subspace radio star trek online

Subspace Radio

SubSpace Radio has now evolved into GamingNow Radio, it still contains all the DJs you know and love.

All of the DJs have found a place on the GamingNow Radio Schedule . There is a dedicated Subspace Radio Schedule but this is only for the Jukebox

To listen to the GamingRadio schedule visit the GamingNow Radio Player to listen to the Subspace Radio Schedule use the player below (it will auto-play the GamingNow stream if there is a live DJ).

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Subspace Radio airs different podcasts and live shows during the week on the Jukebox

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Rod Rodenberry's Mission Log - 1800 Monday

Priority One - 1800 Friday

Subspace Radio - The Voice of Star Trek Online

Subspace communication

An analysis of a subspace com wave

Subspace communication , subspace radio , or hyperchannel , was the primary form of electromagnetic communication used throughout the Federation . By transmission of a subspace radio signal , which traveled through subspace rather than normal space , subspace communication permitted the sending of data and messages across interstellar distances faster than the speed of light . This made it much more practical than conventional radio . In fact, starships rarely even monitored frequencies that traveled at the speed of light. ( TNG : " The Ensigns of Command ", okudagram ; VOY : " The 37's ")

Subspace communication was mainly used by Starfleet Command to transmit orders to commanding officers of starships on deep-space assignments. Likewise, the vessels' commanding officers used subspace communication to relay reports on their various missions back to Starfleet Command, to ask for suggestions, and/or to make requests. ( ENT : " Shockwave "; TOS : " Balance of Terror "; Star Trek II: The Wrath of Khan ; TNG : " The Best of Both Worlds "; VOY : " Friendship One "; et al. )

The speed of subspace messages varied greatly depending upon the technology involved. For instance, in the 2260s , a subspace message from the Romulan Neutral Zone took three weeks to reach Starfleet Headquarters , whereas a century later, at the same distance, subspace communications were essentially in real time. ( TOS : " Balance of Terror ", Star Trek Nemesis ). A message traveling subspace over a distance of 2.7 million light years would have taken fifty-one years and ten months to reach Federation space in 2364 . ( TNG : " Where No One Has Gone Before ")

The exact measurement provided by Data in "Where No One Has Gone Before" is the only time a quantifiable number has been provided to determine the speed of subspace radio. In that case, the subspace radio message would appear to be traveling 2,700,000 light years in 51 5 / 6 years, which is 52,090 10 / 311 times the speed of light, or approximately 144.5 light years per day at a speed of just over six light years an hour. This is equivalent to approximately warp 9.9995 in the new scale or warp 37.35 in the old scale. The novel Vendetta gives this figure as well, remarking in one scene that the Enterprise -D at maximum warp was just barely "keeping up" with the same subspace radio message advising Starfleet of their arrival. In the episode ( SNW : " All Those Who Wander "), Spock stated that the speed of subspace communication was "approximately 52,000 times the speed of light."

Depending on the actual distance between a vessel and the nearest subspace relay beacon, real-time communication was possible. An example of this is when Starfleet Lieutenant Reginald Barclay contacted the USS Enterprise -E , which was seven light years away from his location on the Jupiter Station , and spoke real-time to the ship's counselor , Commander Deanna Troi . ( VOY : " Life Line ")

Subspace communications had a varying degree of band frequencies, from upper (or high-band) to lower. For example, a diplomatic frequency used by the Vulcans was on a lower subspace band. ( ENT : " Fallen Hero ", " Dead Stop "; TNG : " Ensign Ro ")

Vulcans had been utilizing subspace communications as early as the Earth year 1957 , as their ships were outfitted with subspace transceivers . ( ENT : " Carbon Creek ")

EM spectrum communication in the text of the Treaty of Armen

The Treaty of Armens set down EM spectrum communication as one of a number of acceptable means of communications between the Federation and the Sheliak Corporate in case something came up regarding the treaty. ( TNG : " The Ensigns of Command ", okudagram )

The practice of not sending out any subspace messages and ignoring any incoming transmissions was known as radio silence . ( ENT : " Terra Prime ")

• 1 22nd century uses
• 2 23rd century uses
• 3 24th century uses
• 5 External link

22nd century uses [ ]

Echo Two , a subspace amplifier, being deployed

Earth had developed subspace communication as early as 2151 . During this time, however, subspace amplifiers were required in order to maintain contact between Earth and Starfleet vessels over long distances. ( ENT : " Fortunate Son ", " Silent Enemy ") Contact with these amplifiers was maintained with a single subspace antenna . If this antenna was damaged, a starship would only be capable of short-range communication. ( ENT : " Dead Stop ")

In the series bible for Star Trek: Enterprise , it was stated that subspace communications would be introduced in the course of the series. However, it was also imagined in the same early document that "long range, subspace communications" in which the NX-class Enterprise participated would only be possible while the craft was traveling at warp.

Orders and reports were not the only communications to and from starships. Personal messages were also sent. The crew of Enterprise , for example, received personal messages from friends and family members back on Earth. Captain Jonathan Archer himself received recordings of water polo tournaments in what Trip Tucker described as the "subspace mailbag". ( ENT : " Vox Sola ")

The treaty following the Earth-Romulan War was established entirely by subspace radio. No visual contact between the Humans , the Romulans , or their allies was ever established. ( TOS : " Balance of Terror ") However, subspace communication was not available to all Earth ships during this period. The Horizon was not able to communicate via subspace when the ship made contact with Sigma Iotia II in 2168 . Thus, their report was not received by Starfleet Command until a hundred years later . ( TOS : " A Piece of the Action ")

Before being destroyed, a group of Borg drones in the Alpha Quadrant sent a subspace message to the Borg in the Delta Quadrant in 2153 . The message would have taken at least two hundred years to reach its destination and, if received, may have been the way the Borg of the 24th century learned of the existence and location of Earth. ( ENT : " Regeneration ") In 2374 , however, the USS Voyager was able to communicate almost instantaneously between the Delta and Alpha Quadrants using a system of ancient relay stations , proving that subspace communication signals slow down over time unless amplified by a relay station. ( VOY : " Message in a Bottle ")

23rd century uses [ ]

By the 23rd century , subspace communication was in wide use throughout the Federation . ( Star Trek: The Original Series ) During this time, a starship's communications officer was required to create subspace logs detailing all messages sent and received. ( TOS : " The Man Trap ")

In some cases, marriages were performed entirely on subspace radio. Magda Kovacs and Ruth Bonaventure were married to two of the three miners on the Rigel XII mining colony via subspace radio in 2266 . ( TOS : " Mudd's Women ")

After Fleet Captain Christopher Pike was injured upon being exposed to delta radiation , months of "subspace chatter" emerged regarding the accident. Later, in 2267 , Spock fabricated a subspace message ordering the USS Enterprise to divert to Starbase 11 for the sole purpose of returning Pike, his former CO , to Talos IV where Pike could live out the rest of his days in comfort. During the subsequent court martial , Enterprise received subspace transmissions from Talos IV in violation of General Order 7 . ( TOS : " The Menagerie, Part I ")

Trelane of Gothos was able to block Enterprise 's subspace communications using his mirror machine . ( TOS : " The Squire of Gothos ")

The Eminians employed a subspace transmission unit to keep in contact with the Vendikans during their computer -fought war. This unit was tied in with Eminiar VII 's attack computers. ( TOS : " A Taste of Armageddon ")

An additional 23rd century reference to subspace communication was in an ultimately unused line of dialogue from the final draft script of TOS : " Charlie X ", in which Captain Kirk referred to a conversation he had engaged in with Captain Ramart as having been over "sub-space radio."

24th century uses [ ]

A subspace network

By the 24th century , subspace communications were handled through subspace relay networks , replacing previous networking methods such as subspace amplifiers. These networks were maintained, at least in part, by various relay stations . ( TNG : " Aquiel ")

A 24th century professor , Doctor Paul Manheim , was renowned for his work in perfecting subspace communications. ( TNG : " We'll Always Have Paris ")

Lore was able to communicate with the Crystalline Entity using subspace communications in 2364. However, a later encounter with the entity by the USS Enterprise -D required the use of graviton pulses for communication. ( TNG : " Datalore ", " Silicon Avatar ")

Unidentified subspace communications were detected by a class-1 probe that was sent to Nelvana III . ( TNG : " The Defector ")

In 2369 Commander Benjamin Sisko sent a subspace message to Klaestron IV to verify the warrant of Dax . ( DS9 : " Dax ")

The same year, Chief O'Brien received a subspace message from his wife who visited the grain processing center in Lasuma on Bajor . Later, when Odo tried to contact Starfleet Headquarters , he learned that Major Kira had blocked all subspace communication. ( DS9 : " Dramatis Personae ")

In 2373 , prior to the Dominion assault on Deep Space 9 , Odo suggested that all outgoing subspace communication be terminated, in order to prevent security leaks. He prepared false messages to be transmitted at random intervals, so there would be no noticeable drop in DS9's outgoing subspace traffic. ( DS9 : " Call to Arms ")

See also [ ]

• Subspace differential pulse
• Subspace infrared algorithm

External link [ ]

• Faster-than-light communication at Wikipedia
• 1 Daniels (Crewman)
• 3 World War III

Welcome to Risa Subspace Radio!

NOTE: The powers that be determined I didn't have enough listeners (I didn't) so they pulled the plug. I now run a shoutcast server on my laptop, so it's hit and miss when it's tune time. Click play above or on the link below.

Broadcasting from South Promenade Lighthouse with our transmitter located high atop North Peak at Suraya Bay on planet Risa, this is Risa Subspace Radio. Thank you for joining us! Direct listener link, click here

This is a toy of mine...

What it is is basically in-game radio for players of Star Trek Online when my other favorite stations are playing on automatic and the DJs have turned in, we still wanna party! I know it lists genres, but I play what I'm in the mood for, pretty much. Also, if you see me in game and I'm live, requests are drag and drop. Some rules do apply, though.

