get to her later appearances. I get it: First Contact is a feature film and it needed to have a single villain for Picard and Data in particular to face off against. But on the whole, I’d say the Borg Queen was not a net positive for the Collective or Star Trek.

But enough about that for now! First Contact re-introduced the Borg in style, depicting a deadly battle in space, and a slow-paced assimilation of the brand-new Enterprise-E. The scenes aboard the Enterprise’s lower decks in particular are incredibly tense; the Borg are far more frightening here than they had been in any of their earlier appearances. And although I have gripes with the Borg Queen as a concept, her scenes with Data and Picard – and the latter’s trauma stemming from his earlier assimilation experience – are all played exceptionally well.

Still frame from Star Trek: First Contact showing Captain Picard on the bridge.

First Contact also did a lot to set the stage for Enterprise – though that wasn’t necessarily the intention at the time! Enterprise does, though, build on what First Contact did with its depiction of Earth and humanity’s first efforts to build a faster-than-light engine. James Cromwell, who played Zephram Cochrane, would even have a cameo in Enterprise’s premiere.

Picard is the real star of the show this time, as he lets his emotions overwhelm him when faced with the Borg’s return. After the episode Family, we didn’t really get much exploration of Picard’s mental state and how he was coping with having been assimilated by the Borg, but First Contact took that as a starting point to tell a story touching on things like post-traumatic stress. It was genuinely interesting – and also left a lot for Star Trek: Picard to build on a quarter of a century later.

Film #9:
Insurrection (1998)
Tier: B

Still frame from Star Trek: Insurrection showing Data wielding a phaser pistol.

Insurrection gets an unfairly bad rap, in my opinion. I like some of the connections in the film to the wider world of Star Trek – nowhere else will you hear Troi and Riker mention the Dominion War, for instance! The Briar Patch is a fun idea both narratively and visually, leading to the crew being cut off from Starfleet HQ. It also sets up a particularly creative starship battle, which as always is something I appreciate!

Star Trek has, on several occasions, had a “badmiral” (a portmanteau of ‘bad’ and ‘admiral’) as a villain, and the concept of a rogue or renegade senior officer is an interesting one. The best villains have some degree of nuance, and Anthony Zerbe does an excellent job conveying this with the character of Admiral Dougherty. Dougherty genuinely believed that he was doing something great for the Federation… even though, with the story being told from the perspective of the Enterprise crew and the Ba’ku, he was the villain.

Still frame from Star Trek: Insurrection showing a close-up of Admiral Dougherty.

The Son’a were an interesting addition to Star Trek, and I’d love to explore a bit more of their culture one day – it’s a shame they’ve never returned. I would posit that the film’s twist – that the Son’a and Ba’ku are the same race – was imperfectly executed, but it was an interesting idea that achieved most of what it was aiming for. It’s also an idea that felt very “Star Trek,” harkening back to The Original Series episodes that had messages about war, race, and so on.

Insurrection has another great villain in Ru’afo, who doesn’t have that same nuance we were talking about, but was delicious to watch nevertheless thanks to an excellent performance from F Murray Abraham. It’s also a great film for Riker – who gets a turn in the captain’s chair during a tense battle, and also sees a starship manoeuvre named after him – and Data, whose “injury” and ethical reset kicks off the entire story. A story about a renegade crew who have to operate outside of the law to do the right thing? That’s something I love – and while I get there are criticisms of the main cast apparently acting “out-of-character,” that’s explained well enough in Insurrection itself.

Film #10:
Nemesis (2002)
Tier: D

Still frame from Star Trek: Nemesis showing Picard and Data, illuminated by a green light.

Walking out of the cinema after the credits rolled, I remember feeling okay about Nemesis. But looking back, particularly after seeing Data being laid to rest in Star Trek: Picard’s first season, the deficiencies of the film are much more apparent. I would argue, with Brent Spiner ageing out of the role by 2002, that killing off Data made some degree of sense as a narrative point. But it wasn’t handled well in Nemesis, with the film rushing past Data’s death, pushing his friends to a “let’s all move on” type of ending that was just weirdly out-of-place and had completely the wrong tone.

Sci-fi tropes and character archetypes will land differently for different folks, and what I’d say about Nemesis’ main villain – played by Tom Hardy in one of his first big-screen roles – is that the idea of a clone of Picard isn’t as silly as it sounds! There’s genuine lore and story here, expanding our understanding of the Romulans and the way they operate, and I really did enjoy that side of the story. Shinzon also makes for a complex character; a human raised by Reman slaves, who has Picard’s DNA but none of his humanity.

Still frame from Star Trek: Nemesis showing the damage to the Enterprise-E's bridge.

Shinzon quite quickly turns to “I’m evil for no reason and I love it” with his characterisation, though, despite some early promise, and by the time the film moves to his plot to attack Earth and the Federation, the plot kind of goes off the rails. Much has been made of director Stuart Baird’s lack of experience and knowledge of Star Trek at the time of the film’s production (he hadn’t so much as watched a single episode of The Next Generation) and I think that comes across in the way the film treats most of the main characters, too.

After Insurrection hadn’t been particularly well-received, and with Enterprise struggling to find an audience, Nemesis didn’t do the Star Trek franchise any favours in 2002. It also seemed – for close to twenty years, anyway – to be a weak and unimpressive ending for The Next Generation characters and Star Trek’s 24th Century setting. As in any Star Trek project, pretty much, there are moments in Nemesis that work, but not enough of them to make the film a success.

Film #11:
Star Trek (2009)
Tier: C

Still frame from Star Trek (2009) showing the Narada on the Enterprise's viewscreen.

I have some conflicting thoughts about 2009’s Star Trek. On the one hand, I was absolutely thrilled to learn of the film’s existence after Enterprise’s cancellation seemed to signal the demise of the entire Star Trek franchise. I did my best from 2006 to support the film while it was in production, and raced to the cinema to see it on the first day it was available. And I would make the case to anyone that Star Trek ’09 is a solid action/sci-fi film, a great introduction to Star Trek for newbies, and a successful title that proved the franchise could still bring in audiences and money at the box office.

But on the other hand, the film’s action-heavy storyline, re-cast classic characters, and fairly basic villain just aren’t what I come to Star Trek for. The new actors were given an exceptionally difficult job and were brave to take it on; I know some Trekkies who, to this day, have refused to watch any of the Kelvin timeline films because of the decision to re-cast Kirk and the crew. Some of the new actors got a lot of criticism before the film had even premiered due to that. Personally, I generally feel they all did a solid job… but there’s always gonna be a sense that they aren’t the “real” Kirk, Spock, Uhura, and so on. Some decisions – like pitting Kirk and Spock against one another, even coming to blows at one stage – really hammers home how different these versions of the characters feel.

Still frame from Star Trek (2009) showing Spock Prime.

Star Trek ’09 is unashamedly a reboot, and if you meet it where it is and you’re able to accept that, I think there’s a good time to be had with at least parts of it. But as someone who’d been a Trekkie for close to twenty years when the film premiered, who’d been immersed in the world of The Next Generation era in particular… I wasn’t really interested in a reboot. After Enterprise, I wanted to see Star Trek move its timeline forward again, not stepping back to re-cast classic characters for a pretty basic action story.

All that being said, I appreciate what Star Trek ’09 did for the franchise. If this film hadn’t found an audience and proved to studio executives that there was still life in Star Trek and still stories to tell here, that would’ve almost certainly been the end of the franchise, and I doubt we’d have seen Lower Decks, Strange New Worlds, and the rest of modern Star Trek. Keeping the flag flying for the franchise after it had burned out on the small screen is the real legacy of Star Trek ’09 – at least for me.

Film #12:
Into Darkness (2013)
Tier: B

Cropped promotional poster for Star Trek Into Darkness.

I would argue that Into Darkness is the high-water mark of the Kelvin timeline. There are still issues with the characters, some contrivances with the story, and so on… but the film’s script is generally much stronger than either of the other Kelvin films. Not only that, but this particular story – featuring notorious villain Khan and a “badmiral” scheming from within Starfleet itself – lends itself much more to the kind of action-packed film that JJ Abrams wanted to make.

Captain Pike’s death in Into Darkness genuinely hit me – it was unexpected in the moment, and Kirk’s reaction to the loss of someone he viewed as a surrogate father figure was truly heartbreaking. It’s definitely one of the most powerful moments for this version of the character, and the way it spurs on the plot was good, too. I also liked the callback to Star Trek ’09 with the “transwarp beaming” idea returning, this time as a problem to be overcome.

Still frame from Star Trek Into Darkness showing Khan and Kirk.

If you were online and involved in Star Trek discussion groups and forums circa 2011-2013, you would’ve almost certainly had Into Darkness’ big reveal spoiled for you ahead of time. Unfortunately, fans correctly guessed that Benedict Cumberbatch would be playing the legendary Khan – and going into the film with that expectation certainly put a downer on the scene where Kirk learns the truth. I always prefer to see films un-spoiled, but this rumour was everywhere at the time, so it was unavoidable.

For a variety of reasons, this story just feels stronger and, most importantly, better-suited to these characters and this style of film. Into Darkness is a better film as a result, with a consistent tone, understandable character motivations, and a pair of solidly entertaining villains. There are some contrived moments – and I don’t think Kirk’s sacrifice and “death” works anywhere near as well as Spock’s did in The Wrath of Khan, which Into Darkness tries to emulate in more ways than one – but on the whole, it’s not a bad film by any stretch.

Film #13:
Beyond (2016)
Tier: C

Still frame from Star Trek Beyond showing Kirk with a seatbelt on.

Penned by Scotty actor Simon Pegg, Beyond was a genuine, well-intentioned attempt to bring the Kelvin timeline films slightly closer to “classic Star Trek” in terms of tone and themes, and I really do admire the effort. There are moments that link up with Star Trek’s past – most notably Enterprise – and parts of the film, particularly its opening scenes, succeed at recreating at least some of that “mission of exploration” feeling that the other Kelvin timeline films didn’t spend even a second on.

But there are some flaws and weaknesses, though. The destruction of the Enterprise is by far the weakest loss of a ship in the franchise, as we just don’t have anywhere near as much attachment to it as we did to the original Enterprise, the Enterprise-D, and other ships that have been destroyed. The sequence was tense, particularly as the crew rushed to their escape pods, but the emotional weight of the moment didn’t ring true for me.

Still frame from Star Trek Beyond showing a Federation security team aboard the Enterprise.

I felt that an actor of Idris Elba’s calibre was also squandered on a pretty basic “I’m mean and I hate everyone” type of villain. Krall had potential – the “lost” captain who felt abandoned by Starfleet and the Federation, and whose xenophobic and war-like traits were a century or more out of date. But the film didn’t do enough with Krall, and the big reveal that this alien-looking alien was, in fact, a human didn’t really stick the landing. Again, it was interesting in theory but kind of wasted by the time it came to the screen.

I might be alone in this, but I detest the name “Jaylah” for the film’s new character. A homonym of “J-Law” – the tabloid nickname given to American actress Jennifer Lawrence, who was a big star at the time thanks to her role in The Hunger Games – this reference just felt cringeworthy and unnecessary. I’m happy for Star Trek to take inspiration from a wide range of other films, including the likes of The Hunger Games, but don’t stoop to this level when it comes to character naming. It’s just… well, it’s pretty pathetic, to be honest.

I couldn’t end this section without also noting that Beyond was rather overshadowed by the deaths of Leonard Nimoy and Anton Yelchin in the months leading up to its premiere.

Film #14:
Section 31 (2025)
Tier: C

Still frame from Star Trek: Section 31 showing a trio of main characters.

You have to try to meet Section 31 where it is. It’s a B-movie; the Star Trek equivalent of The Fast and the Furious or Transformers, complete with a cookie-cutter plot, some pretty mindless action, and plenty of tropes of both action flicks and spy movies. Once I realised that that’s what I was watching… I just kind of went with it. On those terms, I found Section 31 to be just fine.

Where my disappointment comes in is in the wasted potential. There was scope for Section 31 to be the kind of film that brings new eyes to Star Trek for the first time, genuinely expanding the fan community by making what can feel like a nerdy and overcomplicated franchise approachable. I don’t believe Section 31 came close to achieving that goal, unfortunately. And from my perspective, that felt like the biggest point in its favour and a key reason for making it.

Still frame from Star Trek: Section 31 showing Sahar and Fuzz fighting.

I would also argue that Georgiou’s arc in Section 31 was pretty repetitive, dragging up her Mirror Universe origin and forcing her through a story that we’d already seen a lot of in Discovery. Dragging her back from the more complex character we’d started to see so she could re-start that arc wasn’t great. And that’s before we get into the weeds on whether a redemption story for someone at least as evil and despotic as Star Wars’ Emperor Palpatine was even possible, let alone successfully executed in Section 31.

There are also gripes with how disconnected this film feels from the rest of Star Trek, with the barest of references and none of the franchise’s visual language present. If, however, you can set most of that aside… there are fun moments hiding under the surface. And as I said a moment ago, if you can meet Section 31 where it is, on its own terms, I think it’s a perfectly adequate B-movie.

I have a two-part review of Section 31. You can find the non-spoiler part by clicking or tapping here and the part containing story spoilers by clicking or tapping here.

So that’s it!

We’ve put all fourteen Star Trek films into a tier list. So let’s take a look and see how we did:

The finished tier list with all fourteen Star Trek films.

Well, I hope that was worth it! As you can see, we have more films in the upper tiers than the lower ones, and even the “worst” Star Trek films still have redeeming qualities – at least in my opinion.

I wanted to put this list together after Section 31 had premiered, updating my older list to include the new film. This piece almost certainly concludes my Section 31 coverage for the foreseeable future, as I really don’t have much more to say about the made-for-streaming movie at this point. If you’ve been following my coverage of Section 31, thank you! I hope you’ve found my take to be interesting.

Still frame from Star Trek: The Motion Picture showing the Enterprise at warp.
The USS Enterprise at warp.

At time of writing, there are supposedly two Star Trek films in pre-production or at least being worked on in some capacity. The first is a Beyond sequel, bringing back the Kelvin timeline cast for another outing. And the second is supposedly set in between Enterprise and Star Trek ’09, perhaps serving as a kind of Kelvin timeline prequel. You can read my thoughts on that idea by clicking or tapping here.

There have been other film proposals pitched over the years. Sir Patrick Stewart teased fans in early 2024 with news of a Picard movie idea, but I don’t think anything came of that. For my money, I’d like to see Paramount do more with the TV movie format, using it to tell one-off stories that wouldn’t necessarily fit anywhere else in the franchise. With new sets having been constructed, and the AR wall too, there are almost no limits on the kinds of stories that could be told as one-off specials – and the budget for such a production would be lower than a feature film, too! With Section 31 proving to be a disappointment, though, I’m not sure whether that’ll ever happen.

Still frame from Star Trek VI: The Undiscovered Country showing two starships, a planet, and a star.
The Enterprise and the Excelsior in orbit over Khitomer.

So I hope this has been a bit of fun! Beginning with Generations, I watched every Star Trek film at the cinema. Unfortunately, due to my health, I won’t be able to do that in future – which is why I enjoyed having Section 31 as a TV movie! But if there ever is another full-length Star Trek film, I’ll do my best to support it here on the website.

Until next time… Live Long and Prosper!


Most of the Star Trek films are available to stream on Paramount+ in countries and territories where the platform is available. The first thirteen films are also available on Blu-ray and DVD, and a Blu-ray release of Section 31 is planned. The Star Trek franchise – including all films and 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.

Ten More Things That Have Always Bugged Me In Star Trek

A Star Trek-themed spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series Seasons 1 & 3, The Wrath of Khan, The Next Generation Season 1, The Undiscovered Country, Enterprise Seasons 2 & 3, Star Trek 2009, Discovery Seasons 2 & 4, Strange New Worlds Season 1, and Section 31.

Last year, I wrote up a tongue-in-cheek list of some of the little things that have always bugged me in Star Trek! Today, I thought we could have a little bit more fun at the franchise’s expense by talking about a few more. These are incredibly small things that don’t even rise to the level of “nitpicks,” but every time I see or hear them in their respective stories, they bug me! I know none of them will ever be explained in canon – nor do they really need to be – but I hope you’ll forgive an old Trekkie for airing their thoughts!

Star Trek fans have a bit of a reputation – especially on fan sites like this one – for nitpicking and being sticklers for canon and internal consistency, and I’m acutely aware that that’s how this list could come across. For me, this is written with tongue firmly embedded in cheek – it’s not meant to be taken completely seriously. While I do concede that all of these things “bug me,” as the title says, none of them ruined my enjoyment of any film or episode. These are minor things that aren’t worth arguing about or getting upset over – and I share this piece with the fan community in that spirit.

Promotional photo of several main characters from Star Trek: Enterprise, circa 2001.
Several main characters from Star Trek: Enterprise.

A couple of important caveats before we go any further. All of this is the entirely subjective opinion of a single Star Trek fan. If I raise points you vehemently disagree with, if none of these things bothered you, if you think I’ve misunderstood something, or if you feel I’m overreacting… that’s okay! There’s room enough in the Star Trek fandom for polite discussion and differences of opinion. And as I said above, none of this really matters anyway as these are all exceptionally minor points.

Finally, I’m not counting out-of-universe explanations. “It’s just a story,” or “because the writer/director wanted to do things that way” do not count! Sometimes, in order to tell a more entertaining story, the minutiae of canon or some element of internal consistency has to get pushed aside – that’s the way it goes in the world of entertainment. But that’s not what we’re here to talk about on this occasion.

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

Number 1:
Why did Khan have a Motion Picture/Wrath of Khan-era Starfleet badge? Where did he even get it?
Star Trek II: The Wrath of Khan

Still frame from Star Trek II: The Wrath of Khan showing a close-up of Khan aboard the USS Reliant.
Khan sporting his famous necklace.

Look at Khan’s outfit when Chekov and Captain Terrell encounter him and his surviving crewmates on Ceti Alpha V. After he takes off his overcoat, Khan is wearing a necklace which appears to be made from a damaged Motion Picture-era Starfleet badge – or a monster maroon belt buckle, perhaps. But how did he acquire this item? Khan and his people have been marooned on the planet since the time of The Original Series – years before either of those uniform styles were in use.

If Khan was wearing a piece of a Starfleet uniform, surely he should be wearing one of the gold, red, or blue shirts that we’re familiar with from The Original Series – or perhaps a pair of Starfleet boots from that era! It’s always stood out to me as a bit of an oddity of apparel; when you look at his necklace more closely, it’s clearly worn and weathered indicating it’s something he’s kept for years – perhaps as a symbol of his quest for vengeance against Kirk and Starfleet. But given that no Starfleet ships visited the Ceti Alpha system in between the events of Space Seed and The Wrath of Khan, it’s an item he simply shouldn’t have had access to.

Still frame from Star Trek II: The Wrath of Khan showing Khan, Chekov, Captain Terrell, and several augments aboard the derelict Botany Bay.
Khan was already wearing the necklace when Chekov and Terrell arrived.

If Khan started wearing the necklace after his encounter with Chekov, I’d say that he took the piece from him or from someone else on Reliant’s crew. But he clearly converted part of a Starfleet uniform into this necklace during his time on the planet, before his meeting with the crew of the Reliant – so that explanation doesn’t work.

There’s no getting around the simple fact that Khan shouldn’t have this badge or belt buckle. Nothing like it was seen in The Original Series, and even if we extend our search to other 23rd Century shows like Discovery or Strange New Worlds, very generously assuming that another Starfleet vessel visited Ceti Alpha V before the destruction of Ceti Alpha VI, there are still no comparable badges, buckles, or anything with a Starfleet delta of the right shape and size for Khan to convert into a necklace. Unless he used his people’s very limited resources to smelt a perfect Starfleet delta the exact same shape and size… I don’t know where he got it from!

Number 2:
Aren’t the Cherons (or Cheronians) extinct?
Star Trek: Section 31

Still frame from Star Trek: The Original Series Season 3 showing Lokai, a black-and-white alien from the planet Cheron.
Lokai, one of the last surviving members of his race.

In the recent Section 31 TV movie (which you can read a review of by clicking or tapping here) we meet a character aboard Georgiou’s space station who looks very similar to a Cheron/Cheronian. The Cherons were encountered in the iconic episode Let That Be Your Last Battlefield – where the final two members of the species met Kirk and the crew of the Enterprise.

I like Let That Be Your Last Battlefield, and it’s an episode with a disappointingly timeless message about how racism and division will eventually lead to conflict, war, and extinction. The entire point of the story was that the Cherons wiped themselves out because they couldn’t get over their hatred of one another – even though, to us, they appeared to be the same species. It’s a message that was poignant at the time it was written – with the American civil rights movement ongoing – and has remained so to this day.

Still frame from Star Trek: Section 31 showing the character of Virgil.
Is Virgil from Section 31 meant to be a Cheron?

Section 31 confused me with its Stardate and therefore its place in the timeline – but no matter whether it was meant to be set in the mid-23rd Century or the early 24th Century, there simply shouldn’t be any surviving Cherons left. If Section 31 takes place before Let That Be Your Last Battlefield, then I guess technically two members of the species remain. But if, as the producers have told us, the film takes place in between The Undiscovered Country and The Next Generation, then the entire species is extinct – wiped out because they couldn’t overcome their hatred for one another.

Of all the things modern Star Trek could’ve chosen to retcon… the survival of the Cherons isn’t one I’d have wanted to see. It serves no purpose to bring in a character like that as a one-off campy joke, and furthermore, it undermines the powerful message of a classic story. My personal head-canon (which I really should write up one day) is that this character at Georgiou’s bar wasn’t actually a real Cheron, but someone basically cosplaying as one. I think that’s actually the least-bad spin I can put on the matter!

Number 3:
Does the Enterprise-D’s saucer section have warp drive or not?
Star Trek: The Next Generation

Still frame from Star Trek: Picard Season 3 showing a close-up of the Enterprise-D's saucer.
Close-up of the Enterprise-D’s saucer section.

According to most sources I can find – including in episodes where saucer separation occurs or is mentioned – the Enterprise-D’s saucer section has impulse engines only. Impulse engines allow for travel at speeds below warp one – i.e. below the speed of light. But this seems to contradict not only what we see on screen in episodes like Encounter at Farpoint… but the entire point of saucer separation as it’s explained in the show.

Except for situations like a warp core breach, where the destruction of the ship is imminent, what’s the main purpose of saucer separation? As stated in Encounter at Farpoint, The Best of Both Worlds, and other episodes, the star-drive section is where most of the Enterprise-D’s heavy armaments are – so the point of saucer separation is to evacuate civilians, scientists, and other non-combatants. The saucer section can be commanded by a junior officer with orders to set course for the nearest safe system or starbase, getting families and scientists out of the danger zone or battlefield. The star-drive section is then free to engage the enemy.

Still frame from Star Trek: The Next Generation Season 1 showing the Enterprise-D initiating a saucer separation.
Saucer separation in progress.

But at sub-light speeds, this won’t work. Any enemy ship could easily catch up to and overtake a fleeing saucer section travelling at impulse, or hit it with a torpedo or disruptor blast while it’s still in range. And at impulse speeds the saucer section would be decades away from help even if it was relatively close to a friendly base or star system. That’s not to mention that, in Encounter at Farpoint, the saucer section travels an apparently sizeable distance under its own power to reach Deneb IV after the encounter with Q. The Enterprise-D was at warp – apparently not in the Deneb system – yet the saucer was able to travel all that way, either at warp or at faster-than-light speeds, which seems to contradict what we know of the Enterprise-D and its capabilities.

