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Tag: Star Trek

  • The Best Moment in the Worst Episode of ‘Star Trek: Voyager,’ 30 Years Later

    Thirty years ago, Star Trek: Voyager broadcast one of its most controversial episodes ever: “Threshold,” the episode that is now infamous as “The One Where Captain Janeway and Tom Paris Mutate Into Amphibians and Have Babies.” Over the years, revisitation has allowed the chance to reframe “Threshold” from one of the worst things that Star Trek has ever done to a charmingly memetic moment of camp to an episode that, while deeply flawed, still has sparks of potential.

    So to mark 30 years of this moment in Trek infamy, we decided to put aside the space amphibian sex jokes (aside from the ones we’ve already made—please, we’re only human) and look back at one of those sparks of potential, a bright spot in an otherwise very silly episode: what “Threshold” has to say about Voyager‘s rebellious conn officer, Tom Paris.

    In the early seasons of Star Trek: Voyager, one of the few recurring arcs the show engaged with on a regular basis from episode to episode was the reformation of Lieutenant Paris. Tom joins the show with a shockingly messy background: an ex-Starfleet officer drummed out of service for covering up a piloting error, jailed for pettily running into the arms of the Cardassian resistance group known as the Maquis, and then paroled by Captain Janeway on what was meant to be a brief trial run for her new ship rather than a 70,000 light-year journey home from an unexplored quadrant of the galaxy.

    Almost everyone on Voyager in its early days is operating with a sense of grief that their lives and futures they’d had planned were destroyed in the blink of an eye, but not Paris. Paris is living his dream, piloting a top-of-the-line starship, still getting to bite his thumb at the Maquis who joined Voyager‘s crew through necessary circumstances, and the only Starfleet authority to answer to is the woman who trusted him enough to give him a second chance in the first place. This largely manifests in one particular way in those early seasons: Tom is kind of a huge, cocky asshole, even when he is sincerely trying to prove the faith put in him was justified.

    That brings us to “Threshold” and Tom’s perfectly cocky, yet aspirational, idea of figuring out a way to breach the titular Warp 10 threshold—the long-established Star Trek lore that warp drives could not achieve faster-than-light speeds above that maximum. It’s a fascinating idea that a show with a premise like Voyager, about an isolated Starfleet vessel trapped tens of thousands of light-years from Federation space, is primed to tackle, even more so when one of its main characters is a cocky ace pilot with a chip on his padded uniform shoulder. That in and of itself is a brilliant way of the show engaging with Star Trek‘s broader legacy even while it’s isolated from it.

    But that’s not the moment we’re talking about. That moment comes after Tom’s first experimental test flights successfully see him manage a sustained speed above the warp threshold—and then have medical complications as his body undergoes what is ultimately revealed to be a rapid-onset acceleration of the evolutionary process. Tom’s body starts breaking down bit-by-bit, requiring nonstop medical treatment: his hair falls out, eyes glaze over, skin mottles and flakes, and his joints and limbs start fusing together. The dashing young hero of the hour has been turned into this broken, evolving-yet-devolving wreck of a thing.

    It’s in this form that “Threshold” delivers its greatest moment. It’s a fascinating grotesquerie: the body horror is incredibly effective for Trek and feels like Voyager building on its stunningly creepy effects work with the Vidiians the season prior, made all the more chilling by the fact that it’s one of our heroes who has been rendered horrifying. But it’s the breakdown of Paris’ persona that is most effective. The wild changes he’s undergone almost feel like the dropping of a mask, both metaphorically and literally, as parts of his face slough off.

    In one moment, he rails at Captain Janeway for taking pity on his gruesome form; the next, for her trying to diminish what he’s accomplished in breaking past warp 10. His ego, usually kept in check by his earnest desire to prove himself to the world and Janeway in particular, runs rampant, making for a scene that’s chilling and tragic in equal measures as he vacillates between the man we’ve come to know and this wretched figure. It’s a great character beat for Paris to find himself again at the heart of an accident caused by his own hubris and to respond to it by impulsively lashing out at the world around him—it’s just that this time the ugliness that marks his soul, and the filters he’s built up as he tried to redeem himself in Voyager‘s early days up to this point being stripped away in his despair and agony, are now reflected on the outside.

    Of course, that’s when we get to him kidnapping Janeway, forcing her to undergo the same process, and them having space amphibian sex before Voyager tries to move on from it, never bringing the workplace ethics nightmare of the millennia up ever again. But before that moment that would seal the infamous legacy of “Threshold” for decades to come, it shone with a moment of genuine brilliance. A fine example of even some of Star Trek‘s lowest lows having at least something worth thinking about.

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    James Whitbrook

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  • Wait, So When *Is* ‘Starfleet Academy’ Set, Anyway?

    We’re almost three weeks into Starfleet Academy, and the show, with some occasionally rebellious rockiness, has started to find its niche in the world of Star Trek. But one thing has kept bothering me across its first three episodes.

    I have no idea when this show is taking place.

    Now, I know this is a stupid thing to be thinking about. At the end of the day, it doesn’t actually matter to Starfleet Academy to know where exactly it fits in the Star Trek timeline. We know it’s the 32nd century; we know approximate timing—it’s somewhere around the early 3190s—and we also know that, really, nothing has happened in the show yet that rooting it in one very specific time and place has required an exact explanation on-screen. Especially so considering that the only Trek show Starfleet Academy has to have a direct connection with on the timeline is Discovery, a series that is no longer an ongoing concern.

    I guess part of it is I’m a bit of an oldhead, especially when it comes to Starfleet Academy‘s rambunctiously charming cast of kids. The Trek I grew up with, namely Deep Space Nine and Voyager, opened by rooting itself in relation to direct moments in the late-24th-century setting they shared, spinning out of TNG—the personal fallout Picard’s assimilation has on Ben Sisko and the outbreak of conflict in earnest between the Maquis and the Cardassian Union. But while Academy does give us a few hints about the passage of time in what we’ve seen so far (Darem’s message to his parents at the top of episode three, “Vitus Reflux,” notes that three weeks have passed since classes began, for example), it is broadly very vague about it.

    Again, that’s not stopped one tiny corner of my Trek brain from relentlessly obsessing over it, no matter how little it matters. So let me try and lay down all the facts we know and try to lay out a working theory.

    Star Trek: Discovery‘s Timeline in Comparison to Starfleet Academy

    © Paramount

    Discovery‘s third, fourth, and fifth seasons give us a broad time frame for its own events. Michael Burnham successfully jumps from the 23rd century to the 32nd in the opening of season three in the year 3188—and shortly thereafter (for us at least), thanks to temporal displacement, the USS Discovery and her crew follow in 3189. In that time, they learn about the cataclysmic galaxy-wide ramifications of the event known as the Burn and resolve its mysterious origins, laying the groundwork for a largely shattered Federation to start rebuilding itself.

    Likewise, the next two seasons are given stardates that place them in the following years: 3190 for season four and 3191 for season five. Which means we can date some important things for the setup of Starfleet Academy‘s own internal timeline: Discovery season four opens with the formal reopening of Starfleet Academy itself, with Michael giving a speech to mark the occasion in the premiere episode, “Kobayashi Maru,” and the season climaxes in “Coming Home” with the revelation that Starfleet and United Earth have begun talks for the latter to rejoin the Federation.

    Starfleet Academy‘s Timeline in Comparison to Star Trek: Discovery

    Starfleet Academy Lura Thok Reno
    © Paramount

    It’s the new show itself that starts throwing a few timeline curveballs. The first episode, “Kids These Days”, has to follow some time after the events of Discovery season four, because its whole premise is about the USS Athena making its way to Earth to begin classes, the first academic year for the institution to take place on the planet since Starfleet was ousted after the Burn over a century prior (those classes are, specifically, described as the fall semester, so whatever year it’s taking place in, it’s later in it). The Athena also has no issues with a lengthy warp travel from where it was bringing aboard its last students and Earth itself, so the resolution of the dilithium shortages uncovered by Discovery at the end of season four has recovered enough that it’s at least not out of place for the Athena to casually be using its warp drive.

    But when the ship is attacked by Nus Braka and the Venari Ral, we get our first odd note: the Discovery can’t come to the Athena‘s aid as it’s currently in the midst of an extensive refit. In Star Trek, the term “refit” is usually only used to describe a starship undergoing extensive technological overhauls, either complete system updates or even its old self being replaced by a new class of ship—transferring the name in the process but noting that refit with an alphabetical letter attached to its NCC registry number (all the versions of Enterprise, the Voyager-A in Prodigy, and of course, the Discovery itself).

    We only ever see the Discovery undergo two major refits on-screen: the three-week process taken to update its systems and technology from the 23rd century to 32nd century standards, becoming the Discovery-A in the process, in the season three episode “Scavengers,” which takes place shortly after the Discovery has emerged out of time in 3189, and then again in the season five finale, “Life Itself,” in an epilogue set decades after the events of the show.

    This can’t be the same refit mentioned in “Kids These Days,” because all that happens before the resolution of the Burn and United Earth rejoining the Federation. Considering as that, even delayed by the Venari Ral attack, we’re told that it will take the Athena around 15 hours to get to Earth, we can safely assume that a good chunk of Discovery season three after its refit didn’t happen in the space of less than a day!

    Our next real piece of timeline information comes first in episode two of Starfleet Academy, “Beta Test,” where it’s established that the Federation is still in the process of deciding where its new official headquarters will be, after being positioned on the USS Federation throughout Discovery seasons three through five (it’s eventually decided to be established on Betazed, rather than its pre-Burn home in Paris on Earth).

    Then “Vitus Reflux,” three weeks after the events of “Kids These Days,” gives us another: Jett Reno, talking to Darem about his issues with his fellow cadet Genesis, notes that she “left a starship on the edge of creation” to stay in a relationship with the Academy’s cadet master and first officer, Lura Thok, and take a teaching position at the academy. That ship, of course, has to be the Discovery, but considering that Reno is a regularly established member of the ship’s crew throughout seasons four and five with no mention of her taking leave, that would mean that Starfleet Academy has to take place after the conclusion of Discovery‘s fifth season in, presumably, the fall of 3191.

    Enter Tilly

    Star Trek Discovery Tilly Adira
    © Paramount

    That brings us to one other important factor bridging Discovery and Starfleet Academy together: Sylvia Tilly. Once the academy is re-established in Discovery‘s fourth season, Tilly is given an opportunity to teach its first new cadets, departing Discovery as a full-time member of the crew in the season four episode “All Is Possible”, which sees her go on a training mission with some of those early cadets. Tilly is seen again in season four’s finale and then more regularly throughout season five, where she mentions her work teaching academy cadets.

    We know that, at some point, Tilly will make an appearance in Starfleet Academy—one that will likely be the thing that actually does clear up when the show is set. But if Starfleet Academy is about the first class of students since the Burn in around fall 3191, and Tilly has also been training cadets after the Academy was formally reopened at the beginning of season four the year prior, how do we reconcile that?

    Well, through a technicality. Presumably before either the construction or retrofit of the USS Athena to become the Academy’s new travelling home based out of San Francisco, Starfleet had actually been teaching its first academy cadets in the field, based on the USS Federation and Starfleet HQ, since it was re-established in 3190. Once things settle down again by the conclusion of Discovery season five and more member worlds have rejoined the Federation, or at least begun to, Starfleet must have decided to reopen the academy on Earth, and thus Starfleet Academy follows the first class of cadets to be trained on the planet since the Burn, instead of the first academy students at all.

    Is Any of This Actually Important to Starfleet Academy?

    Absolutely not. If anything, it’s better for the show to not catch itself up trying to over-explain things and its connections to other Star Trek material—after all, it is serving as a major new onboarding point for new fans, just as Discovery did before it. But sometimes it’s fun to just nerd out over things that don’t really matter, as long as you don’t get too worked up over it.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    James Whitbrook

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  • I Can’t Believe This Is What Is Getting Right Wing Weirdos Mad About ‘Starfleet Academy’

    Starfleet Academy, as with any new entry to the Star Trek canon—especially those that were hated upon release only to eventually become diehard favorites of the fandom—courts its fair share of controversy when it comes to its approach to the broader series. Some of this is in its nature as a successor to Star Trek: Discovery, a series that weathered its own fair share of controversies over the years. Some of this is the intention of the show itself, which occasionally seems to delight in its young adult perspective, allowing it the chance to bite its proverbial thumb at the franchise’s authority, almost enticing detractors into an argument.