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Subspace Radio: a Star Trek podcast

Kevin Yank and Rob Lloyd explore the intersecting wormholes that permeate Star Trek canon, inspired by each new episode to hit the subspace relays.

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60 episodes

Kevin Yank and Rob Lloyd explore the intersecting wormholes that permeate Star Trek canon, inspired by each new episode to hit the subspace relays.

Subspace Radio: a Star Trek podcast Kevin Yank & Rob Lloyd

• TV & Film
• JUN 19, 2024

Episode 59: Hand-to-hand combat (DIS 5×10 Life, Itself)

Kev and Rob take stock of Star Trek: Discovery following its finale, "Life, Itself." Burnham's epic fistfight with Moll prompts them to revisit other Trek punch-ups of the past, including "The Way of the Warrior, Part II" (DS9), "The Gamesters of Triskelion" (TOS), "Tsunkatse" (VOY), "Star Trek" (2009), and "Trials and Tribble-ations". DIS 5×10 Life, Itself Indiana Jones and the Last Crusade Daniels Samuel Beckett ST 1×02 Calypso Hand-to-hand combat TOS 0×01 The Cage TOS 1×01 Where No Man Has Gone Before Subspace Radio #49 Barriers in Space DS9 4×02 The Way of the Warrior, Part II Worf DS9 4×03 The Visitor Martok Gowron A Man Called Hawk TOS 2×17 The Gamesters of Triskelion (Kev was wrong – we’ve never discussed this one!) VOY 6×15 Tsunkatse Star Trek (2009) DS9 5×06 Trials and Tribble-ations TOS 2×13 The Trouble with Tribbles Top Secret underwater barfight Robert Picardo (00:00) - Episode 59: Hand-to-hand combat (DIS 5×10 Life, Itself) (02:23) - DIS 5×10 Life, Itself (27:51) - Hand-to-hand combat (42:12) - TOS 2×17 The Gamesters of Triskelion (43:47) - VOY 6×15 Tsunkatse (44:58) - Star Trek (2009) (45:30) - DS9 5×06 Trials and Tribble-ations (48:55) - Looking forward to Star Trek: Prodigy Season 2 Music: Distänt Mind, Brigitte Handley

• JUN 12, 2024

Episode 58: Into the belly of the beast (DIS 5×09 Lagrange Point)

Rob and Kev are inspired by "Lagrange Point" to don their Breen helmets and travel into dangerous waters with Starfleet crews who have done the same over the years. They discuss "The Immunity Syndrome" (TOS), "Apocalypse Rising" (DS9) and "Unimatrix Zero" (VOY). DIS 5×09 Lagrange Point Michael Giaccino Marvel’s Werewolf by Night TOS 2×18 The Immunity Syndrome TOS 2×06 The Doomsday Machine DS9 5×01 Apocalypse Rising Gowron Martok VOY 6×26 Unimatrix Zero VOY 7×01 Unimatrix Zero, Part II Borg Queen Lenara Kahn Tactical Cube 138 Star Trek II: The Wrath of Khan (00:00) - Episode 58: Into the belly of the beast (DIS 5×09 Lagrange Point) (00:39) - DIS 5×09 Lagrange Point (19:05) - Into the belly of the beast (20:19) - TOS 2×18 The Immunity Syndrome (30:21) - DS9 5×01 Apocalypse Rising (39:36) - VOY 6×26/7×01 Unimatrix Zero Music: Distänt Mind, Brigitte Handley

• JUN 1, 2024

Episode 57: Captains on their own (DIS 5×08 Labyrinths)

Kev and Rob are trapped in their separate mindscapes, with only a cryptic librarian version of the other for company. To pass the time, they consider how "Labyrinths" compares to other times starship captain have had to work solo, without their ship or crew. They discuss "Arena" (TOS), "Starship Mine" (TNG), "The Inner Light" (TNG), and "Resistance" (VOY). DIS 5×08 Labyrinths Betazoid Badlands Efrosian Efrosian President, c. 2293 Breen Moll TNG 5×25 The Inner Light Nucleonic beam Gen Rhys Community S2E14 Advanced Dungeons & Dragons David Ayala Enters The Ready Room Captain on their own Subspace Radio #31: When the Captain’s Away DS9 6×11 Waltz Subspace Radio #47: Cave episodes Marc Alaimo DS9 6×19 In the Pale Moonlight TOS 1×18 Arena Gorn Metron TAS 1×15 The Eye of the Beholder Vasquez Rocks TOS 1×15 The Menagerie, Part I TNG 6×18 Starship Mine Remmler Array Baryon sweep Mot Tim Russ Tuvok Vulcan neck pinch   TNG 5×25 The Inner Light Batai Kamin TNG 6×19 Lessons Nella Daren Star Trek Generations Frère Jacques VOY 2×12 Resistance (00:00) - Episode 58: Captains on their own (DIS 5×08 Labyrinths) (00:13) - DIS 5×08 Labyrinths (15:00) - Captains on their own (18:09) - TOS 1×18 Arena (33:00) - TNG 6×18 Starship Mine (39:20) - TNG 5×25 The Inner Light (50:15) - VOY 2×12 Resistance (57:30) - Outro Music: Distänt Mind, Brigitte Handley

• MAY 22, 2024

Episode 56: Big ships (DIS 5×07 Erigah)

Rob and Kev were actually standing on the bridge of Federation HQ in "Erigah"; you just couldn't see them for all the Breen! While they were there, they debated whether or not the Breen Dreadnought was the biggest starship we've seen to date. Other big ships they discussed: the Fesarius (TOS), the Narada (Star Trek 2009), the Romulan Warbird (TNG), the Jem'Hadar Battleship (DS9), the Enterprise-J (ENT), the Borg cube (TNG) and the USS Vengeance (Star Trek Into Darkness). DIS 5×07 Erigah Starship size comparison charts TOS 1×02 The Corbomite Maneuver TOS 2×13 The Trouble with Tribbles TOS 1×28 The City on the Edge of Forever Fesarius Tranya Clint Howard Star Trek (2009) Narada TNG 1×26 The Neutral Zone D’deridex class warbird Tebok DS9 6×22 Valiant Jem’Hadar Bat tleship ENT 3×18 Azati Prime USS Enterprise NCC-1701-J Universe class TNG 2×16 Q Who Borg cube Star Trek Into Darkness USS Vengeance Alexander Marcus Constitution class (Kelvinverse)   (00:00) - Episode 56: Big ships (DIS 5×07 Erigah) (00:48) - DIS 5×07 Erigah (11:37) - Big ships (14:06) - TOS 1×02 The Corbomite Maneuver - Fesarius (19:11) - Star Trek (2009) - Narada (23:40) - TNG 1×26 The Neutral Zone - D'deridex class warbird (27:53) - DS9 6×22 Valiant - Jem'Hadar Battleship (33:27) - ENT 3×18 Azati Prime - USS Enterprise-J (37:27) - TNG 2×16 Q Who - Borg cube (37:38) - Star Trek Into Darkness - USS Vengeance Music: Distänt Mind, Brigitte Handley

• MAY 16, 2024

Episode 55: Technology in primitive cultures (DIS 5×06 Whistlespeak)

Kev and Rob whistle their way through the "fun run" on Halem’no as they discuss "Whistlespeak", but are wise enough not to step into the rain-making machine at the finish line. Instead, they revisit past instances of primitive cultures unknowingly blended with advanced technology, including "The Apple" (TOS), "For the World is Hollow and I Have Touched the Sky" (TOS), and "Caretaker" (VOY). DIS 5×06 Whistlespeak Prime directive Hugh Culber TOS 2×09 The Apple Vaal TOS 3×10 For the World is Hollow and I Have Touched the Sky See also Subspace Radio #11 In love with an alien VOY 1×01/02 Caretaker Ocampa Kes  TOS 3×06 Spock’s Brain   (00:00) - Episode 55: Technology in primitive cultures (DIS 5×06 Whistlespeak) (00:30) - DIS 5×06 Whistlespeak (14:17) - Technology in primitive culturesa (15:37) - TOS 2×09 The Apple (26:21) - TOS 3×10 For the World is Hollow and I Have Touched the Sky (37:04) - VOY 1×01/02 Caretaker (47:15) - Outro (48:56) - Bonus Music: Distänt Mind, Brigitte Handley

• MAY 7, 2024

Episode 54: The Mirror Universe (DIS 5×05 Mirrors)

Rob and Kev switch on the holographic blind on their Breen loading dock to discuss "Mirrors", which turned out not to be quite the contribution to Mirror Universe lore they were expecting. To make up for it, they revisit all the other appearances of the Mirror Universe, including "Mirror, Mirror" (TOS), "Crossover" (DS9), "Through the Looking Glass" (DS9), "Shattered Mirror" (DS9), "Resurrection" (DS9), "The Emperor's New Cloak" (DS9), and "In a Mirror, Darkly, Parts I & II" (ENT). They also briefly reflect (!) on Discovery's sojourn in the Mirror Universe in season one of that show. DIS 5×05 Mirrors Moll L’ak ISS Enterprise Carmen Cho Vellek Joann Owosekun Keyla Detmer Gen Rhys Breen Cleveland Booker (namesake) Curzon Dax The Original Series TOS 2×10 Mirror, Mirror See also Subspace Radio #4: Remembering Nichelle Nichols Deep Space Nine DS9 2×23 Crossover Jennifer Sisko (mirror) Kira Nerys (mirror) DS9 3×19 Through the Looking Glass DS9 4×20 Shattered Mirror Worf (mirror) DS9 6×08 Resurrection Bareil Antos (mirror) DS9 7×12 The Emperor’s New Cloak Brunt (mirror) Enterprise ENT 4×18-19 In a Mirror, Darkly & In a Mirror, Darkly, Part II TOS 3×09 The Tholian Web USS Defiant (NCC-1764) Gorn   Discovery DIS 1×10 Despite Yourself DIS 1×11 The Wolf Inside DIS 1×12 Vaulting Ambition DIS 1x13 What’s Past Is Prologue Gabriel Lorca (mirror)   (00:00) - Episode 54: The Mirror Universe (DIS 5×05 Mirrors) (01:37) - DIS 5×05 Mirrors (24:07) - TOS 2×10 Mirror, Mirror (29:01) - DS9 2×23 Crossover (36:02) - DS9 3×19 Through the Looking Glass (37:37) - DS9 4×20 Shattered Mirror (38:34) - DS9 6×08 Resurrection (39:19) - DS9 7×12 The Emperor's New Cloak (42:25) - ENT 4×18-19 In a Mirror, Darkly (53:01) - Discovery Season One (56:09) - Wrap Up Music: Distänt Mind, Brigitte Handley

• © 2022-2024 Kevin Yank & Rob Lloyd

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• Oct 19, 2023

Star Trek's Subspace Radio: Is it Really Possible?

