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Star Trek TV Shows Ranked by Tomatometer

Updated: September 8, 2023

The Star Trek universe kicked off in 1966 with the original series , created by science fiction visionary Gene Roddenberry , and later exploded into a massive film and TV juggernaut.

While the original series, which starred William Shatner as Captain James T. Kirk and Leonard Nimoy as Mr. Spock, saw only three seasons, it made an indelible impression on the sci-fi genre. Live-action TV follow-up Star Trek: The Next Generation , with  Patrick Stewart as Captain Jean-Luc Picard leading an ensemble cast, captivated viewers from 1987–1994 and inspired three more series that would air within the next decade:  Star Trek: Deep Space Nine ,  Star Trek: Voyager , and  Star Trek: Enterprise .

Starting with 1979’s  Star Trek: The Motion Picture , Paramount Pictures has been regularly cranking out Trek films with the original series and Next Generation casts, as well as a rebooted version in 2009 with Chris Pine as Starfleet Academy cadet James Kirk and Zachary Quinto as young Spock. ( See the Star Trek films ranked here. )

In 2017,  Trek  returned to small screens with season 1 of CBS All Access streaming title  Star Trek: Discovery , set during a tumultuous wartime era about a decade before the original and starring Sonequa Martin-Green . The new series marked a TV franchise reboot by Alex Kurtzman , writer on the 2009 Star Trek film and its sequel  Star Trek Into Darkness .

RELATED: All Star Trek Movies Ranked by Tomatometer

The year 2020 gave fans a celebration of one of its most iconic characters with the premiere of Star Trek: Picard and Stewart reprising his role in the new streaming series that launched its second season in 2022. New live-action series Star Trek: Strange New Worlds was also released in 2022, and its first season was quickly Certified Fresh with a 100% Tomatometer score (it has since dropped to 99% on one review). The show’s second season, released in 2023, was nearly as well received and is Certified Fresh at 97% on the Tomatometer.

The TV franchise has since introduced two animated series Star Trek: Lower Decks , about the misfit support crew on one of Starfleet’s least-important ships, and kid-friendly Star Trek: Prodigy , which tells the story of a diverse group of teens who inadvertently become the crew of a prize starship and learn important lessons in their subsequent adventures. The latter series — No. 3 on our list below — has since been canceled by Paramount+, but a petition to save the show has gathered over 33,000 signatures.

Have a look below to find out which series score highest with critics in our Trek TV by Tomatometer list.

Disagree with the results? Tell us in the comments which series you think should have been ranked higher (or lower).

Star Trek: Strange New Worlds (2022) 98%

Star Trek: The Animated Series (1973) 94%

Star Trek: Prodigy (2021) 94%

Star Trek: Lower Decks (2020) 92%

Star Trek: The Next Generation (1987) 92%

Star Trek: Deep Space Nine (1993) 91%

Star Trek: Picard (2020) 89%

Star Trek: Discovery (2017) 85%

Star Trek (1966) 80%

Star Trek: Voyager (1995) 76%

Star Trek: Enterprise (2001) 56%

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The best Star Trek series, ranked

Ready to settle in and watch some Star Trek episodes? Since there are so many, we’ve ranked all of the different series to help you get started on your quest.

Star Trek is one of the greatest franchises ever created. If you're new to the world of transporters and holodecks, you have so much wonderful content to catch up on — of course, some would say too much content.

Since there are over 850 episodes and counting (all of which you can stream on Paramount+ ), watching all of Star Trek can be more difficult than fighting a Gorn in the desert. To make things easier for you to get started, we've ranked every series (besides the short-form series Short Treks ) of this long-running franchise. Some of these choices were a bit daunting to play favorites with, but, like Jim Kirk, there's no belief in the no-win scenario.

Without further ado, here's our list of every Star Trek series ranked from worst to best.

11. Star Trek: Picard (2020–2023)

Star Trek: Picard was meant to be like comfort food to fans of Star Trek: The Next Generation . And whether fans were turned off by the changes in franchise direction with shows like Discovery or just wanted to see Patrick Stewart back in action, Paramount clearly thought this show would be almost universally beloved.

That didn't happen . The warm and fuzzy feeling of seeing a few familiar faces in the first season evaporated because of an often-confusing plot about androids. The second season continued this confusion with a time-travel story that often bordered on incoherence. While many Star Trek shows take a few seasons to hit their stride, it was shocking that so much of this relatively short series was seemingly created with "make it so-so" in mind.

10. Star Trek: The Animated Series (1973–1974)

If you're in the right mood (or you've been sipping on some Saurian brandy), Star Trek: The Animated Series has some wacky entertainment value. Any given episode had the writers throwing in stories like a giant version of a beloved character. And the animators threw some fun curveballs, including making the embodiment of evil into a shirtless hottie that would make even shirtless Kirk jealous.

However, this animated show was often caught between two very different worlds. It wasn't fully a return to the (relatively) grounded exploration of space, science, and morality of The Original Series . And it didn't fully lean into the chaotic possibilities of a cartoon world (something Lower Decks would later handle much better). So, while more and more elements of The Animated Series have become canonical thanks to shows like Discovery , and it's fun to hear the voice acting of the Original Series cast, this cartoon is one that all but the most hardcore fans can skip.

9. Star Trek: Enterprise (2001–2005)

Despite what you might have heard, Star Trek: Enterprise is not a bad show. It just didn't start as a very good show. The series was tragically canceled after the fourth season, which was arguably when it had just begun to hit its stride (thanks in part to longer story arcs and a really fun glimpse into Trek 's popular Mirror Universe).

At the end of the day, Enterprise is a show best enjoyed by Star Trek fans that like to pore over the Memory Alpha wiki and familiarize themselves with Trek minutiae. As a prequel show, it laid the groundwork for everything from Starfleet policy to alien interactions that other shows explore in more detail. If you don't have a shot at winning any Star Trek trivia contests at your local bar, it's still worth watching how captivating Scott Bakula can be in the captain's seat.

8. Star Trek: Prodigy (2021–present)

Star Trek: Prodigy was very difficult to rank. Unlike the other two Trek cartoons, this series was explicitly designed for younger audiences. Paramount clearly wants to use this show as a gateway for these younger fans to explore the wider world of Star Trek , but there are enough elements (most notably the return of Kate Mulgrew , reprising her role as Captain Janeway via a holographic form) to keep veteran franchise fans invested.

Ultimately, your enjoyment of this series will be largely dependent on how much you enjoy animated/YA entertainment. If nothing else, you should check out the first two episodes of this show to see just how beautiful the CGI animation can get.

7. Star Trek: Discovery (2017–present)

If Enterprise is the Star Trek show cut off too soon, Discovery may very well be the first Star Trek show to outlive its welcome, though it will end after its fifth season . There are many things the show gets right, from nifty effects to quirky characters to amazing casting (seriously, Sonequa Martin-Green is electrifying whenever she is on screen).

The show veers from a disjointed-but-interesting first season to a mesmerizing second season, which gets a real shot in the arm by introducing Captain Pike (played by the inimitably charming Anson Mount ) and Spock (played as a perfect homage to Leonard Nimoy by Ethan Peck). Later seasons, however, prove that the series can't get away from galactic-level threats, and character drama begins overriding plot development enough that we want to slingshot around the sun and return this series to its earlier roots.