    But some of it is because people are very stupid, and sometimes, when those stupid people just happen to have the ear of the Trump administration and right-wing grifts are more culturally lucrative than ever, even the most minor and surprising of flashpoints can become the latest volley in the culture war.

    Such has been the case since Starfleet Academy‘s first two episodes aired late last week, when, above all the noise of the pros and cons discussed about its premiere, one complaint rose above all thanks to it being platformed by none other than White House advisor and noted ghoul Stephen Miller. The issue Miller seemingly took umbrage to? There’s some gosh-darned glasses in this Star Trek show.

    The foofaraw began when Miller took to Twitter to quote-tweet a clip of the series from an account named “End Wokeness” (likely thing for him to do), which featured a scene from the premiere of Holly Hunter’s captain, Nahla Ake, wearing a pair of thickly rimmed spectacles as she talks to her first officer, Lura Thok (Gina Yashere), and another member of the academy’s senior staff, Lieutenant Rourke (Tricia Black).

    Miller was initially vague about just what had annoyed him particularly about the scene—perhaps the dialogue, perhaps that it featured multiple women talking among themselves, who can say—but he described it as tragic, imploring that Paramount, now owned by Trump ally David Ellison, should “save” the franchise by relinquishing all creative control to William Shatner.

    Shatner’s social media account (it’s long been debated over who exactly runs the account for the actor) replied to Miller in turn and seemingly revealed Miller’s supposed tragedy was Hunter’s choice of eyewear. “The fact that they have not cure Hyperopia by the 32rd Century is an abysmal oversight on the writers,” Shatner’s post read in part. “Also Paramount needs to up the budget because I’m sure that a well oiled organization like Starfleet in the distant future could afford more than one pair of glasses for at least this hyperopic bridge crew.”

    It seems Miller ignored that Shatner’s post was clearly dripping with sarcasm, as he both reposted it and then directly responded with another quote tweet lambasting Kirk’s death in Generations as the downfall of all Star Trek. But he didn’t dispute Shatner’s insinuation that the so-called “wokeness” on display was to do with the existence of glasses in 32nd-century society.

    Obviously, to anyone who’s actually watched and engaged with Star Trek at any point in the last 60 years, part of the reason for Shatner’s sarcasm is that Kirk himself is just one of multiple characters that have been depicted across reams of Star Trek material as wearing glasses. Although various treatments for impaired vision exist in Star Trek‘s technological future, glasses were still worn in the 23rd century—an Enterprise transporter technician is seen wearing them in the original show’s pilot episode “The Cage” (and seen again when the pilot’s footage was repurposed for the two-parter “The Menagerie”), as are several other members of the Enterprise crew in The Animated Series. 

    Kirk himself famously wears reading glasses in The Wrath of Khan, citing that he was personally allergic to Retinax V, a commonplace medical drug used to correct vision. More recently, prior to Starfleet Academy giving them to Captain Ake, Jean-Luc Picard wore reading glasses in Picard‘s third season, and Discovery gave us David Cronenberg’s Kovich, who wore glasses as a fashion statement rather than out of necessity, which could also be the case for Ake (although we do see her wearing them to read too). Other eyewear has also been seen throughout the franchise, from sunglasses to, of course, Geordi LaForge’s visor in The Next Generation.

    © Paramount

    But none of this is the actual point of the right-wing grift, just like it’s never the point whenever one of these particular controversies bubbles up to the surface of pop culture toxicity. We’ve seen this cycle across countless films and TV shows that have gained the ire of being declared “woke” by their detractors, a feigned shock designed to generate a cycle of outrage and social media chatter among their acolytes. The point isn’t a lack of awareness or knowledge, or that their minds will be changed if they get a fandom wikia page shoved in their ignorant faces. It’s in the posting, the generation of that hate and attention, before they move on to whatever the next controversy can be, like the vultures they are.

    Stephen Miller probably doesn’t actually care about someone wearing glasses in Star Trek. He appears to have moved on, looking at his Twitter—where he’s now busy seemingly nodding towards another Star franchise, invoking The Mandalorian‘s “this is the way” slogan over a plan by Tennessee Republicans to persecute immigrants. Maybe he’ll come back to whine about something else Starfleet Academy does in the future. But it won’t be the show that’s the point; it’ll be because it’s just something he and his ilk in right-wing circles can try to turn into another round of artificial backlash among the slings and arrows of the culture war.

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    James Whitbrook

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  • A Brief History of Klingon-Federation Conflict

    The Klingons, more than any other alien beings on Star Trek—perhaps only really rivaled by the Vulcans—are one of the most enduring presences across almost 60 years of the franchise. In that time we’ve seen their culture and society explored, their history rewritten, and seen them be at odds with, work alongside, and reverse that relationship with our heroes more than a few times. That potential for conflict between the Klingons and Starfleet, no matter what the status quo of Star Trek‘s timeline says at some points, is as enduring as the Klingons themselves.

    Yes, even long after the signing of the famous Khitomer Accords that heralded a new era of cooperation between the Klingon Empire and the United Federation of Planets, the two factions have found ways to return to open war, a status quo that defined humankind’s relationship with the Klingons basically from first contact. Here’s a brief rundown of the waxing and waning Earth-Qo’noS relationship over centuries of Star Trek lore.

    © Paramount

    2151: The Broken Bow Incident

    Humanity’s first contact with the Klingon Empire would set the stage for centuries of unease between Earth and Qo’noS, even if it was partially down to shadowy controlling forces rather than necessarily ill relations between the two worlds. The fallout of temporal manipulation from a mysterious being leveraging the Suliban terrorist group known as the Cabal to manipulate the balance of power among the Great Houses: first contact between human and Klingon kind occurred in Broken Bow, Oklaholma, when a Klingon courier was shot down over Earth in an engagement with Cabal members.

    Grievously wounded by a local farmer, the courier, Klaang, was recovered by Starfleet and Vulcan authorities—and although the latter negotiated the return of Klaang to Klingon space, the former insisted on being the ones to return him, unintentionally violating the Klingon’s long-established codes of honor around injured warriors and putting Earth and Qo’noS off on the wrong foot.

    2220s: The Federation-Klingon Cold War

    After the founding of the Federation a decade after first contact with the Klingons, the Empire and the new interstellar organization largely stayed at arm’s length for decades, only for the Federation and Klingons to slip into an intense period of cold war by the early 2220s, contesting various colonial expansions by the Federation into what the Empire believed was its own space. Although broadly considered an extended cold war rather than a series of smaller engagements, the Federation and Klingons did occasionally engage in hostility during the period: most notably at the Battle of Donatu V in 2245, which saw tensions briefly boil over in a highly contested sector of the Beta Quadrant.

    Although the battle ended inconclusively, it did briefly pause tension between the Federation and the Empire, with neither side making notable contact with each other for the next decade.

    Star Trek Battle Of The Binary Stars
    © Paramount

    2256-7: The First Federation-Klingon War

    That changed in 2256 with the outbreak of total conflict between the two powers. The war was spurred by an encounter between Klingon forces rallied by the nationalist T’Kuvma and the Starfleet vessel Shenzhou in what would become the Battle of the Binary Stars—which lead to significant casualties to a combined Klingon fleet representing all 24 of the current Great Houses of the Empire’s political system, including T’Kuvma’s death at the hands of Shenzhou senior officer Michael Burnham, as well as the loss of Shenzhou‘s captain, Philippa Georgiou, and the deaths of thousands more Starfleet officers aboard a number of vessels that arrived to aid the Shenzhou.

    Although brief, the war was catastrophic for a largely unprepared Federation, contesting with the might of a fully united Klingon Empire, which made deep inroads to Federation territory, including being in arm’s reach of Earth itself by the end of the year. In an act of desperation, the Federation Council planned to surreptitiously destroy Qo’noS with the deployment of a hydrogen bomb near the planet’s core, although the plan was ultimately foiled by the intervention of the USS Discovery, which helped shift the balance of power on the Klingon High Council and push the Empire towards an armistice.

    Even though the conflict ended in an agreeable peace—with minor territorial changes at best for either side—the Federation had endured the bloodiest conflict in its century of history. One hundred million Federation civilians and Starfleet personnel were killed over the course of the war, and Starfleet itself was significantly diminished with the loss of approximately a third of its standing fleet.

    2267: The Second Federation-Klingon War

    The Federation and the Klingon Empire stayed largely within their own borders in the immediate aftermath of the war, maintaining a tense period of peace for the best part of a decade. However, conflict briefly arose again in the 2260s, as the Empire began to aggressively make demands of territory occupied by the Federation. With diplomatic talks breaking down by 2267, open conflict briefly flared up again over the planet Organia, a key world on the Klingon-Federation border.

    The Starfleet flagship Enterprise was sent to Organia to secure the world upon the declaration of war, despite the Prime Directive forbidding Federation influence on pre-warp civilizations such as the one documented on the planet. Unable to prevent the Klingons from landing an occupation force on Organia, Enterprise briefly retreated—leaving Captain Kirk and his first officer, Spock, stranded—to marshal Starfleet against Imperial forces headed towards Organia. The war came to an abrupt end with the revelation by the Organians that they were in fact a highly advanced, non-corporeal species, who used their powers to prevent the fleets from engaging and to forcefully establish a new peace treaty between the warring powers.

    Star Trek Khitomer Conference
    © Paramount

    2267-2293: The Treaty of Organia and the Khitomer Accords

    The Treaty of Organia (and the implied threat of the Organians) brought an end to the second war as soon as it had started and established disputed territories that both factions could explore and colonize, putting the Federation and Klingon Empire back into their usual cycle of uneasy peace. For the next few decades the Klingons and Federation would rattle sabers at each other over disputed worlds, in some case abiding by the Organian Treaty’s establishment of land claims, in other surreptitiously arming native societies in attempts to shift the balance of power.

    It would take disaster to push the two interstellar powers into true diplomatic relations. In 2293 Qo’noS’ only moon, Praxis, exploded after generations of overmining as one of the Empire’s key energy resources, threatening the viability of Qo’noS itself as toxic pollution infected the world’s atmosphere. With Qo’noS estimated at being only capable of sustaining life for another 50 years, the Klingon Chancellor Gorkron approached the Federation to formally establish new peace talks, in the hopes of being able to fund attempts to save Qo’noS’ atmosphere through trade and research pacts with the world’s former sworn enemy.

    However, Gorkron was assassinated while being escorted by the Enterprise-A to Earth for the talks, sparking a brief crisis that threatened to push the Federation and Empire to war once again. The crew of the Enterprise-A as well as the starship Excelsior, helmed by former Enterprise senior officer Hikaru Sulu, managed to successfully foil attempts to disrupt the reconvened diplomatic talks at Khitomer, exposing a conspiracy of Romulan, Klingon, and Federation forces. The exposure of the conspiracy ultimately lead to the signing of the Khitomer Accords, establishing a new formalized peace between the Empire and the Federation.

    2344: The Battle of Narendra III

    Although the Khitomer Accords dramatically reshaped the balance of power within the Alpha and Beta Quadrants, there were still tensions between the Empire and Starfleet, even as the former rebuilt from the ecological devastation brought about by Praxis’ destruction. These tensions ultimately subsided thanks to the intervention and sacrifice of the Starfleet flagship Enterprise-C during a conflict between the Romulan Star Empire and a Klingon colony on Narendra III.