So does the saucer section have warp engines? Or if saucer separation happens at warp, can the saucer cruise at warp for a while before slowing down? I think that contradicts what we know of how warp drive works and how warp bubbles are generated and sustained by warp cores… but there’s at least a degree of ambiguity there, I guess. What still doesn’t make sense, though, is how launching the saucer section at sub-light speeds is supposed to help the ship’s civilian crew escape from danger in a galaxy populated by warp-capable villains.

Number 4:
Why can’t the crew of the USS Reliant count to six?
Star Trek II: The Wrath of Khan

Still frame from Star Trek II: The Wrath of Khan showing the USS Reliant head-on.
The Miranda-class USS Reliant.

I know, I know: we’ve done The Wrath of Khan already! But this one really is dumb if you stop to think about it, so it’s definitely making the list. When the USS Reliant was scouting for planets as part of the Genesis project, it entered the Ceti Alpha system – a system that Starfleet has visited at least once before. The crew knew that there were supposed to be six planets… but no-one aboard can count, apparently.

Somehow – and I have no idea how this could’ve happened in the 23rd Century with all the technology aboard the USS Reliant – the crew mistook Ceti Alpha V for the destroyed Ceti Alpha VI, leading to them running into Khan and his band of augments. But there’s no way a mistake this glaringly obvious should’ve been able to happen at all.

Still frame from Star Trek II: The Wrath of Khan showing Captain Terrell, Commander Beach, and another officer on the bridge of the USS Reliant.
Three senior officers on the bridge of the USS Reliant.

Upon entering the system – or hours ahead of arriving, using long-range sensors – Reliant’s crew should’ve noticed that, y’know, an entire planet is missing. If nothing else, the debris or dust cloud left behind by the explosion of Ceti Alpha VI – which is unlikely to have dissipated fully in a few short years – should’ve been a dead giveaway. But even if some kind of solar wind blew all the dust and rocks far outside the system, there were still only five planets where there should’ve been six! You’d think someone would’ve noticed this and at least mentioned it to the captain.

That’s to say nothing of Starfleet’s apparent lack of record-keeping. The Ceti Alpha system should’ve been flagged up as containing a dangerous colony of criminals: the augments. We know, thanks to the likes of Strange New Worlds, that Khan and his people were still notorious centuries after they tried to rule all of Earth, so surely Starfleet would want to prevent unwitting starships from stumbling upon their colony. The Talos system is restricted by Starfleet for much the same reason, as we saw in The Cage. But even if Kirk conveniently forgot to record that mission or tell Starfleet what became of Khan… why couldn’t anyone on the USS Reliant count to six?!

Number 5:
Can’t ships just fly over or under the Galactic Barrier?
Star Trek: The Original Series, Star Trek: Discovery

Still frame from Star Trek: Discovery Season 4 showing the USS Discovery at the Galactic Barrier.
The Barrier at it appeared in Discovery.

Star Trek has, on occasion, exhibited what Mr Spock might call “two-dimensional thinking.” By that I mean that many ships and objects in space appear as if they’re on a perfectly flat plane – but space is three-dimensional. One example of this appears to be the Galactic Barrier – the forcefield-like object that apparently surrounds the edge of the galaxy, preventing spacecraft from leaving.

Even in Discovery, though, which is the Galactic Barrier’s most significant appearance to date, the phenomenon (which doesn’t exist in real life) appears to be a mostly two-dimensional ring around the edge of the galaxy rather than a three-dimensional bubble. Which raises a simple question: why not simply fly over or under it? Starships are obviously capable of manoeuvring in three dimensions, so why fly through something you could easily fly around?

Still frame from Star Trek: The Original Series Season 1 showing the USS Enterprise approaching the Galactic Barrier.
The USS Enterprise approaches the Galactic Barrier.

Unless the Barrier is meant to surround the entire galaxy from all possible angles, there’s not really a good explanation for this. The way it’s been depicted on screen makes it seem like it’s something any starship could easily get around, even if doing so would take a bit longer. If this was a one-off visual effect from The Original Series I might be tempted to let it lie, but Discovery brought back the Galactic Barrier in its fourth season, presenting it as a pretty significant hurdle for Captain Burnham and the crew to overcome.

As an aside, I’m not sure that was a great idea! There are some elements of The Original Series, The Animated Series, and even from early in The Next Generation that just about work in context… but wouldn’t really translate well to a story made today. For me, as I think I said at the time of Discovery’s fourth season, the Galactic Barrier is one of them. And the way it’s presented and visualised on screen just kind of hammers home how two-dimensional some of the franchise’s space sequences can feel.

Number 6:
Why is artificial gravity always the last system to fail when a ship is damaged?
Star Trek VI: The Undiscovered Country et al.

Still frame from Star Trek VI: The Undiscovered Country showing a Klingon floating helplessly.
A Klingon officer floating after his ship’s artificial gravity was knocked offline.

I think I can count on one hand the number of times a starship’s artificial gravity has been damaged in Star Trek. The only time it was plot-relevant was in The Undiscovered Country, where the damage to the artificial gravity on the Klingon ship Kronos One was instrumental to the plot to assassinate Chancellor Gorkon. But aside from that… can you think of a single time in the franchise’s 950 episodes and films where a ship has lost gravity?

We’ve seen starships take a real beating sometimes: the Enterprise in The Wrath of Khan, Voyager in Year of Hell, the NX-01 in Damage, and even non-Starfleet ships like the Cardassian vessel in The Wounded, or the Romulan warbird in Balance of Terror, but none of them ever lost their artificial gravity. This system appears to be more robust even than life-support, which we’ve seen fail on a number of occasions while artificial gravity was still operational.

Still frame from Star Trek: Enterprise Season 3 showing the NX-01 Enterprise heavily damaged.
Even serious damage, such as to the NX-01 Enterprise pictured here, doesn’t usually stop artificial gravity from functioning.

You’d think prioritising something like breathable air and a survivable temperature would take precedence over artificial gravity, with ships being designed in such a way that life-support would be the most resilient and sturdy system. I know there’s some ambiguity in the way these technologies work in Star Trek, but artificial gravity must require some amount of power to function – and even if it’s powered by a wholly separate system, anything that disables the entire ship should deactivate artificial gravity. It would also make a logical target during ship-to-ship combat, as knocking out an opponent’s gravity would cripple their ability to operate the ship.

There are even times where disabling artificial gravity would be to the advantage of a crew trying to defend their ship. Perhaps the best example of this is the Borg attack on the Enterprise-E in First Contact, but there are other times where a boarding party, raiders, or pirates could have been at least slowed down and hampered if the crew deactivated artificial gravity on one or two decks. I suppose it’s good for Star Trek that the way artificial gravity works is deliberately vague, and it’s one of those “you’ve just gotta suspend your disbelief” things. But from an in-universe point of view, the apparently indestructible nature of this system, and the overlooked tactical advantages of trying to disable an adversary’s artificial gravity, don’t make a lot of sense.

Number 7:
Shouldn’t Starfleet have persevered with the Spore Drive?
Star Trek: Discovery

Still frame from Star Trek: Discovery Season 1 showing the mushroom cultivation area aboard the ship.
The cultivation bay aboard the USS Discovery.

After the loss of the USS Glenn and the apparent destruction of the USS Discovery, we’re led to believe that Starfleet abandoned its Spore Drive programme – even though the technology was proven to work and would be beyond useful to the organisation. For Starfleet, with its dual military and scientific missions, the Spore Drive was a phenomenal leap forward with so many applications. I genuinely cannot believe that they’d just abandon it after a few setbacks – especially after the Klingon Empire had come to learn of its existence.

We would later see, in Discovery’s third season, that basically any empathic race could – in theory – interface with the Spore Drive. That doesn’t seem like such a huge leap that Starfleet couldn’t have figured it out over time, especially with races like the Betazoids and Vulcans on hand. But even if using an empath as a navigator wasn’t possible, it still seems like such a ridiculously overpowered and useful piece of kit that Starfleet – and Section 31 in particular – would want to continue to develop it.

Four still frames from Star Trek: Discovery Season 1 depicting the USS Discovery at the Battle of Pahvo.
The Battle of Pahvo (pictured) proved the Spore Drive’s worth as a military tool.

Look at the Spore Drive’s capabilities. Two of its biggest achievements were cracking the Klingons’ cloaking device – becoming basically invulnerable to attacks in the process – and leaping tens of thousands of light-years across the galaxy to the planet Terralysium. For Starfleet’s military, the Spore Drive’s ability to jump so fast that attacks from disruptors and torpedos are ineffective is huge – it could redefine starship combat in the Alpha Quadrant. And for the organisation’s mission of exploration, being able to jump to literally anywhere in the galaxy renders warp drive obsolete and would mean Starfleet can investigate any interesting-looking phenomena with ease – while still being back home in time for tea.

The Spore Drive is an example of a “prequel problem;” if Discovery had been set years or decades after Nemesis – in the same period as Picard, for example – then it wouldn’t be an issue. We could simply say that the Spore Drive would become Starfleet’s new method of travel. But because Discovery was set before The Original Series, I don’t think there’s any way to create a satisfactory explanation for why Starfleet, Section 31, or other factions didn’t continue to develop and refine it.

Number 8:
Why would the Xindi fire a small weapon at Earth months ahead of their main attack?
Star Trek: Enterprise

Still frame from Star Trek: Enterprise Season 2 showing a small spherical Xindi weapon firing.
The Xindi’s first weapon.

Sun Tzu, the legendary Chinese general, wrote two-and-a-half thousand years ago that a good commander should “always mystify, mislead, and surprise the enemy if possible.” And throughout history – from the ancient world to the Second World War and beyond – surprise attacks and misdirection have been incredibly powerful tools that successful generals and strategists have employed. So why would the Xindi – backed up by a faction from the far future, no less – launch a minor attack that alerted Earth and humanity to their much larger upcoming attack?

If the Xindi needed to test the range and abilities of their weapon, they could pick another target in a different system. This target would be a comparable distance away from where they planned to launch their weapon, and could also be a planet of roughly the same size and mass as Earth. This would give their scientists and engineers the data they needed without compromising the secrecy of their operation. All they achieved by targeting Earth with their initial, much smaller weapon was alerting humanity and Starfleet to their existence – which ultimately set the stage for their defeat.

Still frame from Star Trek: Enterprise Season 3 showing the Xindi weapon arriving at Earth.
The much larger second Xindi weapon approaches Earth.

This is a military blunder so exceptionally basic that, if I were the Sphere-Builders, I’d have cut all contact with the Xindi and written off the entire operation. The miniature version of the weapon wasn’t designed to deal the kind of damage that the larger version was, but it was still damaging enough to put all of humanity and Starfleet on full alert – kick-starting a chain of events that led to Captain Archer confronting and stopping the Xindi and their Sphere-Builder allies.

All the Xindi would’ve had to do was pick a different target for their weapons testing. A planet the same size as Earth in a system roughly the same distance away would be ideal – or an unarmed probe sent to Earth if scouting that route was deemed necessary. Even if the Xindi and Sphere-Builders were so cocky and arrogant that they considered themselves to be unstoppable, it was still a catastrophic, primary school-level mistake to send the small weapon directly to Earth months before the larger weapon was ready.

Number 9:
How did Nero’s trip back in time create an alternate reality instead of changing the prime timeline?
Star Trek (2009)

Still frame from Star Trek (2009) showing a close-up of Nero.
Nero.

The way it’s explained on screen in Star Trek, Nero travelled back in time from 2387 to 2233 via an artificial black hole created by Red Matter. Somehow, though, the changes Nero and later Spock would go on to make to the past didn’t overwrite the events of the prime timeline, but exist in their own separate universe. This doesn’t seem to gel with what we know of time travel and temporal paradoxes in Star Trek.

Starfleet vessels have encountered all kinds of temporal phenomena over the years, none of which led to the creation of a parallel universe. Even in cases where ships got caught up in time-travel shenanigans, the end result was either a permanently altered timeline – as in stories like The Voyage Home or Past Tense – or overwritten events that no-one remembered – as in stories like Cause and Effect or Year of Hell. None of these led to the creation of a permanent alternate reality that persisted after the phenomenon that created it had been dealt with – so why did the Red Matter black hole do so?

Still frame from Star Trek (2009) showing the Narada emerging from a black hole.
Nero’s ship, the Narada, arrives in the 23rd Century.

The best explanation I can come up with is this: Star Trek exists in a multiverse. Along with to the prime timeline, the Mirror Universe, and others that we’ve seen, there must be multiple additional parallel universes – some of which are identical to or indistinguishable from the prime timeline. Somehow, Red Matter creates a portal between universes, allowing for travel from one to another. Nero and Spock entered a parallel universe identical to the prime timeline – but it’s a parallel universe that already existed before they arrived.

That’s a pretty convoluted explanation, and it isn’t explained that way on screen. Instead, the alterations to the timeline that Nero perpetrated – from the destruction of the USS Kelvin to the attack on Vulcan and beyond – should have permanently altered the prime timeline based on what the characters told us and what we already know from other iterations of Star Trek.

Number 10:
Couldn’t Captain Pike just retire and live as a hermit?
Star Trek: Strange New Worlds

Still frame from Star Trek: Strange New Worlds Season 2 showing Captain Pike at a diplomatic dinner.
Captain Christopher Pike.

I found Pike’s arc in Discovery and the first season of Strange New Worlds to be interesting and relatable. I’ve been in a similar position to Captain Pike: being told that my health was going to get dramatically worse and knowing that it’s inevitable. It made Pike an incredibly sympathetic character, and one whose story brought a tear to my eye more than once. But… is Pike’s devastating accident and disability genuinely unavoidable?

The more Pike comes to learn about the future, the more he seems to uncover ways to avoid his supposedly-inevitable fate. In the fantastic Season 1 episode A Quality of Mercy, Pike learned – thanks to a time-travelling version of himself – that if he avoided his fate but remained in Starfleet, he’d accidentally trigger a chain of events that led to a devastating war between the Federation and Romulans. This conflict was something only Kirk and Spock could prevent, but Pike’s place on the bridge and Spock’s serious injury would keep the war going and prevent any hope for peace in the future. This seemed to strengthen Pike’s resolve and set him back on course for the accident that would leave him disabled.

Still frame from Star Trek: Strange New Worlds Season 1 showing a future Captain Pike in a 'monster maroon' uniform.
Pike in an alternate future.

But… couldn’t he choose a radically different path? Sure, remaining in Starfleet after he was supposed to suffer the accident led to a horrible alternate future. But if Pike resigned his commission the day before the accident and went to live in a cave somewhere, what would change? Nothing, right? Pike could remain alive and relatively healthy, enjoying a well-earned retirement without the need for Talosian mind-games, and the rest of the galaxy could continue unaffected.

Maybe we’ll find out, in Seasons 3, 4, or beyond, why that kind of scenario couldn’t work. But it seems to me that, as long as Pike kept his head down and stayed away from Starfleet and galactic affairs, there wouldn’t be any harmful side-effects. Furthermore, knowing what he knew of the Romulan incursion, he could’ve even reacted differently in that situation to prevent the conflict from escalating. I guess the point of A Quality of Mercy was to hammer home that there’s no way to predict how any changes to the timeline could affect the Federation – and that’s a fair point, I suppose. But on a personal level, I could forgive Pike for trying to wrest back control of his destiny from the Klingon time crystal that doomed him.

So that’s it… for now!

Still frame from Star Trek: The Original Series Season 3 showing Commander Scott in the captain's chair of the Enterprise.
It’s Scotty!

I hope this has been a bit of fun! Some of these things are more irritating than others, but to be honest with you, none of them are really that big of a deal. They only matter to folks like you and I – people who spend a bit too long thinking about Star Trek!

This might be a subject I’ll revisit in the future, so if your favourite little inconsistency or goof didn’t make the list this time, it’s possible I’ll get to it on another occasion. And if you want to check out my earlier list to read about ten other little things that bug me in Star Trek, you can find it by clicking or tapping here.

Still frame from Star Trek: Deep Space Nine Season 1 showing Commander Sisko aboard the Enterprise-D.
Commander Sisko looks rather grumpy…

Stay tuned, because there’s more Star Trek content to come here on the website as 2025 gets underway. Later this year we’ve got a new season of Strange New Worlds to look forward to, and if you missed my review of Section 31 you can find it by clicking or tapping here. I also wrote up my recollections of Voyager to mark the series’ thirtieth anniversary, and you can find that by clicking or tapping here.

Until next time… see you out there!


Most of the Star Trek shows, films, and episodes referenced above can be streamed now on Paramount+ in countries and territories where the platform is available, and may also be available on DVD and/or Blu-ray. The Star Trek franchise – including all shows, films, episodes, characters, and 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.

Section 31: What To Watch Next

If you’re reading this, I hope it’s because you enjoyed Star Trek: Section 31! My name is Dennis, and I’ve been a Star Trek fan (or a “Trekkie,” if you will) for close to thirty-five years. Star Trek consists of over 900 episodes and 14 films, spans multiple parallel universes and five distinct time periods… so I don’t blame you if you don’t know where to start! Just getting a foot in the door with this franchise can feel daunting, and I get that. What I’d like to do today is offer a few recommendations for someone brand new to Star Trek; a short selection of episodes and films to watch next for a brand-new Trekkie such as yourself!

At time of writing, Star Trek is comprised of eight live-action television shows, three animated television shows, fourteen films, and a series of television shorts to boot. I’m not going to look at or recommend all of them! But what I am going to do is pick out a handful of episodes and films that I think could make for a good starting point for anyone who enjoyed Section 31 and wants to explore the world of Star Trek.

Still frame from Star Trek: Section 31 showing San's ship in space.
A starship in Section 31.

What I love most about Star Trek is this: it’s an incredibly optimistic franchise. In an entertainment landscape dominated by post-apocalyptic settings, sci-fi dystopias, and depictions of the future that reflect the worst of humanity, Star Trek has always stood out. It shows a vision of the future where many diseases have been cured, where humanity has largely come together and leads a United Federation of Planets, and where greed and exploitation have largely been consigned to history. Star Trek is not, as some may claim, a “communist utopia!” Private property still exists in this world – but the development of new technologies, particularly spaceflight, power generation, and replicators, has freed most of the population from a dependence on employment in exchange for money. Exactly how it all works is deliberately kept vague, though, which I tend to think is for the best!

As always, a couple of caveats. I’m not saying that these are “objectively” the best Star Trek stories, or that they’re the only ones worth checking out. Other fans will almost certainly have made completely different suggestions, so definitely explore the fan community and see which episodes and films other people recommend. I’ve tried to pick a mix of different stories from across the franchise, with a focus on episodes and films that connect in some way to Section 31, or that I think are great starting points for their respective shows or for Star Trek as a whole. Finally, this isn’t a ranked list – the order is completely random.

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

Recommendation #1:
All Those Who Wander
Strange New Worlds Season 1

Still frame from Star Trek: Strange New Worlds showing two shuttlecraft approaching a wrecked starship.

In my humble opinion, Strange New Worlds is the best Star Trek show currently on the air – and perhaps the best thing the franchise has done in a very long time! I’ve picked out the first season episode All Those Who Wander, partly because I wanted to highlight Strange New Worlds, but also because it’s an episode that I believe will challenge your perceptions of Star Trek.

Star Trek has a reputation as being a nerdy franchise – but this episode has an action-horror vibe inspired by films like Alien. I think it’s one of the best horror stories that Star Trek has ever attempted, with a claustrophobic setting, a frightening adversary, and some excellent character moments to bind it all together. It’s also a standalone story that you can jump into without having seen Strange New Worlds before.

Recommendation #2:
Yesterday’s Enterprise
The Next Generation Season 3

Still frame from Star Trek: The Next Generation showing Picard looking at an anomaly on the main viewscreen.

You may already know this, but the character of Rachel Garrett wasn’t created for Section 31. She first appeared in The Next Generation more than thirty years ago, with Section 31 exploring more of her history and background. It serves as a prequel of sorts to Yesterday’s Enterprise. If you want to see Garrett further along in her career, this could be an interesting way to go!

I’m not the biggest fan of time travel stories in Star Trek, but I’ve always admired what Yesterday’s Enterprise did with that premise. The episode brings together two different versions of the famous starship from two different points in time – and shows us a glimpse at an alternate timeline where things look very different for Starfleet and the Federation!

Recommendation #3:
The Doomsday Machine
The Original Series Season 2

Still frame from Star Trek: The Original Series showing an away team beaming aboard a ship.

If you want to go right back to the beginning and check out The Original Series, which aired in the 1960s, there aren’t many better places to start than The Doomsday Machine. I think this episode is a fantastic starting point for what can feel like a dated series by today’s standards – it has a pretty straightforward sci-fi story, a great guest star, and it’ll introduce you to Kirk, Spock, Scotty, and the rest of the crew.

The Doomsday Machine is also a great example of something Star Trek has always done: using its sci-fi setting to highlight real-world issues. In this case, the episode takes a look at the proliferation of weapons of mass destruction – a pressing issue at the time it was produced, coming just a few short years after the Cuban Missile Crisis brought the world as close as it’s ever come to nuclear war. Storytelling through allegory and metaphor was the name of the game – and it’s something Star Trek continues to do to this day!

Recommendation #4:
Inquisition
Deep Space Nine Season 6

Still frame from Star Trek: Deep Space Nine showing a close-up of Sloan.

Want to see Section 31’s first-ever appearance in Star Trek? Inquisition introduced the faction as a clandestine organisation buried deep within Starfleet. This version of Section 31 is top secret, seemingly unknown to even high-ranking captains and commanders – and accountable to no one but itself. It’s different from how the organisation is depicted in the recent film as well as in Discovery, but I think it could be worth returning to if you’re interested to learn more.

At the time of its broadcast, I remember Inquisition being incredibly controversial. Some Trekkies adamantly asserted that an organisation like Section 31 couldn’t or shouldn’t exist in Star Trek’s optimistic version of the future. It was certainly a departure from the way the Federation had usually been depicted up until that point. Inquisition felt like a dark episode at the time – and you may struggle to square this depiction of Section 31 with the one from the film!

Recommendation #5:
Star Trek: Discovery
Season 1

Still frame from Star Trek: Discovery showing Georgiou on the bridge of her ship.

If you want to find out where Georgiou came from, Discovery’s first season is the place to start. The version of Georgiou you’re familiar with from Section 31 doesn’t appear straight away – and the season spins its wheels in places, dragging out the story. But when I thought about Georgiou’s pre-Section 31 appearances, it was difficult to pull out just a single episode as Discovery has always been a serialised show.

I’m not going to tell you that Discovery’s first season is the best that Star Trek has to offer – on the contrary, I think it’s a season of television with some noteworthy weaknesses and flaws. But if you want to experience Georgiou’s complete arc from the beginning, Season 1 of Discovery is the place to start.

Recommendation #6:
Star Trek II: The Wrath of Khan

Still frame from Star Trek II: The Wrath of Khan showing Spock with his hands folded.

Don’t let this film’s numbering put you off: you don’t need to have watched The Motion Picture before starting The Wrath of Khan! Widely hailed as the best film in the franchise, The Wrath of Khan is a powerful story with a strong and compelling villain, some excellent moments of characterisation, and one of the best ship-to-ship battles anywhere in science-fiction. It’s a must-watch for any burgeoning Trekkie – something that was pointed out to me more than thirty years ago at my first-ever fan event!

