star trek season 2 episode 12

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Star Trek: The Original Series - Episode Guide - Season 2

While Star Trek season one generally impressed the TV critics and writers, already leaving an indelible mark on 1960s American pop culture, viewing figures weren’t great and thus CBS executives were hesitant to greenlight par two. Perhaps it was Gene Roddenberry’s enthusiasm for the production that ramrodded Star Trek onto television sets for 1967-68. The blasé attitude of execs for Star Trek was enough that episode 26, i.e. the final, was set to serve as a spinoff for an entirely different series about a mysterious time traveler named Gary Seven. (Apparently someone was catching early Doctor Who…)

In terms of watchability, season two of the original series rehashes some already worn ideas, but does bring innovative stuff like the mirror universe and Tribbles, both of which would continue to manifest themselves throughout the ST series.

1. Amok Time – Or, if you’d like, Spock vs. Kirk, round 2. The old buddies come to blows (so to speak) when Spock is nearly driven insane by the ravages on the Pon Farr. ***

2. Who Mourns for Adonis? – That’s right, it’s time for another Insane God! This one’s literal, as an all-powerful being claiming to be Apollo (!) captures the Enterprise crew. (Unless he meant Apollo form, you know, the 1970s Battlestar Galactica series…?) **

3. The Changeling – Something of a template for the Star Trek: The Motion Picture script. A 20th-century Earth probe has gained near-sentience and seeks to “find and sterilize imperfection,” such as the 4 billion citizens of a world the Enterprise was not in time to save. ***

4. Mirror, Mirror – A transporter malfunction (you knew it had to be a transporter malfunction) sends Kirk, McCoy, Scotty and Uhura into a parallel universe in which Machiavelli is probably taught in first grade and the Enterprise is on no peacekeeping mission. ****

5. The Apple – An away team loses a few Red Shirts early on to various “natural” pitfalls on a planet inhabited by Stone Age-level people controlled by An Insane God! (So much for the ol’ Prime Directive here; Janeway would be having fits, I tell ya!) **

6. The Doomsday Machine – The Enterprise comes to the assistance of the Constellation, a Federation starship nearly destroyed by a planet-sized destruction machine (so kinda like the Death Star but uncontrolled). Unfortunately, the Constellation’s captain is obsessed with wreaking vengeance on the planet-killer. A much-celebrated episode from the original series, “Doomsday Machine” has inspired video games and Star Trek novels. ****

7. Catspaw – While orbiting a seemingly dead planet, the Enterprise is captured by two Insane Gods! involved in a struggle which manifests itself in the form of traditional symbols of witchery. **

8. I, Mudd – That (humanoid trafficker) old rapscallion Harry Mudd is back, this time lording over a planet populated only by some 200,000 androids. After one such android poses as a Red Shirt to hijack the Enterprise (hey, it’s was the late 2260s), Mudd has some fun with the Enterprise bridge crew before Kirk confounds the androids with simplistic logical paradoxes. ***

9. Metamorphosis – Zefram Cochrane, inventor of Earth’s first warp drive, is found alive, sustained by a companion that he calls, well, his Companion. The episode that sent rabid fans to feverishly retconning at the cinematic release of Star Trek: First Contact. **

10. Journey to Babel – Spock’s parents Sarek and Amanda board the Enterprise on the way to mediate peace talks between the Andorians and Tellarites. And along the way, the small question of … murder! ***

11. Friday’s Child – The Federation and the Klingons compete for the economic affection of the Capella, seriously hot-headed dudes on a planet rich in dilithium. ***

12. The Deadly Years – The first in a long tradition of rapid-aging stories on Star Trek. In this one, Kirk, Spock, McCoy, etc., contract the bad space virus and as they approach senility, Romulans choose to attack. ***

13. Obsession – When Kirk spots a “gaseous entity” that destroyed a ship previously under his command, he becomes (you guessed it) obsessed with killing the thing. *

14. Wolf in the Fold – A surprisingly dark episode in which a number of grisly, savage murders are committed, apparently at Scotty’s hands – but the actual murderer is a more primal, ancient force. ***

15. The Trouble with Tribbles –Star Trek Guide is firmly of the opinion that the Tribbles are some of the most cleverly conceived aliens within the ST universe, at least until the Borg. This introduction to the balls o’ fur has everything you’d want in a great ST episode: humor, character notes, a random rogue figure, Klingons kicking ass … no wonder “Trouble with Tribbles” is so unforgettable. *****

16. The Gamesters of Triskelion – Insane Gods! or mere disembodied aliens? No matter, as the gamesters of the title are three ladies who force the Enterprise crew to participate in gladiator-style competition. ***

17. A Piece of the Action – Sorry, but once the showrunners accepted the case for “parallel evolution”, the stretching for story ideas was obvious. In “Action,” the Enterprise crew finds a planet sporting a humanoid culture resembling exactly that of 1920s Chicago. Pretty silly stuff, though Kirk and Spock’s explanation of Fizzbin is almost worth the price of admission. **

18. The Immunity Syndrome – An energy-eating creature destroys a Vulcan ship, followed by the Tn Enterprise crew rather inelegantly taking the metaphorical eye for an eye in response. **

19. A Private Little War – War with Klingons, that is! When the Federation discovers the Klingon Empire messing around with a low level of technological development, the Enterprise is dispatched to address the cultural contamination. Machinations ensue before Kirk finally chucks the ol’ Prime Directive right out the porthole. ***

20. Return to Tomorrow – Disembodied aliens take over various bodies of Enterprise crew in turn in order to build other corporeal bodies they may inhabit. **

21. Patterns of Force – When in doubt, turn to Nazis! (Hey, Voyager and Enterprise both did…) A former Starfleet professor has “assisted” the cultures of twin planets through technological advances and the adoption of fascism as a choice of government. ***

22. By Any Other Name – Kirk and his away team are attacked by aliens from the Andromeda Galaxy. They soon take over the Enterprise and begin prepping it for a 300-year mission back to Andromeda. As the ship approaches the Galactic Barrier (Hey, that thing can turn you into an Insane God!, you know…), Kirk engages one in a fistfight and rapidly convinces the rest to stay in the Milky Way. **

23. The Omega Glory – Probably the stupidest of the “parallel evolution” stories, “The Omega Glory” culminates in William Shatner giving his best/worst melodramatic reading of The Constitution and convincing everyone that the American Way is Good. *

24. The Ultimate Computer – Another tried ‘n’ true Star Trek trope gets a rerun for this episode. The Enterprise installs “a new computer system.” The so-called M-5 gets fanatical in a hurry, wreaking particular havoc during a four-ship war game. Have no fear, however: Majel Barrett’s voice is returned to the Enterprise for the next episode. ***

25. Bread and Circuses – Ready for some more “parallel evolution”? Some more gladiator games? Yeah, I thought not. *

26. Assignment : Earth – It’s incredibly unfortunate that “Assignment: Earth” was mostly produced so as to spinoff the supporting character Gary Seven into his own program, because this is one wacky, fun-filled Star Trek episode which really should have set a precedent for ST:TOS scripts. Admittedly time-traveling way too easily into the 20th century, the Enterprise crew engages in a mission involving hyper-advanced technology, Cold War paranoia, a stolen nuclear missile, a magic cat and Teri Garr. ****

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• Seasons & Episodes
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Star Trek Season 2 Episodes

• 73   Metascore
• Drama, Fantasy, Science Fiction
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Captain Kirk, Mr Spock, Dr McCoy and the USS Enterprise crew seek out new civilisations in this seminal sci-fi series.

Season 2 Episode Guide

26 Episodes 1967 - 1968

Fri, Sep 15, 1967 60 mins

Theodore Sturgeon wrote this memorable episode in which Spock falls victim to "pon farr", the Vulcan mating urge, and challenges Kirk in ritual battle to the death.

Who Mourns for Adonais?

Fri, Sep 22, 1967 60 mins

The Enterprise encounters the Greek god Apollo who desires the crew to remain on his planet and worship him. Also, he wishes to take a crewman for his wife.

The Changeling

Fri, Sep 29, 1967 60 mins

Kirk encounters a sophisticated killer, the Nomad probe---a talking metallic cylinder programmed to destroy life-forms that don't meet its mechanical standards of perfection.