    Although the colony was nearly destroyed, alongside the Enterprise-C itself as it engaged the Romulan forces (after a temporal anomaly briefly created an alternate timeline where the Federation and Klingon Empire were at war with each other once more), the actions of Starfleet, as well as the hostility of the Romulans, caused a significant sea change in Klingon political alliances, with the Star Empire rebuked in favor of closer ties to the honorable Federation. This ultimately led to the establishment of a renewed Treaty of Alliance, which allowed both powers passage through their respective spaces and a process to request aid in military conflicts, and ushered in a new era of peace and co-operation between the Federation and the Klingons.

    Star Trek First Battle Of Deep Space Nine
    © Paramount

    2372-2373: The Third Federation-Klingon War

    Alas, the peace would briefly be disrupted 30 years on from Narendra III thanks to the influence of a major power from the Gamma Quadrant, a multi-species oligarchy that surreptitiously provoked the Klingon Empire into an invasion of the Cardassian Union. The invasion was condemned by the Federation, which was heavily involved in ongoing territorial disputes with the Cardassians as well as the process of assisting and assessing the formerly occupied world Bajor for entry to the Federation in the wake of becoming a strategic ally with the discovery of a stable wormhole to the Gamma Quadrant within its space.

    The current Klingon Chancellor, Gowron, pulled the Empire out of the Khitomer Accords and Treaty of Alliance in protest of the Federation’s disapproval, and after an attempted assault on Federation forces aboard Deep Space Nine, the Starfleet-Bajoran station located at the mouth of the wormhole, open war broke out between the Federation and the Empire in early 2373, as Klingon forces committed to an invasion of the Archanis sector, which had been a historically disputed region of space between the Federation and the Empire for the century prior.

    The third Federation-Klingon War came to an end with a ceasefire agreement with the exposure of Dominion agents within the Empire’s high command as saboteurs responsibly for the tension. Although the ceasefire was broken shortly after, threatening a continuation of hostilities, the Federation and Klingon Empire ultimately restored their alliance after the Cardassian Union entered its own formal alliance with the Dominion, leveraging the latter power’s military might to beat back the Klingon invasion. Reunified but significantly damaged by the brief war, the Federation and Klingon braced for the outbreak of a new war between themselves and the Cardassian-Domion alliance… one that would prove to be the deadliest conflict in Federation history since its first war with the Klingons.

    Bonus Round: The Black Path Crisis of 3069

    Although we don’t know broad swaths of Federation-Klingon history in the wake of the Dominion War’s conclusion, the current ongoing IDW Star Trek comic The Last Starship, set in the 31st century in the wake of the devestating galactic event known as the Burn—an imbalance of dilithium that destroyed every active warp core in the galaxy, greatly destabilizing interstellar activity—explores a brief but devestating conflict between the remnants of Starfleet and a radicalized Klingon group known as the Black Path that emerged to capitalize on the chaos caused by the Burn.

    Believing the disaster represented a need for the Klingons to return to their martial ways, the Black Path began engaging in hositlities with the Federation (which had, up to the emergence of the Burn, grown to encompass almost every known civilization in space) in the immediate aftermath of the Burn. Although the Path and its fleet were halted by the death of its leader at the hands of Captain Sato of the USS Omega (with the assistance of a resurrected James T. Kirk; it’s a long story), the end of the crisis couldn’t come before a devestating attack by the fleet on Earth itself, unleashing its volatile warp cores as massive orbital bombs dropped on multiple key cities on Earth.

    The loss of life, on top of the continued destablization of galactic order, saw United Earth vote to leave the Federation immediately, reestablishing its independence for the first time in almost a thousand years. By the 32nd century, however, with the aid of a time-displaced USS Discovery, United Earth re-entered talks to rejoin the rebuilding Federation in the wake of Discovery‘s resolution of the Burn crisis in 3189—and seemingly peaceful relations with the Klingons were re-established, as the re-opened Starfleet Academy welcomed Klingon cadets in its first waves of new students since the Burn shortly thereafter.

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    James Whitbrook

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  • Lego’s First ‘Star Trek’ Set Should Be a Sign of Great Things to Come

    After what’s felt like years of waiting, hoping, and speculating, earlier this year, Lego finally confirmed it would be boldly going forward with a Star Trek set that has become the centerpiece of the brick-maker’s annual Thanksgiving celebrations. Can it live up to the hype?

    Thankfully, the answer is a resounding yes. Lego’s first foray into Star Trek, the Enterprise-D from The Next Generation, is a fascinating tribute to the legendary series while also being an extremely compelling build experience for diehard Lego fans, packed with fun techniques to maintain Star Trek‘s famously smooth-lined starship design in the world of Lego. io9 recently received a review copy of the Enterprise from Lego, so we’re here to take you inside and see what makes it so good—and why we hope it means it’s the first of many.

    How long does it take to build Lego’s Star Trek Enterprise-D set?

    Clocking in at 3,600 pieces, the Lego Enterprise-D is a pretty sizeable model, resulting in a replica of the Galaxy-class starship and a sturdy display stand to pose it mid-flight on that measures around 23.5″ from fore to aft and 10.5″ tall (aided by the fact the ship is held at an upwards angle on its stand). While it is a major undertaking, the build is broken into three distinct sections: the secondary hull and the Enterprise‘s nacelles, the stand itself, and then half of the 30 bags in the set are dedicated to the main saucer.

    Given the nature of the Enterprise-D’s design, once you get going, there are a lot of similar techniques repeated over and over again, so if you’re a familiar builder, you can go pretty quickly and even duplicate some steps to speed up the process. Overall, though, if you’re taking things leisurely, you can be done in 9-10 hours… or around 12 episodes of Deep Space Nine, if you’re like me and like to put something on while you’re building (sorry TNG fans, but I’d recently just restarted a rewatch and decided to continue that rather than put on a more thematically appropriate bit of background noise!).

    How many minifigures are in Lego’s Star Trek Enterprise-D set?

    Even though the focus of the set is the ship replica rather than a playset environment, it would be a crime if Lego’s first Trek set didn’t go all in on minifigures. Thankfully, the Enterprise-D comes with nine minifigures to faithfully recreate the bridge crew you know and love: Picard, Riker, Troi, Worf, La Forge, Data, Dr. Crusher, and Wesley Crusher in his famous jumper. Joining them to round out the set is a welcome but slightly oddball choice in Guinan, hostess of the Enterprise lounge Ten Forward, but she, like Wesley, breaks up the sea of similar Starfleet uniforms with some lovely unique elements to recreate her fashionable wardrobe.

    Each minifigure comes with an accessory, some more unique than others, even if they’re all appropriate. Wesley gets a very unique accessory in the form of a mini replica of the portable tractor beam generator from “The Naked Now,” as does Riker with his beloved trombone. Picard naturally comes with a teacup, Guinan has a green bottle of something from Ten Forward (it’s never explicitly noted what it is, but it seems like a nod to the Aldebaran whiskey Data offers Scotty in “Relics”), Data gets Spot the cat, and Geordi comes with an engineering kit. Perhaps the least interesting ones are ironically the most typically Star Trek: Worf gets a handheld phaser, which is cleverly constructed with a wedge piece and a handle, at least, while Deanna and Beverly get a PADD and medical tricorder… both of which are just printed 1×2 tiles. Which are fine and probably the best Lego could do at minifigure scale, but just kind of boring.

    What is nice is that, in a rare move, the Enterprise-D comes with a little separate stand to put the minifigures on in a row, complete with a cute little Next Generation title card (albeit as a sticker, rather than a printed piece). It’s a nice acquiescence to the fact that the build is more about the display model than the minifigures themselves, but it was still nice that Lego built something more structured to display them on, instead of just leaving them as-is.

    Is Lego’s Star Trek Enterprise-D set difficult to build?

    Building a Lego model out of a ship like the Enterprise-D is a risky endeavor, given its peculiar shaping and weight distribution, on top of the fact that, well, it’s mostly grey. But Lego puts a lot of interesting techniques in throughout the build to not only effectively capture the curvature and shaping of the Galaxy-class but also to keep your fingers busy and not have things blur into a long series of similar patterns being used to build similar-looking, similar-colored pieces.

    There are definitely a few places where more seasoned Lego builders can start duplicating builds to speed up the process: the build of the secondary hull of the Enterprise is split into two halves, for example, before you build the two nacelles that are identical in structure. Once you’ve built the skeleton of the main saucer, you’re then essentially repeating little plate sections of the hull to sandwich over it. While the repeating can be a bit, well, repetitive, there are enough interesting techniques used for experienced builders and enough simple patterning for Trek fans who might be embarking on their first-ever Lego build of this scale.

    On top of that, even though the Enterprise-D is a display set rather than a playset, the design team still snuck in a few fun little features and Easter eggs. The aforementioned main saucer section, for example, is secured into place by a little floating shuttlecraft coming in to dock at its aft shuttle bay—which can be removed so you can separate the saucer from the secondary hull to replicate the Galaxy-class’ unique feature. And even though you don’t get to build its iconic bridge, the center of the saucer does hold a little replica of the Enterprise‘s dedication plaque! Even as someone who is on the record on the D being far from my favorite Enterprise design, I couldn’t help but be charmed at just how well Lego managed to bring it faithfully to life.

    How much is Lego’s Star Trek Enterprise-D set? Is it worth the price?

    Alas, this is going to be the sticking point for a lot of Star Trek fans. At $400, the Enterprise-D may not be quite so eye-watering as some of Lego’s other recent set prices, but it’s still a big ask, and especially difficult considering it’s the first time (and potentially last) the company has tackled Star Trek. You’re definitely getting something that feels worth the price in terms of size and scope, but it’s not hard to wonder if Lego should’ve started out at a smaller scale or with different ideas beyond ship replicas to test the waters and see if Star Trek could become just as enduring a Lego series as Star Wars has, if the alternative was a very pricey one-off.

    We don’t know what the future for Lego Star Trek holds beyond the Enterprise-D—this could be the start of a yearly release schedule akin to Lego’s approach to Lord of the Rings, a line that exclusively stays in the upper echelons of adult-focused, high-end (and high-cost) sets. It’s undeniable that as a build experience and as a replica of one of the series’ most famous starships, the Enterprise-D is a Star Trek and Lego fan’s dream: it looks great, it’s a fun, big build, and it’s got a great collection of minifigures that feels complete in the way that, if this is it, at least you got everything you’d want.

    But it’s equally undeniable that a lot of Star Trek fans and a lot of Lego fans are going to be put off by Lego’s decision to go big as it did here to justify asking such a high price, in an age where the company’s products feel like they’re only getting pricier and pricier. There’s a lot more value in the Enterprise-D compared to some of 2025’s other big-ticket sets, sure, but $400 is still $400.

    If there was some kind of indication from Lego that this wouldn’t be it and that there would be more, smaller-scoped sets, it might be an easier pill to swallow, knowing Trek fans can wait and see what else the company does if they don’t want to throw down this much cash in one go. Even as great a set as it is, it’s a tough sell to anyone but some of the most diehard Star Trek fans without some Ferengi-level justification to your wallet.

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    James Whitbrook

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  • 11/16: Sunday Morning

    Hosted by Jane Pauley. Featured: The boom in online prediction markets; Barstool Sports president Dave Portnoy; William Shatner and Neil deGrasse Tyson; when workers are pushed into homelessness; “Wicked” composer-lyricist Stephen Schwartz; and Walter Isaacson on the Declaration of Independence.

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  • How Do You Run a Klingon Empire?

    Star Trek has spent almost 60 years delivering the ins and outs of Starfleet and the Federation, detailing the history of its greatest triumphs and greatest crises. But one of its most enduring factions has had its structure shrouded in mystery and myth for almost that entire period too… and no, it’s not the Romulans. It’s the Klingon Empire.

    The Klingons have been one of Star Trek‘s most fleshed-out alien species—charting their evolution from sworn enemy to stalwart but begrudging ally—and in that time we’ve had plenty of stories about the political machinations at play within their borders. But just how the Klingon Empire has existed and operated for thousands of years has long been obfuscated. Much of what we know surrounding Klingon society as it would be codified for most of Star Trek history—after Next Generation radically overhauled the Klingons into an honor-bound warrior caste and away from their roots in the original Star Trek—was ideated in memos written by Ronald D. Moore during production of the TNG season three episode “Sins of the Father,” which depicted the first time Star Trek visited the Klingon homeworld.