One of the most intriguing futuristic technologies introduced by Gene Roddenberry, the creator of Star Trek, is that of subspace radio transmissions.

Used as a plot device to streamline storytelling, subspace radio allows for instantaneous communication over vast interstellar distances. With no time delay, starships can seamlessly talk with other starships, as well as distant civilizations and Starfleet Command.

But, instantly communicating across space requires circumventing Einstein’s theory of special relativity. So, is this futuristic technology really possible?

Perhaps. Scientists have a relatively new and fascinating theoretical concept called Quantum Entanglement. This is a phenomenon where two totally separate particles appear to be somehow linked, regardless of how far apart they are in space. A physical alteration in the state of one of the particles instantly influences the physical state of the other. In other words, a change to one of them is immediately mirrored in the other, despite the distance between them. This a puzzling behavior in quantum physics which is yet to be fully understood. But, in theory, if we could create and manipulate these entangled pairs of particles, we could potentially use them to instantly convey messages across any distance. Scientists are working on it. The idea is exciting and holds promise, but we're not there yet.

Roddenberry’s Star Trek has not only entertained viewers, but also sparked imaginations and inspired real world technological innovations. Today, many concepts once deemed purely science fiction are becoming a reality, thanks in part to the visionary ideas presented in this amazing television series.

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Global Channel Directory

• VisualEditor
• 1 Introduction
• 2 Joining a Global Channel
• 3 Official Channel
• 4 Global Channels
• 5.2 Global Channels
• 5.3 Fleet Chat
• 6 References

Introduction [ | ]

Star Trek Online has a pretty robust Global Channel System. Anyone can create a new global channel at any time, and for any purpose. A few of these channels have grown in size and popularity to be the best channels in the game, or at the very least, the most populated. This page will keep a list of public and popular channels, help and advice channels, etc. Please do not add Fleet or Alliance channels. Channels used as personal playgrounds or personality cults are prohibited as well. Channels with abusive moderation will be removed as well.

Joining a Global Channel [ | ]

Right click on any Chat Tab in the chat window to bring up the Chat Configuration Window. Click on the Channels Tab and enter the name of the channel you wish to join (or create) in the Join/Create window. Then click Join. Alternatively, you can type "/channel_join ChannelName" where ChannelName is the channel.

The maximum number of channels you may be subscribed to is twenty.

Official Channel [ | ]

STOWiki has an official Global Chat Channel. You may use it to discuss articles, ask guideline questions or simply hang out with your fellow co-authors while playing the game. Simply follow the instructions above and join STOWiki.

Global Channels [ | ]

The following is a selection of global chat channels that are both open to the public [1] and have at least 100 subscribers:

Accessing Global Channels Outside of Game [ | ]

• Note The ability to access chat channels via XMPP was disabled on September 19th, 2019 [5] .
• Note that now Perfect World accounts will be mandatory, players report that merging accounts has no impact on their XMPP access. Past issues seem to be resolved, however it should be noted that Silver Accounts do not have access to this service and will receive an error when trying to connect from outside the game.

Setup [ | ]

• Note that Pidgin only works for gold members.

Since May 2010, [6] the use of XMPP chat made it possible to chat to users in global channels (but not local or zone) or to send private messages to users on your friends list. This can be set up on a chat client program, such as Pidgin with the following directions taken:

• Start the Pidgin client
• Click on Accounts > Manage Accounts
• Click the Add... button
• Protocol: XMPP
• Username: <Account Name> (the login name used for Holodeck/Live server)
• if your Account Name is an email address, substitute the '@' for a '\40' (e.g. name\40name.com)
• Domain: CrypticSpace.com
• Resource: <Anything> Name appearing in front of @handle, when chatting from Pidgin
• Password: <Your Account Password>
• Remember Password: <Check mark> (if desired)

NOTE: For those who joined the game after the Cryptic/Perfect World account name merge, your PWE account name (your email address) will not work in XMPP. You will need your Cryptic user id, which can be found by logging into the game, then selecting Logout from the menu. The string of numbers and pound signs that the client fills in for your username on the following login screen will work in XMPP.

Once the client is set up, a Buddy List can be accessed. To add global channels to it, do the following:

• Click on Buddies, Join a Chat...
• Account: <Your XMPP account>
• Room: <Name of room to join/create> (Replace any spaces with the \20 - IE: "My Room" becomes "My\20Room")
• Server: channels.crypticspace.com
• Handle: <for private rooms>
• Password: <for private rooms>
• Click Join!

Fleet Chat [ | ]

Now your in-game fleet channels can be added in the following way:

• Server: guilds.crypticspace.com
• On "Enter a Conference Server" list: guilds.crypticspace.com, then press "Find Rooms"
• The Alias is how it will appear in your buddy list and Group will be which category its in

References [ | ]

• ↑ That does include some 'private' channels who allow free access
• ↑ Numbers as of August 18, 2017

• ↑ Channel invites are handled by @Crosis2014, @Hevymtl4life, and @stee1max.
• ↑ XMPP Sunset
• ↑ Out-of-Game Chat via XMPP
• 1 Obelisk Carrier
• 2 Phoenix Redemption Store
• 3 Phoenix Prize Pack

Subspace Radio: a Star Trek podcast

More episodes.

• ( 00:00 ) - Episode 58: Captains on their own (DIS 5×08 Labyrinths)
• ( 00:13 ) - DIS 5×08 Labyrinths
• ( 15:00 ) - Captains on their own
• ( 18:09 ) - TOS 1×18 Arena
• ( 33:00 ) - TNG 6×18 Starship Mine
• ( 39:20 ) - TNG 5×25 The Inner Light
• ( 50:15 ) - VOY 2×12 Resistance
• ( 57:30 ) - Outro

What is Subspace Radio: a Star Trek podcast?

Kevin Yank and Rob Lloyd explore the intersecting wormholes that permeate Star Trek canon, inspired by each new episode to hit the subspace relays.

Kevin: Hello and welcome back to Subspace Radio.

It's me, Kevin.

Rob: And me, Rob.

Kevin: And we're here to talk about Star Trek Discovery,

Season 5, Episode 8, Labyrinths.

I love a good library.

I have to say, I've just, as soon as this episode was teased, I was like, I am in.

Rob: A good, endless library.

Kevin: Mazes, books, knickknacks on shelves, what could

Rob: Shelves of books that go to infinity, different levels, you

know, spiral staircases up and down, I love those, ladders you

have on a pulley system to move it

Kevin: Yeah, yeah, slide along the wall on a track.

Rob: Yeah, Nothing more romantic than a beautiful library.

Kevin: Now that you mention it, I regret the missed opportunity of someone

with a phaser rifle sliding down a wall on a ladder, taking out Breen.

Rob: Look, you're just making it even harder for me to like Discovery now.

You've just given an awesome idea.

Why didn't they think of that?

Spent too much time in Breen cargo bays.

Kevin: Well, why don't you give us your high level thoughts on this episode, Rob?

Rob: Yes, so we, uh, we got to the point where they've gone to get the final piece

of the Progenitor's tech, and of course, as always it has to go inside the person

who's looking for it and whether they are worthy enough, they themselves, are

they advanced enough, are they, aware of themselves enough and the universe

around them to handle such awesome power.

Kevin: Yeah, it has all been leading up to that, right?

Like, we've been teasing the Betazoids for a while now.

There was the, there was the red herring that sent the, uh, the

people to Betazed if they didn't read the whole message early on.

And then we've, we've had the tease that one of the scientists was Betazoid, and

now finally we're, what kind of test would a Betazoid leave for future generations?

An introspection test, it appears.

Rob: Of course, the only person who can handle that is a person who has never

had any internal thoughts or debates with themselves about their own personality

their emotions and how they feel.

So, um, surprise, surprise, Michael Burnham had to step up and have a

deep look inside herself, which she hasn't done for the last five seasons.

All this is going on, uh, while, you know, the Breen are chasing

Discovery into the Badlands.

Within the Badlands there's a little pocket where there's

this library that stores all information of all civilizations.

Uh, we see a creature that I believe is connected to a race that was

appearing in Star Trek Beyond?

I'm not sure.

I think that was what I heard somewhere.

Kevin: If you're talking about a, a movie reference, the only one I picked is that

this, the, the representative of the library is the same race as the federation

president in some of the late TOS movies.

Rob: There you go.

I might have misread stuff online.

Who would have thought?

Kevin: Gotcha, gotcha.

Rob: But she was very good.

Kevin: So overall, liked it?

Disliked it?

How you feeling about it?

Rob: It was, it was what came to pass.

It was everything that was meant to be.

As in, of course, the, uh, the embodiment of this, uh, program system is, of course,

it has to be Book, and so while Burnham is looking deep within herself, she is

looking at the reflection of The, you know, the one true man that loved and does

Kevin: I thought for sure the answer was in that book.