The Wrath of Khan stars the cast of The Original Series, and came along before any of the spin-offs. It also marks one of the franchise’s first real forays into the action/sci-fi space. It’s a film that holds up remarkably well; even more than forty years later everything from the acting performances to visual effects feel great.

Recommendation #7:
The Best of Both Worlds, Parts I & II
The Next Generation Seasons 3-4

Still frame from Star Trek: The Next Generation showing Riker, Picard, and Worf on the bridge.

You might’ve heard of the Borg – they’re one of the Star Trek franchise’s most iconic villainous factions. The Best of Both Worlds is the story that really cemented that status for the Borg, and it’s also one of the absolute best episodes of The Next Generation, too. Taken together, the two parts of this story form a mini-movie, and are also a great introduction to the wonderful characters of The Next Generation.

In the early ’90s, The Next Generation was the first Star Trek show I watched. It’s the series that made me into a Trekkie, and one I don’t think I’ll ever stop recommending to new fans! There are plenty of other great episodes, but The Best of Both Worlds will be a fantastic place to start, with a dangerous enemy to defeat and some outstanding moments from all of the Enterprise-D’s crew.

Recommendation #8:
Year of Hell, Parts I & II
Voyager Season 4

Still frame from Star Trek: Voyager showing Janeway and Chakotay on the bridge.

Year of Hell puts the crew of the USS Voyager through a lot! But it’s also a story that gives almost the entire crew something to do, so it could be a fun introduction to all of them – and to Captain Janeway in particular. Voyager has just celebrated its thirtieth anniversary – its premiere episode aired in January 1995 – and the crew’s journey home from a faraway corner of the galaxy is well worth checking out.

I wanted to put at least one Voyager episode on this list, but there are so many good ones that I wasn’t really sure where to start! Year of Hell doesn’t really connect with anything in Section 31, but it’s a similarly action-packed story that I think fans of the new film could appreciate. With Voyager being a primarily episodic show, it’s relatively easy to dip in and out of – so feel free to get started anywhere!

Recommendation #9:
Star Trek
(2009 Reboot)

Still frame from Star Trek (2009) showing Kirk watching the USS Enterprise being built.

Despite what some die-hard Trekkies might think, 2009’s Star Trek is an example of a fairly successful reboot. It goes back to the drawing board with the franchise – but still retains a thread of continuity thanks to a parallel universe storyline and a main character crossing over. The film re-establishes Star Trek’s identity, stripping away a lot of the density of the franchise’s lore to tell a fairly straightforward action-packed story.

If that sounds familiar… well, it’s because that’s more or less what Section 31 has just done, too! Both films are attempts to modernise Star Trek and bring new, younger viewers to the franchise for the first time. They do so by stepping away from much of what came before, and in 2009, that worked. The jury’s still out on how well Section 31 may have done in that regard – but 2009’s Star Trek is a great next step if you’re someone who enjoyed it.

Recommendation #10:
In A Mirror, Darkly, Parts I & II
Enterprise Season 4

Still frame from Star Trek: Enterprise showing the emblem of the Terran Empire (a dagger through a bronze globe).

If Star Trek’s Mirror Universe fascinates you, look no further than Enterprise’s crossover to this twisted reality! Most Mirror Universe episodes in the franchise involved one or more characters stepping through the looking-glass; In A Mirror, Darkly is rare insofar as it’s set entirely in that reality. All of the familiar Mirror Universe tropes are present – and the episode is a surprising amount of fun.

I wanted to pick at least one Mirror Universe episode for obvious reasons – and I think In A Mirror, Darkly might be among the best of the bunch. It also ties in with The Original Series in a fun way, using sets, props, and even uniforms from that show. Personally, the Mirror Universe isn’t my favourite part of Star Trek, but I’ve always felt it was fine to visit for one-off stories like this one.

Recommendation #11:
Where Pleasant Fountains Lie
Lower Decks Season 2

Still frame from Star Trek: Lower Decks showing Chief Engineer Billups.

Lower Decks feels like a “love letter to Star Trek” created by people who are big fans! As a result, some of its jokes and storylines work better if you’ve already seen a lot of Star Trek. So why am I recommending it at all? Well, first of all it is genuinely funny – and many of the jokes work in context, even if you aren’t a Trekkie already! And secondly, Where Pleasant Fountains Lie is a great example of a self-contained Star Trek story… something the franchise used to do a lot more of in years gone by.

Star Trek has often told stories with a message: modern-day fables about things like nuclear weapons or the stigma surrounding diseases. Where Pleasant Fountains Lie does this too, wrapping the message up in a story about a group of humans who’ve based their whole society around the idea of medieval chivalry. There are some laugh-out-loud moments, but it’s also a story with heart.

Recommendation #12:
The Way of the Warrior, Parts I & II
Deep Space Nine Season 4

Still frame from Star Trek: Deep Space Nine showing two Klingon characters on a viewscreen.

We talked above about the Borg, one of Star Trek’s most iconic alien races, but are you ready for another? The Klingons have been part of Star Trek since The Original Series, and there are plenty of episodes and films in which they’re the focus. This two-parter, from the beginning of Deep Space Nine’s excellent fourth season, has a lot of Klingon action!

The Klingons are a race of warriors, emphasising honour and strength above all else. They’re also incredibly iconic for Trekkies – some fans even go so far as to learn the Klingon language! The Way of the Warrior brings the fan-favourite character of Worf to DS9, and he makes for a great point-of-view character as he meets the rest of the crew. A Klingon plot is centre-stage, and Worf has to deal with his status as Klingon and a Starfleet officer.

So that’s it for now!

Black-and-white photo of Gene Roddenberry sat at his desk, with a model of the original USS Enterprise. Circa 1970-75.
Star Trek’s creator, Gene Roddenberry, with a model of the USS Enterprise.

I only intended to put ten episodes and films on this list, but once I got started I couldn’t help myself and added two more! There are plenty of others I could’ve chosen, but I didn’t want this list to feel too overwhelming for someone approaching Star Trek for the very first time. If that’s you, I hope I’ve given you a few ideas for where to go next and how to get started with this wonderful franchise.

When I was a kid, I remember the kindness shown to me at a Star Trek fan meetup. I was the youngest person there by at least a couple of decades, but everyone was incredibly welcoming, and folks were more than happy to share their favourite episodes and stories with me, giving me plenty of ideas for what to watch next and where to continue my interest in Star Trek. I wanted to carry on that spirit today.

Still frame from Trekkies 2 showing Denise Crosby (the host) with a group of Star Trek fans.
The Next Generation star Denise Crosby with a group of Star Trek fans.

It’s my hope that Section 31 will have attracted plenty of new viewers to Star Trek! I love the franchise and I want to see it continue well into the future – which is something that can only happen if new fans come on board. You may encounter some Trekkies who get defensive or try to gatekeep the fandom, but most people that I’ve encountered in the fan community are kind and welcoming.

If Section 31 was your “first contact” with the Star Trek franchise, then let me be the first to welcome you on board! We’re thrilled to have you here. If you’re already signed up to Paramount+, almost all the Star Trek shows and films should be available to you. I hope I’ve given you an idea or two for how to get started and where to jump in.

Still frame from Star Trek: The Next Generation showing the Enterprise-D in orbit of a green planet.
The USS Enterprise-D.

My own “first contact,” all the way back in 1991, was The Next Generation Season 2 episode The Royale! I can’t recommend it as being one of the best starting-points, but it was the first episode I can remember watching all the way through, and it’s the episode that convinced me that Star Trek: The Next Generation was a show worth tuning in to watch every week. If Section 31 has done the same for you, that’s fantastic! Star Trek is a bit more complicated nowadays than it was in the early ’90s, though, so I don’t blame you if you haven’t been sure where to start!

If you’re new to my website, I have write-ups of quite a few Star Trek episodes, series, films, and the like. I hope you’ll stay tuned for more coverage of the Star Trek franchise in future, including new and upcoming shows, revisits to older episodes, theories, discussion, and so much more.

Welcome to the Star Trek fan community!


Star Trek: Section 31 is available to stream now on Paramount+ in countries and territories where the platform is available. The Star Trek franchise – including Section 31 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.

Star Trek: Section 31 – Film Review

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Star Trek: Section 31 and the following Star Trek productions: The Next Generation Season 3, Discovery Seasons 1-3, and Prodigy Season 2.

You can find my spoiler-free thoughts on Section 31 by clicking or tapping here.

A brand-new Star Trek film is always going to be an exciting occasion! It’s been almost a decade since Beyond was in cinemas, and in that time it’s fair to say that a lot has happened for the franchise. But at the same time, there are similarities between Star Trek’s most recent trip to the cinema and this made-for-TV movie – not least in terms of how I’d rate the quality of both films!

We are going to be talking about plot spoilers for Star Trek: Section 31 this time, so if you haven’t seen the film yet this is your final opportunity to jump ship. I’d encourage you to check out my spoiler-free review of Section 31 – you can find it by clicking or tapping here.

Still frame from Star Trek: Section 31 (2025) showing the film's title card.
The film’s title card.

If you’ve already read my spoiler-free review, you’ll know that I thought Section 31 was okay for what it was. It’s a fairly average action/sci-fi film which has little to do with the rest of the franchise. I don’t think it achieves its objective of being a good “first contact” for new, younger viewers… but I didn’t dislike Section 31 on the whole. I’m considering writing up an updated version of my Star Trek films ranked list – and I guess if I had to give Section 31 a grade, it would get a C. Not great, not terrible; a film I don’t need to think too hard about that doesn’t demand much from me. Background viewing that I can dip in and out of with ease.

Those words may sound negative or even harsh, but I really don’t intend them to be. Taken on its own merits, Section 31 is a perfectly entertaining action film with some sci-fi trappings. It isn’t hard to separate it from the rest of Star Trek, as it has so few connections to anything else in the franchise outside of a few name-drops, so I don’t think Section 31 is in any way bad for Star Trek or the fan community. I don’t think it achieved its objective of expanding the fan community and bringing a new audience on board – which is definitely a mark against it.

Still frame from Star Trek: Section 31 (2025) showing the main characters aboard their spaceship.
Will Section 31 bring new eyes to Star Trek?

Alright, summary over! It’s time to get into the plot.

When is Section 31 set? Because I still genuinely don’t know. At the beginning of the film we see “Stardate 1292.4” prominently displayed – and if we assume lower-value stardates are earlier than higher-value ones, it would tentatively place Section 31 in between Discovery’s departure from the 23rd Century (approximately Stardate 1201.7) and The Original Series (the earliest Stardate given, in Where No Man Has Gone Before, was 1312.4). But is that correct? It seems to conflict with at least one other piece of information we have.

Rachel Garrett – who is a Lieutenant during the events of Section 31, and therefore isn’t a fresh-faced Academy graduate – is someone we’re familiar with from The Next Generation episode Yesterday’s Enterprise. In that episode, Garrett is in command of the Enterprise-C in the 2340s… but if Section 31 takes place in between Discovery and The Original Series and Garrett is already in her late twenties or early thirties, that would mean she’d have to be over 100 years old by the time we see her again in Yesterday’s Enterprise. The Federation has great medical and life-extension technology, but is that a good enough explanation? Or have we found our first issue with Section 31 already?

Still frame from Star Trek: Section 31 (2025) showing Rachel Garrett.
When is Section 31 supposed to be set?

I get it: this is a nitpick. But as I’ve said before: as Trekkies, we want the world of Star Trek to make sense and feel consistent, and that means that new projects have to at least try to fit in with what’s come before. There were two exceptionally easy fixes to this issue: firstly, the film could’ve been more obviously set later in time. It’s possible that this was the writers’ intention – but with no frame of reference (familiar uniform designs, starships, etc) it’s hard to tell. Secondly, the Rachel Garrett character could’ve been renamed either to another legacy character more suited to the era or to someone brand-new.

I genuinely enjoyed Kacey Rohl’s take on Rachel Garrett. But this character was pretty much a blank slate; if you haven’t seen Yesterday’s Enterprise in a while, could you even tell me much about Captain Garrett? It’s not like she had a particularly memorable catch-phrase or a unique design. She was an upstanding Starfleet officer, sure, but so are dozens of other single-appearance characters. Given the confusion this inclusion adds to the timeline, maybe other choices could’ve been made.

Still frame from Star Trek: Section 31 (2025) showing Rachel Garrett.
We’ll see Rachel Garrett again…

One final point on the timeline: if Section 31 is meant to be set after the events of The Original Series – as Rachel Garrett’s inclusion arguably hints at – then… isn’t the Terran Empire meant to be in decline or even defeated in this era? After the events of Mirror, Mirror, Spock ascended to a high rank in the Empire and attempted to reform it. Those reforms weakened the Empire, leading to its defeat by the early or mid-24th Century. So if we’re going to say Section 31 takes place in the late 23rd Century, that would coincide with a period of decline – which doesn’t line up with the film’s plot of stopping the Terran Empire breaking through the portal between universes and invading.

San’s survival also means that Section 31 can’t be set too long after the events of Discovery – he’s roughly the same age as Georgiou, and there didn’t seem to be a noticeable difference between them when they reunited.

Okay, okay. Enough timeline nitpicking for now!

Still frame from Star Trek: Section 31 (2025) showing San in the captain's chair of his ship.
San aboard his ship.

Let’s talk about the Terran Empire.

The Original Series wasn’t explicit about the Emperor or how one might ascend to that position – though it was certainly clear that advancement in the Imperial military was by assassination. However, Enterprise’s excellent Mirror Universe episode – In A Mirror, Darkly – strongly implied that the path to becoming Emperor was similar to how it is in many dictatorships and authoritarian powers: whoever has the most guns and can kill their rivals wins the “game of thrones.” That Emperor will hold power only until they can’t – I mean, this was basically Captain Lorca’s plan in Discovery’s first season. He wanted to overthrow and kill Empress Georgiou so he could rule the Terran Empire instead.

Having established the Terran Empire as being ruled by the strongest, most brutal dictators… does it really make sense that the Terrans would stage a Squid Game-style contest to decide who should be their next ruler? Technically nothing we saw of the Terran Empire in Section 31 explicitly contradicts what we know of the Empire from past iterations of Star Trek… but it doesn’t make a lot of sense to me that the Empire’s leader would be decided in this fashion. Most real-world monarchies are hereditary, and in most dictatorships, power is held by whomever can wield the most military force. This idea of a contest to anoint a new Emperor doesn’t sit right with me.

Still frame from Star Trek: Section 31 (2025) showing young Georgiou and her family in the Mirror Universe.
Young Georgiou with her family.

Then there were the depictions of San, Georgiou’s family, and Georgiou herself. Don’t get me wrong: I’m glad, in some ways, that Star Trek is moving away from incredibly one-dimensional Terrans who only care about murder, torture, and power. That’s great… but it’s also a pretty big reversal from the way Terrans are usually depicted. Showing Georgiou and San so emotional and loving made both characters feel distinctly un-Terran… which kind of got in the way of the Mirror Universe plot.

I wish I understood why modern Star Trek writers love the Mirror Universe so fucking much. Between Section 31, Discovery’s first and third seasons, Picard’s second season with its “Confederation of Earth,” and a recent episode of Prodigy, the Mirror Universe is everywhere in the franchise’s recent stories. It could be a fun setting to dip into for a single episode back when Star Trek was a wholly episodic franchise, but basing entire story arcs around Terrans and the Mirror Universe has been to the franchise’s detriment in recent years. I hope that Section 31 will be the final appearance of the Mirror Universe for a good long while.

Still frame from Star Trek: Section 31 (2025) showing Georgiou in her throne room in the Terran Empire.
I am thoroughly burned out on Mirror Universe stories for the foreseeable future.

I felt that seeing a young Georgiou with her family and San in the Mirror Universe also muddled her character arc – particularly the growth we saw in Discovery’s third season. Part of what made that story work for Georgiou was that she was discovering a new way of seeing the world. But we’ve just learned that she had a family, she cared about people, and she was even capable of falling in love… decades before Burnham and the crew of the USS Discovery helped her to discover that side of herself. I guess we could frame Georgiou’s softening as a “rediscovery” of those feelings… but it does seem to undermine her growth somewhat, finding out that she came from a caring family and had already known love.

While we’re talking about San, it seemed pretty obvious to me from the moment Georgiou betrayed and wounded him in the film’s prologue that he was going to survive and turn out to be one of the villains. His survival wasn’t the “shocking twist” that Section 31 wanted it to be, and while I guess that’s not necessarily a huge problem, I think it’s worth saying that this narrative element was pretty basic and the twist didn’t land for me. Georgiou’s reaction to it – wonderfully emoted by Michelle Yeoh – definitely gave San’s return some emotional weight. But I felt it was a pretty obvious outcome from almost the first moment.

Still frame from Star Trek: Section 31 (2025) showing San and Georgiou.
San and Georgiou, reunited.

I could buy San and Georgiou’s emotional connection – both Michelle Yeoh and James Hiroyuki Liao sold me on that pretty well. But what I struggled with was San’s apparently convoluted and dumb “evil scheme.” He hated Georgiou for her betrayal and how she changed to become nasty and dictatorial after she beat him in Takeshi’s Castle or whatever that Terran competition was. So… to get back at her, he: stole a genocidal super-weapon, found a way to cross over to the prime timeline – where he had no idea Georgiou resided – and planned to detonate it, then return to the Terran Empire, tell them he’d found them a new galaxy to conquer, and… what? He’d be some kind of hero? Even though the weapon was so over-powered that Georgiou said whoever survived it would only have “ashes” left to rule over? Have I missed something? It just seems… I dunno. Overkill in one sense, convoluted and stupid in another.

And while we’re talking about convoluted and dumb schemes: why would Section 31 infiltrate Georgiou’s space station in such a stupid way? All they needed to do was distract Georgiou long enough to beam Dada Noe to their ship – but they had a massively complicated plot involving all of the Section 31 characters… that instantly failed anyway. There were some interesting ideas here – and I actually enjoyed the fantasy/flash-forward sequence, typical of heist/spy films, in which the plan succeeded. That was creative and cool. But as core narrative threads that we’re meant to take at least somewhat seriously, both Section 31’s plan and San’s evil scheme don’t really work for me.

Still frame from Star Trek: Section 31 (2025) showing a singer at Georgiou's bar.
The Section 31 team planned to infiltrate Georgiou’s nightclub in a particularly stupid and convoluted way.

Then we come to the sheer randomness of Georgiou’s role in the story. It was presented as pure coincidence that the one mission Section 31 chose to recruit Georgiou for – after apparently knowing about her return to the 23rd/24th Century for some time – just happened, by accident, to involve her ex-lover, her own super-weapon, and the Empire that she formerly led. There wasn’t even a last-second twist saying that Control or Section 31 knew it all along, this was just totally by accident.

There was an obvious route to making this part of the story feel less random and disconnected. The briefing from Control – which I generally liked, it was a creative framing device and it did actually feel pretty immersive – could’ve had a little bit more detail on Dada Noe’s weapon. If Control knew that this weapon originated in the Mirror Universe, that could’ve been a smooth narrative reason for Section 31 to turn to Georgiou. It wouldn’t have blown any big surprises further along the story, and Georgiou would’ve had a better, more solid, and more believable reason for joining Sahar’s team than “c’mon, man.”

Still frame from Star Trek: Section 31 (2025) showing Control's briefing on the super-weapon.
If Section 31 had known the true origin of the macguffin, it could’ve made for an easier way to recruit Georgiou for the mission.

I was a little surprised to see that the Section 31 of this era uses something named “Control” to dish out information and orders, in light of the events of Discovery’s second season. Again, the lack of a definitive moment in time for the film’s setting could arguably cover this, but if we assume that Section 31 takes place after the events of Discovery Season 2 then the Control AI should’ve been defeated and shut down.

So how do you interpret the holographic “Control” figure that we saw at the end of the film? Is she a real person, an AI, or do her cybernetic implants perhaps imply she’s a mix of both? This scene already felt a bit weird; “Control’s” appearance was treated by the director as if it was some huge revelation… but actress Jamie Lee Curtis is brand-new to Star Trek, and doesn’t seem to be playing a familiar character or even a member of a species we’ve seen before. I guess the point of this big reveal was that Curtis is a big star, and she’d also worked with Michelle Yeoh on Everything Everywhere All At Once. But it didn’t really work for me in the moment, and showing off this version of “Control” leaves me with far more questions than answers. Perhaps a head-canon explanation will have to be that “Control” is simply a designation or title that Section 31 of the 23rd Century uses for its leaders?

Still frame from Star Trek: Section 31 (2025) showing Control.
After the events of Discovery Season 2… what exactly is this “Control”?

In my spoiler-free review I talked about the visual language of Star Trek – and how Section 31 basically ignores all of it. Rachel Garrett doesn’t wear a typical Starfleet uniform; the closest comparison to what she’s wearing would be Discovery’s away team armour that we saw in the first couple of seasons. There wasn’t a single character using a combadge or communicator, and the familiar Starfleet delta only showed up as a graphic during Control’s briefing. None of the starships – even those only briefly glimpsed in orbit of Georgiou’s space station – conformed to familiar Star Trek designs, either.

For me, this was a little disappointing. There has to have been a way for at least one starship to have had the familiar saucer section and nacelles design, or for a single character to use a Starfleet combadge or wear a familiar uniform – even if only for just one scene. Part of the point of Section 31 was to draw in new fans… but the lack of obvious visual connections to anything else in Star Trek makes the film feel especially disconnected.

Still frame from Star Trek: Section 31 (2025) showing Georgiou's space station.
Georgiou’s space station surrounded by a bunch of generic-looking spaceships.

Then we come to sets and props. I can’t be certain, but I felt that parts of both the Section 31 starship and San’s ship looked familiar – maybe recycling parts of the sets made for Picard’s La Sirena or Discovery’s 32nd Century vessel. This wasn’t necessarily a problem, but I thought it was worth pointing out. Generally, the sets used for the planet where most of the action took place, Georgiou’s station, and the garbage scow were pretty good – I liked how the planet and the scow gave off an “abandoned ruin” kind of vibe.

Props, though, left something to be desired in Section 31. The phaser pistols were mostly okay, though they didn’t look exceptional and didn’t seem to draw inspiration from phasers seen elsewhere in Star Trek. But the tricorder? I mean, you couldn’t have made it more obvious that it was a fucking iPhone if you tried. It was a pathetic visual effect that looked incredibly cheap; akin to something I’d expect to see in a low-budget fan film, not the Star Trek franchise’s flagship streaming project. How much extra work would it really have been to make a basic tricorder prop? You can literally buy prop replicas from the official Star Trek shop that would’ve done a better job than an iPhone in a chunky case.

Still frame from Star Trek: Section 31 (2025) showing a close-up of the tricorder prop.
It’s an iCorder… or a Triphone.

Here’s a philosophical question for you: are some people – and, by extension, some fictional characters – so far gone that they’re irredeemable? Because parts of Georgiou’s story in Section 31 (and Discovery’s third season, too) are effectively a redemption arc. Georgiou has to confront what she did to San, and also stop the super-weapon that she had commissioned – these two represent her past, and she has to demonstrate how far she’s come as she tries to defeat San.