    But even though since then we’ve learned a great deal of Klingon culture and history, just how the Empire formed and how it works and sustains itself has only been detailed in the broadest sense, and sometimes even wrapped up in the mythos of Klingon spirituality, compared to our historical understandings and explorations of the Federation’s founding. But, from myth to society, we at least do have a picture of how the Klingon Empire operates.

    The Founding of an Empire

    A historical reenactor playing Molor during the festival of Kot’baval. © Paramount

    Much of the earliest eras of Klingon history are rooted in the mythopoetic legends of its “modern” society by the time of the 24th century. But although there have been some inconsistencies on the whens, we do know that sometime in the 10th century the Klingon Empire as we would come to know it would begin to take shape.

    During the reign of a tyrannical leader named Molor, the Klingon people began to rise up in support of a warrior named Kahless, who stood in defiance of Molor’s rule. After routing an army of 500 of Molor’s troops alongside his future wife, Lukara, Kahless began a campaign against Molor that climaxed at the river Srkal, where Kahless slew Molor with his sword, the first bat’leth. Although a lowborn—it’s unclear how much before Molor’s rule if the Great Houses that would eventually play a fundamental role in the organizational structure of Klingon society held any kind of political sway—Kahless declared himself the first Emperor of a new Klingon Empire, ushering in a new age of unity and expansion for the Klingon people.

    The Reign of the Emperor

    Star Trek Kahless Ii
    © Paramount

    Kahless would eventually pass into myth as Kahless the Unforgettable, but his rule helped shape foundational elements of Klingon society and structure that would endure for a millennium. It was Kahless who helped establish the Klingons’ ritualized codes of honor and encouraged their martial prowess, and his rule would both see the disparate Klingon people united and establish the underpinnings of Klingon spirituality when his reign ended with Kahless leaving his people and planet behind to ascend to Sto-vo-kor, the Klingon afterlife.

    What followed for the Klingons was almost a thousand years of dynastic monarchy, with the royal line of emperors overseeing Qo’noS’ development as the heart of a burgeoning interstellar empire, conquering other worlds and subjugating species—and in turn occasionally being laid low themselves. Four hundred years after Kahless’ rise, Qo’noS itself was invaded by a mysterious race hailing from the Gamma Quadrant known only as the Hur’q (Klingonese for “Outsider”), who looted the Klingon homeworld of many valuable cultural artifacts, leaving much of early Klingon history lost to myth and fables.

    Dark Times and the High Councils

    Star Trek Chancellor Gowron
    © Paramount

    Although the power of the Emperor endured for a thousand years, it was not without periods of doubt. Sometime during a period of the Empire’s first millennium, the bloodline of the Emperor that had existed since the time of Kahless the Unforgettable was brought to an end by a coup d’etat. Led by the general K’Trelan, the coup saw Emperor Reclaw assassinated and the entire Klingon imperial family put to the sword. What followed would be retroactively known in Klingon society as “The Dark Time”: a decade where Klingon society would be ruled by a democratically elected council of representatives.

    Although the Klingons’ flirtation with democracy was brief, the Dark Time established key political reforms in the maintenance of the Empire. The rule of the Emperor was re-established in an attempt to consign the council to memory, with a new dynasty given the names and titles of the former slaughtered royals to try and portray an unbroken line carrying back to the days of Kahless. But despite this attempt at maintaining continuity, the rule of the emperor would not last forever: sometime in the 21st century, the final emperor of the third dynasty passed away, with no successor. The power of the Klingon Empire transitioned to a chancellorship… and a High Council not entirely unlike the one from the Dark Time.

    The Power of the Great Houses

    Star Trek Worf Klingon High Council
    © Paramount

    The Klingon High Council operated not on democracy, but on noble rite: the Chancellor oversaw a council that represented 24 of the most powerful and influential families on Qo’noS, established as the Great Houses, with each Great House nominally in charge of specific administrative systems and departments of government. The familial houses themselves likely preceded the existence of the High Council as a political structure, but it was only really after the diminishment of the imperial line that they began having a major role in stewardship of Klingon society.

    Each Great House was patriarchal and feudalistic in nature, ruled by the eldest male of its primary family, with their wife typically designated as House Mistress, in charge of overseeing marriages and other holdings of the family, while the leader of the House would oversee military forces and be responsible for contributions to the High Council. In most cases, leadership of a Great House would pass on to the eldest son of the ruling family, but in some circumstances, leadership could change hands through other means.

    If the leader of a Great House was killed in honorable combat without a male heir, a House Mistress could either petition the High Council for dispensation to rule the House herself (although women could only serve on the High Council in extremely rare circumstances) or invoke the brek’tal ritual, which allowed a Klingon widow to marry the warrior who slew her husband. Across the centuries that the Chancellory and High Council ruled the Empire, some Great Houses fell from grace, either through political machination or the act of discommendation, which could see either an individual Klingon or even their entire house stripped of privilege and honor for multiple generations, shunned out of society, and their holdings picked apart by rival houses.

    Likewise, the office of the Chancellor itself was a similarly fraught position, despite its status as the primary seat of power in the Empire. Klingon Chancellors could be deposed through challenges of combat, or, if they passed peacefully (or by other means), a successor would be chosen through the similarly martial rite of succession, climaxing with a fight to the death.

    But even though Klingon society ultimately transitioned power to its noble houses, the role of the emperor was not lost forever. In 2369, clerics on the moon of Boreth, a key seat of power in Klingon faith, successfully managed to clone Kahless and imprint the body with the teachings of Klingon faith and society, attempting to herald in a new dynasty. However, the clone’s origins were uncovered through the efforts of Worf and Chancellor Gowron—but instead of being discarded, Kahless II was established as emperor once more, although now as a moral guide and religious figurehead for the Klingon Empire, rather than wielding direct power as the High Council did.

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  • I Really, Really Want the 3,600-Piece Lego U.S.S. Enterprise

    It is impossible to overstate just how big an impact Star Trek: The Next Generation had on an entire generation of kids growing up in the 1990s. I watched every episode with my mom. When I walked into my friend’s house after school, a gigantic cardboard cutout of virile, bald Captain Jean-Luc Picard greeted us in the hall. I followed Wil Wheaton, who played precocious teen Wesley Crusher, on social media well into my twenties. My son (I am not lying about this) is named Wesley. My husband thinks we named him after the explorer John Wesley Powell. We did not.

    All this is to say that I now know exactly what my family’s big Christmas present is going to be this year. Today, Lego unveiled the Icons Star Trek: U.S.S. Enterprise NCC-1701-D set.

    Courtesy of Lego

    Lego

    Icons Star Trek: U.S.S. Enterprise NCC-1701-D

    The detailed replica of the ship comprises 3,600 pieces and includes nine minifigures, each with its own accessory. All the important folks are here: Picard, Riker, Worf, Data, Geordi La Forge, Deanna Troi, Beverly and Wesley Crusher, and the bartender, played by Whoopi Goldberg (who didn’t really register with me because I didn’t understand what bars were back then).

    You can make Riker and Troi fall in love all over again when Riker plays his tiny trombone! Remember when it was apparently really sexy for all men to play large brass instruments? Deanna’s hair looks amazing, as usual. The Wesley Crusher figure has a portable tractor beam! It also comes with a display stand with an information plaque and a minifigure display title.

    You can purchase the Star Trek: U.S.S. Enterprise NCC-1701-D on November 28 for $400. If you purchase the new set between November 28 and December 1, on Lego’s website or at a Lego store, you will also receive the Type-15 Shuttlepod as a gift with purchase. Excuse me, I have to mark this on my calendar and go faint now.


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    Adrienne So

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  • The Lego ‘Star Trek’ Set Is Here, and It’s Exactly What You Want

    Open hailing frequencies to your wallet, because after a brief tease during Star Trek Day, it’s finally here—Lego’s first-ever official Star Trek set, celebrating one of the most beloved Starfleet flagships of all time.

    This morning Lego confirmed what many had expected after that brief tease of a minifigure Captain Picard a few months ago: it’s boldly going into the world of Star Trek with a replica of the USS Enterprise-D, as seen in The Next Generation. Clocking in at 3,600 pieces, the scale replica of the Enterprise-D is a faithful representation of the Galaxy-class starship, including a detachable saucer section to recreate the ship’s ability to separate into two autonomous craft and even a tiny little opening shuttle bay on the rear of the saucer, which houses two miniscule shuttlepods. Once built, including its stand, the model is around 10.5 inches tall, 23.5 inches long, and 18.5 inches wide.

    Lego Icons Star Trek: The Next Generation U.S.S. Enterprise-D Gallery

    Of course, aside from the stand featuring the technical data of the Enterprise-D (and angled so you can pose the ship in flight as it was often seen in TNG), the set also features nine minifigures recreating the primary cast of the show. You’ll get the previously teased Captain Jean-Luc Picard alongside Data, Geordi La Forge, Will Riker, Deanna Troi, Beverly Crusher, Worf, Guinan, and Will Crusher (yes, he’s wearing the jumper). As well as a separate display stand, they’ll also all come with a series of thematic accessories, from general Starfleet kit like a phaser, tricorder, PADD, or an engineering kit and a portable tractor beam generator, to some more character-specific touches, like a teacup for Picard, Riker’s trombone, a bottle for Guinan (it’s green, so maybe Aldebaran whiskey?), and Spot the cat for Data. D’aaw!

    Star Trek may live in a post-scarcity economic utopia, but alas, we don’t, which means you will have to cough up $400 if you want your own Enterprise-D when it releases on November 28—and gold-pressed Latinum is not an acceptable alternative, before you try your best Quark.

    © Lego

    In Ferengi spirit, perhaps then, Lego will sweeten the deal if you purchase the set online or from a Lego store between November 28 and December 1: a buildable 261-piece replica of one of the Enterprise‘s Type-15 shuttlepods (specifically the Onizuka). The shuttle will include an opening rear hatch and even an LCARS system displaying an amazing deep cut: the stardate 45076.3, dating it to the season five episode “Ensign Ro,” so it’s only fitting that the bonus also includes a minifigure of the feisty Bajoran ensign, Ro Laren.

    The Lego Icons Star Trek: The Next Generation USS Enterprise-D will be available to preorder here later this month.

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    James Whitbrook

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  • The Complete History of ‘Star Trek 4’ Not Happening

    Star Trek 4 is dead. Again. But this time, the movie that has died multiple deaths might be gone for good.

    With this week’s news that Paramount, after a decade of back and forth, has seemingly pulled the plug on reviving the “Kelvin Timeline” that returned Star Trek to the silver screen in J.J Abrams’ 2009 movie, we’re taking a look at the decade-long timeline that the Star Trek movie that couldn’t took to come to this unfortunate end.

    2015

    The third entry in the rebooted Star Trek film franchise, eventually titled Star Trek Beyond, enters production in June 2015. But before that, Paramount signs stars Chris Pine and Zachary Quinto into extended contracts, covering their return for Star Trek 4.

    Months later, in November 2015, shocking news hits: a decade after Star Trek left TV screens with the conclusion of Star Trek: Enterprise, Paramount confirms development has begun on a brand new Star Trek TV series, for its then-nascent streaming platform, CBS All Access (eventually known as Paramount+). Alex Kurtzman, who co-wrote the 2009 Star Trek film as well as its sequel Into Darkness, will produce the series.

    © Paramount

    2016

    In May 2016, Paramount begins registering Star Trek 4 with the MPAA, suggesting that plans to continue the series are in place after Star Trek Beyond. Just days before Beyond is meant to release, J.J. Abrams drops a bombshell during publicity: Star Trek 4 isn’t just happening, but will bring back Chris Hemsworth as George Kirk, James Kirk’s father, who perished aboard the U.S.S. Kelvin in the opening events of the 2009 movie. He also confirms shortly after that the fourth film would not recast Pavel Chekov, following the tragic passing of actor Anton Yelchin a month prior.