The whole time he's sitting there at that table, like, meaningfully turning

the page and then turning it back again.

I'm going like, go read what he's reading, I'm sure the clue is there.

But no, I was wrong.

It was just another red herring.

Rob: I thought the stuff with the Breen was quite interesting and there was sort

of like, you know, the balance of power and the fighting going on there and,

Moll's, uh, Moll's ascension to power.

Um, the more I'm seeing of Moll, the less impressed I am.

She's a bit one note for me as a character and a performance,

Kevin: Yeah, I feel that too.

Rob: But I love the machinations within the Breen culture being brought out more.

Kevin: Yeah, I want her to be more likable than she is.

Rob: She's not very likable.

Yeah, I have found that she's just like one note and I'm there going I need a bit

of depth, I need a bit of range to you.

I get it that you're in love with this character that we've only

seen for a couple of episodes.

I'm not as invested in, uh, her character as she believes that we

are, or the writers hope that we are.

But I am liking, I'm, I'm starting to like… I'm getting

used to the Breen new masks.

I'm kind of liking their new appearance now.

I'm liking the details of sort of like the, you know, the, the things on the side

of the face and, and the structure of it.

Kevin: I think of them as mutton chops.

Rob: Yeah, we're in a very colonial era of, uh, Breen history so.

How about you?

How did you find it?

Kevin: Look, yeah, it was more of the same for me.

It was a visual spectacle this episode, like the Badlands new incarnation was

really impressive, then the the blue cloud space inside with the library inside.

Even just shots like the Breen, um, hitting the shields of the library

and then punching through the shields and a big explosion of fire behind it.

And Discovery at the end, jumping out at the same time as it's venting warp plasma

and, and its shuttle bay and then landing in the new space with all of this detritus

and emissions like pouring out of it.

It looks so, so touchable, so organic.

It has stopped feeling like CG to me and it's, it's got that weight of

reality to it that I am really enjoying.

So if nothing else, the visual effects were on point this episode.

I, as we were going through it, I liked Burnham's attempts to work out the puzzle,

uh, and the way it ended in the end of, oh, you just had to sit down and look

honestly yourself, it worked for me on first viewing, but I think on second

viewing, the amount of time she spends pouring white sand around corridors and

trying to get Book to give her a clue, it all feels a bit, um, like wasted time

that could have been used for something better in this very short season.

Rob: It's always a tricky thing when you've got a quest at this size,

that's spanning entire season, and you're trying to prove yourself

to be worthy of a certain thing.

And there's always, in every quest adventure, whether it be The Neverending

Story, whether it be Lord of the Rings or something like that, there is that

moment where, whether obviously or quite subtly, that lead character

has that moment where the ultimate challenge is, is to face themself.

Kevin: And it worked for me.

That moment in the dark with Book, where she, you know, her eyes are full of tears,

and she is admitting some hard truths to herself, like, I take your point, Rob,

that Michael Burnham has never been above self analysis, and this show is constantly

making explicit the emotional subtext of every single thing that happens.

So it perhaps didn't have the weight of, oh, this is a character—

Like if, if Picard had had a moment like this just before a season finale

or before the series finale, it would have had me in tears, I think.

For Michael, it had me emotionally affected, but it did not feel like

something we have never seen before.

It just worked.

It worked for me, but it wasn't special.

Rob: I'm kind of starting to dig, uh, Book a bit more.

Kevin: Oh yeah, and the line, Is your name really Book?

Rob: Heh, heh, heh, heh, heh, heh, heh, heh.

Um, so yes, and I'm liking how there's a true sense of vulnerability when it comes

to Burnham, which I really appreciate, when it comes to her connection with

Book and her relationship with Book.

That kind of stuff I kind of like.

Um, that I'm there going, there's something there, that's something there,

um, that isn't just all caught up in the glory of, of the smugness of it.

There's a true self reflection of what have I done.

Kevin: They've had to work hard to create it, but I feel like they've gotten there.

Kevin: I, I finally care about whether Book redeems himself or not.

Rob: Yeah, yeah, yeah, I mean obviously I missed that entire season, but I

Kevin: Oh, right.

Rob: Um, that's all, that's the season four stuff that I've been caught

up with you, thank you very much.

Um, but it's definitely setting the table and getting ourselves ready for

our final two episodes, and so now we're in a position where Burnham,

uh, is not so closed off anymore and wants to talk this through.

Talk this through with Book about their journey, and how that connects to now

they're crippled there, however many light years away from their destination

with the Breen on track and you know messages are going out it's all shaping

itself for our final two episodes.

So in that way didn't feel like a placeholder.

It seemed very much contained and a episode that stood on its own, but there

was a good laying of the foundation for where we go for our final two episodes.

Kevin: I liked the hat tip to The Inner Light, when, uh, Burnham's

knocked out by that little card in the book where we hear from, I think

it's Hugh Culber, who says there's a nucleonic beam that's connected to her.

And that's the same type of beam that knocks out Captain

Picard in The Inner Light.

So, um, that was a nice nod to, to the past.

And, uh, oh, great to see Rhys in the captain's chair.

Good to see some chair time for one of our bridge crew.

Rob: He looked very good.

He looked very and strong, and I also love that moment of as soon as Burnham, uh, you

know, teleports back on, boom, he's out.

Like, none of slow, casual thing that's a immediate, it's, it's not even a panic.

It's just this instinctual move.

I'm there going, good, good, good, good, good.

Kevin: I'm done here.

It's efficient.

It's military.

It's great.

Rob: Heh heh heh heh heh heh.

Kevin: They don't stop to have a conversation about how his

time in the captain's chair was.

Rob: Well, yeah, because he's a supporting character, you know, you know, he, you

know, he doesn't get any of that, so.

They might, they might realize it later and go, oh shit, and so next episode

they may cram in a five minute Oh, how do you feel about being on this?

Kevin: Have you ever played Dungeons and Dragons, Rob?

Rob: That is my, one of my big nerd regrets.

I'm not saying it's my big life regret, but it is a big nerd regret that I

have never been involved in a campaign.

Kevin: Ooh, there's still time.

There's still

Rob: There is.

One of my favorite episodes of one of my favorite TV shows, Community,

is Advanced Dungeons Dragons, which is, one of the greatest episodes of

television ever written for a nerd.

And just how they do the whole campaign and it's all about talking

and chatting and bartering and explaining those who are addicted to

the game, those who are new to it.

But adding in the soundscapes around it so you feel the

imagination of each character work.

Um, that's always, that's been the only, that's been, not Stranger Things, not

friends trying to convince me, it's just been watching Community going,

I should probably do that one time.

Kevin: Well, Burnham's time in the mindscape felt to me like a flavor of

a moment that is uniquely tabletop RPG, where the dungeon master is sitting at

the end of the table and knows exactly what the characters are supposed to do in

order to progress the story, but there are five brains sitting around the rest of the

table going, What do you want us to do?

What are we supposed to do next?

And the dungeon master goes, Just do something.

And they're like, something is so broad.

Should we go to the pub?

Should we, Get a bucket of white sand and make a line that we can follow?

Like, yeah, her thrashing in the mindscape felt exactly like I feel in

those moments in a Dungeons and Dragons campaign where I don't know what to do.

I just want someone to tell me, here's the button you're supposed to press

to unlock the rest of the story.

Rob: And the Book avatar was the dungeon master there with the

book in front of them going, Oh, I'm not sharing this with you.

You got to figure it out all yourself.

Kevin: So yes, that, that's, that was the vibe of this episode.

The, um, the after show talked about how these scenes were shot in a real library.

They make a big deal out of how it's like the third most important

library for the English language in terms of the rare texts that it has.

And one of the, one of the books in this library is the first or the oldest known

English book, book written in English.

And, uh, as we were watching those very CG filled, uh, scenes of the library

with floors upon floors and, like, that goes on forever, I was trying

to pick, like, what of all this is that real library that they shot in?

Like, was it just that one room where she's sitting in at the table

with Book, and even that has a bunch of green screen panels that

are creating infinity beyond it?

We're used to seeing things shot in that void where the LED walls in the background

are providing the camera-matched movement for the background.

But they, they weren't doing that this episode, or at least they weren't

doing that for some of this episode.

It's really hard to pick.

What the real place that was used here?

Rob: Yeah, for me, if you're gonna be promoting the fact that

you're in the third most important library in the world, great.

Make sure you show it in a way that we know what's what as a, yeah, it very

filtered with a lot of CGI stuff, so I had no idea it was actual real location.

It felt like a,

Kevin: I'm sure the people who work there are watching it going that is amazing.

There is a small corner of a real room in that scene.

Rob: See that shelf?

That's our shelf!

Kevin: is real you wouldn't think it but it's real.

Rob: So, yeah, anything else you want to add or say about Labyrinths?

Kevin: No, I'm good.

I think, uh, I think that covers it well.

Like, there's not a whole lot to say about this because I think so much of

it was fast paced action y beats that were, like, really enjoyable to watch

but not, not super deep to analyze for

Rob: And there was that balance of the action y stuff, but also the

contemplative stuff, that's a good, a good job of, um, uh, keeping that pace

balanced while having the more intimate scenes, of Burnham, uh, matching that

with space battles and, and running through corridors and shooting stuff.

Kevin: The topic that we picked out of this episode is that, that moment

where the captain is on their own.

Like, they are disconnected from their ship and crew, the resources

that are usually at their disposal to resolve a situation are absent,

and it is Captain on their own.

Uh, we have previously done an episode called When the Captain's Away.

That was episode 31 of Subspace Radio.

And so this is kind of the flip side of that.

We previously looked at the crew when there's no captain.

Now we're going to look at the captain when there's no crew.

And for both of these, it was incredibly difficult to find, uh, find a home with

my home of Star Trek: Deep Space Nine, because like Sisko is pretty much in every

single episode and he's always present.