Mirror, Mirror

Fri, Oct 6, 1967 60 mins

A transporter malfunction sends Kirk, Scotty, Uhura and McCoy to a parallel universe, where assassination, fear and treachery rule the Enterprise (and Spock has a beard).

Fri, Oct 13, 1967 60 mins

Kirk tries to save the Enterprise crew from destruction by terminating a powerful godmachine and the paradise it provides for its subjects.

The Doomsday Machine

Fri, Oct 20, 1967 60 mins

While on a mission to investigate the mass destruction of entire planetary systems, Kirk encounters a crippled starship, its desperate captain and an unstoppable, planet-eating machine.

Fri, Oct 27, 1967 60 mins

Castles, dungeons, witches, black cats and magic prevail as Kirk seeks a rational explanation of---and escape from---forces that lured him to an alien planet.

Fri, Nov 3, 1967 60 mins

Kirk and company fall prey to their old nemesis Harry Mudd, who is now both ruler and captive of an android civilisation.

Metamorphosis

Fri, Nov 10, 1967 60 mins

A cloud-like creature detours the shuttlecraft Galileo to a remote planetoid, where the crew, including Kirk, Spock and an ailing Federation commissioner, are to provide its sole inhabitant with companionship forever.

Journey to Babel

Fri, Nov 17, 1967 60 mins

While the Enterprise transports delegates including Spock's father Sarek to a Federation meeting, a Tellarite representative is murdered and Sarek is the prime suspect.

Friday's Child

Fri, Dec 1, 1967 60 mins

While negotiating a mining treaty on Capella IV, Kirk runs afoul of Klingon subterfuge and a rebellion among the planet's people that jeopardises the lives of the landing party.

The Deadly Years

Fri, Dec 8, 1967 60 mins

The crew of the Enterprise contracts a strange disease that causes rapidly accelerated ageing---leaving the inexperienced Captain Stocker in charge. Then he blunders into a Romulan attack.

Fri, Dec 15, 1967 60 mins

For the second time in his Starfleet career, Kirk encounters a cloud-like creature that drains humans of red blood cells, and decides this time to pursue and destroy the creature---no matter what the cost.

A Wolf in the Fold

Fri, Dec 22, 1967 60 mins

When a latter-day Jack the Ripper terrorises a crime-free planet, evidence points to chief engineer Scott, whose fingerprints are on the murder weapon.

The Trouble with Tribbles

Fri, Dec 29, 1967 60 mins

Kirk, assigned to protect a grain shipment, finds that he has trouble with "tribbles": balls of purring fluff that live on grain and are incredibly prolific.

The Gamesters of Triskelion

Fri, Jan 5, 1968 60 mins

Kirk, Uhura and Chekov find themselves on the planet Triskelion, where they are trained to fight to the death for the amusement of the planet's rulers.

A Piece of the Action

Fri, Jan 12, 1968 60 mins

Kirk and his boys come on like gangbusters when they visit a planet with a culture patterned after Chicago's gangland society of the 1920s.

The Immunity Syndrome

Fri, Jan 19, 1968 60 mins

The Enterprise becomes an antibody to penetrate an energy-draining invader resembling a giant amoeba that has annihilated a star system---and is about to reproduce.

A Private Little War

Fri, Feb 2, 1968 60 mins

Kirk takes steps to restore the status quo on a primitive planet, where the Klingons are secretly escalating the weapons technology among rival tribes.

Return to Tomorrow

Fri, Feb 9, 1968 60 mins

An experimental transplant between formless, telepathic creatures and members of the Enterprise crew works well until the creature in Spock's body elects to keep its new form.

Patterns of Force

Fri, Feb 16, 1968 60 mins

While searching for a former Star Fleet professor, the Enterprise finds that he has created a culture patterned after Nazi Germany---and is about to declare war on his planet's neighbours.

By Any Other Name

Fri, Feb 23, 1968 60 mins

Kirk tries to outwit aliens who have seized the Enterprise and assumed human form by appealing to their newly acquired human senses and desires.

The Omega Glory

Fri, Mar 1, 1968 60 mins

A Starfleet captain violates the Prime Directive by using Federation technology to protect a primitive tribe called the Kohms from barbarians called the Yangs.

The Ultimate Computer

Fri, Mar 8, 1968 60 mins

The M-5 computer, an experimental unit capable of running a starship by itself, is installed in the Enterprise and given a trial run during war games---at which point it decides they are no longer games.

Bread and Circuses

Fri, Mar 15, 1968 60 mins

Kirk, Spock and McCoy are forced into fierce gladiatorial combat by a traitorous starship captain on a planet where a savage Roman Empire uses 20th-century technology.

Assignment: Earth

Fri, Mar 29, 1968 60 mins

The Enterprise travels into the past to observe Cold War-era Earth, where the crew encounters the enigmatic Gary Seven, who claims to be on a mission to save the planet.

Den of Geek

Star Trek: Discovery Season 2 Episode 12 Review — Through the Valley of Shadows

Star Trek: Discovery races towards its finale with an episode that relies too heavily on nonsensical plot.

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This Star Trek: Discovery review contains spoilers.

Star Trek: Discovery Season 2, Episode 12

When storytelling is at its best, you don’t see the strings. Characters are motivated by qualities they have been previously depicted to possess based on backstory we understand or are understanding. Plot develops organically, spurred by elements like the actions of character and the quirks of setting—the worldbuilding. Star Trek: Discovery , a show set in one of the most popular and richly-realized narrative universes in modern mainstream storytelling, has a worldbuilding problem.

“Through the Valley of Shadows” is an episode in which plot happen, but none of it particularly feels informed by the world or characters—both of which have, honestly, been pretty inconsistent over the course of the show’s run so far, which makes their unmotivated actions here somehow simultaneously both less and more frustrating. We still don’t totally know who most of these characters are, so why wouldn’t they act in this way? But, also, we still don’t totally know who most of these characters are, which is pretty infuriating two seasons in.

In tonight’s episode, characters respond to stimuli, but their decisions to move forward feel spurred by the plot rather than any genuine character motivation. When Burnham and Spock notice a Section 31 ship is late on a check-in, they decide to investigate in the hopes that it will lead them to more information about Control and Dr. Burnham. Why do they have information about the check-in times of Section 31, a subgroup of Starfleet was highly secretive  before it was taken over by an all-powerful rogue A.I.? I guess Tyler gave them the access codes or something? This show doesn’t care.

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So Spock and Burnham set out, finding a ship that has jettisoned all of its cure into the cold grip of outer space, killing all but one of them… Lieutenant Gant, a character Michael served with on the Shenzhou. (Pro tip: If you need to remind viewers who a character is via the use of flashback, they’re probably not worth bringing back.) Rather than becoming suspicious of the durability of this one officer, Burnham and Spock set about teaming up with Gant to figure out what the heck Control is up to.

Unsurprisingly, Gant ends up being a Control-controlled body. He was biding his time until he could get Michael alone so he could take her over. So, I guess this means he floated everyone on the ship and then hung out in outer space until Michael and Spock showed up, assuming that they would notice the 10-minute-late check-in one Section 31 ship made? I don’t know—I’ve given up on Control’s motivations, too.

I’m not sure why the A.I. wants to take over the universe and kill all sentient life, but from Control!Gant’s ramblings, it sounds like it has something to do with preventing wars like the one the Federation just had with the Klingons. It’s the classic be careful what you wish for: Section 31 created a threat assessment program to prevent future wars, and said program came up with the perfect solution of killing all sentient life. That for sure takes care of the war problem.

Anyway, Spock and Michael make it out OK, but it involves a pretty stupid scene in which Michael shoots at a swarm of A.I. nanorobots taking different shapes as to make a convenient target while Spock comes up with a long-term solution that has something to do with magnets and the ship floor. The big takeaway? Control thinks Michael is a major threat to their evil plan.

While Michael and Spock are off gallivanting across space, Captain Pike is fully committed to continuing to follow the Signals. Because why not? The latest leads him to Boreth, the Klingon planet you may remember from earlier in the season when TyVoq dropped his and L’Rell’s secret baby off there to be raised in seclusion by Klingon monks. 