6. Star Trek: Voyager (1995–2001)

Like many Trek series, Star Trek: Voyager had a rocky beginning, and it was often overshadowed by the excellent Deep Space Nine . Ironically, Voyager dramatically improved with what could be a cynical casting stunt: adding the alluring Jeri Ryan (constantly wearing a catsuit, no less).

Though it really looked like a desperate ratings stunt, Ryan turned the reformed Borg Seven of Nine into the most interesting character on the show. And, despite their alleged clashes behind the scenes, the actress helped to elevate every scene she shared with Kate Mulgrew. Between the new cast member, improved writing, and Mulgrew being nothing short of a damned icon, Voyager soon became appointment television, and it's definitely worth binge-watching for modern audiences.

5. Star Trek: Lower Decks (2020–present)

Lower Decks is an impressive show for many reasons, including the fact that its execution elevates its initial premise, which focuses on the lives of the lower-level staffers aboard the starship. Because showrunner Mike McMahan previously wrote for Rick and Morty and the animation takes its cues from the cartoon adventures of Rick Sanchez, many fans may have assumed Lower Decks would simply be " Star Trek meets Rick and Morty ."

Thankfully, that's not the case. Aside from animation similarities, the main element these two cartoons have in common is a breakneck, borderline chaotic pace. But as entertaining as it can be, Rick and Morty is an often nihilistic show with gags revolving around how nothing really matters. Lower Decks , however, is a lighthearted series that serves as the cure to modern Trek . If you've dismissed other contemporary series such as Discovery and Picard because they are grim, violent, and serious, Lower Decks is a wonderfully lighthearted alternative that is never afraid to poke fun at its own franchise.

4. Star Trek: Strange New Worlds (2022–present)

Star Trek: Strange New Worlds is a truly pleasant surprise to fans of the franchise. Set years before Captain Kirk sat in that famous chair, we see Capt. Christopher Pike (Anson Mount reprising the role) lead the U.S.S. Enterprise into bizarre adventures alongside some familiar characters (Ethan Peck returning as Spock, for example) and a few new ones.

Part of what helps this show shine is that it marks a return to episodic Trek in that every installment is a self-contained adventure as opposed to other newer series like Discovery and Picard , which build entire seasons around a single plot. The characters all ooze with the same swashbuckling charm of The Original Series characters, and we can't wait to see more of their adventures. We also can't wait to see more of Anson Mount's amazing hair (arguably the most awesome practical effect in the franchise).

3. Star Trek: The Next Generation (1987–1994)

Star Trek: The Next Generation has the dubious honor of being the first Trek show where veteran fans warn against new fans starting at the very beginning. Early episodes ranged from stupidly horny (planetary inhabitants in the episode "Justice" were barely wearing scraps of clothing) to ridiculously racist ("Code of Honor" may very well be the worst Star Trek episode ever made). Many of these problems stemmed from the fact that despite being called "The Next Generation," the show was trying to recreate The Original Series (right down to using some of the same writers and shamelessly reusing scripts from the scrapped Star Trek: Phase II series).

As fans like to joke, the show got better as Commander Riker's beard got longer. Season 2 was a major improvement, which was then usurped by season 3, which brought in new uniforms, new sets, and Michael Piller to head up the writing team. Just like that, TNG embraced its differences from its famous forerunner (Picard was cerebral whereas Kirk was impulsive, Data yearned for emotion whereas Spock detested it, and so on). At last, the gamble paid off, and the next generation of this franchise ushered in the next generation of Star Trek fans.

2. Star Trek: The Original Series (1966–1969)

What can we say about The Original Series that hasn't been said already? Gene Roddenberry successfully fused science fiction with American pioneer spirit to create his vision of this " Wagon Train to the stars." The episodes were both fun and thought-provoking in equal measure, and William Shatner as Kirk and Leonard Nimoy as Spock, among many others, turned in performances that seared themselves into our collective pop culture consciousness.

The Original Series offered social commentary about racism, imperialism, and (often to Spock's annoyance) the human condition. And the blend of big acting, ambitious sets, and poignant plots helped this show become something truly transcendent. The OG Star Trek shaped not only the future of the franchise but television itself, and it's not hard to see why it continues to win over new generations of fans year after year.

1. Star Trek: Deep Space Nine (1993–1999)

Placing Star Trek: Deep Space Nine in the top spot is perhaps a contentious decision. However, this series did more than measure up to the quality of The Next Generation (a lofty feat in and of itself). The show also made a number of storytelling and production choices that have helped DS9 seem more relevant in recent years than ever before, including tackling issues about race, religious fundamentalism, and war on a regular basis.

Perhaps the main way DS9 feels so pertinent is that the show broke the longstanding Trek rule of making only standalone episodes. As the powers that be focused more on creating their next show, Voyager , DS9 showrunner Ira Steven Behr was able to get away with creating long story arcs and frequent episode callbacks. The end result of this is that Deep Space Nine is the first of the pre-streaming era Trek shows that is perfect for binge-watching.

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‘star trek: discovery’ co-showrunner teases the final episodes and her message for fans.

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Co-showrunner Michelle Paradise with her "Star Trek: Discovery" cast and crew.

For five seasons, Star Trek: Discovery has taken audiences on the ride of a lifetime. With its series finale now in sight, I sat down with executive producer and co-showrunner Michelle Paradise at SeriesFest in Denver, Colorado to discuss the beloved show’s journey and what fans should expect from this ever-expanding television universe on Paramount Plus, before we say a proper farewell to the U.S.S. Discovery.

So for starters, what has Paradise enjoyed most about the evolution of Star Trek: Discovery , since it first premiered in September 2017?

“That’s a really great question,” Paradise said. “I have loved being a part of it. I joined halfway through season two, and it was starting to know what it was and it’s really found its way. I’ve really enjoyed the character arcs and getting to take them all to these different places. It’s also hard for me to separate out the evolution of the show from my evolution on the show and stepping into co-running it with [co-showrunner] Alex [Kurtzman] and starting to take over more of that in later seasons. It’s been the highlight of my career.”

Mary Wiseman as Tilly and Blu del Barrio as Adira in "Star Trek: Discovery" episode 7, season 5 - ... [+] streaming on Paramount+.

Paradise is no stranger to television production. She was previously an executive producer on such television projects as Exes & Ohs and The Originals , but I wondered what it might be about her Star Trek: Discovery cast and crew that perhaps feels special.

“It’s like a big family. First of all, our cast is incredible. They’re all insanely talented actors but they’re lovely human beings. They approach one another and they approach the project from just a place of love and respect for one another and for the material, which is always a wonderful place to start. You can’t say enough of [actor] Sonequa [Martin-Green], our number one and the tone that she sets on the show and on the set. We have a lot of folks on the show and the crew who come back, year-after-year. They all really love the world of Trek and they love one another. We try and go bigger and better and bolder every season, and there’s never a feeling of Oh, we can’t do that . It’s always a feeling of How do we do that? ”

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Sonequa Martin-Green as Burnham in "Star Trek: Discovery" streaming on Paramount+.

Since the original Star Trek series first premiered on television in 1966, the Star Trek story and fictional sci-fi universe has evolved into several iterations, including Star Trek: The Next Generation , Deep Space Nine , Voyager , Enterprise , Strange New Worlds and Picard - not to mention the numerous Star Trek movies over many decades, including the three recent blockbuster films, starring Chris Pine, Zoe Saldana and Zachary Quinto, with another sequel in the works.