Some Trekkies have taken to derisively using the term “space Hitler” to describe Georgiou. I don’t particularly care for that expression, so let’s pick another point of comparison from the world of fiction. Georgiou is comparable to Star Wars’ Emperor Palpatine in terms of how she ruled her Empire with an iron fist, and there are even echoes of Palpatine’s scorched-earth approach to his death – glimpsed briefly in canon – in Georgiou’s super-weapon. But would a Star Wars film shot from Palpatine’s point of view, in which he is “redeemed” and teams up with a rag-tag gang of rebels to stop a villain, work as intended? Or are characters like that too far gone to be turned into protagonists?

Still frame from Star Trek: Section 31 (2025) showing young Georgiou branding San in the Mirror Universe.
Georgiou was a murderous tyrant in the Mirror Universe.

As far as Section 31 itself is concerned, we don’t see many crimes or atrocities committed by Georgiou on screen. There’s the murder of her family during the Jim Davidson’s Generation Game part of the prologue, and the way she deliberately scars San with a red hot sword. But we don’t get much context outside of Control’s briefing for her more massive crimes: slavery, genocide, and the like.

But viewers of Discovery – particularly the show’s first season – have seen at least some of those things. In one particularly gruesome sequence, Georgiou ate Kelpien meat – Kelpiens are sentient humanoids in Star Trek’s galaxy. We also learned of how she defeated the Klingons of the Mirror Universe – by destroying their planet and committing genocide against them. Georgiou kept slaves, tortured people for fun, and we saw more than just glimpses of the extent of her tyranny. So… is a character like that possibly redeemable? Can we ignore that context and go on a fun, silly romp with Georgiou and her new crew?

Still frame from Star Trek: Discovery Season 1 (2017) showing Empress Georgiou eating Kelpien meat.
Having seen Georgiou in the Mirror Universe, and the atrocities she committed, can we really support her in this new story?

This was always a hurdle that Section 31 had to find a way to surmount, but perhaps condensing the story – and Georgiou’s arc in particular – into a single film instead of playing out over the span of a dozen or more episodes kind of highlights it for me. If we take this version of Georgiou out of context, then yeah, as I said at the beginning: Section 31 is a big, dumb action film that makes for entertaining enough popcorn fare. But knowing what we know of Georgiou and having seen her at her worst… it raises the question of whether redemption for this character is something we should even want, let alone whether it’s possible.

And I don’t really know what the answer to that question is, to be honest with you. I can separate Section 31 from the rest of Star Trek pretty easily, and taken on its own, I think Georgiou’s story works well enough. She’s anchored more to San than to the crimes and genocides of the Terran Empire – which, while mentioned more than once, feel relatively distant. And her arc brings her back to San as she confronts the super-weapon she commissioned during her reign. But the more I think about it, and the more I reflect on Georgiou’s time as Emperor that we saw parts of in Discovery… the more uncomfortable I feel, and the less confident I am that a spin-off focusing on this character was the right call. It’s the Palpatine problem: could a Palpatine redemption movie, padded out with wacky side-characters, work in Star Wars? Or would fans feel his redemption was a bridge too far?

Still frame from Star Trek: Section 31 (2025) showing Georgiou near the climax of the film.
Was a redemption arc for Georgiou even a good idea for a story?

Speaking of wacky side-characters… I have some thoughts on Section 31′s roster!

Obviously we have to keep in mind that Section 31 was originally pitched as a TV series – one that could, in theory, have run for multiple seasons. Several of these characters had potential in that kind of format… potential that was, unfortunately, squandered in a single film. Melle stands out as perhaps the most obvious of these, though given modern Star Trek’s tendency to “Flanderise” characters and whole alien races, I wasn’t particularly wild about seeing what the writers might’ve done with the famously hyper-sexual Deltans. We caught a glimpse of that before Melle was unceremoniously killed off, and that was more than enough for me.

Zeph also feels like wasted potential, though at least he stuck around a little longer and found time to deliver a couple of funny lines. Robert Kazinsky, who played the role, did a great job, and in the pre-release interviews on the publicity circuit for the film he seemed to be genuine and passionate about Star Trek. Obviously Zeph won’t be returning, but I’d like to think Kazinsky could one day.

Still frame from Star Trek: Section 31 (2025) showing Zeph in his mechanical suit.
Zeph’s mechanical suit was interesting.

I would’ve liked to have learned a bit more about Zeph’s mechanical suit. The suit was really there to serve a narrative function: it enabled Fuzz to remain undetected as the “mole” for a little longer. But given that this kind of armour or tool is rare in Star Trek, learning a bit more about how it works and why someone would choose to use it would’ve been fun. Again, this is the kind of thing I’d expect a longer series to have found time for – but obviously there wasn’t that possibility in a single film.

Although I wasn’t expecting it, I held out a dim hope that we might’ve learned a little more about Quasi’s people – the Chameloids. Aside from a single appearance in The Undiscovered Country, this race of shape-shifters is completely unexplored. I liked the visual effect used when Quasi switched between forms, as well as the line about no one knowing a Chameloid’s true appearance. That differentiates the Chameloids from the likes of the Founders, whose liquid form has been seen many times across Deep Space Nine’s run.

Still frame from Star Trek: Section 31 (2025) showing Quasi midway through changing shape.
The animation work for Quasi’s shape-shifting was neat.

Quasi himself, though, was a bit of a non-entity for me. Sam Richardson put in a stellar performance with the material he had to work with, but I just didn’t really feel much of anything for the character. Quasi’s scientific prowess was mentioned a few times, but never really came to the fore in a big way – that role ultimately fell to Garrett at the film’s climax. Quasi was just sort of… there. A presence, but not an especially memorable one.

One thing Star Trek hasn’t always been great at is depicting very “alien-feeling” alien races. Most Star Trek aliens are in the “forehead or nose” brigade; humanoids with prosthetic noses or foreheads to represent different races. With that in mind, the Nanokins – Fuzz’s race – felt like something new and genuinely unique. Sure, the Nanokins aren’t the first non-humanoid race we’ve ever seen, nor even the first microscopic race, either, but it was a fun and unexpected direction for the film to take.

Still frame from Star Trek: Section 31 (2025) showing Fuzz's true microscopic form.
Fuzz’s true form.

On the flip side, Fuzz’s small stature combined with his eccentric personality made him stand out – and, unfortunately, I don’t really mean that as a positive. Rather than coming across as wacky and funny, almost from the first moment he just felt… odd. When the group decided (a little too quickly and without considering any other options) that there was a traitor in their midst, Fuzz was the obvious candidate. In fact, he was pretty much the only candidate.

Think about it: the mole obviously isn’t Georgiou, and it wasn’t going to be Sahar, the team leader. Zeph is an adorable idiot, but he clearly didn’t have the intellect or the motivation to betray the group. It wouldn’t be Starfleet officer Garrett, either – if for no other reason than we know her career would continue for decades after this moment. That only left Quasi, the shapeshifter, and Fuzz. Quasi was a character that we hadn’t really gotten to know at this point in the story, outside of a barebones introduction, and what we had seen of him showed him to be passionate about his work and friendly. So there really was only one serious contender for the mole – or at least it seemed that way to me!

Still frame from Star Trek: Section 31 (2025) showing Fuzz.
Fuzz turned out to be the mole in the team.

Section 31 already had a pretty basic story: rag-tag team of misfits have to stop the villain from using the magical macguffin or it’s going to destroy the galaxy. Not only is that the plot of countless sci-fi movies, it’s also pretty similar to the Star Trek franchise’s recent output – see Picard, Prodigy, and Discovery for that. So when the few opportunities for a plot twist or a subversive moment come along… they really ought to be handled a bit better and not telegraphed so far in advance. Fuzz’s villainous turn, as well as San’s survival and reappearance, were both treated in the story as if they were massive shocking twists… but they weren’t.

As above with San, part of what makes moments like this impactful is how the characters respond. And even though a plot point may seem obvious, a strong emotional reaction can make even the most impotent narrative beat feel better. We got some of that with San and Georgiou, but arguably less of it with Fuzz and Sahar.

Still frame from Star Trek: Section 31 (2025) showing Sahar and Fuzz brawling.
Part of the fight between Sahar and Fuzz.

Again, I feel the ramifications of a full season or multi-episode arc being condensed and cut down. Had we met Fuzz earlier, or had a flashback to his first meeting with Sahar – like we got in the prologue with San and Georgiou – maybe there’d have been more of a foundation to build on, making the revelation of his betrayal feel more impactful. Without some of that context, and not having spent very much time with Sahar, Fuzz, or really any of the others, the betrayal didn’t feel as powerful as the film’s writers wanted it to. It’s simply one more slightly chaotic element in an already chaotic, fast-paced film. It wasn’t bad per se, it just didn’t have much weight to it.

The same is true of Melle’s death – though I’d argue this was at least a genuine shock in the moment. Melle had been introduced to us moments earlier and seemed like she was going to be a big part of the team… but she died relatively early in the film, having delivered only a couple of lines and without contributing to the story in any way. Perhaps this is because I’d been paying attention to the film’s marketing campaign – in which Melle’s actress, Humberly González, was featured – but I expected her to be a bigger part of the story. In that sense, her early death was certainly a shock.

Still frame from Star Trek: Section 31 (2025) showing Melle's death.
Melle’s death early in Section 31 came as a surprise.

It’s worth noting, by the way, that this is the second film in which a Deltan has been a main character. It’s also the second film in which the Deltan character has been killed off at an early stage – and the second time where a television series pitch being condensed down to fit the runtime of a single film is the reason why! If you’re familiar with the early production history of The Motion Picture, you’ll know it was originally pitched as Phase II – a new Star Trek television series. Ilia, the first Deltan seen in Star Trek, was originally intended to be a main character on the show, but when the series was adapted into a feature film, Ilia was killed off.

Okay, random trivia over – let’s get back to the review!

Sahar was perhaps the most fleshed-out of the Section 31 characters. We got to learn a little of his backstory – he’s a veteran of the Eugenics Wars, and survived to the 23rd Century in stasis. This story obviously harkened back to Khan’s in Space Seed, and I’m a little surprised that Khan wasn’t name-dropped at this point. That’s not to say it would’ve improved the story – but given how little time we spent talking about Sahar’s past and his Augment tormentor, it wouldn’t have really changed much, either.

Still frame from Star Trek: Section 31 (2025) showing a close-up of Sahar.
Sahar was an augmented human from the 20th Century.

Sahar is, yet again, a character who’s suffering as a result of Section 31 being crushed down from a full TV show to a film. I have to imagine that, if the original TV series had gone ahead, this revelation about his history would’ve come further into the story, and probably would’ve been the subject of a secondary storyline if not an entire episode. I found what we got to be interesting – enough to pique my curiosity and to give Sahar more than just a generic background. But at the same time, Section 31 didn’t really do a lot with the revelation of his augmentations or his 20th Century origin. With a sequel almost certainly not happening, I doubt Sahar will be revisited, leaving this interesting background feeling rather underdeveloped.

Having nitpicked Section 31 seemingly to the brink of death – from its confusing place in the timeline to the status of the Terran Empire, and whether Georgiou’s redemption arc was repetitive, possible, or neither – how can I sit here and say that I didn’t dislike it? That’s a fair question, right? Because the truth is that, for what it is, Section 31 is fine. It’s not gonna win any awards, and I can see some Trekkies absolutely despising it (particularly folks who didn’t like Discovery and the Kelvin films), but speaking for myself… I can’t say I didn’t enjoy Section 31 on its own terms as a standalone film.

Promotional photo/headshot of actress Humberly González.
Humberly González played Melle in Section 31.
Photo Credit: IMDB

If the intention was to create a competitor to The Wrath of Khan or First Contact for the title of “best Star Trek film,” then obviously Section 31 doesn’t succeed. It’s narratively, structurally, and even visually weaker than those illustrious titles. And as a “first contact” – a new and easy way for viewers to get started with a complicated franchise – well, I don’t think it achieves that objective either.

But there is a place in entertainment – and, I would argue, in the Star Trek franchise, too – for the kind of action-heavy story that you don’t need to think too hard about. And that’s how I see the film, at the end of the day. It’s basically a B-movie, putting together a bog-standard story centred around a single familiar character, cropping out a lot of the visual and narrative hallmarks of Star Trek. I don’t think it’s really a Star Trek film in that sense; it’s an action film trying to dress itself up in a Star Trek outfit. But I don’t hate that, and with such a cookie-cutter plot and some over-the-top characters, it’s hard to really complain about Section 31 once you open your eyes to what it is.

Still frame from Star Trek: Section 31 (2025) showing Empress Georgiou.
It’s Empress Georgiou again!

That doesn’t mean that I don’t think Paramount can and should do more with Star Trek. There’s a version of Section 31 floating around out there, somewhere, that’s significantly better, has a stronger plot, and genuinely succeeds at bringing in new fans. This version is a cynical attempt to cash in on Michelle Yeoh’s name while she’s still a box office draw. It’s also a cheap way to recycle some of the work that had already been done on the original Section 31 TV series – which officially entered pre-production almost six years ago. Recouping some of that initial investment seems to have been a priority for Paramount, otherwise I have to believe that a story and a cast of characters better-suited to a single one-off film could have been written.

But I don’t hate action-heavy B-movies, and as soon as I realised that’s what I was watching, I just kind of… went with it. The film genuinely seemed to fly by, which is something that doesn’t happen for me if I’m not having at least somewhat of a nice time! I was actually quite surprised when I glanced down at the time and realised I was already halfway through. Section 31 kept my interest, kept me entertained, and as the credits rolled I can honestly say that I wasn’t disappointed in the film or the story I’d seen unfold. I didn’t love it, and I’m not in a mad rush to re-watch it. But there’s definitely a place for a project like this in an expanded Star Trek franchise.

Still frame from Star Trek: Section 31 (2025) showing a close-up of San.
San in the Mirror Universe.

There absolutely were weaknesses in the story that prevent Section 31 from being a top-tier film. And if I spend too long thinking about Georgiou, her pretty regressive and repetitive character arc, the film’s confusing time period, the status of the Terran Empire, and more… yeah. I can understand why a Trekkie would feel disappointed with some of those things. But Section 31 feels, to me, like the kind of film that you really shouldn’t spend too long thinking about. It’s Star Trek’s version of, say, Transformers or The Fast and Furious insofar as it has a basic plot, plenty of mindless action, some quirky characters, and a smattering of amusing dialogue. I don’t know about you, but I’m okay with a film like that.

The flip side, of course, is that Paramount spent a decent amount of money on Section 31 – so to churn out a film so “mid” after working on this project since 2018… that’s not great. And for the Star Trek franchise, a film that ultimately underwhelms and will probably not do great numbers for Paramount+ could ultimately prove damaging. There may be some in the Paramount or Skydance boardrooms who look at the reception to Section 31, and the numbers of subscribers it pulls in, and feel disappointed. That could prove detrimental to Star Trek’s future prospects, whether we’re talking about a new feature film, another made-for-TV movie, or a brand-new series. That isn’t what I hoped for heading into Section 31.

Cropped promotional poster for Star Trek: Section 31 (2025).
The official Section 31 poster.

As I said last time, it’s hard not to recommend the film to fans of Star Trek: Discovery and existing subscribers to Paramount+ in particular. But I don’t think it’s going to win the Star Trek franchise a lot of new fans, nor will it convert haters of “nu-Trek.” I’m also concerned that, if it does ultimately prove a disappointment for Paramount in financial and subscriber terms, there might be less willingness to commit to more one-off stories, made-for-TV movies, and streaming projects in the future.

But for my part, despite its issues and narrative flaws, I enjoyed Section 31 for what it was. Taken on its own terms, and trying not to think too hard about some of the broader implications of its story for the Star Trek universe… it’s fine. It’s an action film with the loosest of ties to Star Trek, existing off to one side in its own little box. There’s definitely a place for projects like that in the franchise, and I’m sure I’ll revisit Section 31 in the future.

Still frame from Star Trek: Section 31 (2025) showing the surviving characters at the end of the film.
The final shot of the film.

Stay tuned, because I have a couple of other pieces in the pipeline connected to Section 31! I’m planning to write up a few suggestions for potential new fans who are just getting started with Star Trek, offering some suggestions for episodes and films to turn to next. And I’m also planning to re-do my Star Trek films ranked list to add Section 31. I might even do it using the internet-friendly tier list format! So I hope you’ll join me for that – and plenty more coverage of the Star Trek franchise. I’ve still got a couple of episodes of Strange New Worlds to watch before Season 3 premieres!

Until then, I hope this has been interesting. I’m going to check out some other reviews of the film from professional critics and Star Trek fans to see if my impressions of Section 31 are shared more widely!

Live Long and Prosper!


Star Trek: Section 31 is available to stream now on Paramount+ in countries and territories where the platform is available. The Star Trek franchise – including Section 31, Discovery, 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.

Star Trek: Section 31 – Spoiler-Free Review

Thanks to Storm Éowyn knocking the power off, I’m a little late getting to Section 31! You can imagine my annoyance when the electricity went off mere minutes after the film was made available on Paramount+; it’s delayed this review by a couple of days. Although I could, I suppose, have logged into the app on my phone and watched it there… who really wants to watch a brand-new Star Trek film on a tiny screen? Not me, anyway – so I had to wait all weekend until the power came back!

Now that that issue has – touch wood – been resolved, it’s time to get into the review! This first piece isn’t going to contain any plot spoilers, but I have a longer review in the pipeline that will look at the narrative in more detail. I definitely have some thoughts on the finer points of Section 31′s plot! But this piece is intended to be a soft landing for anyone who hasn’t seen the film and wants to go into it un-spoiled.

Photograph of actress Michelle Yeoh at the premiere of Star Trek: Section 31 in January 2025.
Michelle Yeoh at the Section 31 premiere.
Photo Credit: Star Trek on Facebook

For my part, I haven’t read any other reviews of Section 31. I’ve been keeping my head down and avoiding social media groups and my usual Trekkie websites and blogs; I wanted to give my thoughts on the film without fear of being influenced by other critics’ opinions. So that’s what you’re gonna get today: pure, uncorrupted thoughts from Trekking with Dennis!

If you’ve read my preview of Section 31, which I published on Wednesday, you’ll know that I was sceptical of the film on a personal level. The trailers and teasers seemed to hint at a project with a very modern tone, inspired by the likes of Suicide Squad and other popular superhero flicks. With a couple of specific concerns about the story and character arcs (that we’ll go over in more detail next time when we talk spoilers), I wasn’t convinced that Section 31 would really be my kind of film. Despite that negative first impression, though, I can put my hand on my heart and tell you that I gave Section 31 a fair shake, giving director Olatunde Osunsanmi, writer Craig Sweeney, and lead actress Michelle Yeoh a chance to impress me.

Behind-the-scenes photo from Star Trek: Section 31 showing Robert Kazinsky in character as Zeph with director Olatunde Osunsanmi.
Actor Robert Kazinsky (left) and director Olatunde Osunsanmi on the set of Section 31.

I think I’ll start by making two somewhat conflicting observations.

Firstly, Section 31 was a very generic action/sci-fi film that – bar a couple of the barest of Star Trek references that mostly came in the form of blink-and-you’ll-miss-it name-drops – could’ve been set in a totally different franchise without much effort. There were a couple of moments where I caught the briefest glimpse of things that felt familiar from past iterations of Star Trek… but for the most part, this film left all of that behind. If you’re a Trekkie showing up for Section 31 because it has the Star Trek name attached… keep in mind that it’s only the name. Nothing else about this film felt like Star Trek.

Secondly… once I got started, Section 31 seemed to fly by. I was astonished to glance down and realise I was already halfway through. For what it was, I can’t say I didn’t enjoy Section 31. I would argue that it isn’t even close to anything the franchise has done before – with the possible exception of parts of the Kelvin timeline reboot films – but taken as a standalone title, one that almost certainly isn’t getting a sequel or spin-off… yeah. I didn’t dislike it. In fact, I’d say I enjoyed Section 31 more than I expected I would.

Promo art for Star Trek: Section 31 (originally shown on YouTube) showing Empress Georgiou wielding a sword.
Empress Georgiou in promotional artwork.

In my preview of Section 31, I argued that Paramount was positioning this title as a “first contact” for potential new fans and viewers. Star Trek can’t remain the sole preserve of people who liked it decades ago; if it’s going to survive and remain in production, new folks need to be joining the fan community. On that mark – which is where I actually had the most hope for Section 31 – I’m not feeling so optimistic any more, unfortunately.

Long story short, I just don’t think this spin-off was the right choice to adapt as a “first contact” film, a soft reboot, or an attempt to bring in brand-new fans. Making a film with a more modern tone, leaning into popular cinema as a way to ease new viewers into what can be a complex franchise is a great idea, and there will have had to be compromises made along the way – as there were with the 2009 reboot, too. There were strong points in Section 31′s story that were definitely entertaining… but I’m not sure it would be the right introduction to Star Trek given how detached it is from the rest of the franchise both narratively and – more importantly – in terms of theme, style, and tone.

Still frame from Star Trek: Section 31 (2025) showing a spaceship.
A starship in Section 31.

The visual language of Star Trek is quite distinctive and memorable. There are spaceships with saucer sections and nacelles, uniforms in bright primary colours, the familiar Starfleet delta… and Section 31 uses none of these. Its visual language is more akin to something from Marvel or Star Wars, and while those are both popular franchises that are absolutely fair game for drawing inspiration from… it breaks the film off from what came before a bit too abruptly, and sticks out as perhaps the most glaringly obvious example of how detached Section 31 feels from the rest of the franchise.

In that sense, what I felt could’ve been Section 31′s strongest suit and the biggest point in its favour feels in real danger of falling flat. I struggle to see the film converting many viewers into fully-fledged Trekkies – though I certainly hope I’m wrong on that front. With so few ties back to the rest of Star Trek, it’s hard to know where a viewer impressed by Section 31 could turn next. Stay tuned, though, because in the next few days I’m going to write up a short list of episodes that I think could make for a soft landing for fans of Section 31.

Promo photo/production still from Star Trek: Section 31 showing Michelle Yeoh, Sam Richardson, and Omari Hardwick.
A trio of main characters.

I would’ve liked the film’s musical score to have had a few more familiar Star Trek elements – only once did I hear the classic sting from The Original Series. As above with Section 31′s visual language, there was definitely room to use music to tie the film in a more overt way to the rest of the franchise. That being said, the score itself wasn’t bad… it was more or less on par with what you’d expect to get elsewhere in modern Star Trek.

Michelle Yeoh – no, wait, I’m sorry… Academy-Award winner Michelle Yeoh, whose newfound fame and status Paramount wished to capitalise on by resurrecting Section 31 after years in development hell – was, naturally, the standout star of the film. Despite what I’d say was a confusing and somewhat repetitive storyline for her character (which we’ll get into in more detail next time), Yeoh dominated most of her scenes and did the absolute best she could with the material she had to work with. Section 31 isn’t going to win her another trophy cabinet full of awards – but that’s more a comment on the film itself rather than her performance.

Promo photo/production still from Star Trek: Section 31 showing Michelle Yeoh in character as Empress Georgiou.
A promotional photo of Michelle Yeoh as Philippa Georgiou.