Well, apparently, the Klingon monk orphanage is also chock full of Time Crystals, that handy element that fuels Dr. Burnham’s time-travel suit. L’Rell pops up long enough to grant Pike access to the planet (but why?). So Pike gets cozy in his Starfleet-issued parka, and heads down to the planet to convince the Klingon Time Crystal guardians/monks/orphans to give him a Time Crystal… for reasons. Because it would be cool to have one? Because time travel hasn’t already caused enough problems? Because the Federation, or anyone, should have that kind of power?

read more: Star Trek: Discovery Season 2 Episode 11 Review

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At first, the Time Crystal Guardian seems disinclined to give Pike a Time Crystal. Then, he makes up a weird ultimatum that Pike can have the Time Crystal, but only if he first survives getting a glimpse into his future, and then accepts that path—because, for some unexplained reason, giving Pike the crystal will ensure that he ends up paralyzed in a terrible training accident, the consequences of which we first saw depicted in The Original Series. Never you mind that Pike now has a Time Crystal and could, technically, change the future with it.

Personally, I would have been horrifed by the nightmare of the future Pike sees for himself, which manages to be even more gruesome and depressing than what we saw depicted in The Original Series, and would probably seriously consider trying to change the future—especially because there is no reason for us to believe that there couldn’t be a better future in which Pike doesn’t get seriously and permanently injured. But Pike isn’t the type. He is a full-on Boy Scout. 

You know what type he is, though? The kind to order the self-destruction of the Discovery in order to destroy the sphere data that Control needs to end the world. Honestly, if the DISCO crew had just sat down in Pike’s ready room and brainstormed some ideas, they probably could have come up with this plan and avoided doing any of the things they did in this episode, which makes this episode extra pointless. 

With Section 31’s entire fleet knocking at Discovery’s door, blowing up one ship seems like a small price to pay for saving all sentient life on the galaxy… even if it is a ship that we all have grown fond of. Maybe we could have just skipped this entire episode and started with this scene?

When storytelling is at its best, you don’t see the strings. Unfortunately, “Through the Valley of Shadows” was all strings.

Additional thoughts.

Did you catch all of the Star Trek references in “Through the Valley of Shadows”?

While I’m not sure how Boreth fits into how we’ve seen the Klingons represented on Discovery so far, its depiction was the best this show has been when it comes to depicting already-canon alien planets. The scenes on Boreth were beautiful, and it was nice to see a more complex depiction of Klingon culture, even if I still have no idea how it relates to every other Klingon depiction we’ve seen previously seen on the show.

Oh yeah, the Time Crystal Guardian is none other than L’Rell and TyVoq’s grown son (played by frequent Klingon Kenneth Mitchell). He seems like a total badass, and pretty well-adjusted for a kid who was once a baby whose murder was faked. Did they seriously do this whole, stupid storyline for this reveal?

I love how Ash is like: But why can’t I go to Boreth? And L’Rell’s all like: Because you’re supposed to be dead, remember? But, also, it seems like their kid is the only Klingon who lives there and he knows all about his secret parentage, so:  ¯_(ツ)_/¯.

The Klingons, as represented in Discovery thus far, do not seem like the types not to use a weapon like Time Crystals to win a war. Just saying.

I’m really angry L’Rell’s entire Season 2 storyline has been a half-baked secret baby plot. I was promised the Mother of Klingons, dammit!

Amanda Grayson is back this episode to do some part-time parenting.

Meanwhile, Stamets is the saddest Starfleet officer to ever sad, and Reno has very little empathy. It’s been weeks— weeks , I tell you—since Hugh moved out of Paul’s quarters, so how is he not over it, asks Reno. You’d think she would be extra empathetic, given that, apparently (backstory alert!), she lost her partner in the Klingon war. But nope.

Meanwhile, Hugh still doesn’t seem to have a therapist following his death and resurrection. Our long, national nightmare continues. 

Kayti Burt is a staff editor covering books, TV, movies, and fan culture at Den of Geek . Read more of her work here or follow her on Twitter @kaytiburt .

Kayti Burt | @kaytiburt

Kayti is a pop culture writer, editor, and full-time nerd who comes from a working class background. A member of the Television Critics Association, she specializes…

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Star Trek: Discovery Recap: My Large Adult Klingon Son

Star trek: discovery.

As we turn the bend on the last stretch of this season, one thing has become pretty clear to me: Making Star Trek: Discovery a prequel was a mistake.

The reasons behind the decision make sense on paper: New Star Trek series, especially in this era, are going to be expensive and risky by nature, so it makes sense to hedge your bets wherever you can. Making Discovery ’s star the adoptive sibling of the original series’ most beloved character is a perfect, if annoying, way to offer fans a few familiar faces while venturing into the final frontier.

But as this series has progressed, its design — both visual and narrative — has proven time and again that its creativity and capacity for risk-taking deserves a show set in the far future, a future where the story wouldn’t have to justify absolute nonsense like Pike’s beep-beep machine. Where nanites puppeteering a dead body could be a technological villain’s evolution rather than its origins. I mean, how is it fair to ask writers to justify how we went from high-tech, reconstructive nanites to this?

As we’ve discussed in this space before, this is a ship full of nerds — on camera and off. At no time has this show not been champing at the bit when it comes to trying newer and wilder ideas. The science behind each problem is always researched, often to a fault; the redesigned costumes and sets are beautiful, but very obviously suffer from the limitation of needing to hew to their comparatively rinky-dink counterparts from the original series — which, despite the show having a massive budget, were famously cobbled together with literal cardboard and sweatshop labor . I submit that when Discovery takes a risk and it fails, that failure is almost always rooted in the fact that the show has to literally live up to TOS. This is all to say I really hope the crew gets sucked into one of those Daedalus-suit wormholes at the end of this season and we get to see what happens to them in a far future, completely un-curtailed by decades-old predictions about a future we in 2019 are all but living in now. The show deserves something fresh, we deserve something fresh. Can we live?!

Anyway, this is a recap, so let’s get into the two main plots this week.

In the first, a fourth signal — Spock now posits the signals might be the work of a second time traveler — has appeared above Boreth , the Klingon planet home to the monastery where L’Rell and Voq sent their infant son earlier this season . (NB: Boreth and the monastery have appeared in both The Next Generation and Deep Space Nine .) Turns out this monastery, in addition to housing the monks who follow Kahless, also protects a vast mine of time crystals, around which they’ve constructed a veritable Temple of Time . L’Rell, when she arrives on the Discovery to help them secure passage to the monastery to obtain a crystal, says the Klingons “no longer exploit the crystals” because “time manipulation is a weapon unlike any other.” Kind of a weird explanation, given that just 20 years ago the Klingons were supposedly developing time-travel technology, and Tyler himself admitted they would have relished traveling back in time and wiping out the human race, and considering the Klingons just fought a very enthusiastic war against the Federation that could have been won with time manipulation, but okay. As Chancellor, L’Rell has no authority in the monastery, and Tyler is supposed to be dead, so to be respectful, Pike is the only one who can go.

At the monastery, Pike meets Tenavik, Son of None, an elder albino Klingon priest who also turns out to be Voq and L’Rell’s son despite their having left his infant self there like a week ago — because “time flows differently for those who protect the crystals; the past the present the future are equal in their presence.” Initially Tenavik flat-out refuses to let Pike even enter the temple, let alone take a crystal ( poH qut in Klingon, if you wanted to know), but Pike says “hey, but we really need it tho?” so Tenavik changes his mind. In exchange for obtaining a poH qut , though, Pike must learn how this decision will change his future … which is how we finally, horribly , are forced to reckon with the Beep-Beep Machine.

As we learned in TOS double episode “The Menagerie,” he ends up in this iron-lung-style Vader wheelchair, his face mauled beyond recognition and his only means of communication a binary yes-or-no beeping, after saving some cadets during a training exercise gone wrong. (Only God knows what kind of insane training exercise requires such violent radiation risks, but what can you do?) Our beautiful, perfectly chiseled boy Anson Mount is forced to face his future countenance, a melting heap of completely immobile flesh, and takes the crystal anyway, knowing that doing so will (somehow?) seal that eventual fate.