Throughout all of these years, Star Trek fans have remained quite loyal and vocal, both when they love a story and even when they don’t. So, how does Paradise and her Star Trek: Discovery creative team try to appease Trek fans, but also not allow the chatter to stop them from taking on some creative risks?

Wilson Cruz as Culber and Anthony Rapp as Stamets in "Star Trek: Discovery" episode 6, season 5 - ... [+] streaming on Paramount+.

Paradise said, “I think the best way to answer that is we always try to honor what Trek is - where it came from, what is the DNA of any Trek series, which of course goes back to the original series, and then also honoring what is this version of Trek and knowing that it’s our job to make the best version of Discovery . Someone who loves Discovery may not love Strange New Worlds or someone who loves Strange New Worlds may not love Discovery. By design, these are all very different shows. To a certain degree, it has to be okay that not everyone is going to love this iteration. We always feel like if we can do justice to the franchise as a whole - what it means, do justice to the characters and do our best version of Discovery , then we will have succeeded.”

Ever since the WGA and SAG-AFTRA strikes ended late last year, there have been signs of movement and optimism within the entertainment industry, but also a sense of some standstill with television and film productions. So, what is Paradise seeing around the current state of Hollywood?

“I think it depends on who you talk to,” Paradise said. “It feels a bit like a mixed bag to me. There are a lot of people who are still very much struggling - writers, crew members, directors - because things have not picked up in the way that they would normally at this particular time of year. By in large, there’s not really a pilot season, as we used to know it. That’s very difficult for people. Of course, there’s still a lot of wonderful opportunities, but it seems like the compression that happened - it’s the combo platter of the [Covid-19] pandemic and the strikes, just after that. It does feel condensed - there are fewer things but I feel like, to some degree, that had to happen because in the big balloon of streaming, that in retrospect, it doesn’t feel like it was necessarily sustainable. Hopefully it will ease up, sooner than later, and kind of calm down because there’s still a lot of people who are struggling to get back into work right now and I feel for them - it’s hard.”

On more of a positive note, when asked what Paradise is enjoying most about the television landscape today, she says that she feels there is a lot that can be done, applauding the way that every week, Star Trek: Discover y is a “cinematic storytelling into television,” though she admits that the visual design of Discovery is not sustainable for every network and studio.

While our real world faces divisive times with war, political unrest and other conflicts, I wondered if Paradise and her team keep in mind the real-life issues occurring, when crafting its stories for the screen on Star Trek: Discovery .

Mary Wiseman as Tilly, June Laporte as Ravah and Wilson Cruz as Dr. Culber in "Star Trek: Discovery" ... [+] episode 6, season 5 - streaming on Paramount+.

“That comes from just the DNA of the show itself. The original series did not shy away from what was happening societal at that time. It did not shy away from tackling those things in the way that it could. That’s one of the cool things about sci-fi - aliens can stand-in for another culture, different relationships can stand-in for whatever is happening in society at the time. That’s kind of baked into any Trek show, is that reflection of what’s happening in the world at that time via sci-fi and the different ways we could do it.”

Paradise added: “In Discovery , we were very much aware of that and very thoughtful about what are the types of stories we want to tell, how does that reflect certain things that are going on. Trek means so much to so many people and where people are actively looking to Trek to reflect themselves in some way or actively looking to Trek as an answer to what’s happening in society and for hope that, as divisive as things are right now, as challenging around the world and in our country, that there is hope and we can overcome it with our better selves.”

Blu del Barrio as Adira, Tig Notaro as Jett Reno and Mary Wiseman as Tilly in "Star Trek: Discovery" ... [+] episode 7, season 5 - streaming on Paramount+.

When asked about what fans can expect ahead in the remaining episodes of Star Trek: Discovery , which drop every Thursday during this final season, Paradise teases that fans “might see more of our bad guys this season.” She added: “We did not going into the season [knowing] that this would be our last season. We’re so fortunate - CBS Studios and Paramount Plus gave us the opportunity, after the fact, to go shoot some additional material, and I feel like the thing I just want to keep reiterating for fans of the show is it has a proper ending. Our Discovery is not going to end on a cliffhanger of Are they all going to die? and then we never find out. It was worth the investment and I do think when people finish the season/series, they will feel like this season - again, we didn’t know going in - but it does feel like if you didn’t know that, you would think we knew going in because of what we’re doing thematically and where our characters go. So, I think people will feel very satisfied.”

As the conversation with Paradise concluded, she was left with one last question: For Star Trek: Discovery fans, people who have followed these five seasons - as they soon finish these final episodes, what message do you as a co-showrunner want to say these people, after investing their time in the series over the past seven years and falling in love with these characters?

Mary Wiseman, Sonequa Martin-Green and Michelle Paradise.

“I just would want to say thank you. There is no Discovery without the fans and they are always so loving and supportive and passionate, even when they don’t like what we’re doing, they’re passionate. As writers and creators and actors and the directors, we love that! We love that passion and their passion means so much to us.”

Paradise added: “It was a gift. Hopefully, we’ll all get to do it again someday.”

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Can Any Modern 'Star Trek' Series Reach 100 Episodes? Alex Kurtzman Shares His Thoughts

Posted: May 18, 2024 | Last updated: May 18, 2024

'Star Trek' Series To Reach 100 Episodes? Alex Kurtzman Shares His Thoughts.

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Chris Pine’s Best Moment As Star Trek’s Captain Kirk Isn’t the One You Think

Hint: It doesn't involve the Kobayashi Maru test.

The Big Picture

• Chris Pine's portrayal of James T. Kirk in Star Trek showcases a journey from selfishness to selflessness, reflecting growth and heroism.
• The film reboots the iconic sci-fi franchise with action-packed sequences and a new timeline that sets up the origins of Kirk and Spock's friendship. Pine's best moment as Captain Kirk is in the final sequence of the film where he and Spock work together to infiltrate the Narada .
• Pine brings sensitivity to Kirk's character, fulfilling his father's legacy and showcasing a vulnerability that highlights his heroic transition.

There really should not be a debate over who is Hollywood’s “Best Chris,” as Chris Pine has easily proven himself as an actor of real depth . Between his steely role in the neo-Western Hell or High Water and his charismatic romanticism as Steve Trevor in the Wonder Woman films, Pine has shown that he’s capable of standing out within talented ensembles. However, the challenges he faced when stepping into the role of James T. Kirk in the reboot of the Star Trek franchise were immeasurable. While William Shatner’s performance has been cited as the gold standard of overacting, Pine brought a surprising sensitivity and nuance to his role as the younger Captain Kirk.

The mythology of Star Trek is quite dense, but director J.J. Abrams' 2009 reboot serves as a great entry point for newcomers to the franchise. By taking place within an alternate universe known as the “Kelvin Timeline,” the new trilogy was able to forge a new direction and show the events leading up to the iconic episodes of Star Trek: The Original Series . Longtime fans may have struggled accepting a new actor in Shatner’s iconic role, but Pine gave Kirk a complete character arc during the action-packed conclusion of 2009’s Star Trek when he and Spock worked together to infiltrate the Narada.