    Star Trek Beyond releases shortly after (it’s pretty solid), and Paramount officially confirms Abrams’ prior comments, delivering Star Trek 4‘s first official logline:

    In the next installment of the epic space adventure, Chris Pine’s Captain Kirk will cross paths with a man he never had a chance to meet, but whose legacy has haunted him since the day he was born: his father. Chris Hemsworth, who appeared in 2009’s Star Trek, will return to the space saga as George Kirk to star alongside Pine.

    It’s a busy week for Star Trek: back in TV land and at San Diego Comic-Con, Paramount reveals that the new TV series announced the year prior is officially called Star Trek: Discovery, and will be set in Star Trek‘s prime continuity, rather than the Kelvin timeline of the rebooted movies.

    2017

    No official updates on Star Trek 4 emerge, leading to months of speculation from stars such as Zachary Quinto and Karl Urban, who hope that the movie is actually happening.

    In December 2017, it is revealed that Quentin Tarantino pitched a Star Trek film to J.J. Abrams, with work immediately beginning on developing a writer’s room to hash out the script, with an eye for Tarantino to direct. No one is sure if this is Star Trek 4 or if it’s another film set in the Kelvin timeline.

    Star Trek: Discovery premieres in September, kicking off a rocky but intriguing debut season.

    Star Trek Beyond Kirk Spock Mcoy Jaylah
    © Paramount

    2018

    Two years after it was first announced, Chris Hemsworth joins the list of Star Trek 4 stars who have no idea what’s happening with the movie, alongside perpetual “Star Trek stars asked about Star Trek 4 a lot” stalwarts Zachary Quinto and Karl Urban. The general tone of the responses, beyond a lack of clarity, is that people continue to be uncertain if Paramount is developing one Star Trek movie or two, and whether or not that’s actually Tarantino’s project.

    Paramount decides to finally clarify, slightly, in April 2018, with an announcement at CinemaCon that the studio is developing two Star Trek films. Without more details, it’s up to trade reporting to confirm shortly that one of those films is indeed Star Trek 4, and that S.J. Clarkson will direct, making her the first female director to helm a Star Trek film. J.D. Payne and Patrick McKay are set to write the script.

    The summer of 2018 is largely defined by noncommittal hopes for the film’s future, even with Clarkson attached. Black Panther and Walking Dead star Danai Gurira is rumored for a potential role in the project, and rumors swirl of a potential January 2019 production start.

    But issues begin to emerge. It’s first reported in July that Amazon is tapping Payne and McKay to develop their incredibly expensive Lord of the Rings prequel show, and then a month later, The Hollywood Reporter releases a report claiming that Star Trek 4 is on the verge of falling apart, as both Chris Pine and Chris Hemsworth attempt to negotiate deals with Paramount they believe the studio is reneging on as it reevaluates the project’s budget in the wake of Star Trek Beyond‘s performance two years prior. It’s unclear if talks could continue, or if Paramount faces the unenviable task of recasting not one, but two of The Hollywood Chrises.

    Meanwhile, back in the world of TV, CBS All Access is emboldened by the launch of Discovery. News quickly emerges that Trek legend Patrick Stewart has agreed to return as Captain Jean-Luc Picard in a new series, and the streamer begins making plans to make lot more Star Trek.

    By the end of the year, updates return to the status of uncertainty. But hey, good news! Chris Pine is hopeful and waiting for the call that would bring him back to the captain’s chair, and that has to count for something, right?

    2019

    Star Trek 4 is seemingly scrapped in January. S.J. Clarkson is tapped to develop a new Game of Thrones prequel spinoff for HBO, an opportunity she can only purportedly take because Star Trek 4 had been shelved by Paramount. The ever-present and ever-vague Quinto offers another noncommittal hope that Star Trek 4 will happen at some point in time.

    Meanwhile, Star Trek‘s streaming TV ambitions go from strength to strength. Paramount announces a Michelle Yeoh-led spinoff show based around the secretive black ops organization Section 31, and a new animated comedic spin on the franchise, Lower Decks, emerges. All eyes are on Star Trek: Picard‘s January 2020 premiere, and after a popular launch in Discovery‘s second season, there’s rumor abound of Anson Mount and Ethan Peck helming another new series to reprise their roles as Christopher Pike and the young Spock.

    But although the year started poorly for Star Trek 4, it concludes with some hope. Eleven months after it was seemingly dead, it emerges that Star Trek 4 is back on with the assistance of Legion and Fargo helmer Noah Hawley. What is dead for real, though? The Chris Hemsworth return storyline.

    Star Trek Beyond Kirk Chekov Sulu
    © Paramount

    2020

    The Hawley era of Star Trek 4 gets off to an immediately odd start when Hawley seems to suggest that his Star Trek 4 might not necessarily be Star Trek 4 while speaking at a Fargo promotional event in early January, framing it as a “new beginning,” and noting that he was as yet unsure as to who would actually appear in the film.

    Simon Pegg takes over as the de facto “Star Trek cast member who has a vague but hopeful wish that Star Trek 4 happens at some point” spokesperson for a while, but even he is largely skeptical that the movie may happen despite Hawley’s involvement.

    A little thing called the coronavirus makes its global debut. No one is making much of anything for quite a while, but good news! That new Discovery spinoff based on the crew of the EnterpriseStar Trek: Strange New Worlds, becomes official. Plus, Star Trek: Lower Decks debuts, and it’s pretty good. It would seem that Star Trek is, once again, a television franchise.

    Noah Hawley eventually confirms that his Star Trek movie is not Star Trek 4, as Kirk is not involved, seemingly now leaving three Star Trek theatrical projects in the air. That doesn’t stop Zachary Quinto and Chris Pine from still hoping, though. Just from a safe social distance.

    2021

    Star Trek movie from Discovery writer Kalinda Vazquez is announced, but it’s made clear that it is not Star Trek 4. To make matters even more confusing, shortly after Paramount dates an untitled Star Trek movie for June 9, 2023 that is not Vazquez’s script.

    Meanwhile, there is another: WandaVision director Matt Shakman is tapped as the latest director of Star Trek 4, with an eye on production beginning in spring 2022.

    Star Trek Beyond Spock
    © Paramount

    2022

    Weirdly enough, Paramount reannounces Star Trek 4 during a sweeping investors call in February, reaffirming that the original cast will return and production is now set for late 2022 with Shakman directing. As an aside, we also learn that Quentin Tarantino’s now very dead Star Trek project would’ve been incredibly weird if it actually had happened.

    Summer comes, and so does Marvel, who now want Shakman for the long-awaited Fantastic Four movie. Star Trek 4 very quickly no longer has a director. Our favorite source of Star Trek 4 updates, Zachary Quinto, starts to suspect that maybe the movie won’t start filming in late 2022 after all.

    2023

    Michelle Yeoh, now an Academy Award winner, will now star in Section 31 movie instead of a Section 31 TV show, because at least one side of Star Trek remembers how to make films.

    June 9, 2023 passes. No Star Trek movie is released.

    Star Trek Beyond Kirk
    © Paramount

    2024

    The start of 2024 comes with a series of surprises: another Star Trek movie is in the works, according to Patrick Stewart, who finds himself seemingly unable to let go of the role of Jean-Luc Picard after Star Trek: Picard‘s third and final season wrapped up in April 2023. Literally days later, a whole other Star Trek film is revealed. From writer Seth Grahame-Smith and director Toby Haynes, the project is described as an “origin story” for Starfleet. For very complicated time travel/alternate universe reasons, no one is really sure if this actually means this film is set in the prime Star Trek continuity or the Kelvin timeline.

    In a wide-ranging preview of Star Trek‘s future, it’s noted more movies are planned for the franchise after its years of successful revivals as a TV franchise. It’s mentioned that The Flight Attendant’s Steve Yockey is drafting the latest script for Star Trek 4. Months later in July, Skydance Media confirms that it has acquired Paramount for $8 billion.

    2025

    Star Trek: Section 31 releases on Paramount+ in January. It turns out that at least one side of Star Trek does not remember how to make films.

    By August, Skydance’s takeover of Paramount is officially complete. New CEO David Ellison says that movies and Star Trek are a high priority for his plans to re-establish Paramount as a premiere studio, and this still includes Star Trek 4, with Yockey still attached as a writer. No new director is confirmed.

    Which is for the best, with the news on November 4 that Paramount has “moved on” from Star Trek 4. For good? Time will only tell.

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  • Star Trek’s Zachary Quinto Returns as Spock, But Not How You’d Expect

    After nine years, Zachary Quinto is back as fan-favorite Vulcan Spock — just not for Star Trek.

    Why is Zachary Quinto dressed as Spock in Brilliant Minds?

    With Star Trek 4 stuck in development hell at Paramount, the NBC medical drama series Brilliant Minds has decided to give the fandom what it wants. Quinto’s lead character, Dr. Oliver Wolf, dresses up as the Enterprise’s first officer in the show’s upcoming Halloween episode. Quinto isn’t the only Brilliant Minds series regular to get in on the Star Trek fun though, as Tamberla Perry’s Dr. Carol Pierce will be dressed as Uhura, Spock’s colleague/love interest in the Kelvin timeline movies.

    ComicBook.com shared the first look at Quinto and Perry’s characters dressed as Spock and Uhura for the hospital’s Halloween festivities, which can be viewed below, courtesy of X:

    Created by Michael Grassi, Brilliant Minds is centered around Quinto’s Dr. Oliver Wolf, a neurologist whose avant-garde investigatory methods often unearth hard-to-find medical truths about his patients. The medical drama series is inspired by Oliver Sacks’ books The Man Who Mistook His Wife for a Hat and An Anthropologist on Mars. Besides Quinto and Perry, Brilliant Minds stars Ashleigh LaThrop, Aury Krebs, Teddy Sears, John Clarence Stewart, Brian Altemus, and Al Calderon.

    Quinto’s Spock reprisal should hopefully tide fans over until Paramount finally decides to move forward with a fourth Kelvin-set Star Trek movie, which has been in development since July 2016. Unfortunately, since the initial announcement, the movie has struggled to make any headway, going through several different creative teams. At the time of writing, Steve Yockey is reportedly writing the latest draft of the Star Trek 4 script.

    Despite the development complications, Quinto remains interested in reprising his role as Spock for Star Trek 4, stating just last month, “I would absolutely love to do another Star Trek movie. I don’t understand why we haven’t done one yet, but hopefully now that the Skydance and Paramount merger is moving forward, Skydance was the financier of all the Star Trek movies that we’ve done so far, and have been great partners in those films, and I would love to revisit it.”

    The Halloween-themed episode of Brilliant Minds Season 2, “The Doctor’s Graveyard,” will air on NBC on October 27, 2025.

    Originally reported by Lee Freitag for SuperHeroHype.

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  • John Boyega Thinks ‘Star Wars’ Could Learn From All That ‘Star Trek’ Talking

    As part of what’s becoming his soft launch into being a pop culture pundit, Rise of Skywalker actor John Boyega has weighed in on the time-honored rivalry between Star Wars and Star Trek. Though he starred in the former’s sequel trilogy, Boyega says he understands the appeal of the latter, echoing the typical refrain of most Trek fans: the importance of balancing talking and action.

    Speaking at Dragon Con (thanks, Popverse), Boyega made no qualms over the fact that he, like most normal people, double-dips in loving both series. While a fandom layperson might assume Boyega would prefer Star Wars, what with his breakout role as Finn, Boyega says he’s actually more attuned to Star Trek because it tends to address its issues rather than brandishing a lightsaber and getting active.

    “In Star Trek, they give you time to have discussions. I think there’s something Star Wars can learn from that actually,” Boyega said. “In terms of me appearing in [Star Trek], I’ve got to stay on team. I’m a lightsaber guy.”

    This is the latest in a string of Boyega observations about the direction of Star Wars and what he would’ve done differently if he were in charge. So far, he’s discussed the whole “Reylo” situation, the handling of Luke’s last stand, and not making new characters OP (read: overpowered)—the type of garden variety takes that lend themselves well to hours-long YouTube retrospectives. But he’s also hit the mark on having fans reckon with the toxic facets of the fandom.