I was familiar with Kacey Rohl from her work on Hannibal a few years ago, and I was impressed with her turn in Section 31. The character she played had more depth and complexity than I’d been expecting, and the expanded role she had on screen – including several key scenes without Michelle Yeoh that were important for the story – gave her plenty to work with. Paramount did well to land a performer of her calibre to take on the role of a legacy character, and the story threaded the needle quite well: expanding the character’s backstory without treading on the toes of anything we’re familiar with from past iterations of Star Trek.

I also want to credit Sven Ruygrok for his complex performance. Without getting into spoilers, Ruygrok’s character had layers, and while there must’ve been a temptation to ham it up in some scenes, I feel the right balance was struck. There were several scenes in which Ruygrok’s character was centre stage, and he rose to the occasion well. I wasn’t familiar with him prior to his appearance in Section 31, but I hope he can return to Star Trek one day.

A cropped promotional poster for Star Trek: Section 31 showing the main cast members.
The main cast on a promotional poster.

The final performer I’d like to highlight is Omari Hardwick. Hardwick’s character also had more complexity than I’d been expecting, and we got a decent explanation of his backstory, too. There was more emotion to this character than I thought there’d be, and Hardwick brought that to screen exceptionally well. There were limitations to this character – perhaps as a result of compressing a TV series into a sub-two-hour film – but separating criticisms of the character from the performance and I think we can say that Hardwick did a great job.

That statement above also applies to several of the other characters. I suspect if Section 31 had gone ahead in its originally-planned form in 2019, some of these characters would’ve been expanded upon, we’d have spent more time with them, and their backstories and arcs could’ve played out over multiple episodes or even multiple seasons. We got what we got with the film, though, and while I could certainly entertain the argument that cutting one or two of these characters might’ve given us a few extra seconds with the principals… I think each of them brought something to Section 31.

Promo photo of Sam Richardson in Star Trek: Section 31.
Sam Richardson as Quasi in Section 31.

I used to work in marketing (video game marketing specifically, which is part of the broader entertainment industry), and I like to think I still have a reasonable grasp on the subject! With that in mind… some of Paramount’s decisions when promoting Section 31 leave me scratching my head. Putting Michelle Yeoh front-and-centre was obviously the right call, but in terms of the film’s social media campaign… I really don’t think Paramount did a great job.

The two trailers generally presented a positive and accurate picture of the film, getting the tone more or less spot on. But why weren’t these trailers more readily available on YouTube and platforms like TikTok? If this film was targeting a younger audience, surely it makes sense to spend money on ad campaigns where younger folks are. Paramount also has a weird obsession with big, expensive stunts in New York City – Times Square billboards, for instance, or in Section 31′s case, lighting up the Empire State Building in vague shades of yellow, purple, and pink. For the amount of money that must’ve cost… did anyone notice? Or even make the association between random colours not typically associated with Star Trek and the upcoming film?

Promotional photo from Paramount/Star Trek on Facebook showing the Empire State Building.
How much did Paramount pay for this weird marketing stunt?
Photo Credit: Star Trek on Facebook

I came to Section 31 with high hopes for the Star Trek franchise, but low expectations on a personal level. It turns out I was wrong on both counts: the film seems unlikely, in my view, to serve as a good “first contact” for new viewers who are unfamiliar with Star Trek, at least insofar as converting them into fully-fledged Trekkies. But despite my misgivings and some criticisms of a rather formulaic action story, I had a much better time with Section 31 than I expected based on the trailers. I guess it’s true what they say: you can’t judge a book by its cover! Or a film by its trailers, in this case.

I think we’ve gone about as far as we can without getting into the meat of the story. If you’re a Trekkie and you’re already a Paramount+ subscriber, all you have to lose by watching Section 31 is an hour and a half of your time. If you already have Paramount+ and you’ve enjoyed modern Star Trek – Discovery in particular – I think you’ll find at least something to hold your attention. If you’re a fan of action/sci-fi films, I also think Section 31 is worth checking out.

Photo of Michelle Yeoh and Robert Kazinsky at a promo event for Star Trek: Section 31.
Michelle Yeoh and Robert Kazinsky at a promotional event for Section 31.
Photo Credit: IMDB

However, this isn’t going to be an award-winning film, and it won’t be the film to finally sway haters of “nu-Trek.” In fact, it’s barely a Star Trek film at all, lightly affixing some of the franchise’s aliens, factions, and names atop a very generic story. Section 31 wouldn’t feel out of place in Marvel, Star Wars, Alien, or any one of a dozen action/sci-fi properties. With very minor tweaks, you wouldn’t notice the difference.

I hoped that Section 31 could’ve been a big draw for the franchise, bringing in legions of new fans who would go on to discover other parts of Star Trek. And while I’m sure there will be some new viewers – as there are with every Star Trek project – I can’t help but feel the opportunity presented by Michelle Yeoh’s return hasn’t been properly taken advantage of.

Still frame from Star Trek: Section 31 (2025) showing Empress Georgiou on her space station.
Michelle Yeoh in Section 31.

That being said, I didn’t feel watching Section 31 was a hard slog. If anything, its basic, action-heavy story, generic villains, and simple macguffin made it incredibly straightforward to watch; the cinematic equivalent of easy listening. That isn’t a criticism exactly – there’s always gonna be room for made-for-TV movies that deliver a bog-standard narrative experience. Was making a film like that the right call for the Star Trek franchise at this delicate moment, though? I think the jury’s out on that; we’ll have to wait and see how well-received the film is and whether it succeeds at attracting the new, younger audience it’s seeking.

Next time I’ll dive into the story in more detail, and we’ll take a look at the main plot, individual character arcs, and so on. So I hope you’ll stay tuned for that and come back after you’ve watched Section 31. It’s hard for me to say I didn’t like it or there isn’t a place for it; it’s such a bland, middle-of-the-road film that it didn’t elicit particularly strong emotions either way. You can make a negative inference from that if you want, but I don’t really mean it in a negative way. Perhaps my expectations were so low that the film didn’t need to do much to leave a positive impression!

I’m in no rush to return to Section 31, but I won’t shun it or actively avoid it. I can see myself re-watching it in a couple of years’ time and having a decent time with it again. Or perhaps putting it on in the background while I do the vacuuming or clean the toilet. It’s that kind of film.


Star Trek: Section 31 is available to stream now on Paramount+ in countries and territories where the platform is available. The Star Trek franchise – including Section 31, Discovery, 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.

Section 31: The Final Preview

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery and the trailers and teasers for Section 31.

On the eve of Section 31′s premiere, I thought we could take one final look ahead to Star Trek’s first-ever TV movie.

Section 31 took a long and difficult road to get to this point, with the initial announcement of a full spin-off series being met with, at best, a lacklustre reception from Trekkies and viewers of Star Trek: Discovery. That project then spent several years in development hell, before Michelle Yeoh’s Oscar- and Golden Globe-winning performance in Everything Everywhere All At Once seemed to resurrect Paramount’s interest in the project. Section 31 was adapted from the original full series pitch to a TV movie – and that film will premiere on Friday.

Promo photo from Star Trek: Section 31 (2025) showing director Olatunde Osunsanmi behind-the-scenes.
A behind-the-scenes snap of director Olatunde Osunsanmi.

In 2019, when Section 31 was first announced, I gotta confess that I wasn’t really sold on the idea. There were issues with Mirror Georgiou as a character to say the least, coming before she got some desperately-needed development in Discovery’s third season. And this was only a few months after the announcement of Star Trek: Picard – the series that was about to bring back a fan-favourite character and also move Star Trek’s timeline forward for the first time in almost two decades.

Then, during Discovery’s second season, fans fell in love with Anson Mount’s portrayal of Captain Pike and Ethan Peck’s take on Spock. As I wrote a few years ago: if there was only room for one Discovery spin-off, it was obvious which one fans were clamouring for and which we weren’t. Strange New Worlds was announced in 2020, and seemed to be another factor in Section 31 failing to get off the ground in its original incarnation.

Promo poster from Star Trek: Section 31 (2025) showing Georgiou sitting down.
The latest Section 31 poster.

But Section 31 has been reborn, thanks in no small part to Michelle Yeoh. I don’t think it’s unfair or any kind of exaggeration to say that her status as an award-winner is a major factor – perhaps the ultimate factor – in resurrecting Section 31. Paramount’s executives saw her enthusiasm to return to the role and desperately wanted to be able to advertise the next Star Trek project as starring “Academy Award-winner Michelle Yeoh,” so Section 31 got a reprieve! The film is being directed by Olatunde Osunsanmi, who also directed several episodes of Star Trek: Discovery, including Such Sweet Sorrow and the series finale.

You will know, if you read my thoughts on the Section 31 trailers last month, that I’m sceptical about the film from a personal point of view. The “Star Trek does Suicide Squad” presentation turns me off, the depiction of Section 31 as a kind of haphazardly thrown together “gang of misfits” doesn’t seem to fit with what we’ve seen before, and Georgiou’s possible backsliding away from the more nuanced take on the character that we’d started to see in Discovery makes me fear the film will be regressive and/or repetitive. Those are my biggest points of concern on the eve of Section 31′s premiere.

Promo photo from Star Trek: Section 31 (2025) showing Quasi, Sahar, and Georgiou holding phasers.
Will Section 31 be “Star Trek does Suicide Squad?”

But, as I also said last time, none of that will matter if Section 31 brings in new viewers – and I think it has a ton of potential to do just that. Michelle Yeoh’s star has risen, meaning her name alone is an automatic draw for a lot of people – many of whom may not have been inclined to check out Star Trek. If the Star Trek franchise is to survive, it can’t remain the sole preserve of people who enjoyed it in the ’90s… it has to expand its audience and bring in new viewers. A modern cinematic style, at least partially inspired by the comic book films that have been dominant at the box office over the last few years, and an Oscar-winning star in the lead role give Star Trek a chance to do that… a chance that the franchise arguably hasn’t had in a long time.

Whether I personally enjoy Section 31 or not kind of pales into insignificance compared to that! Expanding Star Trek’s fan community and general audience is the key to keeping the franchise on our screens when the current crop of shows run their course, and anything that bolsters Paramount’s position and Paramount+ is going to be helpful in that regard. So Section 31 may not be “my thing,” but it could be hugely important for Star Trek as a whole.

Promo photo from Star Trek: Section 31 (2025) showing Georgiou leaning in closely to a mechanically-augmented character.
Georgiou appears next to a mysterious mechanical man in this promotional photo.

All that being said, I don’t want to pre-judge Section 31. I know how I feel about the trailers, and I have concerns about Georgiou’s potential backsliding in particular, but I will still do my best to judge the film on its own merit. I’m not going into the premiere wanting to have a bad experience so I can write up all manner of complaints and criticisms! I want to judge it fairly and give the writers and performers a chance to impress me. I’m crossing my fingers and hoping that, despite my first impressions, I’ll have a good time with Section 31.

So I hope I haven’t given you too negative an impression already! I will be reviewing Section 31 over the weekend, so please swing by the website and check out my review if you can. I promise to give the film a fair shake.

Promo photo from Star Trek: Section 31 (2025) showing Georgiou and Sahar holding phaser pistols.
Are Georgiou and Sahar… holding hands?

If Section 31 receives positive reviews and a lot of attention, driving new subscriptions to Paramount+ in the process, I hope it won’t be the only time Paramount greenlights this kind of TV movie. There are so many characters and stories in Star Trek that wouldn’t be able to carry a full series, but could be worth looking at in this kind of format. With new sets having been constructed for Discovery, Picard, Strange New Worlds, and Section 31, re-starting production using existing sets and costumes could even be a way to keep costs down, and the storytelling potential of these one-shot productions is off the charts. I really hope that Paramount’s executives are considering more ideas for one-off films and stories.

I’ve also talked before about the untapped potential of Short Treks for telling smaller standalone stories, and again I think Section 31′s success could highlight the possibilities of that format, potentially re-starting that series of mini-episodes. When we consider Section 31′s place in the history of the Star Trek franchise… maybe it’ll come to be seen as a bit of a turning-point, with Paramount seeing its success as a gateway to telling more stories outside of the main live-action shows. We can cross our fingers and hope, anyway!

Promo photo from Star Trek: Section 31 (2025) showing director Olatunde Osunsanmi and Quasi actor Sam Richardson.
Behind-the-scenes with director Olatunde Osunsanmi and actor Sam Richardson.

So we’ve talked about Section 31′s potential, as well as its complicated route through development hell. But what about the film itself? What can we glean about its story, its characters, and the direction it might take?

Let’s start with Georgiou. I’d like to go into a bit more detail about my biggest concern about her characterisation based on what we’ve seen and read. The official character blurb released ahead of Section 31 says that Georgiou will have to “face the sins of her past,” which also seems to tie in with flashbacks to a young Empress Georgiou that are presumably set in the Mirror Universe.

Promo photo from Star Trek: Section 31 (2025) showing Georgiou wearing a golden outfit.
Is Georgiou wearing a Terran Empire outfit in this promotional photo?

By the time Georgiou left Discovery in the Season 3 two-parter Terra Firma, she’d finally grown as a character. She’d begun to realise how her time away from the Mirror Universe had impacted her, changing some of her attitudes to non-human races like the Kelpians, for example. She had been, for want of a better word, “softened” – with her one-dimensional Mirror Universe shell cracking to reveal a more nuanced, complex, and interesting character hiding inside. That was great – and as Georgiou stepped into the Guardian of Forever’s portal, I felt she was finally ready to take on the lead role in a spin-off project.

To be blunt, I saw absolutely none of that nuance or complexity in the trailers, and my worry is that the version of Georgiou we’ll get in Section 31 will have been regressed to that pre-Terra Firma presentation. As a result, she’ll be no more interesting than a typical Terran – worse, her arc of “learning to tolerate the Federation way of doing things” will feel incredibly repetitive. I hope I’m wrong – I truly, truly do. But “facing the sins of her past” was precisely what Terra Firma was all about – so why go back to that story?

Promo photo from Star Trek: Section 31 (2025) showing Georgiou sitting at a desk or table.
I have concerns about Georgiou’s character arc this time around.

I’m worried that a boring, one-dimensional Terran who loves nothing more than murder, torture, and rule-breaking will be a waste of an excellent performer in Michelle Yeoh, too. Yeoh was at her best playing the prime timeline version of the character in Discovery’s premiere; disciplining a rogue officer who she also viewed as a surrogate daughter. She was also at her best in Terra Firma, as Mirror Georgiou grew, changed, and began exhibiting those nuances and complexities that we talked about earlier. That’s where the character is most interesting, and either dragging her backwards to make her a “badass girlboss” or re-telling the basic plot points from Terra Firma will not, in my opinion, lead to an interesting or entertaining arc across Section 31.

However, if some of Georgiou’s Terra Firma growth can be retained, and she can be a more complex character somewhat akin to Captain Lorca in Discovery’s first season, then I think there’s potential. A hardball commander who pushes their team to the limit – but ultimately still cares about them in their own way and wants them to survive as well as succeed – would be fantastic to watch, and Michelle Yeoh can play a character like that exceptionally well. I really hope we’re going to get something like this instead of a regression or a repetitive arc.

Promo photo from Star Trek: Section 31 (2025) showing Georgiou standing in some ruins.
Empress Georgiou.

Rachel Garrett is perhaps the only other character that I have an opinion of at this early stage. We’ve seen Garrett in The Next Generation, when she was in command of the Enterprise-C in the 2340s. For me, Garrett’s inclusion raises a few questions about the possible timing of Section 31: is the film going to be set around the time of Strange New Worlds and The Original Series… or will it be further along the timeline, perhaps somewhere in between The Undiscovered Country and The Next Generation? If it’s the former, that would make Rachel Garrett almost 100 years old by the time of Yesterday’s Enterprise… which seems like quite a stretch. I’ll be curious to see if this gets addressed – and yes, I know it’s a relatively minor point that only an obsessive Trekkie would care about!

From what we saw in the trailers, Garrett appears to be Starfleet’s sole representative on Georgiou’s mission. She could be the one arguing for following the rules as the rest of the gang of misfits are running around causing chaos – and there’s potential in a character like that if she’s handled well. I hope that Garrett won’t be sidelined or used as comic relief, and that we’ll actually get to learn a bit about her in her early years. Kacey Rohl, who will play Garrett, is someone I’m familiar with from her work on Hannibal a few years ago, and I think Paramount lucked out to get an actress of her quality for the role. As above with Michelle Yeoh… I hope that potential isn’t squandered.

Promo photo from Star Trek: Section 31 (2025) showing Rachel Garrett standing in front of a computer console.
Does the inclusion of Rachel Garrett tell us something about when Section 31 might be set?

The rest of the main characters pretty much feel like blank slates, though there are a couple of familiar races in the equation. First we have Melle, the first Deltan to be a main character since Ilia in The Motion Picture. While there’s the potential to perhaps learn more about this famously hyper-sexual race, or even make a connection to the aforementioned Ilia… part of me thinks Melle will be mostly used for off-colour jokes, with the sexuality of the Deltans ramped up to eleven and very little else being shown. Again, I hope I’m wrong about that – but it just feels like the direction Section 31 is gonna go.

Quasi, who is a Chameloid, could be a very useful addition to any team of spies. I like the idea of revisiting a race of shape-shifters that we haven’t seen since The Undiscovered Country, as there’s potential there. While I doubt we’ll get any kind of in-depth look at the Chameloids as a race, it’s at least interesting to see a shape-shifter in Star Trek who isn’t a member of the Dominion/Founders!

Promo photo from Star Trek: Section 31 (2025) showing Quasi the Chameloid holding a light.
Quasi the Chameloid.

Fuzz – given the descriptor “the maniac” – is a total enigma. I suspect he’s going to be a Romulan, not a Vulcan as some have posited, simply based on the short description of him that Paramount released. However, this potentially complicates the timeline if Section 31 takes place before the events of Balance of Terror, in which humanity learned of the Romulans’ connection with the Vulcans. Whenever Section 31 is set, there’s also the question of why a Romulan would be working with Starfleet’s off-the-books spy division. Could Fuzz have a connection to Sybok’s emotional Vulcans from The Final Frontier? That’s another guess. Or, Vulcan ears notwithstanding, he could be a member of another race entirely – such as the “proto-Vulcans” from Who Watches The Watchers or the Halanan from Second Sight.

Then we come to Zeph – one of several mechanically-enhanced humanoids seen in the Section 31 trailers. Although technological augmentation used to be the preserve of the Borg, Star Trek has brought in characters like Lower Decks’ Sam Rutherford who have been – for want of a better term – “modified” using technology. Zeph seems to be in that category, and I’ll be curious to see if there’s a reason given for why he uses a mechanical suit. I can see him serving as the group’s “tank;” the character who can use brute force to stomp the baddies.

Promo photo from Star Trek: Section 31 (2025) showing Zeph and Sahar.
Why does Zeph use a mechanical exoskeleton?

Alok Sahar appears to be the head of this Section 31 division – though, if we read between the lines, he may not be the head of the overall organisation in this era. Does that mean he works under Discovery’s Ash Tyler, who was installed as head of Section 31 at the end of Season 2? Will we hear any mention of Tyler or the rest of Section 31 at all? I doubt it – but you never know!

Regardless, any team needs a leader – though Sahar seems to be a pretty hands-off kind of leader, either unwilling to bring his team of misfits to heel or unable to do so. Perhaps that’s why he’ll have to turn to Georgiou? I’m speculating, of course. But it seems that Sahar will give us the best opportunity to learn more about Section 31 in this era, if nothing else.

Promo photo from Star Trek: Section 31 (2025) showing Garrett, Sahar, Georgiou, and Quasi at a table.
Sahar (second from left) is the leader of this team of misfits!

One thing we don’t have a clear view of at this stage is the villain (or villains, plural) that Georgiou’s team may have to stop. I gotta confess that I’m a bit burned out on the whole “imminent existential threat to the entire Federation and/or the galaxy” premise after Picard and Discovery kind of did that to death. But, based on what we’ve heard from Paramount and seen in the trailers, it seems like it’ll be another high-stakes affair this time around. Section 31, as the Federation’s black ops division, is particularly well-suited to this kind of story… I just hope it won’t feel too repetitive coming after Star Trek’s recent output.

With a reference to Georgiou “confronting the sins of her past,” I wonder if the threat Section 31 is staring down could be connected to the Mirror Universe. I hope not, because as I’ve said on prior occasions, I’m not wild about the Mirror Universe as a setting – and especially not as the backbone that has to carry an entire film. Terrans are pretty boring and flat, and the Mirror Universe seems to trick even competent performers into hammy, over-acted, pantomime performances. If Section 31 does revisit the Terran Empire in a big way… I hope that won’t become a problem.

Promo photo from Star Trek: Section 31 (2025) showing a mechanically-augmented character.
Is this “mechanical man” one of the film’s villainous characters?

That aside, your guess is as good as mine. With several mechanically-augmented characters, could we see the Borg brought in… somehow? I’m not convinced of that, but when I think about potential Federation-ending threats, the Borg are one of the few factions that have always had that potential. With Georgiou’s trip to the far future, she may have insights on the Borg that could prove useful.

And speaking of Georgiou visiting the far future… will that be addressed in any way? Could Georgiou leave behind information or instructions within Section 31 that could help Starfleet in the future? Or could her time in the future have some bearing on the mission at hand? I think this will have to be handled delicately, so that Section 31 doesn’t lean too heavily on a series viewers may not have seen for its main plot points… but it would be nice to see Georgiou’s time in the 32nd Century at least mentioned in some capacity.

Promo photo from Star Trek: Section 31 (2025) showing young Georgiou on a yellow-tinted planet.
A flashback showing Georgiou in her younger days.

Alright then! Let’s wrap things up.

Section 31 will premiere in about 48 hours’ time, and I have already signed up for Paramount+ to ensure I can watch it as soon as it’s available. I want to say I’m cautiously optimistic… but truth be told, I’m not. I want to give Section 31 a chance to impress me – and I will do my utmost to give it that chance – but, as I said last time, if I’d seen trailers like these for a film in literally any other franchise, I wouldn’t be tuning in. Section 31 just… doesn’t seem like it’s gonna be my thing.

That being said, I will give Section 31 a fair shake, and I’ll try not to let my scepticism and pre-judgement of the film ruin the experience. New Star Trek on our screens is always gonna be a good thing, and with a more modern tone and an Oscar-winning lead actress, Section 31 has a ton of potential to show off Star Trek to untold numbers of new fans, many of whom will hopefully stick around and join the fan community. I hope they’ll find it to be a welcoming place!

Promo photo from Star Trek: Section 31 (2025) showing Melle, the Deltan character, sitting in a chair.
Are you ready for Section 31?

Stay tuned over the weekend (or early into next week) because I will be writing up a full review of Section 31. I’m not sure if I’ll do one piece or two; I might split the review into a non-spoiler article and one containing story spoilers, if possible.

All that’s left to say is this: I hope you’re excited for Section 31, and when it arrives I hope you enjoy it.

Live long and prosper!


Star Trek: Section 31 will premiere on Paramount+ on the 24th of January 2025 in countries and territories where the platform is available. The Star Trek franchise – including Section 31, Discovery, 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.

Thirty Episodes to Celebrate Thirty Years of Star Trek: Voyager

A spoiler warning graphic featuring Janeway.

Spoiler Warning: There are spoilers ahead for the Star Trek: Voyager episodes on this list.

The celebration of Star Trek: Voyager’s thirtieth anniversary continues! Today, I’m marking the occasion by picking out a whopping thirty of my favourite Voyager episodes to mark thirty years since the series premiered in the United States. This is gonna be a long one, so you might wanna grab a drink and a snack before we jump in!