Star Trek (2009)

J.J. Abrams' 2009 movie Star Trek rebooted the iconic sci-fi franchise in a totally new timeline. When a Romulan ship travels back in time and alters the past, the lives of James T. Kirk (Chris Pine), Spock (Zachary Quinto), and the future crew of the USS Enterprise are drastically changed. In this new timeline, the Romulan Nero (Eric Bana) sets out for revenge on Spock, setting off a chain of events that reshape the entire universe.

Chris Pine's Best Moment as Kirk Comes in 'Star Trek's Final Act

While the original Star Trek series took place in an established universe, the reboot film examines how Kirk rose from a humble background to become one of the bravest and most accomplished captains in the history of Starfleet . Bravery is always in his wheelhouse, but Kirk starts off the film as a selfish jerk who only uses Starfleet to advance his own ego. Kirk essentially decides to enlist in Starfleet Academy in order to win a bet with Captain Christopher Pike ( Bruce Greenwood ). Following this, he seems more interested in starting feuds with Spock ( Zachary Quinto ) and flirting with Lieutenant Uhura ( Zoe Saldaña ) than he is fulfilling the Prime Directive. However, a pivotal conversation with Spock Prime ( Leonard Nimoy ) indicates to Kirk that he has a greater legacy to fulfill.

Pine shows in Star Trek's conclusion that Kirk has grown more responsible. His mission is a critical one; the ruthless Romulan, Captain Nero ( Eric Bana ), has already destroyed the planet Vulcan, and is intent on leading an attack on Earth. While Pine has always done a great job at showing that Kirk has a keen sense of humor, his complexion grows far more grave when he informs his crew about the impending mission. Kirk realizes that everything he came from, including his family and friends on Earth, is at stake. It’s the first instance in the film where he develops a knack for heroism that is entirely selfless, and not out of a desperate attempt to prove himself worthy to the other characters.

What Happened to the 'Madame Web' Director's Star Trek Movie?

While the final sequence includes the type of kinetic action that is common in Abrams’ films , Star Trek shows how Pine’s Kirk has learned from his eclectic experiences . Kirk has spent a majority of the film sneaking around Starfleet facilities in order to solidify his place within the crew of the Enterprise ; it's fitting that his finest hour involves infiltrating an advanced spacecraft in a daring and heroic mission that doesn’t follow official protocols. Kirk’s final brawl with the ruthless Romulan villain Ayel ( Clifton Collins Jr. ) shows how his checkered past ends up benefiting him. Although he started the film getting into a bar brawl with haughty Starfleet officers, Kirk finally puts his nasty hand-to-hand combat skills to good use.

'Star Trek' Shows the Origin of Kirk’s Friendship With Spock

One of the most interesting revisions that 2009’s Star Trek makes to the core mythology of the franchise is positioning Kirk and Spock as rivals. Although the two eventually grow into close friends throughout the original series , Spock’s insistence on sticking to procedures initially rubs Kirk the wrong way. The ending of Star Trek teases the eventual bond that will develop between Kirk and Spock, as they are forced to work together in order to sneak aboard the Narada . Pine is more cheerful in his interactions, indicating that Kirk has taken Spock Prime’s words about their respective destinies to heart. As unlikely as it seems to him initially, he’s grown to accept the idea that he and Spock could be friends.

Although he makes a few jokes at his new ally’s expense, Pine shows that Kirk has come to acknowledge Spock’s feelings . Kirk has been so infuriated with Spock’s attitude that he has overlooked the fact that Vulcan has been destroyed; Spock lost much of his family and cultural heritage. Kirk is well-aware that Spock is half-human , and that Earth is the only planet he has left to call home. There’s a sensitivity to how Pine characterizes Kirk’s attitude; he recognizes the pain that Spock feels upon losing a parent, as it’s one that he knows all-too well.

Kirk Fulfills His Father’s Legacy at the End of 'Star Trek'

Star Trek begins with a harrowing opening sequence featuring Chris Hemsworth as Kirk’s father, George , who sacrifices himself in order to save the crew of the Kelvin from a Romulan attack. Pine gives Kirk the chance to mirror his father’s heroic action , as he goes into the mission with an acknowledgment that he could easily perish. Although the Romulans were responsible for his father’s death, Pine doesn’t turn Kirk into a vengeful character; rather, his heroic endeavors indicate that Kirk has learned to take pride in his family name.

2009’s Star Trek was a surprise hit at the box office , and spawned two direct sequels that faced Kirk off against even more ruthless villains . Pine turned Kirk into an empathetic hero whose vulnerability was an attribute; it was in Star Trek ’s finest hours that he made the steady transition into the hero fans knew he would become.

Star Trek is available to stream on Paramount+ in the U.S.

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Star Trek: Discovery boldly goes where no Trek has gone before by saying religion is... OK, actually

‘Whistlespeak’ breaks from Trek tradition to be pretty chill about believing in a higher power

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Star Trek’s future is a secular one. Franchise creator Gene Roddenberry was an avowed atheist , and the series and its spin-offs have routinely criticized organized religion as manipulative, illogical, and detrimental to the evolution of a society. Individual members of the human race may have an undefined spirituality, a curiosity about the afterlife, or a sense of wonder at the unknown or unknowable, but specific religious beliefs are typically reserved for alien cultures.

But, if Trek’s fervently pro-science and anti-superstition has remained constant, so have the attempts by different storytellers within the franchise to approach religion from other, more tolerant angles. And the latest episode of Star Trek: Discovery , “Whistlespeak,” may present Trek ’s most even-handed take on faith to date.

Religion as childhood fantasy

Somewhat restrained by the standards and practices of 1960s television, Star Trek: The Original Series used sci-fi allegories to criticize religion as an institution that stifled advancement and expression. In two episodes (“The Return of the Archons” and “The Apple”), Captain James T. Kirk and his Enterprise crew encountered a planet where a population was cowed into willful ignorance or repression by a deity that turned out to be a computer, which Kirk summarily destroyed.

In the 1980s, however, Star Trek’s writers were free to take the gloves off and criticize religion directly. In the 1989 Next Generation episode “Who Watches the Watchers,” Captain Jean-Luc Picard is mistaken for a god by a Bronze Age civilization for whom religion is already a thing of the past. Picard is mortified to be the catalyst for what he, in no uncertain terms, views as a societal regression, and steps in to reveal the truth to his new worshippers, even at the risk of his own life.

The position of “Who Watches the Watchers,” and of Star Trek at large, is that people turn to the supernatural when there are questions they can’t answer, but that the answers will always come, eventually. The willingness to pursue those answers and the patience to avoid drawing rash conclusions is a sign of maturity. By contrast, inventing digestible but unsupportable explanations for life’s mysteries is a sign of immaturity , a phase to be grown out of.

Other people’s gods

After Gene Roddenberry’s death in 1991, there was a gradual shift in the way Star Trek stories approached religion. The human species had still exited the evolutionary stage at which religion was practiced, but many of their peers in the galactic community — such as the Klingons and the Bajorans — held strong religious beliefs. And these beliefs began to be explored in much greater detail.

In Star Trek: Deep Space Nine , the human members of the command crew go to great lengths to not only respect but participate in the Klingon rituals of their comrade, Lt. Commander Worf. Ahead of Worf’s marriage to Jadzia Dax, his colleagues Captain Sisko, Chief O’Brien, and Dr. Bashir join him for four days of fasting and physical exhaustion (though not without complaint). When Jadzia is murdered and Worf fears her death has not earned her a place in the Klingon Valhalla of Sto-Vo-Kor, Bashir and O’Brien follow Worf on a potential suicide mission to win glory in her honor. Worf’s friends are content to take Klingon religion at face value, and the existence of Sto-Vo-Kor is never questioned.