Watching this all go down is a bit upsetting, really — not unlike seeing your dad cry for the first time. Mercifully, the vision only lasts a minute, and Pike collects himself fairly quickly; with luck, we’ll never have to watch it happen for real. But I have a question: Do we really have to pretend that this is the only technology available to radiation-burned quadriplegics in the future? This is one of the few canonical events I’d be happy to see relegated to the dustbin of time. I’ll limit my complaining about weirdly ableist continuity, given how much I’ve already done in past recaps this season , to one statement: We have the technology to rework a person’s entire body into a completely different species, so we should certainly be able to deal with some radiation burns.

Onto the second plot: Another Section 31 ship has missed its regular “check-in” with Starfleet Command by ten minutes. Michael really wants to investigate, convinced it has to do with Control, but when Dad says no — for good reason, considering that would mean delivering the Sphere data contained in Discovery’s systems right into the AI’s waiting arms — she waits until Dad’s out of town on business to ask Other Dad Saru, whose post-vahar’ai outlook has put him in a real “fuck it” mood, and he authorizes her to take a shuttle. Spock joins her despite her protests. (When she huffs, “UGHH” as he took to the helm? I felt that!) They catch up with the ship to find that Control has jettisoned every crew member into space, and just one is still alive, Burnham’s former Shenzhou colleague Kamran Gant (Ali Momen).

This should’ve been the first red flag, of course, given how quickly a person usually dies in space . Nevertheless it takes them a good hour — in which the trio returns to the Section 31 ship to look for clues about Control and its nature — to realize, oh, right, evil body-snatching AI, this is a trap, probably should have been a little more careful about that. Gant is dead, but he lives on as the second-ever assimilated Borg (if I keep saying it , it couldn’t possibly not happen, right?).

Having blocked Spock’s tricorder scans (??) from registering the nanites in Gant’s Frankenstein body, Control locks Spock in another room and attempts to assimilate Burnham. (This is another Borg-y moment — remember, they do the same with Captain Picard , recognizing him as the ultimate threat to their success, and therefore the ultimate asset to acquire.) Following the requisite saloon shootout, the siblings manage to defeat him, Burnham literally shooting a giant hole in Gant’s torso, releasing a wave of nanites that Spock then de-activates by magnetizing the floor.

All three wayward characters get back to Discovery just in time to brief each other and then, mere seconds later, be surrounded by the entire Section 31 fleet. They could run, but Control will catch up. They have a time crystal, but (ironically) no time to figure out how to power it, even if they had a supernova to work with. They can’t let Control have the data. You know what that means?

That’s right, it’s that time again — time to blow up an extremely expensive ship to stop evil robots from getting what they want. Feels good to be back .

Personal Log, Supplemental

• I know a lot of fans are still questioning why Burnham was able to get back with Tyler so quickly despite the fact that he tried to kill her, but I’m just relieved that he was able to simply tell her about Tenavik’s existence without it causing another major emotional falling out. The Spock stuff must have really taken it out of me, because I don’t know how much more dramatic interpersonal conflict I can take this season.

• Also important: when Pike tells him Tenavik’s name and gives him back the torchbearer’s badge he sent his son to Boreth with, Ash cries a little, and Shazad Latif earns his salary again. It’s looking like this is the last we’ll see of L’Rell for a while, as the divorced couple basically said goodbye earlier. That means — shippers, on your mark — when Tyler gets emotional about his son going forward, Burnham might be able to comfort him, but Pike will be the only other person around who’s ever met Tenavik. *purple devil grin emoji*

• Not as important, but everyone catch that perfectly lit shot of Gant’s butt as he crouches down to Burnham’s level? Just me?

• Jett Reno is back, and she’s putting forward a very good Guinan as she visits Culber in sick bay to convince him to get back with Stamets. Her reasons are twofold: (1) because Stamets is the only other person even slightly qualified to figure out how to use the time crystal and his distraction could cost the universe all sentient life, and (2) because, as she reveals to Culber, her wife — whose neuroses seem to match Stamets’s pretty well — was killed in the Klingon War. She doesn’t want them to waste their chance to be together on such a silly thing as one of you being murdered and then resurrected in a reconstructed body and suffering a full-on existential breakdown as a result.

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Star Trek: Prodigy creators assure fans the wait for season two is worth it

Star Trek: Prodigy aired its first episode in October 2021 and wrapped its two part first season in December 2022. There has been no new Prodigy for almost eighteen months, unless you're in France. So, understandably, fans are getting a little impatient.

After a massive fan campaign, Netflix picked up the freshman animated series after it was cancelled in April 2023 and began airing its entire first season in December 2023. But there's been not even a hint of when season two will debut on the streaming channel since then, and we're almost halfway through the year. The fans are speaking out on social media, and that brought a comment from Kevin and Dan Hageman on Twitter/X, assuring everyone that they are "holding tight like everyone else," and they added "it's worth the wait," according to a report by Trekmovie .

The growing anticipation for season two is a good thing for the series, and a teaser trailer that introduced the young cadets-in-training to the EMH from Star Trek: Voyager (Robert Picardo) only amped up the desire to see what Prodigy has in store.

But that desire isn't going to be fulfilled in June, either, as What's On Netflix recently recently provided a list of everything viewers can expect to air on the streamer in June. Prodigy was nowhere on the list. That only leaves five more months in the year for the series to make its debut. And though fans aren't excited about continuing to wait, the reassurance that the end result will be worth it iis certainly helps.

Us Prodigy fans, though not happy about the prolonged delay, will still be there when the second season of the series comes to Netflix. We didn't campaign to save Prodigy only to walk away from it now. We're looking forward to the binge...whenever it's finally made available!

This article was originally published on redshirtsalwaysdie.com as Star Trek: Prodigy creators assure fans the wait for season two is worth it .

• Cast & crew
• User reviews
• Episode aired Nov 27, 1995

Disguised while on an away mission Captain Janeway is rescued by a man who thinks that she is his daughter. Disguised while on an away mission Captain Janeway is rescued by a man who thinks that she is his daughter. Disguised while on an away mission Captain Janeway is rescued by a man who thinks that she is his daughter.

• Winrich Kolbe
• Gene Roddenberry
• Rick Berman
• Michael Piller
• Kate Mulgrew
• Robert Beltran
• Roxann Dawson
• 15 User reviews
• 5 Critic reviews

• Capt. Kathryn Janeway

• Cmdr. Chakotay

• Lt. B'Elanna Torres
• (as Roxann Biggs-Dawson)

• (credit only)

• Lt. Tom Paris

• Ensign Harry Kim

• Mokra Order Soldier
• (uncredited)

• Mokra homeworld alien

• Alsaurian Prisoner
• Alsaurian Citizen
• Michael Piller (showrunner)
• All cast & crew
• Production, box office & more at IMDbPro

Did you know

• Trivia The Mokra's leather strappings on their uniforms are made from horse tack.
• Goofs Janeway's com badge/universal translator is taken before she is rescued by Caylem, yet she can still talk with people on the planet.

[Caylem has been fatally wounded]

Caylem : Ralkana... He said you had been shot.

Captain Kathryn Janeway : He was lying to you, Father. I'm all right.

Caylem : And your mother?

Captain Kathryn Janeway : She's fine. She was so happy to get your letters. She wanted me to tell you something. She forgives you. We both do.

Caylem : [smiles] My sweet girl.

• Soundtracks Star Trek: Voyager - Main Title Written by Jerry Goldsmith Performed by Jay Chattaway

User reviews 15

• tomsly-40015
• Dec 12, 2023
• November 27, 1995 (United States)
• United States
• Official Site
• Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA (Studio)
• Paramount Television
• See more company credits at IMDbPro

Technical specs

• Runtime 46 minutes
• Dolby Digital

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• May 31, 2024 | Podcast: All Access Says Farewell To ‘Star Trek: Discovery’ With “Life, Itself”
• May 30, 2024 | Alex Kurtzman Explains Why ‘Star Trek: Starfleet Academy’ Is Set In The ‘Discovery’ Era
• May 30, 2024 | Recap/Review: ‘Star Trek: Discovery’ Pulls It All Together For “Life, Itself”
• May 29, 2024 | ‘Star Trek: Strange New Worlds’ Season 4 Filming Set For 2025; Anson Mount Thanks Fans For Patience
• May 29, 2024 | Watch: Saru Has A Daring Plan To Save The Federation In Clip From ‘Star Trek: Discovery’ Season 5 Finale

Preview ‘Star Trek: Discovery’ Season (And Series) Finale With New Images, Trailer, And Clip From “Life, Itself”

| May 27, 2024 | By: TrekMovie.com Staff 125 comments so far

The final episode of the fifth and final season of Star Trek: Discovery arrives on Thursday with the tenth episode, and we have details, new photos, and a clip WITH SPOILERS .