Voyager premiered on the 16th of January 1995, meaning it’s been a full thirty years since the series officially joined the Star Trek franchise. I wrote a longer piece detailing my thoughts and memories on Voyager as a whole, so if you missed that you can find it by clicking or tapping here.

Behind-the-scenes photo showing Michael Okuda working on a model of the USS Voyager.
Mike Okuda working on the USS Voyager filming model.
Photo Credit: Forgotten Treks/TrekDocs

Before we get into the list, a couple of caveats. There’s no right or wrong answer to the question “what’s the best Voyager episode,” so please keep in mind that all of this is subjective, not objective. If I pick out episodes you hate, or exclude something you think should’ve been on the list… that’s okay! We all have different opinions about the Star Trek franchise, and there’s enough room in the fan community for polite discussion and differences of opinion.

I’m listing the episodes in broadcast order – so these aren’t being ranked! There are a few two-part episodes that I’m counting as just one entry on the list. I’ll try to explain what I enjoyed, found amusing, or just what I thought about each episode as we go along.

With all of that out of the way, let’s talk about some of my favourite Voyager episodes!

Season 1, Episodes 1-2:
Caretaker

Still frame from Star Trek: Voyager showing a Cardassian ship firing on a much smaller Maquis vessel.

Where else to start but at the beginning? Caretaker set the stage for Voyager, kick-starting the voyage home that would run for all seven seasons. It’s a great episode, introducing us to Chakotay and his Maquis band, as well as to Captain Janeway and the crew of the USS Voyager. The sequence where Tom Paris is brought aboard Voyager by shuttlecraft was also a wonderful introduction to the starship.

Janeway has to confront a big ethical question in Caretaker, and ultimately makes the sacrifice of stranding her ship and crew on the far side of the galaxy. By destroying the Caretaker’s array, Janeway saved the Ocampans – at least in the short-term – but paid a heavy price. It’s a fascinating twist on a premise we’d seen before, taking the idea at the core of episodes like Where No One Has Gone Before and running with it.

Season 1, Episode 3:
Parallax

Still frame from Star Trek: Voyager showing Janeway and Torres on a shuttlecraft.

Parallax is one of a handful of Season 1 episodes to lean into the idea of a split between the Maquis and Starfleet members of Voyager’s crew – and that’s really why I’m placing it on the list. Its main “quantum singularity” plot is interesting, too, but it’s nothing we haven’t seen before in Star Trek. Where Parallax really shines is in those character moments – particularly as the two crews begin the process of coming together.

This episode also establishes B’Elanna as Voyager’s chief engineer, as well as Kes’ hydroponics bay and Neelix’s role as the ship’s cook. All of these would be important in future stories. Parallax is a great episode for Torres in particular, setting her up in engineering and developing her relationships with both Chakotay and Captain Janeway.

Season 1, Episode 7:
Eye of the Needle

Still frame from Star Trek: Voyager showing a Romulan officer on Voyager's viewscreen.

Eye of the Needle was one of the first episodes to tease Voyager’s crew – and Ensign Kim in particular – with finding a shortcut back to the Alpha Quadrant. Kim’s enthusiasm for the wormhole is cute, and just makes the disappointment later so much more heartbreaking. Garrett Wang puts in one of the best performances of the first season in those moments, taking Kim from elation to dejection.

The idea of bringing in the notoriously difficult Romulans as the faction Voyager is able to reach was a masterstroke, and Telek R’Mor was an engaging character, too. Guest star Vaughn Armstrong, who played R’Mor, had also played a Klingon in The Next Generation, a Cardassian in Deep Space Nine, and would go on to have a recurring role as Admiral Forrest in Enterprise. The final twist in Eye of the Needle felt particularly cruel for our heroes… but it wouldn’t be the last chance they’d get to communicate with someone back in the Alpha Quadrant!

Season 1, Episode 10:
Prime Factors

Still frame from Star Trek: Voyager showing Harry Kim and an alien in the episode Prime Factors.

On several occasions, Star Trek stories have shown the Federation being unwilling to intervene or to share certain technologies, citing the Prime Directive as the reason why. Janeway herself invoked the Prime Directive when choosing not to trade replicators and weapons with the Kazon, and when destroying the Caretaker’s array. But Prime Factors did something different – it put Janeway and the crew on the other side, on the receiving end of that kind of intransigent attitude.

Prime Factors gave us another example of Harry Kim’s eager excitement at discovering a potential shortcut, but also did a lot for the relationship between Tuvok and Janeway – Tuvok’s breach of trust, while well-intentioned, hurt her. Seska’s involvement in the story was interesting, too, and set the stage for her future villainous arc.

Season 1, Episode 15:
Jetrel

Still frame from Star Trek: Voyager showing a close-up of Neelix.

Jetrel is an intense and emotional Neelix episode… which is a weird statement when you consider Neelix’s usual role on Voyager! Neelix, however, had a tragic past, and we got to learn more about where he came from and what became of his people – the Talaxians. The metreon cascade, an obvious analogy for chemical and nuclear weapons, was presented as a real and very deadly weapon, and Dr Jetrel’s attempt at undoing some of the damage he’d caused made for an interesting character.

There’s one quite shocking jump-scare in Jetrel, which is still a rarity for the Star Trek franchise. You’ll know the one I mean if you remember the episode; if you don’t… well, consider this a warning! As an episode that got into the horrors of war and the dangers of weapons of mass destruction, Jetrel did what Star Trek has always done: used its sci-fi setting to examine real-world issues. For my money, it does so exceptionally well.

Season 2, Episode 3:
Projections

Still frame from Star Trek: Voyager showing the EMH and Barclay.

Projections was Reg Barclay’s Voyager debut – though after this episode it would be four years before he returned to the show! It was also a fun story with a deadly serious edge – as the Doctor awakened on an apparently abandoned Voyager. Seeing the Doctor able to leave the confines of sickbay was also a bit of a novelty; I think this was the first time he got to visit the bridge or engineering, coming years before he acquired his mobile emitter.

Barclay made for a pleasant surprise in Projections; I wouldn’t have expected to see him aboard Voyager, but his interactions with the Doctor were good fun. Dwight Schultz brought the same chaotic energy to the role as he had in The Next Generation, and he and Robert Picardo worked well together. This was a great episode for Voyager’s EMH, as we got to see him stepping outside of his comfort zone – literally and figuratively.

Season 2, Episode 5:
Non Sequitur

Still frame from Star Trek: Voyager showing Tom Paris and Harry Kim in a Starfleet runabout.

Harry Kim finally gets what he’s wanted all along: to be back home on Earth. But after realising that “something’s wrong with the timeline,” Kim has to spend the entire episode trying to get back to Voyager and the Delta Quadrant! This inversion of Kim’s goal made for an interesting episode, and I’ve always enjoyed Star Trek stories that showed us glimpses of civilian life back on Earth.

Non Sequitur also made for a great “bromance” story for Paris and Kim, showing off their friendship and putting them in a completely different situation. Friendship is about trust, and Kim turned to the only person he felt he could trust to get him back to Voyager and restore the timeline. Kim and Paris would remain firm friends across the show, but Non Sequitur was a great example of the depth of that relationship and the bond of trust they shared.

Season 2, Episode 6:
Twisted

Still frame from Star Trek: Voyager showing a distorted Jeffries tube and hand.

Apparently, Twisted has a bad reputation – not only among fans and viewers, but with the cast themselves. A holdover from Season 1, there was a rumour that Twisted was “so bad” that UPN (Voyager’s original broadcaster) didn’t want to air it… but the episode was eventually included as part of Season 2. For my money, Twisted isn’t anywhere near as bad as its reputation suggests!

However, Twisted makes the cut on this list for one primary reason: the sequence near the end where most of the main characters are sitting in Sandrine’s, expecting to die. This is an intense moment, and several of the characters clear the air, while others pray or try to find comfort. Was it rendered a little anticlimactic by both a pretty poor visual effect and the revelation that no-one was ever in danger? Maybe. Was the whole “it was only trying to communicate” cliché a bit of a silly twist right at the end? Probably. But there are some great character moments in Twisted, so don’t let its reputation put you off.

Season 2, Episode 24:
Tuvix

Still frame from Star Trek: Voyager showing Tuvix on the transporter pad.

Ah, Tuvix: the meme episode. Seriously, what is up with Trekkies citing Tuvix all the time these days? I get that poor old Tuvix was hard done by at the end, but I admit that I’m surprised to see this episode constantly referenced and called back to! Memes aside, though, this “the transporter done goofed” story was actually a genuinely interesting one – for Janeway as well as Neelix and Tuvok.

If you were going to blend two characters together, you couldn’t pick two who were more different than Tuvok and Neelix. Neelix’s one-sided friendship with Tuvok was a fun element of Voyager, and Tuvix only added to that, in my opinion – giving both men a renewed appreciation for one another. Janeway’s final choice – and the Doctor’s refusal to carry it out – was heartbreaking, and I get why it’s still a hotly-debated topic all these years later. That just speaks to the quality of the episode, the writing, and the moral conundrum that Janeway had to confront.

Season 3, Episode 2:
Flashback

Promotional photo for the Star Trek: Voyager episode Flashback, showing Rand, Sulu, Janeway, and Tuvok in uniform.

Flashback was one of two episodes made to celebrate the Star Trek franchise’s 30th anniversary; the other was Deep Space Nine’s Trials and Tribble-ations. I can’t believe we’re now celebrating Voyager’s own 30th anniversary – but time really does fly, I guess! Flashback saw Tuvok and Janeway take a visit to the USS Excelsior, and is set during the events of The Undiscovered Country. It was a fun way to include Captain Sulu and Janice Rand; the episode has become one of many threads of continuity that tie Star Trek together.

I would posit that Flashback’s core premise – a “memory virus” that Tuvok was infected by – wasn’t especially strong, but that’s almost incidental. Digging into Tuvok’s past was fun, and I’ll never tire of seeing Sulu in command of the Excelsior. Getting some interactions between Janeway and Sulu was fantastic to see, too. Perhaps Flashback is overshadowed by Trials and Tribble-ations, but it’s an excellent episode in its own right.

Season 3, Episodes 8-9:
Future’s End, Parts I & II

Still frame from Star Trek: Voyager showing Tuvok and Paris in the '90s using a mobile phone.

Let’s be honest: Future’s End is horribly dated – it might be one of the most dated Star Trek episodes. Everything about it screams “nineties,” but that’s just fine by me! At the time, Future’s End seemed like just another fun Voyager story – just with a time travel twist. But now, almost thirty years after its premiere, it feels like a little slice of history; Voyager captured perfectly this moment in time. And yes, I know that’s my nostalgia talking… but this is my list, so get over it!

Future’s End teased Janeway and the crew with a return to Earth… but unfortunately it was in the wrong time period! It was neat to see them visiting a sun-drenched California, though, and comedian Sarah Silverman made for an unexpectedly sweet guest star. Time travel episodes aren’t usually my favourites, but Future’s End bucks the trend.

Season 3, Episode 12:
Macrocosm

Still frame from Star Trek: Voyager showing Janeway wielding a phaser rifle.

Macrocosm was a great episode for Janeway, showing off her action-heroine side! If you read my earlier piece marking Voyager’s thirtieth anniversary, you might remember I talked briefly about the first actress cast for the role of Janway, before it passed to Kate Mulgrew. Episodes like Macrocosm would’ve been borderline impossible if Voyager’s producers had stuck with a different interpretation of the character – and in my view, the series would be worse for it.

This was a story that did something Star Trek hasn’t always been good at: showing off a truly alien-feeling alien life-form. In this case, Janeway and the Doctor were forced to confront human-sized viruses, and it turned out to be a fight to the death! An action-packed episode, for sure.

Season 3, Episode 26/Season 4, Episode 1:
Scorpion, Parts I & II

Still frame from Star Trek: Voyager showing Seven of Nine while she was still a Borg drone.

Alright, I suppose we’d better talk about Scorpion. The two-parter that introduced Seven of Nine also went a long way to damaging the Borg Collective as a villain. It wasn’t the only story to do so across the back half of Voyager’s run, but seeing the Borg so easily-defeated and inept… it took something away from them. Sure, it set up Species 8472 as a frightening adversary, but Voyager never really did much with them after this, so it all just feels a bit… wet.

Still, I recognise Scorpion’s importance to Voyager, shaking up the cast and setting the stage for more confrontations with the Borg – who would sporadically show up from here on out. Despite my later feelings about the character, Seven of Nine got one of the best introductions in Star Trek history, and seeing her reaction to being cut off from the Collective was especially interesting.

Season 4, Episode 6:
The Raven

Still frame from Star Trek: Voyager showing Seven of Nine and Tuvok surveying a crashed starship.

Across Voyager’s later seasons, I burned out on Seven of Nine going through one repetitive story after another. As one of the first to give her a starring role and explore her backstory, though, I give The Raven a bit of a pass. Finding out what became of Annika Hansen, and how she came to be assimilated, was genuinely interesting – even if it came as part of a story that muddled the history of the Borg’s contact with humanity and the Federation.

The wreck of the USS Raven was also an interesting setting. This was one of the first episodes to start the process of humanising Seven of Nine, breaking her away from her Borg indoctrination and establishing relationships with other members of the crew. The scene where she sits in the mess hall with Neelix was particularly cute.

Season 4, Episode 14:
Message in a Bottle

Still frame from Star Trek: Voyager showing the USS Prometheus at warp.

Coming at basically the halfway point of Voyager’s run, Message in a Bottle established contact between the stranded vessel and Starfleet Command for the first time. It’s also absolutely hilarious thanks to a wacky guest star, a prototype starship that can break into three parts, and a surprise attack by the Romulans!

There are some excellent comedic moments in Message in a Bottle, with comedian Andy Dick playing a new, updated version of the EMH. He and Robert Picardo both have great timing and played well off of one another, leading to some laugh-out-loud scenes. It’s also an important episode for establishing the first point of contact between Voyager in the Delta Quadrant and Starfleet back at home.

Season 4, Episode 21:
The Omega Directive

Still frame from Star Trek: Voyager showing the Omega mission symbol on an LCARS monitor.

Are you interested in the philosophy of the Borg Collective? Or do you want to see one of Starfleet’s most top-secret, classified missions? Then The Omega Directive has you covered! This episode was a genuinely interesting look at the technology and science of Star Trek’s galaxy – from two very different and diametrically opposed angles.

Seeing Voyager ground to a halt by the titular Omega directive showed us how seriously Starfleet takes this issue, and it also became a challenge for Janeway – having to deal with Omega while being thousands of light-years from home with no backup. Her reluctance to open up to the crew and over-reliance on Seven of Nine weren’t great for her character, in my opinion, but that just shows the difficult situation she found herself in. The Omega Directive also expanded upon the idea of the Borg Collective seeking “perfection,” which was interesting.

Season 5, Episode 1:
Night

Still frame from Star Trek: Voyager showing an alien lying in sickbay.

Night introduces us to the Malon – a villainous faction who showed up a few times in Season 5. There’s an interesting environmentalist message here, one that seems all the more important a quarter of a century later. Janeway and the crew also had to confront something that we’d never seen before: a species refusing the Federation’s help and superior technology for economic reasons. Again, something that’s still highly relevant today!

But Night isn’t really here for that reason. It shows us an empty region of space, which is something a bit different, and we get to see how the crew spend their time when there isn’t a mission of exploration to embark upon or a villain to be defeated. That’s something no Star Trek series had really done before; examining the “down time” in between missions while at warp was interesting, even if it only took up a small portion of the episode. Moreover, this is an important episode for Janeway – without something going on to distract her, she becomes depressed, re-playing the decision that stranded Voyager in the Delta Quadrant over and over again in her head.

Season 5, Episode 6:
Timeless

Still frame from Star Trek: Voyager showing Tessa and an older Chakotay aboard the frozen, derelict Voyager.

I don’t like time-loop/time-paradox storylines, and I don’t like stories in which the magical, magnificent Seven of Nine is the only one who’s able to save the day. So Timeless really shouldn’t have much to offer for me! But you know what? It’s a surprisingly entertaining affair, one that looks at how badly wrong Voyager’s journey home could’ve gone. Harry Kim and Chakotay are the stars; the former torturing himself over the mistakes and miscalculations that led to Voyager’s crash.

The sequence in which the ship crash-lands is brutal, and seeing most of our heroes meet an untimely end was genuinely shocking the first time I saw it. Timeless also brought back The Next Generation’s Geordi La Forge, which was neat to see, and we also caught a glimpse of the future of Starfleet in this era. There was an emotional character story at the core of Timeless, and plenty of other interesting elements, too.

Season 5, Episode 18:
Course: Oblivion

Still frame from Star Trek: Voyager showing a melting and distorted corridor.

Course: Oblivion is a heart-wrenching episode – one that sees its entire cast of characters dead by the time the credits roll. Taking the Silver Blood aliens from the Season 4 episode Demon as a starting point, it sees the crew of an alternate Voyager discovering the truth about their identities, before slowly succumbing to the ravages of space, radiation, and warp engines over the course of an agonising forty-five minutes.

There’s a case to be made that Course: Oblivion is Voyager’s most depressing individual episode, even more so than the likes of Year of Hell. Because the Silver Blood characters took on the familiar identities of our heroes, there’s an automatic attachment to all of them when they’re in danger – and the episode delivers gut-punch after gut-punch as they slowly suffer the worst fate imaginable.

Season 5, Episode 23:
11:59

Still frame from Star Trek: Voyager showing a newspaper article about Mr Janeway's bookshop.

I don’t typically care for stories that leave Star Trek’s spaceships and future behind. The likes of Far Beyond the Stars, The Inner Light, and so on just aren’t my favourites, and I usually skip over them when re-watching The Next Generation and Deep Space Nine. But 11:59 – despite having a similar premise – has a unique charm, perhaps because of its close association with the millennium.

In the UK, 11:59 was broadcast in September 2000, mere weeks before it was set. I greatly enjoyed the episode and its focus on Janeway’s ancestors at the turn of the millennium. There was an interesting story about how “progress” can come at the expense of everyday people – and how history, even personal history, can be subject to interpretation. As an episode filmed before the millennium, it was also quite prescient in its observations of things like the millennium bug!

Season 5, Episode 26/Season 6, Episode 1:
Equinox, Parts I & II

Still frame from Star Trek: Voyager showing Captain Janeway confronting Captain Ransom in the briefing room.

I’m glad that Voyager’s writers didn’t try to tell a story like Equinox too early – I think a run-in with Starfleet like this needed to come this far into the show. It’s a powerful story, one that doesn’t treat Captain Ransom as and out-and-out villain, but rather challenges viewers. Equinox asks: “what would you have done in his place?” and I think that’s a really interesting way to watch it.

Sure, there are moments of pure villainy. Equinox’s EMH is a deliciously immoral baddie, as is Lieutenant Burke. And the story of what the Equinox’s crew did to the sentient nucleogenic life-forms is horrible and tragic. But there’s an amount of moral ambiguity to Captain Ransom and at least some of his crew, making Equinox a tale of desperation and survival at any cost rather than a purely black-and-white morality play.

Season 6, Episode 7:
Dragon’s Teeth

Still frame from Star Trek: Voyager showing the USS Voyager on the surface of a planet, surrounded by ruins.

I love the idea of Dragon’s Teeth: an ancient alien race goes into cryo-sleep, only to be awakened centuries later. Voyager puts a fun spin on this story premise, too, by making the Vaadwuar into an evil all-conquering empire, adding to the moral complexity of the situation. Because they’d been in stasis for centuries, the surviving Vaadwaur also told us quite a bit about the Delta Quadrant as it was almost a millennium ago. Most interestingly, the Borg Collective was positively tiny, only occupying a handful of star systems. Little tidbits of information like that about the Star Trek galaxy are incredibly interesting to me!

Dragon’s Teeth also told an interesting story about the Vaadwaur and their enemies, with Voyager accidentally caught in the middle of the conflict. The Vaadwaur were an interesting race, and I’d love to see Star Trek revisit them one day. It would be fun to find out if the re-awakened Vaadwaur were able to re-establish their civilisation… or their empire.

Season 6, Episode 10:
Pathfinder

Still frame from Star Trek: Voyager showing Admiral Paris and Commander Harkins.

Pathfinder builds on Barclay’s appearance in Projections and the Doctor’s visit to the Alpha Quadrant in Message in a Bottle – see both of those episodes above for more! In short, the story focuses on Barclay and the Pathfinder Project at Starfleet, as the Federation attempts to find a way to establish contact with the USS Voyager, despite the vast distances involved.

Barclay is a fun character, and throwing him into a technological challenge like this was a bit of a change of pace. Bringing Deanna Troi into the episode, too, was a neat inclusion, and another of those threads of continuity that I talked about earlier. Barclay’s obsession with Voyager could feel uncomfortable, in places – but deliberately so, and it seemed in keeping with what we learned about him in The Next Generation. As the episode to establish the first proper communication between Voyager and Starfleet HQ, Pathfinder is an important one going into the show’s final couple of seasons.

Season 6, Episodes 11 & 17:
Fair Haven and Spirit Folk

Still frame from Star Trek: Voyager showing a holographic Irishman.

I’m putting these two episodes together because they form two parts of a single story. After Tom Paris created a holo-programme set in an Irish village, Spirit Folk expanded upon that idea, and let us see the impact the crew were having on the holographic world through the eyes of the villagers. Sentient holograms have been part of Star Trek since The Next Generation introduced us to Professor Moriarty, but this was a completely different take on the idea.

There are plenty of laugh-out-loud moments in both episodes, but also serious themes, too. It was nice to see the crew – including Captain Janeway – letting their hair down a bit and just having fun in a different setting. I definitely prefer Fair Haven’s holodeck stories to anything involving Captain Proton!

Season 6, Episode 20:
Good Shepherd

Still frame from Star Trek: Voyager showing an escape pod floating in a nebula.

Good Shepherd sees Janeway go on an away mission with three under-performing crew members, trying to boost their confidence. I like the premise, and it was fun getting to meet other members of the crew that we don’t usually get to spend much time with. My only criticism of Good Shepherd, really, is that none of the three guest stars became recurring characters going into Season 7. There was definitely room for some of them to pop up in future episodes.

Disappointment aside, though, there was a neat story at the core of Good Shepherd, and it put Captain Janeway’s leadership skills to the test! I find the character of Harren to be especially relatable; I think I’d also want to squirrel myself away below decks and not interact with people if I were trapped on a starship!

Season 7, Episode 11:
Shattered

Still frame from Star Trek: Voyager showing Chakotay and Janeway in the assimilated cargo bay.

Shattered was a fun way to celebrate Voyager as the show entered its final season. The premise saw the ship caught in a temporal anomaly, with only Chakotay able to move between different parts of the ship. He’s able to turn to Janeway for help – but coming from different time periods, she struggles to trust him at first. It’s a creative take on Star Trek’s “temporal anomaly” idea, and one that Discovery would draw inspiration from for its fifth season episode Face the Strange.

I’m glad that Shattered was given to Chakotay, and not Janeway or Seven of Nine. He made for a fun point-of-view character as the madness unfolded, and stepping back in time to see different villains and different problems that befell Voyager earlier in the journey was a lot of fun. In many ways, Shattered feels like a love letter to Voyager.