During this era of Star Trek, alien religious beliefs were not merely tolerated, but validated. This is an important wrinkle in the case of the Bajoran religion on Deep Space Nine , whose worshiped Prophets are undeniably real: a species of non-corporeal beings who live outside of time and periodically intervene in the development of the nearby planet Bajor. Whether or not the Prophets have done the things the Bajorans worship them for is not up for debate, only whether or not they should be treated with religious reverence. Through DS9 ’s exploration of Bajoran politics, religious power is as dangerous as the person wielding desires it to be — not inherently malevolent or infantilizing towards its people. But, of course, since the existence of the Bajoran gods can be scientifically proven, their value as an analog to real-life religion is limited.

Discovery’s middle way

The streaming era of Star Trek under executive producer Alex Kurtzman, which began in 2017, has seen some new, minor references to religious practices in human society. For example, an unnamed background character serving aboard the USS Cerritos on Star Trek: Lower Decks can be seen wearing a hijab, indicating that some semblance of Islamic tradition is still observed in the 24th century. Not long after we meet Captain Christopher Pike during the second season of Star Trek: Discovery , we learn that his father taught both science and comparative religion.

But “Whistlespeak,” which comes midway through Discovery ’s fifth and final season, returns fully to the Original Series’ territory of a classic “weird alien religion” episode, and with a much more multi-faceted approach. Captain Burnham and her crew visit the planet Halem’no. which is nigh-uninhabitable except within the radius of a tower-like device that was secretly installed by a Federation scientist centuries earlier. The planet’s surviving inhabitants are a peaceful and friendly pre-warp civilization who believe that the towers are temples built by their gods.

Disguised as locals, Burnham and her friend and shipmate Lt. Sylvia Tilly join the faithful Halem’nites for a ceremonial marathon up to the towers as tribute to their divine saviors. It’s a joyful ritual that brings the entire community together, but there’s a shocking twist the Starfleet visitors only learn after the race is finished. Tilly and the marathon’s other winner, a Halem’nite named Ravah, are locked inside the tower, where they will eventually asphyxiate; a sacred sacrifice to keep the planet’s terrible storms at bay.

Though Starfleet officers are forbidden to interfere in the development of pre-warp civilizations, Burnham isn’t about to let Tilly (or Ravah) die to satisfy some arcane ritual. However, rather than tearing the whole society down like Kirk might have done, Burnham appeals directly to the community’s leader — Ravah’s father, Ohvahz — and implores him to stop the sacrifices, explaining the tower will do its work whether or not his child gives their life. Ohvahz is, naturally, open to the idea of not killing his child, but fears that revealing that their temple is actually an alien artifact will shatter his community and lead to violent conflict. What is their civilization without their faith and traditions?

“Better off,” is how Picard would probably answer. But Burnham’s response is more measured.

“There is still what you believe. Nothing we’ve shown you means gods don’t exist… it’s just that you know that there’s also us… Beliefs can evolve. Denying that can cause almost as much chaos as the worst storm.”

It’s probably no accident that Ravah, the teenager who’s supposed to be sacrificed in this episode, is gender non-binary, a trait which is not controversial for the Halem’nites but is condemned by many conservative religious groups here on present-day Earth. There’s also a parallel to the climate crisis, as the Halem’nites will need to learn to maintain the alien weather tower in order to keep their world safe. Would Christianity collapse if their leaders recognized that some of their flock don’t fit into the gender identities described in their holy texts, or that human intervention is required to undo human-made damage to the Earth? Probably not, and their inflexibility is only doing harm to their community. It’s not necessary to hold onto harmful policies or practices, nor is it necessary to throw out an entire system of beliefs because of new, contradictory, or unanticipated information.

Meanwhile, aboard Discovery, Dr. Hugh Culber has been trying to make sense of his own spiritual awakening, a feeling of connection to a higher power that has lingered with him since an out-of-body experience on a recent away mission. As a scientist, Culber’s first instinct is to investigate, understand, and catalog this sensation, but the explanation eludes him. He seeks the advice of his friend Cleveland Booker, a non-human with his own spiritual life, who essentially asks him, “Why do you need to understand it?” With this guidance, Culber decides that the value of his new spirituality is in how it feels, not where it comes from.

The approach to religion in “Whistlespeak” does not broadly condemn religion like The Original Series or The Next Generation , or rationalize and tolerate faith as a quirk of the other, like Deep Space Nine . Instead, “Whistlespeak” questions why a philosophy that is rooted in the unknowable should be attached to absolutes. Spirituality is what you make of it, whether that’s on an individual or community level. Religion can do harm, but it doesn’t have to, so long as its leaders and its believers are willing to embrace uncertainty. In this way, at least, science and religion can find some common ground.

Star Trek: Discovery is cracking open a box Next Gen closed on purpose

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Star Trek’s Michelle Yeoh To Star In ‘Blade Runner 2099’ Series

| May 8, 2024 | By: TrekMovie.com Staff 31 comments so far

This has been a busy week for Michelle Yeoh. The Star Trek: Discovery (and upcoming Section 31 streaming movie) star is following up her new Presidential Medal of Freedom with news she will be starring in the new Blade Runner TV series. She also turned heads on the Met Gala red carpet with her unique gown.

The Hollywood trades are reporting that Amazon has tapped Michelle Yeoh as one of the leads for their upcoming Blade Runner 2099 limited series. The new show follows the events of the 2017 film Blade Runner 2049 , the sequel to the 1982 classic film Blade Runner based on the Philip K. Dick novel Do Androids Dream of Electric Sheep?

From Blade Runner 2049 (Warner Bros.)

In the dystopian future depicted in Blade Runner humanity has developed androids named “replicants” as workers and when one goes rogue they are tracked down by bounty hunters called “blade runners.” According to Variety , in Blade Runner 2099 Yeoh will play a character named Olwen, “described as a replicant near the end of her life.”

Blade Runner 2099 is set to start filming in Prague in June. In March Yeoh wrapped up filming on the upcoming Star Trek: Section 31  streaming movie where she returns to the role of Emperor Georgiou from Discovery . Paramount+ has yet to set a release date for Section 31 .

Michelle Yeoh as Georgiou and Joe Pingue as Dada Noe in Star Trek: Section 31 (Paramount+)

Met Gala Yeoh

Yeoh was also getting noticed on Monday when the Oscar-winning actress walked the red carpet in a dress made of aluminum a the Met Gala in New York, which had a theme this year of “Garden of Time.”

Yeoh’s gown was designed by the Spanish luxury fashion house Balenciaga. You can see how they put it together in the video below.

And from even more Michelle, today Paramount+ released this video tribute to her time on Star Trek: Discovery .

Keep up with news about the  Star Trek Universe at TrekMovie.com

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I just knew that first image of the Section 31 movie was secretly from Blade Runner!

A Blade Runner series that follows the 2049 instalment sounds intriguing and I’m all in when it comes to Michelle Yeoh. IMO to have someone of her acting calibre in the Star Trek family is one of the highlights of so called nu-Trek.

Canny choice of brand ambassador to rehabilitate Balenciaga.