Episode 10: “Life, Itself”

The season finale, “Life, Itself”, was written by Kyle Jarrow & Michelle Paradise and directed by Olatunde Osunsanmi. The episode debuts on Paramount+ on Thursday, May 30.

Trapped inside a mysterious alien portal that defies familiar rules of time, space, and gravity, Captain Burnham must fight Moll – and the environment itself – in order to locate the Progenitors’ technology and secure it for the Federation. Meanwhile, Book puts himself in harm’s way to help Burnham survive and Rayner leads the U.S.S. Discovery in an epic winner-takes-all battle against Breen forces.

Co-showrunner Michelle Paradise previously teased this episode saying, “Part of me wants to say the end of an era. But that just sounds so sad. I don’t wanna say that! Hopefully it’s all the things that  Discovery  has always been. Action, adventure, heart, family, love, sci-fi wonderfulness, beautifully acted, beautifully directed, production values, gorgeous VFX. It’s everything we have always had in  Discovery  in one episode.”

The episode includes additional footage shot after Paramount+ decided to make season 5 the last. This has been described as an “epilogue” to bring “closure” to the series, added on to the originally shot season finale.

Just 2 preview photos:

Doug Jones as Saru and Rachael Ancheril as Commander Nhan (Michael Gibson/Paramount+)

Sonequa Martin-Green as Burnham (Michael Gibson/Paramount+)

Episode trailer

You can see a clip from “Life, Itself” from the latest episode of The Ready Room below …

The fifth and final season of  Discovery debuted with two episodes on Thursday, April 4 exclusively on Paramount+  in the U.S., the UK, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia, and Austria.  Discovery also premiered on April 4 on Paramount+ in Canada and will be broadcast on Bell Media’s CTV Sci-Fi Channel in Canada. The rest of the 10-episode final season will be available to stream weekly on Thursdays. Season 5 debuted on SkyShowtime in select European countries on April 5.

Find more stories on the  Star Trek Universe

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It looks like a big finish! I feel bad for all the fans for who DSC is THEIR Star Trek… We all know the pain when our fav show is off the air…

DSC is by far not my favorite Trek and sometimes aggravates me no end, but I recognize that it has qualities that make it worth watching and I will miss it. I’m thinking to re-watch it from S1…

I don’t know if I will miss it personally but fully agree with your assessment.

There are definitely qualities about the show I truly liked and it was probably the show that took the most risks since DS9.

And while I haven’t been overly happy with the direction the show has been taking since season 3 I still think going into the 32nd century is the best idea it had and could simply be it’s own show without the constant TOS comparisons in its early days and set the universe however it wanted.

For fans like me, that’s really what makes Trek the most exciting–to boldly go!

I firmly believe that jump into the future essentially bought Discovery 3 more seasons.

Ya know for me it’s sad if for no other reason that not since Enterprise have we had to deal with losing a Trek show. I hope SNW and others stay on for a while.

It is a little depressing that four out of the five shows have been cancelled within the last two years. Yes I know Picard was only meant to go three seasons, but still the same outcome regardless.

But yeah streaming is just a different animal and with Paramount+ woes, it’s probably not too different from what UPN was going through and just hoping it sticks around. It’s pretty incredible UPN even survived 11 years given everything. I seriously don’t see Paramount+ lasting that long without a major paradigm shift. But that’s probably true of a lot of these services.

I think SNW will be safe for a while and it probably will get to five seasons at least but I’m still not sure that’s a guarantee if things go south with P+. But it will probably be fine for the next few seasons. And hopefully SFA will be a hit too.

Ya streaming is a totally different beast and the days of 7 year long shows on traditional network television are just over. Honestly 5 years in this new era is pretty impressive. I can think of way more popular shows that didn’t last that long.

In the end like you said everything depends on what happens with P+ and Paramount as a whole. Till then I take absolutely nothing as a certainty.

I realize you probably mean seasons but Discovery has been running for seven years. Series premiere to series finale will be just about the same as TNG.

Generations, PLEASE!

Taking the most risks is a good assessment.

Yeah I don’t know if people can really argue against that even if you still hate the show. It’s the only one that completely upended its entire premise and put it in another time period completely after just two seasons in.

Plus leaning in on exploring emotional intelligence and connection above all else. It’s a big departure from other Trek shows that tend to focus on the quest for knowledge first.

I did a Se 1 & 2 rewatch recently, really enjoyed it more the second time around (and knowing it gave us SNW as well).

Agree completely, for the following reasons: it always felt more like a very ham-fisted way to make contemporary social-commentary than a Star Trek drama. Yes I know… ST has always been about reflecting the ills of contemporary society… but they were incorporated more subtly.

I never liked that way existing cannon was thrown out the window, especially in the early seasons.

I never bought into the conceit that people from the 23rd century could land hundreds of years in their future, and fit in so easily. The time-jump was not to a society that should have been almost unrecognizable but to one that was Discovery-like but with cooler star ships and transporters.

So many times the show changed focus and direction – it was dizzying. BUT, like you I will probably re-watch from the beginning, now knowing (almost) the conclusion.

As much as people hated it, without Discovery Star Trek would still be dormant/dead.

Discovery heralded the Star Trek renaissance.

I for one am glad that the Academy series will be spun-off from DIS rather than take place in the past. That said, if it had taken place at the time of Kirk and Spock it likely would have done the same things people hated about the first season of DIS, yet people would have ignored it.

I think the main reason I’m glad that Starfleet Academy is set in the 32nd century is because it feels less like we’re leaving behind Discovery itself, and more like we’re continuing alongside it. That, to me, has helped considerably.

Yeah. I do hope some characters carry over. If members of the Voyager crew could become instructors at the academy in Endgame, the same could be true of members of the DIS crew.

I for one expect the series to be like Wrath of Khan, focused on final year cadets on their first shakedown cruise like was done with Scotty’s nephew and Savik rather than a series set entirely in a college campus like in TNG’s The First Duty.

The former would be truer to the spirit of Star Trek while the latter would be indistinguishable from series like Gen V and the like.

For me, I’d like the academy series to be about cadets on their final shakedown cruise who crash land and become stranded on a strange new world with new life and new civilization becomes their academy setting, you know? Rather than a familiar and safe campus, they instead learn by doing while trying to survive in an inhospitable place.

I ‘believe’ it’s going to be campus. They said this is the largest set ever constructed.

I’d expect something like what we saw in Voyager with Species whats-its-number.

Wow, bigger than the Promenade on DS9??

The series will start filming in Toronto later this summer. It will feature the largest contiguous set ever built for a “Star Trek” series, including an academic atrium with an amphitheater, classrooms, a mess hall, and a tree-lined walkway.

Wow. That’s impressive and shows they have a lot of faith in the show.

Cool beans. Sounds like P+ is putting a lot of faith in the new kid in the family.

Yeah it really sounds impressive. The irony is many thought the were making an Academy show to save money but hearing how grand the set is and now has hired a big name actor like Holly Hunter to lead it is proving the very opposite.

Nitpick: Saavik wasn’t an Academy cadet. She was a commissioned officer (Lieutenant.) She was probably in Command School.

That’s the way I always thought too. In fact I think that’s what they should have done with Kelvin Kirk in ST 2009 to explain how he should be older than others minus Spock and Bones and more importantly how he became Captain so fast. He should have already served on the Farragut and Republic by then.

Not necessarily. There were a bunch of uniform errors- that is, what we saw on screen didn’t really match the guide the designer made up- in the “monster maroon” era (WOK through TUC), and some of them involve Saavik.

Comparing her WOK uniform to her SFS one may confirm your point, but it’s still a bit confusing.