And there's hardly the pretty much none that we could find where he goes off and

everyone else has left all these devices.

Same here as well, because he's such a team player.

Um, I could only find two and those two from Deep Space Nine are

ones we've already talked about.

Kevin: What were they?

Rob: Um, they were, uh, they were Waltz, which we have talked about before,

Kevin: That was a cave episode when we talked about cave episodes, Sisko and

Dukat, or, or crazed Dukat in a cave.

Rob: Yes, with the voices, uh, all the, the people from his life speaking to

him he is fully and absolutely unhinged.

Marc Alaimo does incredible work there, and Sisko is of course injured.

Um, and of course the other one was, uh, one of the greatest episodes of

Star Trek and Deep Space Nine ever done, uh, in the Pale Moon Light, where,

Kevin: Ah, yeah, yeah.

Interesting that one that Sisko is almost metaphorically on his own in that one.

Like he is addressing to camera, he's playing in a lot of solo scenes, but he

is relaying the events that took place on the station with his crew around him,

but he kind of like, the fact that he is acting independently and he is making this

momentous decision to, uh, to mislead the Romulan Star Empire, and he's taking all

of that on his own shoulders is like he is alone among his crew in that episode.

Rob: Exactly.

And what, yeah, when you're at your loneliest point, there's only one

person turn to, and that's Garak.

Kevin: Ha ha ha ha ha ha ha, that's right.

You're never alone if you've got a simple tailor on board,

Rob: that you can beat the crap out of when you're angry at for line,

Kevin: Okay, so we're pushing past Deep Space Nine because

apparently Sisko is a team player.

He never works without his crew.

Rob: The best team player, yeah.

Kevin: Well, what's the first one that you found for us?

Rob: Okay, um, I think I have said this to you.

I think we do need to change the title of, uh, our podcast from Subspace Radio

to Rob Does His Star Trek Homework.

So, this week I am focusing on two must see episodes of Star

Trek that I had never seen before.

And now I have seen them, so now I know what they're about.

Kevin: Are they still must see?

Like, at the risk of spoiling it,

Rob: One definitely is.

Kevin: Okay, good.

Rob: Um, there's a lot in the other one that, you know, has

reflections on Star Trek forever.

Kevin: It's the start of a lot of things…

Um, so yes, let's go way back to, to those old scientists.

Let's go back to Season 1, Episode 18 of Star Trek, the original

series, with one word title.

Kevin: Yes.

Rob: This is, um, our first appearance of the Gorn.

Now, we've talked a lot about this episode and I've been

satelliting around this episode.

I've been, sort of like, orbiting around it while all the rest of you have been

within the planet discussing this episode

Kevin: They keep bringing back the Gorn and going, Rob,

you should know what this is.

Rob: Yes, I should know what this is.

And, after all my love of the Gorn in, uh, Strange New Worlds, Season 1

and 2, it's a interesting experience to go back to where it all started.

And just like we talked about with, um, the first ever Mirror Universe episode,

it's very much not about the Gorn at all.

The Gorn are just a thing.

It's, it's a leading to what it is to be a captain of a ship, what it is to

be, um, a human, and what it is to, uh, be a civilized, uh, representation of

enlightened culture, or something that.

So it's very much a case of, the Gorn are a means to an end.

They're not the, the focus of the episode, even though they have become

this new boogeyman lead villain, arch villain, uh, or antagonist

within, uh, Strange New Worlds.

Kevin: Yeah, it's interesting.

The original point of the Gorn, and Kirk comes right out and says it in one

of his log entries in this episode, is like, I think he says something like,

like, most humans I have an instinctive revulsion to reptiles, and I have to

keep reminding myself that this is a sentient being, a captain of a starship.

And that is very much the moral of this episode is, can we, as evolved

humans, overcome our instinctive prejudices and see, see a person

in something that is alien.

Rob: Yes, because um, after a skirmish on an outer colony where the Gorn

have absolutely destroyed everything and everyone who lived on that

Kevin: I love those scenes of the blasted surface of that, uh, that planet.

Um, it feels very, like, unusually expansive.

They, they set dressed a whole parking lot or something.

Rob: That opening, that that shot when they come back or the the

final shot before the credits or of the opening titles or that opening

shot after the titles which is just like on a crane, looking down

at the desolation of the colony,

Kevin: Yeah, it's a beautiful camera move, like they beam down and the camera's

looking down on them and everything at first glance looks normal and then the

camera descends and tilts up and you see the destruction all around them.

It's really cinematic.

So, um, this, uh, colony is wiped out, uh, by a mysterious race, uh,

that we don't see or hear from.

Their ship can't be seen, and there's a chase that ensues across, uh, the

galaxy to hunt them down for what they did, and Kirk is very bloodthirsty here.

Kevin: Yeah, he is.

He's out for revenge.

Rob: Lot of talk in this episode, which I haven't heard much about.

Save the ship, save the ship, you gotta look after the ship.

It's my ship, my ship.

Um, and it's quite interesting watching it now, how precious the ship is to him,

where in future episodes, how many times have we seen, seen the Enterprise get

blown up and put back together again.

But, uh, it turns out that both spaceships have been, have entered a domain that

is ruled by this higher presence,

Kevin: The Metrons.

Rob: And they are, um, they are judging both races on their lack

of civility and morality and, um, how bloodthirsty they are.

Kevin: Yeah, it's a fun little thing of like, they're chasing each other

at high warp and they keep like, Go a little faster, go a little

faster, you're gonna fly us apart!

And then it's like, there's an uncharted, uh, star system off to our left.

We're, we're passing it.

I'm sure that won't amount to anything.

Rob: It's Chekhov's star system.

Kevin: And then the beams come.

Rob: I did like the whole thing of like it got to the point where they

said we're going to warp eight.

And everyone goes, warp eight?

And I've gone, I've seen Star Trek IV.

Kevin: That's not a number!

That's the look on their faces.

We've never used that number before.

Rob: This is me watching and saying, they go to warp ten, alright?

They slingshot around the, slingshot around the sun.

I've seen Star Trek IV.

Kevin: I have to ask you, Rob, as a fresh viewer for the first time of this episode,

did it seem to you that the Gorn were a race that was familiar to Starfleet?

Kevin: Because keep in mind, canonically, this episode takes place after all the

stuff we've seen in Strange New Worlds.

And so that's what I was trying to, compartmentalize in my head of going,

this is canonical, but it's also not.

Kevin: Scotty crash landed on a planet that was overtaken by the Gorn and helped

Captain Pike get out of that situation.

Scotty is surprisingly tight lipped about this experience on the

Rob: He has not gone, it's those creatures.

Remember, Spock?

We were, we had to go through this whole thing with our previous captain.

Does anybody else, anybody else still here that knows?

We've met these guys before.

We know, hey, hey, I know that guy.

Kevin: But they tread a surprisingly fine line.

Like when I was listening for it, they never say anything that makes it

impossible that we've met the Gorn before.

They talk about, they are flying into a, um, an unknown area of space.

They talk about how this, there, this area of space has had rumors of unusual

signals, but they never say the Gorn are a previously unencountered race, or

we've never heard of them before, even when the name the Gorn is revealed.

The Metrons say they are known as the Gorn, and no one says, Wow,

thanks for filling us in, we had no idea what they were called.

They all kind of just keep their peace, and it allows for that thread

to be woven in Strange New Worlds.

That actually, yes, the Starfleet and the Federation has had

dealings with the Gorn before.

Rob: Look, it's a very delicate.

Line of retconning that, uh, Star Trek are doing here, uh, are doing with

the current, uh, Strange New Worlds.

It's very similar to the thin lines of retconning that was done in Star Wars

with the prequels, so that it's never actually said, now, Obi Wan Kenobi

never actually says when he sees R2 D2 in New Hope and goes hello my friend,

you know, don't be worried about him.

He'll be alright.

He doesn't go shit R2.

I remember you.

I've known you for like so many years, and I haven't seen you for 15.

How you doing?

He doesn't say hi.

But he doesn't acknowledge that I've never met this thing before

Kevin: He doesn't not say hi.

Rob: He doesn't not not, yeah, he goes, says, I don't remember owning a droid,

and technically he didn't own R2.

It was Anakin, they're going, they're, they're playing, they're doing a

waltz and a ballet of retconning here, Star Trek, and, you know, they did

not say that, so, I had to put that on the back burner and just enjoy it

for what it was of this, you know,

Kevin: Yeah.

Rob: fighting the human instinct of repulsion to survive but also try and

be compassionate and so in the end his compassion wins out and it's a

very 60s sci fi thing of the beautiful young boy appearing on the high rock

at the end going, I may look young.

But I'm actually old.

I, and I'll come back in a couple of thousand years to see how you are.

And that's happened before in previous episodes as well.

And future episodes, we've talked about well.

I can't remember the specific name of it or what, maybe it was an anim, it

was an animated one, an animated one.

They go, we'll come back in 30, 000 years and you'll be ready us.

Kevin: It was the big snuffle the pink snuffleupagus

Rob: My favorite of the animated ones.

There you go.

Kevin: So we've skipped over it, but like my overriding memory of this episode is

Kirk fighting the Gorn on the planet.

How much of this episode is that and, and how did that part feel to you?

Rob: Surprisingly, it's, it's, it's in the second half.

Kevin: Oh right.

Rob: I thought it'd take up a majority of the whole episode, but you know, our

first section is all about, you know, being on the colony, talking to the lone

survivor, then it moves into the chase scene, so it's not until about halfway

through that we get into the arena actual fight at Vasquez Rocks, um, and then it

Kevin: Yes, it is.

Vasquez Rocks, of course.

Rob: God bless Vasquez Rocks, or whatever God you represent.