Season 7, Episode 14:
Prophecy

Still frame from Star Trek: Voyager showing the USS Voyager and a Klingon battle cruiser side by side.

Because Voyager was in the Delta Quadrant, far away from Klingon space, there weren’t a lot of Klingon characters to meet. Prophecy changed all of that, and introduced us to a Klingon generation ship that had travelled across the galaxy for religious reasons. It was really fun to see a D7 battle cruiser in Voyager, and this episode was also an interesting one for B’Elanna Torres.

We’d seen B’Elanna confront her Klingon heritage before, in episodes like Barge of the Dead and Faces, but this time the Klingons were 100% real – and they were interested in her unborn child. Tom Paris got a turn wielding a bat’leth, which was fun to see, and the episode looked at the themes of religion and peace between old enemies; the Kligons not being aware of the Khitomer Accords was particularly interesting.

Season 7, Episode 20:
Author, Author

Still frame from Star Trek: Voyager showing a holographic Tom Paris and the Doctor.

Author, Author focuses on the Doctor – and whether he, as a sentient hologram, has the same rights as the rest of the crew. It could’ve ended up as little more than a re-do of The Next Generation episode The Measure of a Man, where Data’s rights were also up for debate. However, it’s to the writers’ credit that Author, Author doesn’t feel repetitive at all. The Doctor’s holo-programme was also a lot of fun – and raised questions about discrimination, matters of perspective, and how conspicuous and out-of-place one can feel.

Tom Paris intervened with a hilarious re-working of the Doctor’s original holo-programme, giving him a taste of his own medicine. That was a fun sequence, and this was a great episode for the Doctor’s growth as an independent being and as a creator.

Season 7, Episode 23:
Homestead

Still frame from Star Trek: Voyager showing Neelix preparing to disembark.

As Season 7 wound down, it seemed clear that Voyager and her crew were going to make it home. But Homestead really came out of left-field, seeing Neelix depart the ship – and the show – before making it back to the Alpha Quadrant. It always seemed a tad silly and unrealistic to me that a colony of Talaxians could be so many thousands of light-years away from home… but if you set that aside, what you get in Homestead is a touching story of a man finding his family.

Neelix’s departure is heart-wrenching, and Ethan Phillips puts in an outstanding performance. Neelix saying goodbye to Naomi is one of the most emotional moments, but seeing the entire crew lining up to say goodbye gets the tears flowing every single time.

Season 7, Episodes 25-26:
Endgame

Still frame from Star Trek: Voyager showing an older Admiral Janeway with a younger Captain Janeway.

Endgame is a complicated episode – but there’s no way to finish a re-watch of Voyager without it! A time-travelling Admiral Janeway basically breaks every rule in the book for the sole purpose of saving Seven of Nine… and in doing so appears to have destroyed the entire Borg Collective. Scenes set in the future timeline are interesting, and I wish we could’ve explored more of this time period before hopping back to the 24th Century.

After seven seasons, it was great to see Voyager and her crew make it back home. I’ve heard some Trekkies say that the final scene of Endgame feels abrupt, but I never interpreted it that way. It was the end of the story – the goal Janeway and the crew had been striving for. Voyager made it home, back to Earth. What else were people expecting to see other than the ship being escorted back home by Starfleet? I don’t think Endgame as a whole is the perfect episode, but those closing scenes were great – at least in my opinion.

Bonus Video Game:
Star Trek: Voyager – Elite Force

Screenshot of Star Trek: Voyager - Elite Force showing a first person viewpoint, a tricorder, and one of the hallways aboard the USS Voyager.

We’ve done thirty episodes, but I couldn’t let the occasion pass by without talking briefly about Elite Force. This game, which was released just after the turn of the millennium, was absolutely fantastic, and features a detailed (for the time) recreation of parts of the USS Voyager that can be walked through and explored. There’s a strong single-player story, too, with the USS Voyager pulled into a “void” in space.

Elite Force is a rare Star Trek game insofar as it broke through to a wider audience. In the early days of LAN parties and online matchmaking, Elite Force, powered by its Quake III engine, was pretty popular. Personally, I was always more interested in the single-player campaign, though! Copies are still available for PC and PlayStation 2, and I believe the game is also available digitally via the GOG platform.

So that’s it!

Behind-the-scenes photo from Star Trek: Voyager's 100th episode celebration. A large cake is present along with the cast and crew.
Voyager’s 100th episode party, featuring the cast and crew.

I’ve picked out a whopping thirty episodes (plus one bonus video game) to celebrate Voyager’s landmark anniversary.

I hope this has been an interesting look back at Voyager – and my personal memories of the show. I greatly enjoyed Voyager during its original run, and I don’t think I missed more than one or two episodes while the show was airing. I later went back and bought the entire series on DVD when it was released that way.

I keep holding out hope for a Voyager remaster – I think that would be a fantastic addition to Paramount+. Fingers crossed we’ll get to see the show in 4K one of these days, eh?

A high-definition digital render of the USS Voyager from TrekCore.
A high-definition digital render of the USS Voyager.
Image Credit: Robert Bonchune/TrekCore

So Star Trek: Voyager is officially thirty years old. Does that make you feel ancient? It makes me feel ancient. I enjoyed re-visiting the series to pick out this selection of episodes, and there were at least thirty others that I wanted to include! I tried to get a good mix of stories featuring different characters and with different themes, rather than being too repetitive or with a singular focus.

Thanks for joining me as we celebrate Voyager’s anniversary. I’m not sure what’s on the agenda next… perhaps a longer write-up of one or two of these episodes? Or another look at Elite Force? Truth be told I haven’t got a plan, but it would be nice to do something else in the next few days or weeks to continue the anniversary celebrations!

Until then… Live Long and Propser! And happy anniversary, Voyager!


Star Trek: Voyager is available to stream now on Paramount+ in countries and territories where the platform is available. The series is also available on DVD. The Star Trek franchise – including Voyager and all other properties discussed above – is the copyright of Paramount Global. Some images courtesy of TrekCore and Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Voyager – Thirty Years Later

A spoiler warning graphic - featuring Neelix.

Spoiler Warning: There are spoilers ahead for Star Trek: Voyager and Star Trek: Prodigy.

In 1996, the Star Trek: Voyager episode Flashback was broadcast as part of the Star Trek franchise’s thirtieth anniversary celebrations. Today – and I can scarcely believe I’m writing these words – we’re marking Voyager’s own thirtieth anniversary!

That’s right: it was on the 16th of January 1995 that Caretaker, the premiere episode of Star Trek: Voyager, debuted in the United States. I thought it could be worth taking a few minutes to look back at not only the premiere, but Voyager as a whole – and try to assess its legacy and its place in the history of Star Trek. That’s what we’re going to talk about today, so I hope you’ll join me on a rose-tinted look back at Star Trek’s fourth live-action series!

Still frame from Star Trek: Voyager showing the title "Caretaker" with Captain Janeway and Tom Paris.
Caretaker premiered on this day in 1995.

When Voyager premiered in 1995, the Star Trek franchise was arguably at the absolute peak of its “golden age.” The Next Generation cast had started making feature films, Deep Space Nine was well into its third season, and it felt like Star Trek had well and truly made it; a franchise that was dominating the sci-fi world. I remember at the time hearing some criticism of launching another series, but with The Next Generation having explored strange new worlds in the Alpha and Beta Quadrants, and Deep Space Nine tackling the Gamma Quadrant… I gotta admit that I was excited to see Voyager head to the unexplored and mysterious Delta Quadrant!

Having read a preview of the series (I think in the Radio Times; a UK TV magazine) I was also intrigued by this “one ship, two crews” idea that Voyager seemed to be promoting. Seeing Starfleet officers having to work hand-in-hand with the Maquis seemed like a really interesting concept, and one that could’ve given Voyager a unique selling point and a way to stand out from the pack as Star Trek continued its growth and expansion. I don’t think Voyager’s writers ever really made good on that promise – but more on that in a moment!

An early mock-up of the Star Trek: Voyager logo before the show premiered.
An early placeholder logo for the show circa 1994.

Stories about long journeys, people from different backgrounds having to work together in common cause, and having a small “island of safety” in a dangerous and unexplored environment are all things I absolutely adore in fiction – so Voyager seemed to be bringing together a bundle of elements that might as well have been tailor-made for me! And across its seven-season run, all of those things came to the fore in different ways. Voyager was a fun series.

Of course, one of the most-discussed things leading up to Voyager’s premiere was the show’s new captain: Kathryn Janeway, played by Kate Mulgrew, became Star Trek’s first woman captain. I remember this news being received positively at the time, at least in the Star Trek fan groups I was aware of. No one in 1995 knew what the word “woke” would come to mean, so Janeway’s announcement didn’t get the same kind of negative reaction and whining as we might expect in 2025! That’s not to say there wasn’t some degree of pushback, of course. There have always been toxic individuals within the fan community.

Promotional photo of Kate Mulgrew as Captain Janeway.
Captain Kathryn Janeway.

I remember the days leading up to Voyager’s premiere being ones of positivity and anticipation. I was absolutely thrilled at the prospect of Star Trek’s expansion, at getting a new exploration-focused series after The Next Generation’s finale, and at meeting a whole new crew and cast of characters. There was a lot to be excited about as Voyager’s premiere got closer!

Star Trek: Voyager was almost a very different show, though, and I think it’s worth taking a diversion to acknowledge that. As work began on the series, the question of who should sit in the captain’s chair was perhaps the biggest individual casting decision that befell casting directors Nan Dutton and Kathryn Eisenstein… and they fucked it up. Kate Mulgrew was considered for the role of Janeway, along with several others, but the role was given to Oscar-nominated actress Geneviève Bujold instead.

Still frame from the Star Trek: Voyager DVD special features showing Geneviève Bujold as Nicole Janeway.
What might’ve been…

Bujold was a terrible fit for the role of Janeway – as evidenced by the scenes she shot for Caretaker, which were included as a bonus in Voyager’s DVD box set – and seriously struggled with working on the show. Thankfully, Winrich Kolbe – who directed Caretaker – and executive producer Rick Berman recognised this before it was too late, and Bujold was replaced with Kate Mulgrew after only a couple of days. Still, this near-miss could’ve derailed Voyager before the show had a chance to get started.

As an aside, I don’t think Geneviève Bujold is in any way a bad actress or performer. But the idea to cast a character closer in style and tone to Jean-Luc Picard would’ve been wrong for Voyager, and that’s how I interpret her performance in those few scenes that have been revealed. Voyager needed a dynamic, energetic captain – someone who could make incredibly tough decisions under pressure while retaining the support of her crew. I didn’t see any of that in Bujold’s performance, so replacing her was unquestionably the right call.

Promo photo showing the main cast of Star Trek: Voyager Season 1.
The main cast in Season 1.

Having to re-cast your lead role after filming has already started isn’t a great look for any television series, but Voyager was able to recover. Caretaker kicked off the show in style – and put a very interesting twist on a story premise that we’ve seen before in other episodes of Star Trek.

Several times in The Original Series, The Next Generation, and Deep Space Nine, our crews found themselves apparently stranded – perhaps on an alien planet, or else far away from Federation space. But in all of these, they found their way home again by the time the credits rolled. To me, Voyager always felt like it was taking one of those episodes and asking the obvious question: what if there wasn’t an instant way home? I really loved that idea, even in 1995 it felt subversive and creative; a unique and different take on a Star Trek story concept that we’d seen before.

Still frame from Star Trek: Voyager showing the USS Voyager and the Maquis raider Val Jean in orbit of a planet.
The USS Voyager (and Chakotay’s ship) in orbit of the Ocampa homeworld.

Caretaker was also a fantastic crossover episode, bringing in characters and locations from Deep Space Nine. A couple of years earlier, the two-part episode Birthright had brought The Next Generation to DS9, too – so launching the show in this way felt like a real thread of continuity between all three extant Star Trek projects. Star Trek was doing the whole “shared universe” thing decades before the likes of Marvel!

Quark, Morn, and Gul Evek returned from past iterations of Star Trek, further tying Voyager into the franchise before striking out on its own. These three characters – along with Q – are the only ones to have appeared in all three of The Next Generation-era Star Trek shows, which is a fun little bit of trivia for your next Star Trek quiz night! Having that connection to the rest of the franchise was important, though, and it continued the trend of characters from Star Trek’s past appearing in the premiere of a new series.

Still frame from Star Trek: Voyager showing Morn at Quark's bar.
Morn in Caretaker.

Caretaker gave Captain Janeway a moral dilemma, one that tied into the idea of the Prime Directive and Starfleet’s core mission of peaceful exploration. Janeway ultimately decided to intervene, destroying the Caretaker’s array to prevent it from falling into the hands of the aggressive Kazon – but stranding her ship and crew in the Delta Quadrant in the process. This kicked off a story that would run for seven seasons, blending Star Trek’s normal episodic format with an underlying quest: Voyager’s journey home.

Harry Kim made a fine addition to the crew, and also filled an important role for Voyager in a narrative sense. Kim was always the first character to jump on the idea of finding a shortcut home, and the most eager (of the main characters, at least) to make it back to the Alpha Quadrant. I wouldn’t say it was his sole defining character trait, but it was an important one. Voyager needed at least one character like this to keep the voyage home at the top of the agenda.

Promotional photo of Garrett Wang as Ensign Harry Kim.
Garrett Wang portrayed Harry Kim in all seven seasons.

More recently, Kim has become best-remembered in the fan community for never receiving a promotion! And I can kind of understand that; particularly as the show wore on and Kim gained more experience, it began to stretch belief to think that he’d remain a mere ensign. Again, though, Voyager was a semi-episodic show, and a show that needed at least one “young and eager” junior officer to fulfil that narrative role and occupy that space.

I was a big fan of Kes in Voyager’s early days; her gentle bedside manner and strong sense of empathy stood in contrast to the brash and often impolite Doctor in scenes set in sickbay. The idea of a short-lived species (Ocampa typically had a lifespan of around nine years) was also a unique one at this point in Star Trek’s history. Kes had close relationships with Neelix, Tom Paris, and of course the Doctor, too, all of which gave her plenty to do.

Promotional photo of Jennifier Lien as Kes.
A promotional photo of Kes.

I was disappointed when I learned that Kes was going to be dropped from Voyager heading into the show’s fourth season, particularly as she’d just begun developing her telepathic powers under the tutelage of Tuvok. I felt there was still more to explore with her character, and it was a shame that she was booted off the show before this potential could really be reached… especially because of who replaced her.

I know I’m in the minority here… but during the back half of Voyager’s run, I came to really dislike Seven of Nine. This character felt so boring and repetitive, but due to her popularity with at least a portion of the show’s audience she was prominently featured in many different episodes from Season 4 onwards. Seven always seemed to learn some lesson in “how to be human” in an episode… only to forget it all a week later and have to re-learn the same stuff over and over again. I really burned out on her character pretty quickly.

Still frame from Star Trek: Voyager showing Seven of Nine (looking surprised).
Seven of Nine wasn’t my favourite character.

But there’s no denying that Star Trek’s first ex-Borg main character (not counting Picard, of course) shook up Voyager and added something new to the show. Seven’s introduction also kicked off a succession of Borg-centric episodes… which, I’m afraid, were more miss than hit in my opinion, and went a long way to damaging the fear factor that a villain like the Borg needs to have. However, recent Seven of Nine appearances in Star Trek: Picard rehabilitated the character for me, resolved many of the issues I had with her, and generally left me with a much more positive view of Seven as a whole. Here’s hoping she might return one day!

I’ve said this before, but Tom Paris was the Star Trek franchise’s first proper pilot – the first helmsman to really seem like he loved being in the chair. Paris was a fun character – an ex-Maquis and ex-Starfleet officer who seemed to attract the ire of both halves of the combined crew, but came to be seen as a dependable fixture on Voyager’s bridge. Paris’ arc took him from a failure and a criminal to a rehabilitated Starfleet officer and family man, and it was great to see it play out.

Promotional Photo of Robert Duncan McNeill as Tom Paris.
Tom Paris had a great character arc across Voyager’s run.

Paris’ love for the holodeck also led to some fun diversions across Voyager’s run. I was less enthusiastic about the likes of Captain Proton – though it could be fun for an episode or two – but his creations of Sandrine’s bar, the town of Fair Haven, and the Maquis insurrection holo-programmes all led to fun and exciting stories.

How can we talk about Tom Paris without mentioning B’Elanna Torres? Torres became – at Chakotay’s insistence – Voyager’s chief engineer, and had the challenge of standing out as both the second Maquis main character and (after Worf in The Next Generation) the second character with Klingon heritage. Voyager didn’t always know how to define and handle Torres, with some early episodes presenting her as angry and belligerent… but she soon settled into the role of chief engineer.

Behind-the-scenes photo from Star Trek: Voyager showing Roxann Dawson having her prosthetic makeup applied.
Roxann Dawson in the makeup chair.

B’Elanna, for me, is defined by two key relationships that would develop later in Voyager’s run: her antagonistic stance against Seven of Nine and her relationship and later marriage to Tom Paris. B’Elanna often stood as the voice of reason against Seven’s “Borg-ification” of parts of the ship, but her relationship with Tom went a long way to settling both characters down and giving them purpose. We’d also see several episodes featuring B’Elanna’s Klingon side – and these could be fun changes of direction for a show set thousands of light-years away from Klingon space.

Chakotay feels like the embodiment of Voyager’s missed opportunities. Voyager’s writers never made good on the “one ship, two crews” idea, meaning Chakotay basically became a Starfleet officer and Janeway’s confidante within a couple of episodes, robbing him of more than one potential character arc. His relationships with most of the crew besides Janeway and B’Elanna were never really explored in much depth, and he just feels like… a presence. Chakotay was on the bridge the whole time, but can you think of many episodes where he drove the plot or was otherwise in focus? Because I can’t!

Still frame from Star Trek: Voyager showing Chakotay - the first shot of the series.
Chakotay was the first character we saw at the very beginning of Star Trek: Voyager.

I must get caught up with Prodigy, because Chakotay may get the kind of cathartic redemption arc that we were discussing with Seven of Nine, and that’s something I need to see! And across the show’s seven years, Chakotay did get a few spotlight episodes and storylines – notably exploring his Native American heritage and his relationship with Seska. I just feel there was more that Voyager could have done with this character – he was the first officer, after all, and it would be weird if the likes of Spock, Riker, or Major Kira had been similarly sidelined in their respective shows.

I remember feeling confused on learning that Voyager’s doctor was going to be a hologram! “How could that work?” I remember thinking to myself. “Exceptionally well” seems to be the answer, because Voyager’s Doctor was an incredibly fun character – and one who experienced growth over the course of the series. Starting out as a holo-programme with relatively little personality and no interests, the Doctor changed and evolved over the course of the show, taking on new challenges and new interests, and that was a really fun thing to see play out.

Still frame from Star Trek: Voyager showing the Doctor in sickbay.
The Doctor – the first holographic main character in Star Trek.

When the Doctor got his mobile emitter – a piece of 29th Century technology – in the third season, I was sceptical. But allowing him to leave the confines of sickbay and the holodeck turned out to be a great decision, leading to more involvement from this fun and enjoyable character across the second half of the show’s run. The Doctor could be great comic relief, and actor Robert Picardo has excellent comedic timing, but there’s much more to the character than that. We got some great emotional moments with him, too, such as losing his holographic family or sitting in court arguing for his rights as a sentient life-form.

Speaking of comic relief, we have Neelix! Star Trek shows had had barkeeps before – Guinan in The Next Generation and Quark in Deep Space Nine – but never a cook. Neelix took broad liberties with that role, serving first as a guide to the area around Ocampa, then as a “morale officer” for the ship – while cooking up a selection of interesting dishes to feed a hungry crew! I bought a copy of Ethan Phillips’ Star Trek Cookbook and even tried a few of them for myself… with terrestrial ingredients, of course.

Promotional photo of Ethan Phillips as Neelix (in a Starfleet uniform for some reason).
A promo photo of Neelix… in a Starfleet uniform.

Neelix’s relationship with Kes could feel a little uncomfortable, but fortunately it wasn’t in focus all that much outside of a few early episodes. As Neelix settled in aboard the ship, he became an important character – and would often serve as a bridge between characters who didn’t always get much interaction. His largely one-sided friendship with Tuvok – though often played for laughs – was great to see, too, and showed Neelix’s way of accepting people different from him.

And speaking of Tuvok, Star Trek’s second Vulcan main character made quite an impact! Spock was always going to be a hard act to follow, but taking the calm and logical Tuvok as far away from science and exploration as possible was undeniably the right call. A Vulcan security and tactical officer makes a lot of sense when you stop to think about it – and Tuvok demonstrates exactly why. Calm and stoic under pressure is just what that job requires!

Promotional photo of Tim Russ as Tuvok.
Tuvok.

Tuvok also served as Janeway’s friend and confidante – arguably treading on the toes of the traditional first officer role, in that sense. I wish we’d gotten more of an examination of his relationship with Chakotay, though that’s more from Chakotay’s side, as mentioned above. Tuvok also bridged the gap between The Original Series era and Voyager in the most unexpected of ways – check out the episode Flashback, that I mentioned at the beginning, for more on that!

So that leaves us with Captain Janeway. Janeway was the captain that Voyager needed on a quest like this, and she had the strength to guide her crew home. She also had some fun character quirks, like her love of coffee, that kept her feeling grounded and real. The first woman to sit in the captain’s chair for a Star Trek series embodied elements of all three of her predecessors: Kirk’s toughness, Picard’s diplomacy and tact, and Sisko’s dedication to doing the right thing. But she was always her own woman, never feeling overshadowed by any of the captains that had come before.

Still frame from Star Trek: Voyager showing Captain Janeway at the penal colony in the premiere.
Captain Janeway in Caretaker.

As mentioned above, Kate Mulgrew was the perfect choice for this role, and she delivered a masterful performance across all seven seasons of the show. Voyager’s journey home wouldn’t have been the same without her, in fact, and across the show’s run we got several great episodes that shone a spotlight on the captain. Stories pitted her against villains like the Krenim and the Borg Queen, and Janeway always found a way to come out on top!

The USS Voyager still feels like a futuristic design to me even thirty years on from its debut! Something about the more angled saucer section makes it feel more modern than the circular hull of Kirk’s Enterprise and the Enterprise-D, and the sleeker lines also scream “speed!” Voyager was a long-range tactical ship made for exploration and combat, and the ship’s design philosophy reflects that. I will never tire of the sequence in Caretaker of Paris being flown in by shuttlecraft, seeing Voyager for the first time.

Still frame from Star Trek: Voyager showing a shuttlecraft flying over Voyager's saucer section.
Our first introduction to this wonderful starship.

On the inside, we got a continuation of the Starfleet aesthetic that debuted in The Motion Picture and has been a mainstay in the franchise since. Voyager’s bridge is larger and wider, though – or at least it feels larger and wider – than anything we’d seen before. This expansive space was the perfect stage for interactions between all of our favourite crew members! Again, the bridge felt more modern than that of the Enterprise-D, while at the same time continuing the design trends that we saw in The Next Generation.

Janeway’s ready-room was an interesting area, giving her a large desk but also a couch that could act as a social space. Engineering had a really neat effect for its warp core, and the expansive entryway was often where intense conversations played out. The Doctor had sickbay as his domain, but he also got an office and a small lab off to one side that were fun inclusions. Voyager also had a shuttlebay, holodecks, crew quarters, corridors, and the mess hall – all of which would get moments where they were in focus!