    Key among his post-Rise of Skywalker takes was how shitty it is for certain fans to treat Black actors in Star Wars as some “woke” demerit to the spirit of the franchise when alien creatures like Babu Frik exist. That same kind of toxic fandom rhetoric is what saw The Acolyte star Amandla Stenberg endure racist backlash from a certain subset of viewers.

    Deplorable treatment of Star Wars actors of color also reared its ugly head when Obi-Wan Kenobi star Moses Ingram became the target of fandom trolls. This led Obi-Wan Kenobi himself, Ewan McGregor, to stand in support of Ingram—a tendency many actors have, stepping in when Disney sits on its hands in situations like this with its shows and movies. Guess not everyone can be Gina Carano.

    Both fandoms certainly have their fair share of dirty laundry that would call into question whether the intergalactic grass is greener on the other side. But an argument could be made that a show more predicated on talking things out and centering diversity into its very framework lends itself to having a fandom that doesn’t get pointedly weird about seeing people with different skin tones as important players in its stories.

    But that’s a discussion for another day. Likely after the heat death of the universe, when Star Trek and Star Wars fans no longer fan the flames of which of their series is better.

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  • The Final Seasons of ‘Strange New Worlds’ Will Move Away From ‘Outlier’ Episodes

    One of the many criticisms that emerged from Star Trek: Strange New Worldsuneven third season was that the show struggled with the effective balance it had maintained in its first two seasons between classical action-adventure episodes in the vein of Star Trek‘s past and more outlier (and largely lighter-hearted) one-off episodes that put zany premises over building on character arcs and a broader seasonal narrative.

    Those episodes are clearly not going away as we get closer and closer to Strange New Worlds‘ end—after all, we are getting an episode where the crew becomes puppets next season—but they may become a bit more sparse as the show tries to make the most of the time it has left with these characters.

    “We’re making season five now, we’re trending towards that, which is probably the center line of Star Trek, right?” Co-showrunner Akiva Goldsman told Screenrant of Strange New Worlds‘ final episodes. “We’re trending now, and beginning with season four and through season five, to a much more singular sci-fi, action-adventure, emotional storytelling. And you know, the outliers are getting less and less as we kind of focus on saying goodbye to each other and the fans.”

    It’s the latest in what’s been a bit of a promotional apology tour in the wake of season three’s release, which has already seen the crew behind the show promise fans that the show’s last batches of episodes will be stronger than the unevenness of season three. With season four being the last full installment of the series—season five will be truncated down to just six episodes—the series doesn’t have a lot of time to spend with either its version of classic original series characters and getting them on the path to their places in that show or its remaining original characters that, presumably, have to eventually move on from the Enterprise in one way or another by Strange New Worlds‘ end.

    It might be a while before we start seeing the fruits of Goldsman’s promises, but at least there’s something to be hopeful for as we wait for season four and beyond.

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  • I Tried My Best to Completely Mess Up the Pilot of ‘Star Trek: Voyager’

    When we first heard about Star Trek Voyager: Across the Unknown, we were hooked on its killer premise: you take control of the starship Voyager after it’s flung 70,000 light-years into the Delta Quadrant and are tasked with the decisions to keep the ship in one piece. Managing resources, diffusing or engaging in conflict, monitoring your crew’s morale, assigning away teams where every choice matters—who lives, who dies, will you get Voyager home or will you chart another path?

    So when developer Gamexcite released a new demo for the game as part of this week’s Steam Next Fest, I knew I had to don my combadge, brew up a cup of Janeway’s favorite, and give it a try myself. But while there’s still a ton of promise in Across the Unknown, its opening moments are a little too guided to really let the game shine.

    © Gamexcite

    Across the Unknown‘s demo takes you through the broad tutorial section of the game, based around the events of Voyager‘s pilot, “Caretaker.” There are some acquiescences to breaks in that narrative in order to teach you about Across the Unknown‘s mechanics—most particularly resource management, scanning planets for places you can acquire new resources, and then managing a variety of systems aboard Voyager itself, from power capacity to crew morale, to researching new technology and fabrication, to, in the most interesting twist from the show itself, actually treating the ship’s 70,000-light-year jump as a catastrophic, ship-disabling event, necessitating you having to slowly but surely clear the vessel of debris and rebuild facilities as you and your resources see fit.

    But for the most part, you are following the events of “Caretaker,” and that by and large means you’re pretty isolated from the choice-based narrative decisions that are one of the more interesting things about the wider game. The general flow of this hour-long slice of the game is as any Trek fan already knows: you get zapped to the Delta Quadrant, there’s a mysterious array full of weird people playing banjos and enticing you with lemonade, crewmates go missing, you discover said array’s connection to a nearby planet called Ocampa, you encounter Kazon (the Kazon-Ogla, to be precise!), and you are then left with the choice of destroying the array to stop the Kazon from getting their hands on it or using it to get yourself back home to the Alpha Quadrant.

    20251016024307 1
    © Gamexcite

    For my first playthrough of the demo, I opted to try and keep it as faithful to the events of the original episode as possible. On away missions, I assigned people who actually went on those same missions in the series—something you’re subtly encouraged to do, at least for this first tutorial arc, by said characters having the right kinds of stats and expertise to get the most out of the various skill checks you face during these missions (largely told through an LCARS-esque window system, rather than in a particularly cinematic fashion—early it might be, to the point that the game is currently lacking any kind of voiceover dialogue, but Across the Unknown is definitely more a game about managing spreadsheets than it is about particularly lavish set pieces). When offered choices to make, like whether I attempted to rescue Chakotay or Torres from the Caretaker array’s lab storage, or ultimately whether I destroyed the array or used it to go home, I made those choices.

    As the demo ends after that choice, you can’t really continue to see the consequences of your actions up to that point quite yet, or how Across the Unknown will then balance introducing other classic Voyager stories into the rest of the game as you make more and more decisions. But overall, unsurprisingly for a tutorial-heavy section of the game, this largely felt like less about choice and more about handrails. Your impact on individual away mission choices, whether you succeeded or failed, didn’t feel like it could overwhelmingly alter the narrative yet. The one crossroad of choices about who you try to save on the array simply means you either get Chakotay and Tuvok as characters in your array of “heroes” you can send on away missions or assign to various areas of the ship for efficiency bonuses (and Harry goes missing, as he does in the show), or you get B’Ellana and Tuvok (and Paris goes missing instead).

    20251016033625 1
    © Gamexcite

    While the resource management and survival game layer of Across the Unknown was shining early on, even in this hand-hold-y phase of the game (space combat, however, leaves much to be desired so far, largely based on you deciding which enemy subsystem you want to shoot at and occasionally pressing a cooldown on an ability), the opportunity for you to make Voyager‘s journey home truly your own just didn’t feel like it was quite there yet. So when I “successfully” left Voyager in the Delta Quadrant at the end of my initial run, I hopped back in and made a decision: I was going to try and be the worst Captain Janeway possible.

    I deliberately neglected managing the ship outside of the bare minimum power and deuterium resources needed to keep the ship going—not assigning senior staff to workstations, nosediving the crew’s morale by denying them more than emergency rations in the mess hall, or not building even emergency rest quarters (but not too far—not having enough fuel to have the warp core running outside of “Grey mode” or lowering morale to a certain point, which leads eventual fail states). Whenever I could, I would make an aggressive decision, seeing how much I could break myself away from the events of “Caretaker.”

    20251016034733 1
    © Gamexcite

    On away missions, I tried to send the least-equipped people and made them take decisions that would lead to almost guaranteed failure during a skill check. Especially if it was a check that stated that it was a high-risk choice, and failure to achieve it could lead to the away team being injured or perhaps even killed. So when poor B’Ellana, Harry, and Neelix beamed down to Ocampa, got hit by a desert storm they couldn’t shelter from in time, aggressively made contact with the local Kazon, and then sloppily staged a tactical retreat after Neelix rescued Kes, I looked at all my failure states and these injured away team members and wondered who would get a Kazon phaser bolt to the back and not make it to transport, and how that would change the narrative going forward.

    Instead, I simply got hit with an immediate “Away Mission Failed” screen and was asked to reload my save. Which I only begrudgingly did and was less overtly set on failure this time, eeking by enough to make it back to Voyager in one piece so I could continue playing out the events of “Caretaker.” Ultimately, the only thing that changed about this run was that I chose to use the array to send Voyager home, which leads to a great, dark little sequence where Chakotay lambasts you for betraying his trust and abandoning the Ocampa, and you can then promptly decide if you want to arrest your Maquis “allies” or even if you’ll imply to Tom Paris that he’s going straight back to his penal colony (I did both, because again, worst Captain Janeway run). But in the full game that will likely end as the demo does: ending your run prematurely and just asking you to load the game back up again and make another attempt.

    20251016040434 1
    © Gamexcite

    Obviously, this is just a small slice of what Across the Unknown will have to offer when it comes out on PC and consoles at some point (a release date is still undecided). But I came away wishing to have gotten a better picture of its approach to choice outside of the particularly railroaded constraints of the early tutorials. As is, it’s hard to tell just how much the game is actually going to let you twist Voyager‘s fate, even with teasers that we’ll eventually be able to do things like let Tuvix live or work Borg technology to cut the trip home down.

    There are still a lot of interesting systems underneath that narrative layer that still give Across the Unknown a ton of potential as a survival and resource management game. But if you’re a Star Trek fan who wants to play god with a show’s premise that never quite could live up to its own potential, the jury is still out until whenever we get our hands on more of the game.

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    James Whitbrook

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  • The New ‘Starfleet Academy’ Trailer Has a Lot More Than Lessons to Be Learned

    At San Diego Comic-Con earlier this year, our first glimpse of the next Star Trek show, Starfleet Academy, put the emphasis on the latter, reminding us all that this show is about teaching the next generation of Starfleet officers. Our latest look at the series at New York Comic Con today wants to remind you, however, that this will still be a Star Trek show, with all the mystery, drama, and adventure that entails.

    Climaxing today’s Star Trek Universe panel at New York Comic Con, Paramount lifted the lid on the second trailer for Starfleet Academy, revealing a lot more teases about the show than just the hopeful college-bound vibes that were on full display in our first look this past summer. There’s still plenty enough of that—we get plenty of classes in session (with new and familiar teachers, like Voyager‘s Robert Picardo as the Emergency Medical Hologram, and Discovery‘s Tig Notaro and Mary Wiseman as Jett Reno and Sylvia Tilly, respectively), and lots of young adult drama for this new class of academy recruits, the first welcomed to the titular Academy (slash Starship, the U.S.S. Athena) in over a century after the events of the Burn from Star Trek: Discovery season 3.

    Of all the new students, however, this trailer focuses on one in particular who will drive the broader narrative of the show: Caleb Mir, played by Sandro Rosta. Turns out he’s got a big link to both Starfleet Academy‘s big bad Nus Braka (played by the legendary Paul Giamatti, a half-Klingon, half-Tellarite hybrid), and the Academy’s latest chancellor, Captain Nahla Ake (Holly Hunter), after his mother (Orphan Black and She-Hulk‘s Tatiana Maslany) was kidnapped by Braka when Caleb was a child. Finally finding the young boy again after fifteen years (and some history with Braka herself), Ake personally recruits Caleb to become an unlikely member of the Academy’s new ranks… and maybe go toe-to-toe with Braka again when he resurfaces.

    Starfleet Academy also features Gina Yashere as Athena First Officer and Academy Cadet Master Lura Thok (a half-Klingon, half-Jem’Hadar), Karim Diané as Klingon sciences cadet Jay-Den Kraag, Kerrice Brooks as Kasqian operations cadet Sam, George Hawkins as Khionian command-track cadet Darem Reymi, Bella Shepard as Dar-Sha command-track cadet Genesis Lythe, Zoë Steiner as Tarima Sadal, the daughter of the President of Betazed, as well as Oded Fehr as Discovery‘s Admiral Vance in a guest capacity. It was also confirmed today that Stephen Colbert will provide the voice of Starfleet Academy’s Digital Dean of Students, providing daily announcements throughout the school.