She was referred to as “Lieutenant” several times. Lieutenants are commissioned officers, not cadets. Graduating from the Academy, you get your commission and become an Ensign. So Saavik has presumably been commissioned for a few years.

Right, and she wore lieutenant JG’s insignia. But her branch color was red, which is for cadets and trainees. (There are cadet lieutenants, by the way.)

Problem is, in the next movie, which takes place basically a few days later, she’s already in command white. (It should have been at least partly grey, but that was another goof.)

If she is in Command School — which makes the most sense — that’s why she’d be wearing red.

Right, I had that thought- that you keep wearing red into post-graduate studies. That makes the most sense.

“without Discovery Star Trek would still be dormant/dead.”

I find this to be such an odd sentiment. If it wasn’t Discovery, it would be something else that got shows running again. Star Trek is far too strong of a franchise to be completely dormant, it just needed time and money to get going.

I admit I never understood what this means exactly. I know what people are TRYING to say but it just doesn’t make sense.

The fact they put out multiple big budget global Star Trek movies a few years prior with the first two profitable and a lot of fanfare already made clear the franchise was never close to dead or dormant; it simply needed a break after nearly 20 years of nonstop content.

And I’m guessing if they decided to make Picard first instead of Discovery the fanbase would’ve been even more receptive getting back one of the most iconic characters in the franchise while going back to the prime universe again and more importantly, just going forward again which the majority of fans were craving for after Enterprise and the Kelvin movies.

The Kelvin movies didn’t really do much to revive the franchise, though.

To be clear, given the setting of Discovery (just a decade before The Original Series) it COULD have been a prequel to Star Trek 09, but even the people that made it didn’t want that, choosing to instead make it canonical to the previously-existing series and completely ignoring the Abrams trilogy.

I would say the Kelvin movies were weird in that they introduced a whole new generation to Star Trek, some of which didn’t even like the Kirk or Picard eras. But many of the hardcore fans seemed turned off. It was like a complete reversal of what you would expect.

Yeah that was always the main problem with Star Trek. If you keep it to its nerdy/philosophical/science roots it attracts the fans but lose most of the mass audience. That’s been the case literally since TOS and I don’t think it has changed at all.

But when you try to make it less of those things and just more a popcorn action franchise with the other stuff more in the background you can grab more of a general audience but you lose the people who made it the success that it was in the first place.

It’s just so tricky and it seems to be a hard balance to nail. And it probably tells you why the movies have stalled because they have no idea how to find that right balance and why so many ideas have come and gone.

Exactly because Star Trek is philosophical in nature and it is hard to make a pew pew action movie where everyone on the bridge is saying let’s negotiate! Honestly with the exception of First Contact I think the TOS movies were ever the ones to find the proper balance. ST IV didn’t even have a bad guy and ignored all the physical action in favor of a more comedic tone. ST VI did the reverse and said this is dead serious and we are trying to negotiate and have piece but there will always be outliners that are against it and will fight to the end.

Yeah the TOS movies did it the best even though they never really attracted a new audience, but probably had the best formula in general with TVH being the best example as you stated.

Once we got to TNG and the JJ movies, suddenly it just became these heavy villain action movies and little else. Insurrection felt more Trek-y and TNG but it was still essentially an action movie, just one with other elements to appeal to TNG fans.

We’ve mentioned this to each other before but Trek is at its best when it is not trying to be everything to everyone. It will never be Star Wars or the MCU. The best part about movies like TVH is they did very well (for the audience) in theaters and their budgets were tiny by comparison. ST 2009 costs 100+ million to make and while it did recoup and then some, it’s not the # Paramount needs to keep doing it.

Maybe I will be proven wrong on this but I think the days of $150+ million Trek movies are probably over now.

They never should’ve been more than that in the first place but with the movie climate these days these movies should be $120-130 million TOPS. $100 million being the most ideal.

Look what just happened with the new Mad Max movie. That movie is going to flop big time now because some genius gave it a $170 million budget even though the last movie just broke even making $380 million… from 9 years ago. And that budget was around $150 million.

I remember arguing back then on IMDB the budget was ridiculous because LIKE Star Trek the Mad Max movies have never been a huge money maker. Strong movies for their budgets back in the day but not Star Wars either. They were made less than TOS movies back in the 80s.

But someone got in their head let’s turn it into some big tent pole franchise instead of a middle tier property they always been. But Fury Road was able to break even with an already ludicrous budget then maybe the next one will double it. It will be lucky if it even makes it to $300 million now. It’s more than likely to finish at $250 million.

You heard me say this about the next Trek movie making $300 million tops and I have little faith it will do any better than what Furiosa did.

When the big boys are bringing in a fraction of what they brought in a few years ago, lower tier franchises like Mad Max and Star Trek isn’t going to just make half a billion dollars no matter how many explosions, fist fights and FX you throw in.

Especially for a movie franchise that hasn’t produced a movie in over a decade. Make it smaller, gear it to your audience without trying to put in China or appeal to 10 year olds and they can still make a profitable movie with a more modest budget. It’s just not going to be as profitable as the big boys. Period.

And how many of these big budget movies have to flop or become massive disappointments before they realize the movie audience is shrinking and people are staying home more?

They need creatives in the driver’s seat who want to give each film something special – something for the audience to hang on to. Narratives redressed from other IP will fail in theaters.

the way its looking Furiosa will be lucky to finish with 150m total worldwide

I dread to think what a 190m budget ST4 would bring in these days! (id still want to see it tho lol)

Yeah you could be right and it ends up that low. But I do like to think word of mouth will carry it to a bigger number at least since oddly both the critic and audience scores are very high. And that must be very frustrating for everyone who made the movie or any movie who really put out a quality product and spent years making it as perfectly as they can for not enough people to care.

Same thing with the Kelvin movies. In reality looking at the RT both critics and audiences scores they really should’ve just made way more money than they did. Despite how divided they are in the fanbase they are very popular for the general audience which was the point.

But sadly it just proves these franchises are still more niche outside the true believers and no matter what you do it will always be a ceiling of some kind and why making $200 million movies are a complete waste for things like Star Trek or Mad Max when the demand is simply NOT there.

In terms of running the franchise, there’s a reason Paramount is looking to the guy who (more or less) was guiding hand at the X-Men franchise. Quality aside, they turned out profitable flicks on a pretty consistent basis. Godzilla Minus one and Godzilla x Kong were both effects heavy and made bank on modest budgets. Just not billion-dollar bank. So, it can be done.

Agreed. And I’m neutral on Kinberg He seem to be responsible for just as many good films as bad ones so I have no issues with him. But of course the Internet being what it is everyone just focus on the stuff he screwed up on lol.

But if they actually get the prequel movie made (very skeptical of that at the moment ;)) and it actually makes money then yeah maybe we will start seeing movies again and maybe the final Kelvin movie will happen.

But if it crashes and burns after waiting 10 years for another one, then wave goodbye to another movie for a long long long time.

Hopefully this movie is in the $100 million or less category to even have a shot of making a decent profit.

How do you know this? It seems very likely that the financial success of the first two Kelvin movies showed the powers that be that there is still a viable audience for Trek.

I think the fact that they chose not to continue the Kelvin-verse speaks volumes.

As I pointed out, Discovery COULD have taken place during the events of Star Trek ’09, when Kirk was at the academy or whatever, but the people that made it decided not to do that and instead set it in prime canon.

Discovery’s ties to Enterprise in the first season were stronger than any ties it had to the Kelvin timeline.

I think more people enjoyed the reference to Archer’s visit to Qo’nos than they would have any reference to Star Trek ’09.

I agree with some of this but not all of it.

A. They were still planning to make Kelvin movies but yes sadly Beyond stalled everything after that. But they still saw that universe very viable and important to the franchise. It’s not like they were just cancelled once they announced a new TV show.

B. Paramount wasn’t making Discovery, CBS essentially was and they had NO ties to the Kelvin movies at the time. All the money they were making was solely from the prime universe, ie, merchandise, distribution and licensing rights, etc. So it only made sense for them to go back to that universe because that’s basically was CBS domain and not the Kelvin movies. If we want to get technical, the Kelvin movies were basically like Fox owning the X Men and Disney owning the MCU. They were essentially very separate entities, but were still considered canon to each other story wise because it was still under the same corporation.