Behind-the-scenes photo from Star Trek: Voyager showing the bridge set under construction.
Voyager’s bridge set under construction circa 1994.
Image Credit: Forgotten Treks/TrekDocs

As an aside, being able to virtually explore Voyager in the game Elite Force was one of my absolute favourite things about that game! In 2000, being able to wander through the bridge, sickbay, and some of the ship’s corridors felt absolutely magical as a Star Trek fan, and while Elite Force wasn’t the only game to offer that experience (the adaptation of Generations had a mission set on the Enterprise-D, and there were probably others around the same time), it was certainly one of the most memorable for me personally.

One thing Voyager didn’t really have was an expansive secondary cast. Deep Space Nine gradually gave more time and attention to characters like Rom and Martok, but Voyager, by and large, kept its focus on its main cast of characters. The Borg children – and Icheb in particular – were really the only ones to break through in more than a handful of episodes, though some, like Seska and The Next Generation’s Reg Barclay, would go on to make multiple appearances. Deep Space Nine showed what Star Trek could do with a wider and more expansive cast… and it’s something the franchise has yet to return to. Voyager had the opportunity to build out some of its secondary characters, but never really went there. I think that’s a bit of a shame – but it is what it is!

Behind-the-scenes photo from Star Trek: Voyager showing Jennifer Lien reading her script while sat on the floor.
Jennifer Lien (Kes) reading her script on the set of Caretaker.

For a variety of reasons, Voyager never really made good on its “one ship, two crews” idea, and by about halfway through Season 1, the main Maquis characters were basically entirely integrated with the Starfleet crew. With the exception of plot-relevant moments, such as stories involving Seska, the fact that almost one-third of Voyager’s complement were Maquis never really came to the fore in a big way, and I think that’s a bit of a missed opportunity.

Don’t get me wrong, a story about people from different backgrounds finding a way to work together for the common good is something I absolutely adore, and there were times where Voyager absolutely nailed that feeling. I guess I’ve just always felt that I would’ve liked to see more tension, scepticism, and disagreement as the two crews began the process of integrating. I never really felt as much of that as I would’ve liked – and that’s perhaps Voyager’s biggest sore spot for me, thirty years on.

Still frame from Star Trek: Voyager showing a Maquis rebellion (on the holodeck!)
Voyager struggled to make good on its “one ship, two crews” premise.

That being said, Voyager was a great show all around, and a welcome addition to Star Trek. With The Next Generation’s crew off making feature films and Deep Space Nine occupying a space station, there was plenty of room for a new series set aboard a starship. Voyager embodied Star Trek’s ethos of peaceful exploration… but set that exploration against a new backdrop of trying, against the odds, to make it home. It was both familiar and different at the same time; a really interesting blend of storytelling styles.

Voyager was also a much more episodic series than Deep Space Nine – despite its voyage home story being omnipresent and frequently referred to. There were plenty of one-off stories featuring a wide range of alien races, factions, and wacky premises. It was a Star Trek series through and through, one that brought a fantastic cast of characters to the table and threw them into plenty of fun, exciting, and occasionally emotional situations.

Promotional image of the Star Trek: Voyager cast.
The cast on a promotional poster.

The excitement I felt thirty years ago was more than rewarded! Voyager was an outstanding show, and I got thoroughly invested in the crew and their quest to return to the Alpha Quadrant. There were some episodes that were wide of the mark – as there are bound to be in any show that runs to 168 episodes across seven seasons! But even at its worst, there were things to enjoy, fun lines of dialogue, entertaining character moments, or creative decisions that made Voyager well worth watching for any Trekkie or fan of sci-fi in general.

As the final show of what I consider to be Star Trek’s “golden age,” I’ve long had a soft spot for Voyager. Of course I watched every single episode during the show’s run – I would tune in when they made their debut on terrestrial TV here in the UK, and I very rarely missed a week. I later bought all seven seasons when they were released on DVD and enjoyed the series all over again.

Still frame from Star Trek: Voyager showing the USS Voyager preparing to jump to warp.
The USS Voyager set course for the Alpha Quadrant thirty years ago today.

So I hope this has been an interesting look back! I wanted to do something to acknowledge Voyager’s milestone anniversary, but it’s hard to summarise my thoughts on 168 episodes and seven years’ worth of television in a single article! Stay tuned, though, because I’ll be writing up my thoughts on some of my favourite episodes in the days ahead as we continue to celebrate Voyager’s thirtieth anniversary.

I hope that Paramount and the folks in charge of Star Trek plan to do something to mark this momentous occasion, so I’ll definitely be checking out the official Star Trek website and social media pages over the next couple of days. With Seven of Nine, Janeway, Chakotay, and others all having returned to the Star Trek franchise in the last few years, Voyager’s legacy is very much alive. The documentary To The Journey: Looking Back at Star Trek: Voyager has had its official premieres, too, though I don’t think it’s available to stream just yet. Still, another thing to keep an eye on.

All that remains to say is this: happy thirtieth anniversary, Star Trek: Voyager! Thanks for all the memories.


Star Trek: Voyager is available to stream now on Paramount+ in countries and territories where the platform is available. The series is also available on DVD. The Star Trek franchise – including Voyager and all other properties discussed above – is the copyright of Paramount Global. Some images courtesy of TrekCore and Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Looking Ahead To 2025

A spoiler warning graphic (featuring Sauruman).

Spoiler Warning: Beware of minor spoilers for some of the titles below.

Happy New Year!

I hope you had a wonderful time last night ringing in 2025 – and that you’ve recovered by now! As the year begins, it’s the perfect time to look ahead to some of the entertainment experiences we’ll hopefully be enjoying between now and next New Year’s Eve!

So today, I’ve picked out seven films, television programmes, and video games that are on my radar in 2025. I’ll share my thoughts on each of them – including what I’m most interested in or excited about. I like to do this every year; it’s a fun way to start things off, and it also gives me something to look forward to! I hope you can take a break from packing away the Christmas decorations and join me!

A stock photo of tangled Christmas lights.
The holidays are over for another year…

As always, a couple of caveats. This list is the subjective opinion of just one person – so if I don’t mention your favourite upcoming title, or I get excited about something that sounds like shit to you… that’s okay! There should be enough room for polite disagreements and differences of opinion. It’s also possible that some of these titles will be delayed and may not be available in 2025.

I think 2025 looks like a solid year. There are plenty of entertainment experiences on the horizon that have, at the very least, piqued my interest. So without any further ado, let’s jump into the list and talk about them!

Film #1:
28 Years Later

Still frame from the 28 Years Later trailer showing a man with a bow and arrow.

Horror really isn’t my thing – and after the 2010s were dominated by zombies and post-apocalyptic media in general, there are reasons to feel burned out on 28 Years Later’s premise! But I really loved 28 Days Later when it was released back in 2002; it’s a genre-redefining zombie film that genuinely frightened me. The “infected” zombies that debuted in 28 Days Later are terrifying – and it’s no coincidence that many of the best zombie films and games of the past twenty-plus years have drawn inspiration from the way Danny Boyle presented them.

28 Years Later recently premiered a fantastically haunting trailer, and I can really feel myself getting hyped up. The new film looks like it’s retained what made the original so special, while potentially expanding on the story to see what became of the UK and the rest of the world in the aftermath of 28 Weeks Later and the revelation that the rage virus may have escaped the confines of Great Britain. There’s one annoying thing for a pedant like me, though: it’s only been 23 years since the first film was released!

Film #2:
Lilo & Stitch

Logo for the Lilo and Stitch remake.

I wouldn’t say I’m “excited” about this live-action adaptation. It’s more a case of morbid curiosity – I’m interested to see whether Disney will be able to recreate even 1% of the charm of the original Lilo & Stitch when it moves to live-action. For me, Disney’s recent live-action adaptations have been more hit than miss, but even the best of them haven’t been as impactful (or as good) as the original animated films they were based on.

I can kind of understand the desire to remake a film like Snow White or Cinderella – both of which are decades old. But Lilo & Stitch was only released in 2002, making it the most recent Disney film to get the live-action treatment so far. I’m not convinced that it needed a remake, nor that the remake will be particularly good… but I’m going to tune in anyway to find out!

Film #3:
Star Trek: Section 31

Still frame from the Section 31 trailer showing a spaceship landed on an orange-tinted planet.

Do we count Section 31 as a “film?” I mean, it’s really a TV movie… but it’s my list, so I’m sticking it in this category! As you may know if you’ve read my article about the Section 31 trailers, the film doesn’t feel like it’ll be “my thing.” I’d love to be proven wrong, and I always give the Star Trek franchise a chance to impress me… but something about the “Star Trek does Suicide Squad” presentation from the trailers, and the potential for disappointing backsliding from the film’s main character have definitely left me feeling underwhelmed.

That being said, Section 31 has the potential to bring new eyes to Star Trek in a way that no other project has done since the 2009 reboot. Starring Oscar-winner Michelle Yeoh and with a tone and presentation clearly inspired by popular superhero flicks, I feel optimistic about Section 31′s prospects. I still don’t think I’m gonna love it… but we’ll know for sure in about three weeks’ time!

Film #4:
A Minecraft Movie

Still frame from the Minecraft Movie trailer showing Jack Black's character and a glowing portal.

I can’t tell whether A Minecraft Movie is going to be good, or whether it’s gonna end up being one of those “so bad it’s ironically good” films… but I’m keen to find out! Popular video game Minecraft wouldn’t have been my choice to adapt for the big screen, simply because it isn’t really a narrative adventure. Certainly my experiences of playing Minecraft – including back in 2011 while it was still in beta – were about creativity and “making your own fun” rather than following any kind of story.

I’m not convinced that Minecraft’s gameplay lends itself to a narrative adaptation. But I’ve been wrong before, and the tongue-in-cheek, silly fun vibe that I got from the trailer left a positive impression. There have been other expansions to the world of Minecraft that I haven’t played, so there’s definitely lore for the film to build upon. And any film featuring Jack Black will have, at the very least, one solid and entertaining performance to make me smile!

Film #5:
The Electric State

Still frame from the trailer for The Electric State showing several characters and robots.

The Electric State looks… interesting. A film set in a world where rebellious robots have been defeated and consigned to their own patch of land has, at the very least, a unique premise. I’m definitely getting a “more than meets the eye” feel from the trailer, and I expect the film to unravel the reason behind the aforementioned robot revolt – while the protagonists search the robots’ territory for a missing boy.

In a cinematic landscape dominated by sequels, franchises, and spin-offs, hopefully The Electric State can be something a little different. Chris Pratt and Stranger Things’ Millie Bobby Brown are in the lead roles, and the film will also star Woody Harrelson, Stanley Tucci, and Brian Cox, among others.

Film #6:
Train Dreams

Promo photo for Train Dreams showing two of the main characters laying down.

Based on a book from 2002, Train Dreams is going to be a particularly bleak drama film. Starring William H Macy, Felicity Jones, and Joel Edgerton, the story takes place in the first years of the 20th Century and focuses on a man who works on building the railroad across the western United States. The book won several awards in 2002/03, and this film adaptation seems genuinely interesting.

I’m not familiar with director Clint Bentley, but the main performers in Train Dreams all have pedigree. I think this picture has potential, and I’ll be interested to see how it’s received by audiences when it premieres.

Film #7:
Superman

Promo photo for Superman (2025) showing Superman and his pet dog.

I’m not the biggest fan of comic book/superhero movies. And Superman in particular can feel overpowered! But there have been some good Superman adaptations over the years, and this latest one, from director James Gunn, at least has potential. Superman is supposed to kick off a rebooted “Universe” of DC Comics films, which will also include a film based on Supergirl, among others.

DC has struggled to keep up with rival Marvel, whose MCU has been a driving force in cinema for fifteen years at this point. With Marvel seemingly faltering, however, perhaps the time is right for DC to strike – and with Superman, the company is at least trying to put its best foot forward. Whether this version of the character, and this film, can live up to fan expectations… we’ll have to wait and see!

TV Show #1:
Phineas and Ferb

Still frame from Phineas and Ferb Season 4 showing Phineas pointing and Ferb wearing a welding mask.

2025 is set to be the year that Phineas and Ferb returns to our screens! It’s been almost five years since Candace Against the Universe, and a full decade since the series finale, but I really can’t wait to go on some new adventures with the brothers and their friends. There are always concerns when a beloved property is brought back after such a long absence, but Candace Against the Universe demonstrated that co-creators Dan Povenmire and Jeff “Swampy” Marsh haven’t run out of ideas.

Phineas and Ferb has become one of my “comfort shows;” something I drift back to when I’m feeling low and need a pick-me-up. I’m optimistic about its revival, which has brought back most of the original voice actors, and I will be eagerly tuning in for every new episode.

TV Show #2:
King and Conqueror

Promo photo for King and Conqueror showing William on a battlefield holding a large shield.

Co-produced by the BBC here in the UK and American broadcaster CBS, King and Conqueror will tell the story of William the Conqueror and his fight to become King of England in 1066. Having cast Game of Thrones’ Nikolaj Coster-Waldau in the role of William, and with several other well-known names amidst the cast, I have pretty high expectations for this one!

There have been some great historical dramas over the years – but this is the first that I can recall that will look at the conflict between Harold and William in 1066. I first studied the Battle of Hastings years ago at school, and it’s one of those seminal moments in history that, at least in England, we give a lot of importance to. I’m quite eager to see a big-budget recreation of those events.

TV Show #3:
Star Trek: Strange New Worlds

Still frame from Star Trek: Strange New Worlds Season 2 showing the USS Enterprise in space.

I still have to catch up on a couple of episodes from Season 2, but Strange New Worlds’ third season is on the schedule for this year. For me, Strange New Worlds has become the high-water mark of modern Star Trek; an excellent mix of episodic and serialised storytelling that I wish other parts of the franchise would try to emulate. Anson Mount is perfectly cast as Captain Christopher Pike, and I look forward to seeing what adventures the crew of the Enterprise will get caught up in this time!

There are several new secondary characters who will join the series this time, and perhaps we’ll begin to see Strange New Worlds bridging the gap between the Discovery era and The Original Series a bit more. I don’t want the show to go overboard with TOS characters and storylines, though! If Section 31 is what I’m kind of expecting it to be, then Strange New Worlds will undoubtedly be the highlight of the year for this old Trekkie!

TV Show #4:
The Rig

Promo poster for The Rig showing several main characters. Cropped.

I enjoyed the first season of The Rig a couple of years ago, and it ended on a cliffhanger! It seemed for a moment as if Amazon wouldn’t greenlight a second season – but they belatedly did, and Season 2 will premiere literally tomorrow! So I guess we won’t have to wait long to see if The Rig’s second season will be as good as its first.

I noted elements of films like The Thing and The Abyss in the show’s first season, and I’m genuinely curious to see the next part of its sci-fi/fantasy storyline unfold. Some parts of The Rig could be a little heavy-handed with its environmentalist messaging – which is ironic, as the show is produced by Amazon, one of the biggest emitters on the planet! – so I hope that can be toned down a little this time. Still, I’m pleased that a second season has been made, and I shall be tuning in tomorrow!

TV Show #5:
Spider-Noir

Promo artwork of Spider-Noir (the comic book version of the character).

Nicolas Cage starring as Spider-Man in a film noir-inspired story? That sounds great… doesn’t it? Spider-Noir is set in an alternate timeline, one in which Spider-Man is semi-retired and down on his luck. It’s set in the 1930s, and I think we can expect a lot of references to old detective movies and black-and-white crime dramas!

I like Nicolas Cage’s work, and to be honest I think he’s well-cast here. Spider-Noir also sounds like something a bit different in a superhero genre that can be repetitive and stale, which is something I definitely appreciate. At time of writing I don’t think filming has wrapped, so Spider-Noir most likely won’t premiere until later in the year. Still, one to keep an eye on!

TV Show #6:
Zero Day

Promo photo for Zero Day showing two characters in the Oval Office.

Zero Day has an interesting premise: a devastating cyber-attack takes place. The series is billed as a “political thriller” looking at the aftermath of this attack, the conspiracy around it, and the government’s response to it. I feel echoes of British thriller Cobra, from a few years ago, which looked at the UK government and Prime Minister in the aftermath of a natural disaster.

Starring Robert de Niro, Joan Allen, and Angela Bassett, and with Eric Newman of Narcos serving as showrunner, I think there’s a huge amount of potential in Zero Day. I love a good political thriller, and Zero Day could be a timely and modern examination of the government at a moment of crisis.

TV Show #7:
The Terror: Devil in Silver

Promo graphic for The Terror: Devil in Silver showing the season's logo.

The Terror has had two wonderful seasons under its belt – but with lower viewership for Season 2, it seemed for a time as if AMC had killed off the nascent anthology series. But The Terror is back in 2025, this time based on the novel The Devil in Silver, and set at a suitably creepy asylum!

The novel (which I admit I haven’t read) sees a man committed to an asylum, where he discovers that one of the other patients may be demonic – or even the devil. Stories about demons and supernatural things usually scare me, so I think The Terror: Devil in Silver might be perfect Halloween viewing later this year!

Video Game #1:
Civilization VII

Promo screenshot of Civilization VII showing tanks and planes in the game world.

Civilization VI is my most-played game of the last few years. I picked it up in 2016 and I’ve sunk hundreds of hours into it since then. So the next entry in this long-running series is definitely on my radar! I admit that I’m not fully sold on the game’s “change civilisation and leader” mechanic – not yet, anyway. It feels like a bit of a rip-off from 2021’s Humankind rather than something that the Civilization series developed on its own. But I’d love to be proven wrong about that!

There will be other changes and improvements, and it will probably take a while for me to adjust! Civilization VII might be the kind of game that’s best picked up a year or more after its launch, as there will have been time for rebalancing and fixing problems… but I daresay I’ll be ready to jump in on day one!

Video Game #2:
Tokyo Xtreme Racer

Promo screenshot for Tokyo Xtreme Racer (2025) showing an empty highway.

I did not have a revival of the Dreamcast-era racing game Tokyo Xtreme Racer on my bingo card… but here we are! Apparently Tokyo Xtreme Racer will be returning, and I’m not sure what to expect, to be honest! This feels like a game that could go either way; I was excited for Test Drive Unlimited’s return in 2024 but it turned out to be a bust… so this is definitely a “wait and see” rather than a “buy on day one” kind of game.

That being said, if Tokyo Xtreme Racer is the kind of old-school throwback that its name suggests, it could be a really fun experience – and something a little different. I’ll be following its progress and hopefully checking it out for myself later in the year.

Video Game #3:
Locomoto

Promo screenshot for Locomoto showing a train.

A game that brings together the kind of cozy gameplay that I’ve come to love with… a train? That sounds perfect! Locomoto bills itself as a “cozy life-sim adventure set on a train,” and I’m intrigued by the idea. Customising and decking out my very own train, meeting the passengers, and setting off on a journey just sounds whimsical and magical!

The art style and use of animal characters is giving Locomoto an Animal Crossing kind of vibe, and I’m definitely okay with that! I love the idea of having that kind of gameplay set on a moving train, and I’m hopeful that Locomoto will be a gentle but fun adventure.

Video Game #4:
Atomfall

Promo screenshot of Atomfall showing a bearded man with a gun, a cast iron signpost, and a house.

Atomfall is “British Fallout,” or at least that’s the idea! An open nuclear-ravaged wasteland to explore with post-apocalyptic monsters to battle… but this time it’s set in England’s Lake District! I love the idea, and while I think the Fallout comparison may end up setting expectations a little too high for some folks, I’m still hopeful that Atomfall will be able to deliver an engaging adventure.

Being able to explore a virtual world based on places I remember actually visiting will be a lot of fun; there aren’t that many games set in the UK, when you think about it, so Atomfall will stand out from the pack in that sense. The first trailer for the game looked solid, and there’s plenty of time to give Atomfall some polish if needed.

Video Game #5:
Winter Burrow

Promo screenshot of Winter Burrow showing the craft/cooking menu.

Another self-described “cozy game,” Winter Burrow sees players take on the role of a mouse restoring their family’s burrow. The game promises baking, knitting, decorating, and all of the things you’d expect – while also having some “survival” elements. I really love the animated art style that I’ve seen in promotional material – it reminds me of cartoons like The Animals of Farthing Wood.

Combining a hand-drawn style with some potentially complex crafting, and hopefully with a lot of aesthetic and decorative options… I really think that Winter Burrow could be a ton of fun this year. I’m trying not to get overly excited… but this really does look like it’s gonna be a time-sink for me!

Video Game #6:
Avowed

Promo image for Avowed showing a large glowing mushroom.

Avowed is an action RPG in a fantasy setting, crafted by Obsidian Entertainment. Aside from the excellent Knights of the Old Republic II, Obsidian has also made The Outer Worlds and Fallout: New Vegas, both of which got rave reviews. Avowed will be set in the same universe as the Pillars of Eternity series, so there’s established lore to work with.

I gotta say that all things considered, Avowed looks like it’s shaping up to be a fun time. There’s a studio with pedigree behind it, and the teasers and trailers have looked fantastic. A lot of players have been comparing the way the game looks to Bethesda’s Elder Scrolls series – but hopefully Avowed will bring some improvements to the table!

Video Game #7:
Crimson Desert

Promo screenshot for Crimson Desert showing a character on horseback overlooking a lake or bay.

I feel a little sceptical about any game that seems to be promising the moon… so time will tell whether Crimson Desert can really live up to the hype it’s already beginning to generate. I’m also not entirely sure that a game that has already been delayed by over a year will actually launch in “late 2025” as currently planned, but again time will tell!

According to a lot of players, Black Desert Online – the game upon which Crimson Desert was originally based – has one of the best character creators ever, so I’d love to see that in Crimson Desert, too. The scale of the game’s open world has also been talked up, and as long as there’s enough content relative to the size of the map, that’s a mark in its favour. I’ll definitely take a look at the reviews before I jump in… but there are reasons to be hopeful!

So that’s it!

Stock photo of a woman holding a television remote while eating popcorn.
We’ll look like this in 2025!

We’ve picked seven games, seven TV shows, and seven films that I think will be worth checking out between now and Christmas. Some are arriving this month, others not until later in the year.

Usually I’d say my most-anticipated film or show would be anything Star Trek – and Strange New Worlds’ new season should be great, for sure. I’m less sold on Section 31, though, and I think there are some other upcoming projects that look great. If I had to pick just one – which is nigh-on impossible – I guess I’d say Phineas and Ferb’s revival is at the top of my list.

Still frame from Phineas and Ferb Season 4 showing the brothers under a tree in their back yard.
Phineas and Ferb is coming back this year.

Once again, let me wish you a happy new year! I hope that 2025 has some fun entertainment experiences in store for all of us, and moreover that it’ll be a great year. Whatever your goal might be for the year or your new year’s resolution, I hope you achieve it. And I hope that this list has given you something to think about and maybe even look forward to!

As for me, I’ve got some tidying up to do! And I’ve got to finish taking down the Christmas lights and pack them away for another year. January can feel like a bare month, sometimes, with empty spaces left over when all the decorations come down. But at least we have some films, games, and TV shows to look forward to, eh?

I hope you have a great start to 2025, and please join me as the year rolls on for more reviews, commentary, and geeking out!


All titles mentioned above are the copyright of their respective studio, publisher, distributor, broadcaster, etc. Some photos and promotional art courtesy of IMDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.