-Michelle Yeoh is awesome -so paramount writes her off of disco to spin her off -then covid happens then paramount has a meltdown and we wait -she wins an oscar as we wait -then finally they do a tv movie because she’s too busy and can’t possibly do a scifi series for a streaming service -now she’s doing a scifi series with a streaming service the decisions out of paramount for 2 years have been flat out weird

she was always going to leave. see how busy she is away from Disc now.

that’s hilarious… that’s like the saying close the spacedock doors now that the horse has left and suffocated in space… she left to do her own show… she left pre oscar and pre everything… then covid hit then paramount flipped a switch on themselves then paramount was selling itself… and now she’s making a totally different scifi streaming series in a different franchise… i think it’s hilarious too

Funny how she was apparently too busy to do the Section 31 show she signed to do way back in 2019 by being in a dozen other shows lol.

Anyway this sounds great. I really liked the Blade Runner sequel. I only seen it once in n the theater but I was hoping for another movie. But since that basically bombed this is a great alternative.

Yeah, but asides from management talking about a S31 show, it’s not like there were a dozen scripts at the ready for season one to get started. How many times has Paramount announced the Trek IV movie was all queued up and ready to go……except it wasn’t? I wish her the best…

Actually there was a lot of progress. They had already finished the pilot and the first few scripts literally back in 2019.

Taken from a previous article:

“We are very excited about the Section 31 show and Michelle Yeoh is excited to do it. She is in the current season of Discovery so she’s working on that right now but we have scripts getting written, and Alex has a writer’s room. We love what we’ve heard so far. It’s yet another tonality of Trek. As Alex has mapped it all out, each show has its own unique sort of voice and vision.”

S31 was literally being made the same time Picard was. They already had showrunners and scripts.

I think just like the movies themselves Paramount got cold feet and backed off because they clearly wasn’t that confident in it. Understandable. Of course at least they finally did something with the idea unlike the next movie. 🙄

Lack of confidence in the scripts perhaps? Also probably not enough money to go around now to make good on it, especially if her fee went up.

I saw BR2049 at the cinema on a Friday night opening wkend 2017, not that many in theatre, remember my mind blown during opening titles, it just hitting me, I was actually watching Blade Runner 2 (starring Harrison Ford). It’d already been mind blowing watching Force Awakens in cinema, but this was just beyond crazy (a shame it wasn’t directed by Scott, probably would’ve been a tighter film, although DV did very well. In fact I liked it so much I put off watching the bluray for a few years bc i didn’t want to dilute that one time cinema experience).

Pity this series isn’t a 3rd film (with Yeoh), stream series can’t really compare to a proper film imo (Picard s3 aside)

Yeah I remember sitting in the theater Saturday night opening weekend with I think 50 other people lol.

I was actually a bit surprised how low the turnout was but I guess I shouldn’t be since the first movie was always more of a cult thing but still loved it. But I’m glad they still tried to go bigger with it.

And yeah would’ve loved another movie but the writing was on the wall.

BTW I know they made an animated series for it too. Have you ever seen it? I’m thinking of watching it but I want to watch the movies again first.

It’s nice they haven’t abandoned the franchise even though it’s never been popular for the masses.

No not seen any of the animated series, think there was some anime stuff on the blu extras when I finally got around to looking at it

Think BR2 probably ended up making similar to BR1 when adjusted

If you haven’t seen it, SLICE OF LIFE is a short that takes place in the BLADE RUNNER universe, with some amazing visuals produced entirely with miniatures (no cgi). You can check it out on YouTube.

They do a better job of shooting the miniatures than 2049 did, too. The shot(s) in 2049 of what I think was the police building really looked model-ly. I’ve got a used blu-ray of it, but when I tried to rewatch I dozed off 10min in and haven’t worked up enthusiasm to give it another go.

Yeoh and Ford would be a lovely combo. Spielberg had initially talked to her about being in Indiana Jones 4, around when she was doing Memoirs of a Geisha. Wasn’t too serious as no iteration of the script really had a part for an Asian actress, but it would have been fun.

when Spielberg was attached to Indy 5 i think it had a China based plot (an art guy Adam Brockbank posted his concept art when he was attached to Spielbergs version of IJ5 and some was of young Indy in a Chinese type temple , and also a Nazi submarine with Indy and what looks to be Felicity Jones or Ana De Armes) then when Mangold took over he did a complete rewrite and new ‘mcguffin’ the Dial of Destiny .

Thanks for sharing. I had no idea that IJ5 under Spielberg had gotten that far down the development road.

funny, she would have been in an Indy film and an Indy knock off ‘mummy’ film

Oh god, I forgot she was in that Mummy film. What a waste. Michelle Yeoh and Jet Li are finally given their one and only fight on film and it’s a brief, boringly shot and edited damp squib of a scene.

The Forbidden Kingdom isn’t a great movie. But at least they knew to make the most of Jet Li and Jackie Chan fighting each other.

Seems like another recycle stuff from the 80s and expect us all not to notice kind of thing again.

Since I thought that, despite some virtues, BLADE RUNNER 2049 was an almost entirely unnecessary sequel to Ridley Scott’s masterpiece, I’m finding this announcement more intriguing than I probably should.

There’ve been so many ALTERED CARBON cyberwhatsis SF projects since BR, and from what I remember, I don’t think I dug too many of them. Maybe they should have gotten Noah Hawley locked in before he got enmeshed in doing an ALIEN tv series for Fox, have a feeling he could have upped the game considerably.

As previously stated I definitely thought 2049 had its pluses, including the relationship between Gosling and his holographic love interest, which for my money brilliantly restated the original’s question about what it means to be human. If only the rest had been that good. . . but, seriously, what do we need with more cyberpunk dystopias anyhow? We’re walking around in one, 24/7, with full surround sound, smell-o-vision, and Marjorie Taylor Greene for black comic relief. Or, as cyberpunk guru Bill Gibson once put it, “The future is already here; it’s just unevenly distributed.”

I’d only be able to consider MTG as black comic relief if we were living in a BACK TO THE FUHRER timeline.

That’s a joke I came up with when I read that ENT time traveled back to ww2 to fight aliens working with nazis. Finally got a chance to use it.

That would have been a good title indeed for those preposterous episodes. (Did they air in the springtime, btw? Okay, I’ll stop.)

Reading that had me laughing so hard I started hallucinating Dick Shawn as ‘God’ and then as Sybok in ST5. That’s probably the first time I’ve even thought of Dick Shawn this whole century!

In the dystopian future depicted in  Blade Runner  …

I don’t think there’s any need to explain the plot of Blade Runner to this audience ;)

Can no longer support her after her appearance at the met gala while children die indiscriminately thanks to American tax dollars.

That’s been the reality for generations now, sadly — children dying with the aid of American tax dollars. I’m not sure what Yeoh’s participation in cultural events does to change that, but of course YMMV. (And I’ll be honest here: I’d feel a lot different about her accepting that award from TFG.)

Court is the final frontier for this lost ‘Star Trek’ model

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In April, Heritage Auctions heralded the discovery of the original model of the U.S.S. Enterprise, the iconic starship that whooshed through the stars in the opening credits of the 1960s TV series “Star Trek” but had mysteriously disappeared around 45 years ago.

The auction house, known for its dazzling sales of movie and television props and memorabilia, announced that it was returning the 33-inch model to Eugene “Rod” Roddenberry Jr., son of series creator Gene Roddenberry. The model was kept at Heritage’s Beverly Hills office for “safekeeping,” the house proclaimed in a statement, shortly after an individual discovered it and brought it to Heritage for authentication.