But my favorite, my favorite part was, it's already, we've already had Menagerie

in Season 1, which is pretty much a Star Trek episode watching another Star

Trek episode, and this becomes another thing of just the entire crew of the

Enterprise just sitting and watching TV.

Kevin: And, uh, if memory serves, Spock is very, uh, he's shouting

at the TV for most of the time.

Rob: He's being very Gogglebox, going, yes, figure it out, Jim, yes, you

know you can do with that, if you just need some coal, find the coal, Jim.

Kevin: Oh yes, they make, uh, he makes gunpowder.

Rob: He does, he

Kevin: The, the, uh, the pieces, the building blocks for gunpowder are very

conspicuously strewn across the ground on this, uh, version of Vasquez Rocks.

Rob: Yes, apparently there's bamboo in a desert, so a

Kevin: of bamboo,

Rob: crop of bamboo just so happens to be there.

Everything you need to create an old school gun is there for you.

Kevin: Speaking of, uh, dungeon masters, the Metrons kind of say, There will be

everything you need to create weapons.

But, in hindsight, it was everything you need to create weapon.

It was a very specific weapon they had in mind for Kirk or the Gorn to make.

Was just, who was going to get there first?

Rob: Look, and um, me as a Doctor Who fan, you need to be able to suspend

your disbelief at some point because you're going, it will not match up with

how technology has advanced special effects wise and stuff like that.

So even fight sequences where you, you see them moving in slow motion

but you know they are in real time.

So some of those, um, you know, punches and swings and stuff like that is very

I'm there going, why is it so slow?

Like, even even barroom fights in Westerns at that time were fast paced throwing

and yeah, I was just there going, yeah, just the slow graze and the slow duck.

Kevin: get the feeling Kirk could defeat him at just a casual

stroll off into the distance.

Rob: Well, isn't that a, um, it's a Monty Python gag, isn't it?

Just running around while someone armour is trying to chase you,

and then they have a heart attack.

So you win because outrun them death.

Um, yeah, it definitely lifts up when they are doing a bit more cat and mouse.

When they're in the same space throwing very, very obviously Paper Mâché

rocks at each other, it struggles.

But once you go into the psychological process of like, even, the Gorn speaks!

Why haven't our Gorn started speaking?

Rob: Hiss type of thing.

Captain, I will make it quick and easy, make will make it

a honorable quick deaaaath.

Kevin: The, how, how does Kirk operate alone in your view?

Like Kirk good on his own?

Rob: It's good, it's good to see him actually use his intelligence, cause,

uh, you know, it's, people have wrongly accused him of just being, you know,

um, a hound dog with the ladies, and, uh, fire first type of stuff.

And there is that bloodthirsty element to him, where Spock has to calm him down

and go, this is, you know, This is not the way, this is not the Federation way.

He's going, we can't let this go unpunished.

We, if they, if we don't stop them, they'll come back and do it again.

But to have him calculate a way out of this, using his intelligence with Spock

there going, you can do this, and he does it, and then that ultimate compassion

at the end, um, is a, it's a, it's a good episode for, for um, James T.

And especially for, um, Shatner does well.

Shatner has to go through some stuff.

His anger, his outrage.

Um, his, his cunning.

His, um, his compassion.

It's, it's all there, which I really appreciate.

And I love the fact they name every single crew member.

They are, they're not just red shirts.

They, they, you know, you know, all, all of them get a name.

They get named, they get spot checked.

It's not just crewman over say what

Kevin: At the start, you mean, on Cestus III.

Rob: the start.

So I like, that's another I really like.

They're not just faceless, nameless crew.

They have a name and Kirk,

Kevin: They have at least one name.

They're like Rogers, Jameson.

But yes, it definitely a good episode to see why he's the captain, why he's been

able to survive this long, why he's been promoted, and why he's such a good leader.

He can, you know, it's a good representation of going, that's our

hero, that's our captain, and that's, you know, he's got the support of his

crew, but he can look after himself.

Kevin: The other thing I remember finding funny about this episode is

that Kirk, like they both he and the Gorn are given a device that they're

told is called a translator recorder device or something like that.

And Kirk uses it to record.

He thinks he's recording log entries, but actually he is sending, he's telling

all of his plans to his opponent.

I feel like there is a allegory about social media in there, that you can't

keep yourself from broadcasting your intentions to the world, you're eventually

going to put your foot in your mouth.

Rob: it is the old gag of you.

You know, you think you've hung up the phone, but it's still on.

You're going, oh gee, that guy's a wanker.

Oh, is this thing still on?

Kevin: Maybe it's the weakness of Starfleet that they, they

are addicted to, to log entries.

And so even when they're on their own, Um, if they're given the opportunity, they

can't help themselves from speaking their plans into a device that's there for them.

Rob: That's what the Metron should have said.

Said at the end and going, you know, it's not about you being blood thirsty.

Uh, it's just, you're too goddamn stupid.

We told you a translator.

Why are you, why are you saying your whole plan to the opposition, you idiot?

So yes, so that's a, that was my first experience with, uh, Arena, and

there's a lot there to take away from it, and, and how it represents Star

Trek at that time, but how it's also shaped Star Trek, you know, in general.

Kevin: I'm going to take us to The Next Generation.

And there's a lot of Picard off on his own in various, uh, situations and reasons.

Rob: When got Patrick Stewart, man.

It's like it was in his contract once, once per season, I'm going

to have an episode all to myself.

Rob: All to myself.

I, um, I've worked with the Royal Shakespeare Company.

I was in Excalibur.

Um, I am better than this, but I am slumming it for you, Gene, you, Michael.

Kevin: I'm going to take us to the last of these that caught my

interest because it's an episode we haven't talked about and it's a,

it's a particular favorite of mine.

It is called Starship Mine season six, episode 18.

Um, this title has always confused me.

Is it starship mine or starship … mine?

Rob: Haha ha ha!

Is there a comma in there?

Kevin: When you think about it, like the starship is never at risk

of becoming an explosive, really.

I mean, there is, there is a group of terrorists who in this episode have

plotted to steal some trilithium resin from the warp engines of the Enterprise.

And it is a highly explosive substance that they're carrying around in a little,

um, containment device as they chase Captain Picard around the hallways of

the otherwise abandoned Enterprise D.

But that doesn't really justify the word mine in my mind like, there,

there is an explosive substance that is being stolen from the Enterprise.

It does not make the Enterprise itself a mine.

So I think this is maybe a misleading, deliberately misleading title, and,

uh, Starship Mine is really about Picard saying to these terrorists,

No, this starship is mine.

You shall not have it.

This far and no farther.

Kevin: In this episode The entire crew of the Enterprise beams off while the

Enterprise is in this thing called the Remmler Array, and it will be doing a

sweep, a baryon sweep, which is this green force field that will pass from

the very back of the ship to the very front of the ship and clean all the

baryon particles out of the ship, uh, and because it is, uh, fatal to organic

life, everyone has to get off the ship.

There is a reception on the starbase where about half of the action of this

episode happens, and it's all about Data learning small talk, and the

terrorists take over the reception, and that is all very enjoyable, but

for our purposes today we will focus on the action on the Enterprise.

Picard at the last minute goes back to his ship to get his saddle because

he hears there is horse riding available on the nearby planet.

And when he's back on the ship, he sees that there are still some people

on the ship, and they are taking off panels and cutting wires they shouldn't.

Turns out they're terrorists, and, uh, Picard, when he is captured at

first, he identifies himself as Mot, the barber, and he, he plays dumb.

And this, I think, is something that captains sometimes do when

they are on their own, is they pretend they're not the captain.

They're like, oh no, I'm just a lowly ensign.

I have no idea what I'm doing.

I karate chop you when you're not looking.

So yes, it, it, it's really enjoyable.

Um, notable, one of the terrorists in this episode is played by Tim Russ,

so it is pre-Tuvok Tuvok, and Captain Picard gives him a Vulcan neck pinch.

Years before he plays a Vulcan himself, he gets neck pinched by

Captain Picard, and it is hilarious.

Rob: And how's Tim Russ do?

How does Tim do in the episode?

Kevin: Yeah, he's good.

He's got this moment where he's like wielding a laser torch because, um, the

Baryon sweep interferes with conventional directed energy, uh, weapons, so

he's using a laser torch to threaten the captain and there's this moment

where he's like, I'm gonna get that guy, and he looks real mean about it,

and I was like, good beat, Tim Russ.

Rob: Ya, Tim.

On ya, Timmy.

Kevin: Uh, yeah, he does some, like, action fighting.

I'm sure he's been replaced by a stuntman at that moment, but I buy

it as a bit of Tim Russ as well.

Um, so yeah, it's good stuff.

I feel like, I have heard that Patrick Stewart said, I want to be an action hero.

Write me an episode where I'm an action hero.

And it is very Die Hard, this episode, like, Picard rolls up his sleeves,

um, he goes to Worf's quarters to get a crossbow, and he dips the tips

in poison, while he's, while he's talking to the terrorists on their

communicator that he has stolen from them.

So he's listening in on their communications and then jumps in

and goes, don't be ridiculous.

You can't carry trilithium resin around this place.

It's very explosive.

Um, I think a new color for the Enterprise cause all the lights are off.

So it's a dark version of the Enterprise.

A new color for Picard who's climbing the walls and, um,

running through Jeffrey's tubes and

Rob: Is he in a singlet?

he in a singlet?

like he was in First Contact?

Kevin: He's in his civvies, like he has,

Kevin: for riding, so he's in his riding outfit for most of this episode.

Rob: When you did mention, Picard pretending to be somebody else,

Kevin: Yeah, he's out of uniform.

Rob: And it's very Die Hard as well with, you know, Alan Rickman

pretending to be Bill Clay with the

Kevin: Exactly!

Exactly like that.

So many of the same beats as Die Hard, but like sometimes reversed

or flipped around or taken in a new direction through sci fi.

So, yeah, it's really enjoyable.