C. Of course Discovery had more ties to Enterprise than the Kelvin universe because from Discovery POV (and any of the shows POV) they didn’t even know about the Kelvin universe existence, and technically it didn’t exist until a hundred years later after Nemesis; so there was really no way to tie it to those movies even if they wanted to. We had to wait until Discovery landed in the 32nd century just to get a single reference from Kovich they knew the other universe even existed by then and only became aware of it due to the Temporal Wars.

Now ALL that said, yes I agree, it made way more sense to go back to the Prime universe anyway because that’s what the fandom wanted and they clearly knew that. And the fact that we’ve had five, soon to be six, new TV shows and not ONE of them takes place in the Kelvin universe even though now technically they can make them does tell you that the Kelvin movies probably never caught on to the level that they were hoping unfortunately.

Again huge irony considering people were predicting the prime universe was going to go the way of the Dodo and basically forgotten by the time the Kelvin reached its fifth movie and all the spin off possibilities people had in their heads.

That said I do think we may get something from the Kelvin universe on Paramount+ if another movie is never made. I think it would be great if they pulled a Picard season 3 and just did a limited season with the cast as their final swan song. It would be a great thing to do for fans of those movies to tie up their story and it could be much cheaper option which is probably the reason the movies are still DOA.

B: But if CBS had wanted to make a Kelvin series they would have found a way to do it, even if it meant licensing it from Paramount. The fact that they got Kurtzman to make DIS for them shows that they wanted to work with people involved with the Kelvin-verse.

C: The Kelvin universe began when Kirk was born in 2233. In 2255, he enlisted in Starfleet, which is a year before the first season of Discovery set in 2256. If they had wanted to, they could have certainly set the series in that timeframe.

As I said though CBS didn’t have the rights to those movies, Paramount did INCLUDING merchandise sales. We have to keep things like that in perspective. In the prime universe it’s 100% all theirs and it was not a question which universe brought in more either since the Kelvin movies merchandise dried up after the first movie. I honestly can’t remember a single product they even made for Beyond. I’m sure they had some merchandise for it, I just can’t remember anything personally.

And let’s also remember a big reason they were in another universe because then Paramount didn’t have to worry about anything that happened in a future TV show or vice versa. I think both sides were just happy to keep things separate since they were under different companies.

As for your other point that would’ve just confused things more because then it would’ve meant Discovery would’ve been aware of the timeline changes a century before they were supposed to happen. Yeah it’s all timey whiney stuff but that’s the problem because from their POV it’s not supposed to have happen yet and would’ve confused people And why it was easier to reference in the third season because it already happened centuries ago.

But look I’m not disagreeing with you that much. I already said it made way more sense to go back to the prime universe because simply put that’s the universe most of the fans cared about and wanted to go back to. And when they saw the poor box office Beyond brought in, that probably confirmed they made the right choice in the end

It’s not to say people didn’t care about the Kelvin movies, but they never made the universe compelling enough that would get old fans to care more when the Kirk, Janeway and Picard they knew and grew up with was in the original and more developed universe.

But I’m going to say it again, if this was a decade ago it would’ve been the opposite argument for some. The idea that people cares more about Enterprise than these movies would’ve seemed ludicrous to others at the time. Certainly back in 2009.

Now there is nothing ludicrous about it.

Beyond just had the usual Trek items. official film magazine, coffee table book, and many 50th anniversary magazines. But no comic adaptation (neither did ID) or even a IDW ‘Countdown’ or novel (maybe due to the late script/Orci ST3? then after it underperformed maybe Paramount just figured why bother..)

Yeah it is pretty wild Trek went from the kelvinverse back to prime (including a full on TNG sequel and with 7of9 no less), a complete reversal with questions now as to if the kelvinverse will ever return (like there was about prime in 2009-16), doesn’t seem that long ago the kelvin/JJ verse was all that mattered/cool and was attracting younger audiences, and primeverse was a relic from a time long past..

It’s crazy that the movie came out for the 50th anniversary and there was basically jack all nothing for both the movie and anniversary itself. You would think they would’ve went all out that year and have both a ton of movie and anniversary tie ins.

But nope! It really spoke volumes just how much the ‘hype’ had all but disappeared by then. I know we spoke about this way too many times but it tells you how badly both the studio squandered the chance to make these movies a must see entity after the second one and the people making them not being imaginative enough sticking to the same formula three movies in a row. By then too many people just stopped caring.

And yes maybe we will still get another movie since they keep saying we will lol. But I think people would rather have a Legacy movie than another Kelvin movie because that’s the universe, time period and characters a lot of fans want.

I have said I never believed the prime universe was dead just like I never believed Star Trek in general was dead after Enterprise was cancelled. It was all going to come back eventually. It’s no way you abandon a 40 year old universe with 700 hours of shows and movies that millions of fans grew up with and was still very much devoted to. Especially for a set of popcorn action movies that many of those same fans thought missed the mark of what made Star Trek special in the first place.

Looking at that other current article thread of people citing their favorite TNG episodes and it’s a lot of stuff like Inner Light, Drumhead, Yesterday Enterprise, Measure of a Man etc. That tells you the kinds of stories that have gravitated fans to this franchise for decades now and very little has to do with killing off vengeful ubervillains with big ships carrying bioweapons trying to take out the universe.

I just realized I been making Michael Sacal’s argument for him lol.

Again he’s not wrong, it was Star Trek return to TV and the prime universe that excited fans again but it’s also wrong to just completely discount the Kelvin movies as well: especially the immense excitement there was for that first movie. A big budget TOS movie rebooting everything really felt like we were moving in the next phase of Star Trek that was going to reenergize the franchise and it did. But it was never going to appeal to everyone in the long term either after the shine wore off on the new toy and fans just wanted a return to the basics which we now have today thankfully, even others still hate all of it lol.

The problem with that IMHO is ST 2009 and STID may have had the Star Trek name but they weren’t billed as Star Trek. Everything about them screamed blockbuster summer movie and such. It even had the slogan this isn’t your father’s Star Trek. I guess what I am trying to say is nothing “Star Trek” related sold those movies to general audiences.

But your argument was that Star Trek was dead and dormant, not just the prime universe itself. The success of those movies (even if we can argue exactly how successful they were in the end) proved that Star Trek as a franchise still had tons of life and vigor in it. It was never ‘dead’ just needed to take a break and/or go in a new direction (at least for a little while).

And to this day it’s really the only thing in NuTrek that was successful enough to bring in masses of new fans. I don’t think Discovery or any of the other new shows have brought in many new fans beyond just the peripheral. I can’t tell you any person in real life who has watched it that was completely green to Star Trek versus the Kelvin movies that I literally went with people who’ve never seen Star Trek before. As much as some people (not you) want to put down the Kelvin movies today, the reality is they did both revived fan interest who was tired of the old formula and got newer and younger fans invested in the franchise. There were actually teenagers excited about Star Trek again…who knew that was possible lol.

But yes it is very ironic having these discussions today because the argument then was the prime universe was dead and buried forever and anything new that will come out of Star Trek would be from the Kelvin universe for the next 20 years. Yeah, didn’t quite work out that way.

And more proof how strong nostalgia is, especially for something that was around for 40 years and had over 700 hours of Trek content fans were missing and wanted back.

They reestablished Star Trek as a major franchise. The films went from $70-95 million grosses to $220+ million in North America alone. The films got the best reviews for a Star Trek film in over a decade. The revival proved the franchise could have mass appeal again.

The budgets were too high, but clearly there’s a way forward to be more than a minor hit with a small budget. That means we’ll still be getting more films once Paramount’s future becomes clearer.

We may, but they won’t necessarily be set in the Kelvin timeline, which makes it redundant.

They grossed over a billion dollars and had the general public and media talking about Star Trek for a decade when there were no TV shows. They’re only redundant when looked at through the narrowest of lenses, one which might view -any- alternative timeline story as such!

And what got it going was Discovery. Discovery led to everything else that followed. Without, there is no indication any of it would have been made.