“After a long journey, she’s home,” Roddenberry’s son posted on X , (formerly Twitter).

But the journey has been far from smooth. The starship model and its celebrated return is now the subject of a lawsuit alleging fraud, negligence and deceptive trade practice, highlighting the enduring value of memorabilia from the iconic sci-fi TV series.

The case was brought by Dustin Riach and Jason Rivas, longtime friends and self-described storage unit entrepreneurs who discovered the model among a stash of items they bought “sight unseen” from a lien sale at a storage locker in Van Nuys in October.

“It’s an unfortunate misunderstanding. We have a seller on one side and a buyer on the other side and Heritage is in the middle, and we are aligning the parties on both sides to get the transaction complete,” said Armen Vartian, an attorney representing the Dallas-based auction house, adding that the allegations against his client were unfounded.

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The pair claimed that once the model was authenticated and given a value of $800,000, they agreed to consign it to an auction sale with Heritage planned for July 2024, according to the lawsuit. However, following their agreement, they allege the auction house falsely questioned their title to the model and then convinced them, instead of taking it to auction, to sell it for a low-ball $500,000 to Roddenberry Entertainment Inc. According to the suit, Eugene Roddenberry, the company’s chief executive, had shown great interest in the model and could potentially provide a pipeline of memorabilia to the auction house in the future.

“They think we have a disagreement with Roddenberry,” said Dale Washington, Riach and Rivas’ attorney. “We don’t. We think they violated property law in the discharge of their fiduciary duties.”

The two men allege they have yet to receive the $500,000 payment.

A surprise discovery in a Van Nuys storage unit

For years, Riach and Rivas have made a living buying repossessed storage lockers and selling the contents online, at auction and at flea markets. In fact, Riach has appeared on the reality TV series “Storage Wars.”

“It’s a roll of dice in the dark,” Riach said of his profession bidding on storage lockers. “Sometimes you are buying a picture of a unit. When a unit goes to lien, what you see is what you get and the rest is a surprise. At a live auction you can shine a flashlight, smell and look inside to get a gauge. But online is a gamble, it’s only as good as the photo.”

Last fall, Riach said he saw a picture of a large locker in an online sale. It was 10 feet by 30 feet, and “I saw boxes hiding in the back, it was dirty, dusty, there were cobwebs and what looked like a bunch of broken furniture,” he said.

Something about it, he said, “looked interesting,” and he called Rivas and told him they should bid on it. Riach declined to say how much they paid.

There were tins of old photographs and negatives of nitrate film reels from the 1800s and 1900s. When Rivas unwrapped a trash bag that was sitting on top of furniture, he pulled out a model of a spaceship. The business card of its maker, Richard C. Datin, was affixed to the bottom of the base.

A Google search turned up that Datin had made “Star Trek” models, although the two men didn’t make the connection to the TV series.

“We buy lots of units and see models all of the time,” Riach said. He thought they would find a buyer and decided to list it on eBay with a starting price of $1,000.

At once, they were deluged with inquiries. Among Trekkies, the long-lost first starship model had attained a mythical status.

The original “Star Trek’’ debuted in 1966 and aired for three seasons. Although its original run was brief, the show has generated numerous films and television spinoffs and is one of the most lucrative entertainment franchises, with an enormous fan base.

In 2022, at a Heritage auction of 75 props and items, a Starfleet Communicator from the 1990s series “Star Trek: Deep Space Nine” sold for $27,500 while a pair of Spock’s prosthetic Vulcan ear tips from the original series went for $11,875, more than twice the amount they brought when they were sold in 2017 for $5,100.

The starship’s design was crucial to the series’ success. “If you didn’t believe you were in a vehicle traveling through space, a vehicle that made sense, whose layout and design made sense, then you wouldn’t believe in the series,” Gene Roddenberry said in the 1968 book “The Making of Star Trek,” according to the auction house.

For years, the show’s creator had kept the 33-inch model on his desk. It became the prototype for the 11-foot model used in subsequent episodes. That version was later donated to the Smithsonian National Air and Space Museum. But that first model disappeared around 1978 when the makers of “Star Trek: The Motion Picture” borrowed it.

A missing starship model

In 1979, Roddenberry wrote to then Paramount executive Jeffrey Katzenberg stating that he had “loaned” the model to the studio more than a year earlier.

“My problem is simply that of getting my model back,” Roddenberry wrote, according to a copy provided by Washington. “It is a fairly expensive piece of model making but its real value to me is what it represents.” He added that no one he had spoken with “had the slightest hint as to who got it or what happened to it.”

Roddenberry died in 1991 .

After the massive interest sparked by the eBay listing, Riach and Rivas pulled the sale and began researching the model more intently. They discovered the connection between Datin and the TV series but also learned that the original model was the same size as the one they had found and it had gone missing. “I said wow, do we have something here?” said Riach, and then reached out to Heritage.

Riach admitted that “Star Trek” wasn’t really on his radar. He was a die-hard “Star Wars” fan, having collected vintage memorabilia from the space films since he was 8 years old.

But given the treasure he unearthed, he now says, “I love ‘Star Trek.’

“There are people buying storage units for 20 years and you will never find anything this great,” he said. “It’s like buying a lottery ticket. It was a very great find.”

Things took an unexpected twist, Riach said. In March, he and Rivas signed an agreement to sell the model for $500,000 after it was pulled from the planned auction and they were told Roddenberry Entertainment had a “strong claim” to the model’s title and “would tie them up with its ‘powerful legal team.’” But then they were given a new transfer agreement to sign with a new set of terms. Riach declined and, instead, he and Rivas called Washington.

Heritage “moved the goalposts,” said their attorney. Under the new agreement, Riach and Rivas would be paid a “finder’s fee,” which Washington called a “reward,” converting it from a transactional payment to a potentially voluntary payment.

They claimed that by April, when Heritage announced the model had resurfaced, the pair came to believe the house failed to disclose the item’s value was much greater than they had been told.

Joe Maddalena, Heritage’s executive vice president, made public statements calling it “priceless.” “It could sell for any amount and I wouldn’t be surprised because of what it is,” he told the AP . “It is truly a cultural icon.”

They also had not been paid.

On April 28, 10 days after Heritage announced it had returned the model to Roddenberry, Riach and Rivas’ lawyer sent a letter to the auction house’s attorney outlining their claims and asking for the payment promised; they also proposed mediation.

Vartian, the lawyer representing Heritage, said that Riach and Rivas became “impatient” about getting the transaction done, and disputes the house had a fiduciary duty to them.

“This is an arm’s-length business relationship,” Vartian said. “They bring something to the auction house and are trying to get the most possible amount as quickly as possible, that is [Heritage’s] position and what they did.”

Still, Vartian is confident that they will soon conclude the transaction, saying, “Various things including scheduling have taken longer than it would.”

For his part, Riach says this experience is much like that of the crew of the U.S.S. Enterprise — “a strange new world.”

“I’ve never experienced anything like this. I’ve sold fine art at auction and other places, I got my check and went on. I’ve never had this roller coaster.

“Storage is a hard game. Sometimes you win and sometimes you lose,” he added. “We’ve bought a $10,000 unit and everything was complete garbage. But if you play long enough, you can get lucky.”