Um, you get to see Picard play another character, catch these terrorists in

a ruse, ultimately, come right out and fighting hand to hand in Ten Forward.

At the culmination of this episode, the Baryon sweep has gone all the way

through the ship and it's just making its way through Ten Forward and Picard

has to like climb up into the triangular windows to avoid it as he's on this

communicator going, Stop the Baryon sweep!

Stop it immediately!

It's, uh, yeah, it's a good time.

I recommend it.

Rob: Well, there you go.

That's a, I'd love to see Patrick Stewart get his John McClane on.

Kevin: Yeah, absolutely.

Rob: Right,

Kevin: Uh, what's next from

Rob: Well, let's stay in the world of, uh, TNG, I know, a rare thing for me

to do, and let's go back, backwards in time, and then, for only a brief

period of about 25 minutes, we'll experience an entire lifetime in

what some people say, is the greatest Star Trek episode ever put to screen.

Kevin: Some people being me sometimes.

Pretty liberal with my best episode ever's, uh, but, The Inner

Light is definitely a good one.

Rob: We are looking at The Inner Light, Season 5, Episode 25, right before we

get to the season finale, Time's Arrow.

A mysterious probe is found out.

A light hits Picard.

A ray hits Picard.

Uh, and, uh, on the ship and he convulses and goes black blacks out and he awakes to

find himself in the life of somebody else.

He has a wife, uh, he is an important member of a community, where their,

their, their soil is dying, and their planet is dying, and he lives an entire

lifetime within the space of 25 minutes, as the crew try and figure out where

this probe comes from, what the light is doing and how they can keep him alive.

It's an incredible hour of television and it's incredible hour of sci fi and

this incredible beautiful balance of what we love about science fiction,

uh, science technobabble, um, science fiction tied in with real human emotions.

Incredible performances across the board, uh, it's very interesting how we now see

Patrick Stewart as old man and how he is made up to look like an old man when

he was not as old as he was or is now.

Kevin: He's, he's aged better than the makeup, uh, gave him credit

Rob: He's, yeah, well, clearly the doctors and the, the healthcare

system on, uh, on that planet was nowhere near as, uh, high quality as

Kevin: It's the, it's the sun.

It's the sun damage.

Rob: It's that damn sun.

That damn sun.

That's why, that's why he created the special lotion to, uh, to protect you.

What an incredible, what an incredible episode of television.

Kevin: I'm so glad you liked it, Rob.

Like I've said, this is one of my favorites and it would have broken

my heart if you said, Ugh, it's it on a bit thick, don't you think?

Rob: No, it's a good, beautiful balance, like the The tension between him

and his wife at the start, because, and how patient she is with him.

Um, beautiful relationship he develops with, uh, Batai, um, played by the

great, uh, Richard, uh, Riehle, who's, who's done a lot of stuff.

You may have seen him around.

Like, he was in The Fugitive, he was in Buffy the Vampire Slayer, he's been

around doing stuff, a great jobbing actor.

And this is a beautiful performance here, just being allowed to,

you know, sit around and shoot the shit with Patrick Stewart.

Having some drinkin

Kevin: off screen,

Rob: Yeah, dies off screen,

Kevin: gets a child named after him.

What could be better?

Rob: Yeah, just beautiful writing and those jumps of time don't

seem frantic or disjointed.

It's a really beautiful flow and how we see,

Kevin: it's a fine line they're walking, like the, the, the days

or the, the moments of time in this life that we do see are, um, in

hindsight, surprisingly action packed.

Like, all of the important moments of this person's life happen in four ten

minute vignettes that happen decades apart in and we get to see them.

And you just wonder, like, is all the rest of the time, like, filling in moments?

Or, Maybe the probe is doing something to his brain where like, actually

those, the things we saw are actually the only things we experienced,

but it's kind of like giving him this impression of time passing.

You know how your mind plays tricks on you sometimes when you're

dreaming of things take a really long time or really short time.

You wonder, like, how dreamlike was this experience for, for Captain Picard?

Did he literally live out every second in real time of that life, or not?

It's hard to know.

Rob: And much like Arena, it's always difficult when you come

in to watch something that's so highly regarded, whether it be a

Kevin: Yeah, we raised the, the bar was pretty high.

Rob: And it's always the case is, so much is talked about this episode,

it's interesting to watch this, and Arena as well, and how little is said.

How, how much people talk about it afterwards.

The words that people talk about this episode is, You know, multiple times

more than what is actually said and how much is unsaid about like whether,

Kevin: A lot of room is left for the audience to, to, to create

their own version of this story.

Rob: And you see a lot of emotion through, you know, looks or expressions

or especially with the ending, um, whereas more modern shows they would

have had a moment with, and they have in TNG episodes when there's been through

something harrowing that Picard sits down and talks with Troi about it, but in

this in particular, it's a very internal process of he wakes up and he finds

himself back, he'd almost forgotten who he was and he remembers it and that's those

moments of… the only thing that's left from this civilization is the flute that,

uh, this character played, that he was,

Kevin: the two moments that kill me when he gets up on the bridge and Dr.

Crusher says, come with me to sick bay.

And he just says, Dr.

Like he just says her name because he's realizing who she is.

And then he, she ushers him into the turbo lift and he turns back

and looks at the bridge and smiles.

And as an audience, I'm like, I am so glad he's happy in that moment.

Rob: It's, but a, it's, it's not a fully overjoyed smile, it's a, it's it's a worn,

tired, it's a case of, it's, he's still affected by it, he's not unbridled happy.

You can see that he is grateful to be home and he's grateful to be back in his place.

But you can, that's, and that's just the beauty of Patrick Stewart.

Kevin: That's the, It's a Wonderful Life moment.

How many times have we heard captains say, I'm tired.

Every day is the same.

Another mission, another day.

Here, Captain Picard, in a moment where he felt like he had lost his entire

world, looks back on it and smiles and is glad it's still there for him.

That is really, it's a heartwarming moment.

And then the other is, with the flute in his quarters, when he clutches

it to his chest, I just can't keep it together in that moment.

Rob: Yeah, that's a, that's a beautiful moment.

He's on his own and he doesn't just look at it, he picks it

up and he holds it to him.

Um, I like that moment also when he's just realized what's going on and it's

the people of his past, his wife, his best friend, everyone there going,

walking around and going, remember us.

Remember what we went through, remember, we were here, we were, you know, we

were a people, we existed, and we, you know, we want to be remembered.

Remember us.

You will carry us.

And so, you know, it's a beautiful stand alone episode.

And it's this case of, you know, maybe their story will be told, uh,

by Picard and passes it on, and so it could become a part of, you know,

legacy that is remembered, or maybe the memory that they have is within Picard.

Kevin: Since we're talking about captains on their own, I think what's interesting

about this episode is it kind of is and kind of isn't Picard on his own.

Because he, he very quickly becomes Kamin and his, his character becomes

influenced by the world in which he exists and the family that he has around them.

And by the end, Picard is almost unrecognizable when he's playing his

flute at his second child's name day and he has softened and is a loving

father who wants the best for his son, who wants a career in music.

Um, played by Daniel Stewart, by the way, uh, Patrick Stewart's real life son.

I was wondering, I was there going, yeah, is there a connection?

That is his son.

Kevin: Yeah, and so that how Picard is changed, uh, as he becomes more

and more Kamin, and how much of that is going to be a permanent change

for this character that we know?

How much of Kamin will remain in Picard going forward?

There's a quote from Ronald D.

Moore, who worked on this episode, who, he says, I've always felt that the

experience in The Inner Light would have been the most profound experience in

Picard's life and changed him irrevocably.

However, that wasn't our intention when we were creating the show.

We were after a good hour of TV the larger implications of how

this would really screw someone up didn't hit home for us until later.

Um, yeah, I feel like so much is made of.

The Borg assimilation's effect on Picard, and yes, post traumatic stress is a

thing, but what about post life syndrome?

Like, I, I would have loved, there is this one episode later on where Picard,

we've talked about it before, Picard, um, falls in love with this Commander Daren,

who he has to send on a dangerous but before they do, she, she plays piano, and

he plays a duet with her on the flute.

And so the flute comes back and it is this moment of seeing Picard do

something that is very un Picardy because of his experience in Inner Light.

But it's just one episode and just one relationship.

Rob: And you, I mean if you want to really stretch it, it's sort of like, it is

addressed in Generations as well, like how he, um, he loses his brother and his

brother's family, and how the last of the Picards and he doesn't have that family to

carry on with, and it isn't really played up because it focuses more on the Borg

stuff, but in Picard Season 3, it's about, you know, the family that he never knew

he had, but he kind of does have, and he has to learn how to part of that family.

Um, yeah, it's, it's, it's, it's, it's beautiful.

It's just a beautiful episode.

I really enjoyed watching it and I'm,

Kevin: I hum that little piece of music from the flute all the time.

Like when I'm walking around the house alone, that's something

that I'll often hum to myself,

Rob: Because he starts, he starts playing a well known tune, doesn't he?

But then he starts

Kevin: Yeah, it's Frère Jacques at first.

Rob: Yeah, and then he creates his own compositions.

Kevin: Mmm.

Rob: Yeah, a great episode of, and yeah, like you said, it's not so much a

mission, it's just sort of like, uh, a journey of, um, Picard and how he gets

what he always wanted in some ways.

He always wanted to be an explorer.

He never just wanted to stay on a vineyard, uh, making wine.

He always wanted to explore.

But there was a part of him going, I've sacrificed family

and stability for this life.

What would that look like?

Oh, I'm so glad you liked it.

Rob: Loved it.

Kevin: I've got one more for us.

It does not.

Raised to the heights of The Inner Light, I'm afraid.

This is Star Trek Voyager season 2 episode 12, Resistance.

A time in this series where resistance did not necessarily mean the Borg.

Rob: And didn't mean it was futile.

Kevin: No, it was not futile in this episode at all.