    Star Trek: Starfleet Academy‘s 10-episode debut season begins streaming on Paramount+ January 15 with a two-episode premiere.

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  • The First Look at ‘Star Trek: Strange New Worlds’ Season 4 Gets Enterprise Lost In Space

    After a bumpy end to a very uneven third season, it seems like Strange New Worlds is beginning to realize that its next mission is a course correction.

    At New York Comic Con today, Paramount revealed our first proper look at the penultimate season of the Star Trek prequel show, after teasing some puppetry-based shenanigans at SDCC over the summer. The extended sequence strikes a much more serious tone in stark contrast, as the U.S.S. Enterprise‘s attempts to respond to a Starfleet mayday broadcast lead to the ship being trapped in a strange phenomenon that robs the ship of all but a smidgen of its power.

    Even putting aside Captain Pike literally telling Number One (and the audience) that they wanted more strange new worlds, the choice of a more traditionally toned clip as our introduction to season 4 certainly feels like it’s aimed to address criticisms of Strange New Worlds‘ third season.

    Although season 4 itself will not act as a direct response to those criticisms—filming wrapped this past August, before season 3 concluded airing—the choice certainly echoes recent commentary by Strange New Worlds producers Akiva Goldsman and Henry Alonso Myers that the new season is aiming to address some of those criticisms regardless.

    “We just had more time [for season 4]. Just had more time, more continuous time,” Goldsman told TrekMovie of the mixed reaction to season 3. “We didn’t have staffing changes. We didn’t have a strike. The strike caused change. Those things are real. And starting up and shutting down and starting up again is complicated.”

    Star Trek: Strange New Worlds is expected to return for its fourth season sometime next year. The show will then wrap up with a truncated, six-episode season five, which is currently in production.

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  • NYCC 2025: Nacelle Star Trek Figures Spock and Picard

    The Nacelle Company—the Star Trek fan‘s go-to source for figures capturing some of the franchise’s best-loved characters—had a big showing at New York Comic Con today, offering updates on its previously announced releases as well as some exciting new additions.

    While we love that several deep-dive characters (Weyoun! Nog! A “Year of Hell”-specific Janeway!) have been included in Nacelle’s lineup so far, the company has a couple more familiar faces coming soon, too. Including this guy, announced today at NYCC:

    © Nacelle

    “Spock remains one of the most enduring characters not only in the Star Trek franchise but in all of science fiction,” Nacelle reminds us in a press release. “The first look at the figure provided fans with a glimpse of the legendary Vulcan science officer in his classic attire.” Plus, check out the attention to detail in those accessories!

    Nacelle also teased a Wave 4 entry: the one and only Jean-Luc Picard. No figure glimpse yet, but check out his ship wall:

    Startrek Wave 4 Picard
    © Nacelle

    As you can see, the accessories are “inspired by his appearance in Star Trek: First Contact. The set brings a new depth to this version of the iconic captain.”

    Along with the new reveals, Nacelle also offered updates for fans eagerly awaiting figures from Waves One and Two.

    Wave One figures are currently “in the final stages of production, with packaging complete and shipments scheduled to begin in Q4 2025. The first wave includes Captain Jellico, Weyoun, Captain Garrett, Captain Sulu (Star Trek VI), Peter Preston, Tuvix, Valkris, and Mirror Universe Archer.” You can still snag pre-orders at Nacelle’s shop and other online outlets, as well as indie toy stores in the United States, Canada, Germany, the United Kingdom, and Australia.

    As for Wave Two, pre-orders are officially open for James T. Kirk (Generations), Kathryn Janeway (“Year of Hell” Edition), Nog (“Favor the Bold” Edition), T’Pol, Valeris, Romulan Commander, Carol Marcus, Bem, Worf (Generations Sailor Edition), and Geordi La Forge (Generations Sailor Edition). Details are here, and they’ll ship in Q3 2026.

    “This is one of the biggest weeks we’ve had since launching the line,” Nacelle CEO Brian Volk-Weiss said in a press release. “Between the pre-sale, long-awaited updates, and new reveals, we wanted to give collectors everything they’ve been waiting for, and hopefully a little more.”

    “This line was built by Star Trek fans for Star Trek fans, and we know how eager the community has been to get Wave One in hand,” said Volk-Weiss. “We’re grateful for the patience and can’t wait for these figures to start landing on everybody’s shelves.”

    As Nacelle continues work on its Star Trek line, you can actually chime in regarding future releases via the company’s dedicated email for fan feedback: [email protected].

    Looking at what’s already been announced and the deeply nerdy delights therein—Kirk’s jar of dill weed!—it seems a good chance that all suggestions, no matter how obscure, will be entertained.

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  • What We Know About the Biggest Unseen War of ‘Star Trek’

    For as much as it presents itself as a vision of a utopian, idealistic society, much of Star Trek remains defined by its relation to conflict. There’s the lingering question over Starfleet’s values as a military organization or a scientific exploratory force, or defining conflicts like those against the Klingons, the Borg, and the Dominion that form major pillars of Star Trek lore. But that’s always been the case, and for nearly 60 years, Star Trek‘s early days have been defined by one conflict above all: one that continues to shape and fascinate the series to this day, even though it’s never actually been portrayed on screen.

    The Earth-Romulan War has become one of Star Trek‘s most enduring mysteries largely for one reason alone: that its very existence was introduced in what would go on to become one of the most revered episodes of Star Trek ever made, “Balance of Terror.” The 14th episode of original Trek‘s first season, “Balance” introduced both the audience and its heroes alike to the Romulan people, as well as teased the details of the deadly conflict between them and Earth. But it also laid the groundwork for just why the conflict has spent nearly six decades off-screen in Star Trek with the revelation that the Romulans were so secretive, no human ever actually made visual contact with a member of the species until the events of the episode, itself set over a century after the conclusion of the war.

    That singular choice has defined the conflict’s place in Star Trek storytelling ever since. The franchise has come close—apocryphal books have filled in their own versions of the war in broad strokes, and both cancelled projects, such as the initial plans for Star Trek: The Beginning or even, as we learned last week, Scott Bakula and Michael Sussman’s plans for a potential post-Enterprise spinoff, Star Trek: United, have wanted to lift the lid on it. But even now, part of what makes it so alluring to fans is that we know so little about it.

    That doesn’t mean we know nothing, however.

    Prelude to Conflict

    © Paramount

    Romulan frustration with United Earth began to reach a fever pitch in the early 2150s, as the exploratory and diplomatic mission of the NX-01 Enterprise effectively turned humanity into a diplomatic superpower. By the middle of the decade, a war-torn Alpha Quadrant had largely resolved into a tense but peaceful field of diplomacy between the most prominent species in interstellar society (the Vulcans, the Andorians, and the Tellarites) in large part due to the negotiation efforts of Captain Archer and his crew.

    This greatly displeased the Star Empire, which relied on a volatile galaxy to keep its own operations covert. The Romulans increased attempts to reopen wedges between the major powers of the quadrant but also faced an internal reckoning within its own borders: an increasing desire to see the Romulans and Vulcans reunited as a singular society. While we know that the Romulan and Vulcan peoples eventually achieved reunification at some point before the 32nd century, the version being looked to in the 2150s was very different: Romulan agents working with the head of the Vulcan High Command, V’Las, attempted to surreptitiously support the administrator’s plans for a Vulcan invasion of Andoria, which in turn would lead to Vulcan submitting to reunification under the behest of Romulus. But again, V’Las’ attempts to bring Vulcan and Andoria into conflict were exposed by the efforts of Archer and the Enterprise, setting back the Romulans’ influence on their ancestral homeworld.

    The Star Empire escalated plans with the Babel Crisis in 2155, launching drone ships piloted remotely by telepaths. Targeting Tellarite and Andorian vessels on the borders of the two powers at the height of trade negotiations between the two worlds on the planet Babel, the Romulan drone ships were capable of using multispectral emitters to visually mask their appearance, allowing Romulan agents to sow discord among the Tellarites and Andorians by posing as each other to attack trade routes.

    The Romulans’ plans backfired, however: the Babel Crisis was thwarted by the combined efforts of United Earth, Tellar, Andoria, and Vulcan, who formed a joint operation to combine a fleet of ships from all four species to track and locate the drone warships, ultimately defeating them. Instead of inciting renewed conflict throughout the Alpha and Beta Quadrants, the Romulan effort ultimately stabilized the region altogether. Shortly after the crisis came to an end, representatives from humanity, the Tellarites, the Andorians, and the Vulcans convened a conference that would eventually lay the groundwork for the Coalition of Planets, an unprecedented interstellar alliance, later that same year.

    The Four-Year War

    Star Trek Enterprise Romulan Bird Of Prey 22nd Century
    © Paramount

    The emergence of the Coalition of Planets was what ultimately pushed the Romulan Star Empire into open conflict, with the Earth-Romulan War beginning in earnest in 2156. Little remains known about the exact nature of the war, other than that it was seemingly largely waged between the Romulans and United Earth forces. Just over a century after its conclusion, when tensions between Starfleet and Romulus arose, Spock described the conflict as primitive by contemporary standards: ships on both sides of the war were vastly inferior to the standards and size of those used by galactic powers in the 22nd century and incapable of holding prisoners of war, and the majority of the weaponry used was still atomic in nature.

    This totality of destruction also meant that both the Romulans and the Coalition powers never actually made visual communication with either side over the four years the conflict dragged on, keeping the Romulans’ general identity—and their ancestral connections to the Vulcans—a secret throughout the war.

    What is known about the Earth-Romulan War is that it concludes four years later in 2160 after the Battle of Cheron. Again, the circumstances of that battle are largely unknown outside of two factors: that it was fought between the Romulans and a Human/Vulcan/Andorian/Tellarite alliance (presumably under the banner of the Coalition of Planets), and that the battle was an absolute disaster for Romulan forces. Defeat was near total, and memory of how poorly the battle for the Star Empire went would continue to have military and political ramifications for centuries.

    Centuries of Aftermath

    Star Trek Strange New Worlds Neutral Zone Map 2259
    © Paramount

    The end of the war would have huge ramifications for the Alpha and Beta Quadrants for generations to come. A peace treaty, agreed to over subspace radio between Starfleet and the Romulans, led to the establishment of a Neutral Zone between the borders of allied space and the Star Empire, an area of space neither side could move ships into or through without it being seen as an act of war. Little is known as to how the Romulans monitored their side of the Zone, as the Star Empire retreated from astropolitics for the best part of a century in the wake of the war’s conclusion. However, Starfleet monitored its side of the zone with the establishment of outpost monitoring stations housed on asteroids.

    A year after the conflict concluded, the Coalition of Planets was dissolved to make way for the formal founding of the United Federation of Planets in 2161. Now led by President Jonathan Archer, the Federation ushered in a new age of galactic politics, as more and more member worlds joined the four founding planets of Earth, Tellar, Andoria, and Vulcan, and Starfleet became its primary interstellar task force.

    It wouldn’t be for another 100 years that the Romulans would test the constraints of their peace treaty with the now-Federation, when an unnamed Romulan commander attacked and destroyed four of Starfleet’s monitoring stations along the edge of the neutral zone. Ultimately destroyed in turn by the U.S.S. Enterprise, the Federation’s flagship, the incident marked the first known visual communication between humanity and the Star Empire, exposing the Romulans’ visual similarity to the Vulcans.

    This waxing and waning of Romulan involvement beyond the borders of the Star Empire would persist until the Empire’s collapse in 2387 after the star of the Romulus system went supernova, destroying both Romulus and its sister world, Remus. For a brief time in the 22nd century, the Romulans formed diplomatic relations and trade deals with their Beta Quadrant counterparts in the Klingon Empire, and in 2311, conflict between the Federation and the Star Empire briefly erupted in the Tomed Incident, which concluded with a new treaty that reinforced the Neutral Zone’s borders and prohibited the Federation from researching ship-based cloaking technology, a key technological advantage long held by the Romulans, as well as the Star Empire’s return to isolation.