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Star Trek: Discovery

The fifth and final season of Star Trek: Discovery finds Captain Burnham and the crew of the U.S.S. Discovery uncovering a mystery that will send them on an epic adventure across the galaxy to find an ancient power whose very existence has been deliberately hidden for centuries. But there are others on the hunt as well … dangerous foes who are desperate to claim the prize for themselves and will stop at nothing to get it.

Star Trek: Discovery Seasons 1-4 are streaming exclusively on Paramount+ in the U.S., the UK, Canada, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia and Austria. Seasons 2 and 3 also are available on the Pluto TV “Star Trek” channel in Switzerland, Germany and Austria. The series streams on Super Drama in Japan, TVNZ in New Zealand, and SkyShowtime in Spain, Portugal, Poland, The Nordics, The Netherlands, and Central and Eastern Europe and also airs on Cosmote TV in Greece. The series is distributed by Paramount Global Content Distribution.

Season four of Star Trek: Discovery finds Captain Burnham and the crew of the U.S.S. Discovery facing a threat unlike any they’ve ever encountered. With Federation and non-Federation worlds alike feeling the impact, they must confront the unknown and work together to ensure a hopeful future for all.

Follow the voyages of Starfleet on their missions to discover new worlds and lifeforms, and one Starfleet officer, Michael Burnham, who learns that to truly understand all things alien, she must first understand herself.

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Star Trek: The Next Generation

Set almost 100 years after Captain Kirk's 5-year mission, a new generation of Starfleet officers sets off in the U.S.S. Enterprise-D on its own mission to go where no one has gone before. Set almost 100 years after Captain Kirk's 5-year mission, a new generation of Starfleet officers sets off in the U.S.S. Enterprise-D on its own mission to go where no one has gone before. Set almost 100 years after Captain Kirk's 5-year mission, a new generation of Starfleet officers sets off in the U.S.S. Enterprise-D on its own mission to go where no one has gone before.

• Gene Roddenberry
• Patrick Stewart
• Brent Spiner
• Jonathan Frakes
• 321 User reviews
• 162 Critic reviews
• 39 wins & 61 nominations total

Episodes 176

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• Commander William Thomas 'Will' Riker …

• Lieutenant Commander Geordi La Forge …

• Counselor Deanna Troi

• Lieutenant Worf …

• Doctor Beverly Crusher …

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• Wesley Crusher …

• Chief Miles O'Brien …
• Youngblood …

• Lieutenant Natasha 'Tasha' Yar …

• Doctor Katherine Pulaski …

• Nurse Alyssa Ogawa …

• Ansata Terrorist …

• Ensign Ro Laren …

• Keiko O'Brien …
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• Trivia Almost everyone in the cast became life-long friends. At LeVar Burton 's 1992 wedding, Brent Spiner served as best man, and Sir Patrick Stewart , Jonathan Frakes , and Michael Dorn all served as ushers. Man of the People (1992) (#6.3) aired on that day.
• Goofs It is claimed that Data can't use contractions (Can't, Isn't, Don't, etc) yet there are several instances throughout the series where he does. One of the first such examples is heard in Encounter at Farpoint (1987) , where Data uses the word "Can't" while the Enterprise is being chased by Q's "ship".

[repeated line]

Capt. Picard : Engage!

• Crazy credits The model of the Enterprise used in the opening credits is so detailed, a tiny figure can be seen walking past a window just before the vessel jumps to warp speed.
• Alternate versions The first and last episodes were originally broadcast as two-hour TV movies, and were later re-edited into two one-hour episodes each. Both edits involved removing some scenes from each episode.
• Connections Edited into Reading Rainbow: The Bionic Bunny Show (1988)

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• Sep 10, 2005

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• September 26, 1987 (United States)
• United States
• Official Facebook
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• Star Trek: TNG
• Donald C. Tillman Water Reclamation Plant - 6100 Woodley Avenue, Van Nuys, Los Angeles, California, USA (location)
• Paramount Television
• See more company credits at IMDbPro

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• Runtime 45 minutes
• Dolby Stereo

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How The Sci-Fi Series Farscape Set Out To Do The Opposite Of Star Trek

A handsome American ends up stranded on an alien ship, manned by an unusual alien crew, where he falls in love with its resident warrior woman. It's not "Guardians of the Galaxy," it's "Farscape," the Australian-American sci-fi series! The series was created by Rockne S. O'Bannon and Brian Henson with alien designs courtesy of the Jim Henson Company, including several puppets that served as central characters. "Farscape" is funny, campy, and weird as hell, setting it apart from not only its television contemporaries but all other sci-fi shows. "Farscape" ran for four seasons from 1999-2003, and while it wasn't as popular as some of the other big sci-fi shows, it has a devoted cult following that really loves it. 

In a retrospective for the show's 25th anniversary at IGN , Henson shared his inspiration for the show and what he and O'Bannon were trying to do with "Farscape." With its wacky cast of characters and often goofy tone, "Farscape" was the anti-"Star Trek," and it turns out that was the point. "Farscape" was less interested in things like examining terrorism through different lenses  and more interested in the personal ramifications of surviving while traveling the stars, from some  very different perspectives. 

Farscape set itself apart through its characters

In the retrospective, Henson explained that in the late 1990s when they were developing "Farscape," they felt the need to break away from the biggest sci-fi shows on the air, especially "Star Trek":

"What we were trying to do back then was kind of break the mold. The biggest show was 'Star Trek,' for sure. And 'Star Trek' had taken a vision of the future where people are in much more control of their emotions, and they're more efficient in their communication. They feel like an elevated human being when you watch people interacting on the 'Star Trek' shows. We really wanted a completely different feel and tone."

Around the time "Farscape" was being developed, "Star Trek: Deep Space Nine" and "Star Trek: Voyager" were both on the air, with "Star Trek: The Next Generation" having freshly made the leap from the small screen to the cineplex. The crew aboard Moya in "Farscape" are pretty far removed from characters like the incredible military hero Ben Sisko from "Deep Space Nine" or the brilliant diplomat Jean-Luc Picard from "Next Generation." Despite most of them being aliens of some sort, they're all very relatable and very, very human. 

A found family of intergalactic hot messes

Each of the folks aboard Moya has their unique strengths and flaws, though none of them have the kind of "elevated" attitudes Henson describes save for maybe Zhaan (Virginia Hey), a telepathic empath, but even she's kind of (maybe) a terrorist. Human John Crichton (Ben Browder) is a smart-alecky pop-culture fanatic who is a total dummy as frequently as he is clever, like Captain Kirk without the political idealism or the excess libido, and he helps usher the audience through this bizarre, beautiful universe. "Farscape" is delightfully weird and silly and horny with regularity instead of only allowing itself that freedom in holodeck episodes, with characters who are often comedically flawed in some way. Even the character most generally competent and adept at surviving, Aeryn Sun ( the always incredible Claudia Black ), starts the series exceptionally cold and kind of xenophobic, though she grows over the course of the show. 

"Farscape" doesn't have the same kind of utopian idealism as "Star Trek," with characters who strive to be the best versions of themselves. Instead, everyone is simply trying to get by for another day and maybe find a bit of comfort in the cold dark of space. It's extremely relatable, even if the idea of staying aboard an organic, living ship that eventually gets pregnant is not. It's okay Moya, we love you and your lil' starfighter baby. Enterprise, eat your heart out.