I feel like, similar to Sisko, perhaps, Janeway is a captain or a leader who is

at their most effective and at most at home when they have a crew around them.

I feel like Janeway's natural state is giving orders to capable people.

Kevin: Janeway herself is not, is not an action hero.

She is a scientist, but it, that is rarely brought out in story.

And in this episode, Janeway is separated from her crew and has to

figure stuff out alone and she seemed so, um, so lost in this episode.

So broad strokes, this episode kind of starts in media res, where the ship

has made contact with a resistance cell on a planet that we've never

seen before and we'll never see again, because that resistance cell is willing

to get them a substance that they need to refuel their warp engines

that have broken down on Voyager.

But yes, this planet is known to be occupied by a brutal government

that is extremely xenophobic.

And so Voyager figures out the only way they'll get this substance is if

they talk to the Resistance instead.

And at the start of this episode, they've just gotten the substance that

they need, but most of the away team is captured by the police in the process.

Um, B'Elanna Torres and Tuvok are thrown in prison, Neelix manages to get back to

the ship with the essential substance, and Janeway is grazed by a phaser shot

and carried off by the resistance, and she is on her own for the rest of

this episode, where she spends most of her time with this kind of, um, this,

old man who seems to be related to the resistance, but no one takes seriously

because he's constantly talking about his daughter and wife, who no one has

seen in many years, but he is sure they were just here yesterday before they were

dragged off by the, the military police.

And so he's, he's got problems, this guy.

He is quite delusional in this.

So he very quickly, like confuses Janeway with his daughter and starts

calling her by his daughter's name.

She tries to correct him and goes, oh, that's a wonderful

story you're telling my dear.

Tell me more stories about your Starship.

Um, and so Janeway ends up kind of giving up and just going along with it because

after all, this guy will, uh, treat her injuries and, and give her food and water.

And is her connection, only connection at this point to the resistance

from whom she needs help in order to rescue, B'Elanna and Tuvok.

And as the, as the episode goes on, she is walking that line between being kind

to this old man who is treating her as his daughter, and not taking advantage of him.

And she saves his bacon on several occasions.

He's very quick to anger and is, whenever he sees the police, he wants

to go and fight them to get his wife back, and she's talking him down.

But it's also, kind of self serving because if, if he makes a scene, she will

get spotted and, and captured herself.

Uh, and so it's an interesting line she's striking there.

But it all, it all feels a bit passive to me that she is kind of just being

carried along by the whims of this delusional old man who, yes, is getting

her closer and closer to her objective, but she isn't doing a lot in this episode.

She does two things.

She spots that a guy who was meant to be bringing them weapons is wearing

polished boots, and therefore it's a trap.

It's he's a he's a plant from the military police.

And then she dresses up as a prostitute, which is an unfortunate turn for the first

female captain of a starship in Star Trek.

But she realizes when they're not going to get weapons, the only

way to get into the prison is to don the robes of a prostitute.

There have been a couple of women of the night wandering around on this

planet and she realizes they are going to the prison at night and, um, and

providing their services, and she's like, Oh, I can dress up like one of those.

And she sneaks in and then they, they, they seduce a guard and

then knock him over the head to knock him out and it works.

It's, it's kind of, kind of a power move for Janeway, but also

there is that, that kind of, uh, did it have to be a prostitute?

Kevin: There, there is a bit of that about it.

Rob: There are people of the cloth that go into, uh, prisons as

It could have been that, yes.

So yeah, um, yeah, yeah.

So it is unusual to see Janeway without her crew, and we do get to see that

here, but for me, it, it, like, there is that moment, because inevitably

the old man sacrifices himself he thinks is his daughter and dies.

And Janeway is left with the necklace that he gave her, that he put around

her neck, thinking she was his daughter, and she is cold and stone faced in

her ready room while Harry Kim is giving her an engine repairs report,

and she says, I'm fine, and he leaves, and the camera turns, and we see her

face, and she just looks a little sad.

It's not, it's not the clutching the flute to the chest moment that we

get from Picard in The Inner Light.

So, does not quite get there for me, this

Rob: We go from, Picard clutching a flute and his whole soul is destroyed,

to Janeway, she's looking a little sad.

Kevin: Yeah,

I wonder, I wonder if I got that old man killed.

Yeah, I'm pretty sure got that

Rob: was, that was my fault.

Yeah, yeah, yeah, yeah.

Kevin: My bad.

I mean, yeah, I always see, you know, my favorite image of Janeway is always her

walking into the cafeteria area, going behind the, you know, where, where Neelix

is getting a, getting one coffees, and you know, having a sip of that and walking

around and talking and chatting to people.

That's her giving out orders, but also being amongst the people.

She was very much, that's how she led her, um, her people is being amongst

them, chatting, talking, walking around the spaces, not just being on the bridge.

Or, um, walking with authority around place.

It was this sense of, you know, I'm a part of the people.

So it'd be interesting to watch her, um, uh, you know, get her sexy on.

Kevin: I love Kate, but, uh, I think this episode proves to me

that, uh, Captain Janeway is at her best with a crew around her.

Rob: Yes, I, I concur.

Kevin: Well, there you go, Rob.

We've only got two episodes left of Discovery, and then

we'll be back on hiatus.

What are your hopes and dreams for the denouement of this, uh,

this great series that you love

Rob: so much?

Ha ha ha ha.

Look at you, mister.

Someone took their sass tablets this morning!

Um, Uh, look, I'm excited because next week's episode is directed by

the great Jonathan Frakes, who has,

Kevin: Yeah, how could we go wrong?

Rob: How can we go, there's, you know, that man knows how to direct, uh, not

only a TV show, but a movie as well.

A great man.

He has criminally been taken away from, uh, the director's chair in

motion pictures for far too long.

Um, I'm very excited to see what he brings to, uh, to Discovery's final season.

Second last episode.

Um, he did great stuff with, um, with the crossover episode of

Strange New Worlds, obviously.

But, um, yeah, bring it on.

Kevin: not getting my hopes up for next week because I feel like Discovery and

modern Star Trek in general has trained me that the second last episode of season is

really just set up for the last episode.

It's gonna be place setting followed by a cliffhanger, is what I'm expecting.

So, I'm not too excited.

I'm more excited about the two together.

Yeah, yeah, yeah.

So, see how we go, and then we go on a bit of a wait until, uh, we

finally get Season 2 of Prodigy.

Kevin: Yeah, alright.

Well, sooner we get off this call, the sooner it'll happen, Rob.

Rob: Ha ha ha!

What are we waiting around here for?

Come on, let's go!

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What is Subspace?

Subspace is an aspect of physics within the Star Trek universe . It exists alongside observable space, but it is distinct from traditional matter. Subspace is said to be arranged like a honeycomb with an infinite number of discrete domains. Subspace obeys different laws of physics. Its exact rules are unclear, as the show has never taken the audience inside the area. Subspace frequently encroaches into the material universe through vortexes, corridors, and interfold layers. Like many terms in Star Trek , subspace is an all-purpose modifier that can be used to explain scientific elements. Pinning down an accurate descriptor of everything subspace can do becomes impossible because it can do everything. However, subspace has two primary uses for the people of the Star Trek universe .

Subspace is an integral part of faster-than-light travel. The ability to propel a ship faster than the speed of light is seen as the defining moment in a race's technological development. The device that allows faster-than-light travel is called warp drive. It works by generating high-energy plasma, which flows to a pair of generators on the side of the ship. Those generators are coiled nacelles that surround the vessel. The coils generate a subspace field or bubble, which encompasses the starship. While the ship can't travel at the speed of light , the bubble can. Subsequently, the subspace energy protects the ship and propels itself at warp speed. People of this era use a similar system to communicate across the universe. Radio waves would die off long before they'd reach their recipient. Subspace radio waves travel through the honeycomb structure to cross the galaxy much faster than light. By the 2300s, subspace radio communications allowed chatter across millions of light years with little delay.

Subspace offered another way to travel faster than light. There are multiple methods of briefly entering subspace . The subspace bubble created by the warp drive rides along subspace distortions, which are warps in the fabric of space. This method uses subspace energy but never brings the traveler into subspace. Subspace corridors form naturally throughout the universe for unknown reasons. A subspace corridor can only be traversed in one direction. It has a defined entrance and exit. Skilled pilots know the shortcuts to travel vast distances in little time. Some technology could be used to open a subspace vortex, allowing a ship to create a shortcut. Subspace follows unusual rules that can be exploited, but it's more than a convenient energy source.

What is Inside Subspace?

When a ship travels through a subspace corridor, it looks like a more vibrant area of deep space. When a vessel uses a vortex, it takes on a blue spiral pattern. Neither glimpse of the concept gives any tangible indication of what subspace is like. Ostensibly, there are infinite realities within subspace, but fans have seen almost none of them. There are a few details given in the show. Subspace has a fundamental particle that doesn't exist elsewhere. They're called tetryons, and they immediately become unstable if they're introduced to the larger universe. The only known denizens of subspace are the solanogen-based lifeforms. In a single episode of The Next Generation , a group of these subspace dwellers was accidentally drawn onto the Enterprise. The organisms kidnaped several members of the Enterprise crew to experiment upon them. The victims had no memory of the events. Once the crew realized the invaders were around, they sent them home and sealed the rupture. Fans haven't seen much of the solanogen-based lifeforms since, but they are the only notable beings to come from subspace.

Subspace could hold infinite mysteries. It's a useful catch-all term that can explain almost any scientific event. There are subspace weapons, subspace telescopes, subspace radios, subspace engines, and so many more pieces of tech that borrow the concept. When a story beat needs to happen, subspace can be the excuse. There's so much that fans still don't know about this enigmatic area of the Star Trek universe. Every glimpse into the fold reveals a new host of interesting questions. It's how the Enterprise travels faster than light, but it's so much more than a clever explanation.

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