    Only one major incident reflected an act of diplomatic alliance between the Federation and the Romulans across those centuries of general distrust: in 2374, at the height of the Federation’s war against the Gamma-Quadrant-based Dominion, the Romulans were pushed to enter the conflict alongside the Federation after years of neutrality when a high-ranking member of the Romulan Senate, Vreenak, was seemingly assassinated by Dominion forces in an attempt to cover up evidence of Dominion and Cardassian plans to invade the Star Empire. The Romulans would go on to play a pivotal role in alliance with the Federation and Klingon Empire for the remainder of the war, even providing cloaking devices to Starfleet vessels like the U.S.S. Defiant in a limited capacity.

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  • This Is What the Potential ‘Star Trek: Enterprise’ Archer Spinoff Would’ve Been About

    Over the summer, we learned a little about how Star Trek: Enterprise‘s Captain Archer himself, Scott Bakula, had worked together with producer Michael Sussman on a pitch for a new Trek spinoff set after the events of the show called Star Trek: United. And now, thanks to Sussman, we have a little bit of a better idea of what the series might’ve entailed… and one day still could.

    Speaking to TrekMovie‘s All Access Star Trek podcast recently, Sussman revealed more details about the proposed setup for United, which would’ve built upon Enterprise‘s brief revelation in the season four Mirror Universe two-parter “In a Mirror, Darkly” that one day Captain Archer was destined to become one of the first presidents of the nascent United Federation of Planets. The series, which Sussman had previously described as being tonally akin to the Star Wars political thriller tension of Andor, had been pitched to Paramount with Bakula’s involvement, only to be turned down due to a broader cutback in streaming funding ahead of the company’s recent sale to Skydance, as well as perceived familiarities to the upcoming Starfleet Academy show, which will also be primarily set on Earth.

    According to Sussman, United would’ve balanced Archer’s political duties navigating the early years of the Federation’s existence with exploration of his family life. “Archer would be in a place in his life where Scott [Bakula] kind of is right now, where Scott is a family man. He’s got four adult kids,” Sussman explained. “And so I gave Archer four adult kids, and the story is as much about them as it is about him, because he [Archer] lived this life of diplomacy … his family sort of grew up with this sense of service. So he’d have these adult kids, one of whom is part of the diplomatic corps, another is in Starfleet, somebody else is in Federation Intelligence. So his adult kids could be brought into this story in a way that felt very organic… They would be integral to the story we were telling.”

    Although the desire would’ve been to include familiar faces from Enterprise in meaningful ways, Sussman noted that United would’ve focused on Archer and a younger cast of new characters, rather than picking up with other Enterprise characters. But one thing the writer-producer did want to pick up on was a plotline that Enterprise would’ve built on itself if it had not come to an end after four seasons: the outbreak of the Federation’s war with the Romulans, a significant, largely still unseen piece of Star Trek backstory that plays into one of the most iconic original series episodes of all time, “Balance of Terror.”

    The aftermath of the Romulan War, which leads to no one from the Federation actually seeing a Romulan until the events of “Balance,” and exploring how that could ultimately be the case, would’ve been a key element of United. “Something that has become clear to me from feedback since we first started talking about [United] is fans saying they never got to see the Romulan War,” Sussman explained. “We were waiting for it, and you guys just kind of skipped over it [in the Enterprise series finale]. And I share their frustration. So I would want to show [some of] that, and a particular pivotal moment that’s not just pure fan service…”

    “…It almost seems like the Federation, or the people of Earth as well as the Romulans, don’t want the Vulcans to know who they are,” Sussman continued. “And why would that be? I think that’s a very intriguing question.”

    Unfortunately, we may never know, given that Paramount already turned down United once after early talks. But now that Paramount is owned by Skydance and has a supposed renewed focus on streaming—and, beyond Starfleet Academy and a couple more seasons of Strange New WorldsStar Trek‘s own streaming TV future is up in the air—Sussman still has a glimmer of hope that United could potentially see the light of day.

    “It is encouraging, as a fan of the franchise, that they seem to be saying ‘We want to do more Star Trek streaming, we want to do more movies,’” Sussman concluded. “I don’t know what their plans are, but if their plans involve expanding the footprint of Star Trek on streaming, then perhaps something like this could be a part of it. I mean, for me, crazier things have happened.”

    And crazier things have happened for Star Trek itself in this streaming renaissance, too. What’s another familiar face’s return at this point?

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  • ‘The Last Starship’ Picks Up on Two of the Biggest Missed Opportunities in Modern ‘Star Trek’

    When IDW announced its latest Star Trek comic, The Last Starship, much of the focus was on the fact that the series would, somehow, resurrect Captain James T. Kirk for a story set in the 31st-century timeline introduced in Star Trek: Discovery. Now the series is here; the premise is much more than nostalgia for the original Trek captain but instead a fascinating way to explore not one but two different major plotlines developed in contemporary Star Trek‘s streaming age—ideas that Star Trek largely abandoned on TV.

    The first issue of The Last Starship—written by Jackson Lanzing and Collin Kelly, with art by Adrian Bonilla and Heather Moore, and lettering by Clayton Cowles—is set in the first of those two missed opportunities: the immediate outbreak of “The Burn” in the early 31st century. The cataclysmic, galaxy-wide destabilization of dilithium (and with it, the near-instantaneous breaching of every active warp core) formed a major backstory element across Discovery‘s third season after the titular ship was shot into its far future and into the mid-32nd century, into a galaxy that had already largely grappled with the new status quo of a heavily diminished Federation and limited interstellar FTL travel.

    But while Discovery‘s third season largely formed itself around solving the problem of the Burn and its mysterious origin (and allowed the ship to negate the issues around FTL travel by and large with its own alternate spore-drive-based systems), setting The Last Starship in the direct aftermath of the Burn itself gives the series a fascinating sense of drama. The first is the fact that, no matter what happens, we by and large know that the Starfleet crisis is not going to be resolved, because that’s Discovery‘s job a century after all this takes place, without a dramatic time jump or two.

    Star Trek The Last Starship 1 Burn
    © Adrian Bonilla and Heather Moore/IDW

    The other is that we’re given an incredible chance to see Starfleet officers grapple in real time with the loss of a Star Trek status quo that had existed for millennia and what that loss can do to even its best and brightest. Last Starship does not give us a stagnant Federation in the moments before it is laid low, but one that was absolutely ascendant: the issue opens with the U.S.S. Sagan in pursuit of a Gorn ship, but not for any regular issue, but because the ship’s crew has a chance to convince the Gorn to join the Federation as the last outstanding known species in the galaxy. Even if we know everything is about to go to hell for Captain Delacourt Sato and his crew, for the briefest of moments, Star Trek‘s Federation is on the cusp of a complete utopian society, the ultimate achievement of goals the franchise at large has wanted to champion for almost 60 years, an idea of Star Trek without external conflict the series has rarely considered before.

    Of course, things don’t last: in the exact moment the Sagan achieves this watershed moment of diplomacy, the Burn happens. The Sagan, alongside Starfleet’s primary fleet and hundreds of thousands, if not millions, of ships, Starfleet or otherwise, across the galaxy, explodes. Sato and three of his bridge crew are some of the scant number of Starfleet personnel still alive and become key figures in the Federation’s response to an almost complete shattering of galactic civilization in an instant. Unlike Discovery, there is no flash forward to a changed but still largely similar status quo. There are no people here who are used to this; there are not yet the thriving pockets of society or isolationist worlds we see across the series, waiting for the hope of unity in the Federation that will eventually be provided by the Discovery crew’s mission.

    Star Trek The Last Starship 1 Earth Burn Aftermath
    © Adrian Bonilla, Heather Moore, and Clayton Cowles/IDW

    Everything in The Last Starship is raw and in the moment, and enough to lay even the most idealistic of Starfleet’s surviving members low. And not only do we get to sit with that horror, but The Last Starship‘s first issue almost luxuriates in it, Bonilla and Moore’s art wreathed in thick, sketchy linework and heavily inked shadows. Last Starship almost feels like a horror comic as much as it does a Star Trek one, but the dread is existential: the horror is in the collapse of a society that has been a given in almost every work of Star Trek ever made.

    It’s what people are suddenly willing to do in that kind of horrifying situation that leads to Last Starship‘s other twist and its other riff on a missed Star Trek opportunity. While the remnants of Starfleet’s command convene on Earth to navigate what comes next for the galaxy, they’re interrupted by the arrival of a familiar emissary: a masked, cybernetic figure, tendrils swirling around them, who eventually reveals their name, face, and identity… Star Trek: Picard‘s Agnes Jurati, the ambassador of her own Borg cooperative, not seen for almost a thousand years, ready once more to work with the Federation as it had been at its inception.

    Star Trek The Last Starship 1 Jurati Sato
    © Adrian Bonilla, Heather Moore, and Clayton Cowles/IDW

    One of the biggest, weirdest disappointments about the transition from Picard‘s second season to its third was just how much potential was squandered in its sudden step into a nostalgic Next Generation reunion (even though it was, ultimately, a pretty good reunion). The ballsy imagining of an entirely new faction of Borg not just willing to be at peace with the Federation but even potentially joining it was the kind of bold thinking that Star Trek hadn’t contemplated in years—not since TNG itself had transformed the Klingons from antagonists to allies. But the show never did anything with it: Jurati was just one original Picard character among several that never appeared in season three, which reunited the TNG crew to confront the Borg threat we already knew and had seen confronted plenty of times before.

    Borg-Jurati’s role in The Last Starship is just as delicious as her brief appearance in the Picard season two finale was. While Starfleet had largely wiped out the Borg Collective, Agnes’ cooperative is a very different beast, offering to aid Starfleet’s remnants in building a new flagship to try and bring hope to the galaxy, operating on Borg transwarp technology rather than dilithium-based FTL travel. On the surface, she’s amicable, pushing a desperate Federation into alliance to live up to the ideals it’s represented for thousands of years—she’s not there to kick Starfleet while it’s down or finish the job. But it’s immediately clear by the end of Last Starship #1 that the cooperative has its own goals rather than simply goading Starfleet into putting its latinum where its mouth is: not wholly villainous or heroic, but playing a longer game across the course of the new series.

    Star Trek The Last Starship 1 Jurati Kirk
    © Adrian Bonilla, Heather Moore, and Clayton Cowles/IDW

    It’s only there that the Captain Kirk of it all comes into play. After helping Starfleet almost literally cobble together a new flagship—the U.S.S. Omega, a scrappy hybrid of dozens of Starfleet ship hulls and Jurati’s transwarp engineering—does Jurati reveal her reward out of the bargain is none other than a blood sample of Kirk stored on Daystrom station for centuries. Using advanced Borg nanites, the sample creates a wholly real Jim Kirk. Not memories in a new body, or a clone, as she dismissed, but Kirk in his prime, a Kirk breathing, thinking, and remembering as if his final moments in Star Trek: Generations were not final at all. The way Jurati narrates the resurrection, as it were, is hopeful: she believes this moment in Star Trek requires someone like Kirk, a frontier diplomat who boldly explored and fought for the Federation’s future, rather than being trapped in resting on the laurels of its past as her grief-stricken Starfleet contemporaries are. But there is something, again, presented as almost horrifying by what she’s done: a Borg playing god with one of the most revered figures of Star Trek, even if it is in an hour of great need.

    How The Last Starship builds on this from here remains to be seen. The debut issue closes on a tease of a very familiar conflict for this reborn Kirk and the Omega‘s crew to confront, in a faction of Klingons using the chaos of the Burn to try and return their people to their ancestral warrior roots and finish Starfleet off once and for all. What will remain interesting is not how it manages to reshape the familiar of Star Trek‘s history, but how it builds on the vast potential it’s begun to mine from Star Trek‘s more recent era to create something new and exciting instead.

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    James Whitbrook

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