Discovery had a bit of a convoluted origin, though. Didn’t it begin life when Netflix approached CBS/Viacom about re-launching Enterprise back around 2010-11? CBS/Viacom declined but that started the ball rolling for an original streaming show on their own CBS All Access service. What became Discovery was originally pitched as an anthology series taking place in different times on different ships named Discovery. So yes, Discovery did launch all the other streaming Treks, but it didn’t necessarily have to be Discovery. Netflix would have been happy with Enterprise 2.0.

How it began isn’t all that relevant, though, other than in none of the scenarios you bring up was a new Trek series connected to the Kelvin universe.

Sure it is. The first streaming Trek show was Discovery , but basically any new streaming Trek show would almost certainly have had the same effect. Look at Picard and all the fanbase talk about wanting a Legacy spinoff. And I’m not all that sold on Picard only happening because of Discovery , I think it has more to do with Stewart wanting Logan -like closure for the character that Nemesis and the Berman-era movies failed to provide.

Discovery gets credit for sustaining and reiterating Star Trek’s appeal on the small screen as a big budget streaming draw. It’s success did make it easier to greenlight all the other shows, and SNW is the most direct beneficiary as a direct spin-off.

I do raise an eyebrow as to your speculation about what naysayers would have let slide if the show hadn’t been a prequel to TOS. No need to get into that kind of supposition.

True, but sometimes I wonder how much the Abrams movies helped us get to Discovery.

Edited: Oh, I see this is discussed below.

What heralded the return was the budget and discussions beforehand. Discovery wouldn’t have existed without those. We could have had a much better show, and a much better ‘new era’, rather than the patchy one we’ve had. Some massive highs, some massive lows. None of the consistency of Classic Trek, which trundled along nicely.

The producers’ mistake was in changing the series to appease those that hated the first season. They should have never done that.

The first season was a train wreck, though. It was all over the place due to the revolving door at the producer’s office. Too many missteps in the beginning that took too long to correct. Season 2 was far better, but the jump to the 32nd Century was another major misstep, and I don’t think the show ever really recovered. The COVID-crippled fourth season probably doomed it.

By missteps I take it you mean how the Klingons look, the advacements in technology, etc.

Those were not missteps, they were improvements on the poor production values of The Original Series.

SNW did the same thing to the Gorn that DIS did to the Klingons, but somehow the former is acceptable whereas the latter is not.

SNW is also as guilty of making improvements to the Enterprise that contradict how the ship was portrayed in the ’60s just like DIS showed more advanced starships than TOS did.

Of course, you may also be referring to Michael being Spock’s sister.

That, too, was not a misstep, just like Sybok or Sulu’s unseen wife who gave birth to their daughter were missteps.

These characters can have extended families they never talk about. That is not a misstep.

“SNW did the same thing to the Gorn that DIS did to the Klingons, but somehow the former is acceptable whereas the latter is not.”

Many many people have been complaining about the Gorn as well lol. They haven’t gotten off scout free to the point people working on the show have commented on the complaints. But the difference is the Gorn was a very little seen species until now. Always referenced here and there but basically bigger in name than actual presence.

But the Klingons are probably the biggest and most known species in Star Trek and has been in over 100 episodes and 7 movies. So of course when you change them so dramatically people were going to have a deep opinion about it, especially when they were just too different to the point of distraction for many fans.

The Klingons had to be changed, though. Portraying them using white actors in blackface and Fu Manchu makeup might have “worked” in the ’60s, but it doesn’t work in the 21st Century. Specially when part of the plot involved one of them altering their facial features to make themselves look human.

The actor that played Ash Tyler didn’t need makeup to make himself look like a TOS-era Klingon, he just needed to grow a beard to make himself look like one.

Um, yeah they were changed back in the 80s that people accepted right away. Who suggested we were only talking about the TOS variety?

You literally skipped over 30 years lol.

And I always say the problem with the Discovery Klingons wasn’t that they were changed, but it was a BAD change to many people that was mostly the issue. It’s been pointed out other species like the Romulans and Trill were changed as well but it was much more subtle so most people just didn’t care.

What they did with the Klingons were just too distracting. And because they were so prominent in the first season you couldn’t ignore them at all

What they did to the Klingons had to be done because of the time frame Discovery took place in, in which Klingons were portrayed by white actors in blackface and Fu Manchu makeup as established in The Original Series and Enterprise on account of the cure to the Augment virus altering their genome.

Portraying they way they looked before the virus infected them as depicted in Enterprise or after they got cured as depicted in The Motion Picture would have gone against canon.

Picard established on screen why certain Romulans looked different (they’re northerners).

That would not have worked in Discovery because of the plot with VoQ and Ash Tyler.

DIS could NOT show pre and post Augment virus Klingons on screen. If it had, then Tyler would have just looked like a post Augment virus Klingon and no one would have bought the subterfuge that he was a human.

I like to think that had the series continued on its intended path rather than changed things during the second season we might have gotten to learn more about the in-between type of Klingons from season one, just like Picard did with the Romulans.

I see them as a step in the direction toward cleaning their DNA of the vestiges of Phlox’ cure that changed their appearance, resulting in the return of the pre-virus Klingons in TMP decades after DIS and TOS.

Well more power to you but I think it was just an all around mistake to do it. And obviously the producers agreed because not only were they changed in the very next season but every show after it just want back to the TOS movies/TNG look including SNW which is literally in the same time period as Discovery was. And they haven’t been seen on Discovery since which is clearly deliberate because no show has gone more than a season without showing them until now. Even Picard snuck in a Worf photo in season 1 and that was probably done to let people know Worf will still look like Worf so don’t panic lol..

But I will go halfway on this and say I didn’t have a problem if they kept them either, people just wanted to see the originals too. Again this was the entire problem with Discovery and it basically acted as a reboot and not really a continuation of what we knew before.

If they found a creative way to explain them, fine. But they didn’t. And there were so many theories about these Klingons, one I really liked that they were an ancient klan from thousands of years ago and we would eventually see them mix it up with the traditional Klingons. Basically how they treated the Romulans in Picard as you said and a mixture of the two. That would’ve been a much better idea. But once we were told these were supposed to be the same Klingons as before then it lost people.

As far as Tyler my answer to that is just don’t do it at all because it was already completely ridiculous how it was done anyway.

They went halfway back to the original design by giving them long hair as part of their appeasement of people that hated the first season.

That was a true first misstep, a betrayal of the worldbuilding they were laying out. Saying that they cut their hair during time of war was one of the most imbecilic things they ever came up with.

TNG and DS9 both showed them at war and in neither instance did they do such a thing because it wasn’t a thing.

Of course Klingons like Worf in Picard, Prodigy and Lower Decks should look like they did in TMP, TNG, DS9, VOY, and ENT before the Augment virus infected them. Those series and cartoons take place after they were cured sometime between the end of TOS and TMP.

SNW shows that version to keep fanboys happy, not because it makes sense.

Again, it’s the very betrayal of canon people accused DIS of committing because it showed holograms on Starships.

To be true to canon, Klingons on SNW should be played by white actors in blackface and Fu Manchu makeup as was done in TOS and ENT.

If I could, I’d post a picture of the three Klingons from TOS that appeared on DS9 that shows both versions of the makeup they wore on the two series.

Clearly it shows that at some point something was done to restore their original appearance. The idea that that something included what we saw in DIS is not that far-fetched. It’s a process getting from one point to the other. Klingons aren’t scientists or prone to asking others for help (specially since they are not part of the Federation), so it makes sense that it would have taken them a long time to fix themselves, and a lot of trial and error.

If given the choice between the stated fix from DIS season two that Klingons cut their hair during time of war OR having Phlox show up as part of a story arc showing that he is STILL working to cure the Klingons from the effect of the Augment virus, I’d have chosen the latter.

Again the problem with your argument is that you are bringing up something that was NEVER mentioned or implied on the show itself. There wasn’t even an offhand reference about the Augment virus JUST like there wasn’t any references about the Klingons shaving their heads for war time because neither one had to do with how they looked. They simply looked like that because Fuller wanted to change them up. Period.

And I already said IF there was some explanation why they looked different then OK I think people would’ve accepted that. You’re doing a better job then they ever did lol.

The fact is they had fifteen episodes to go into explanation but didn’t. And no one should be expected to remember the Klingon augment virus from a show that had already ended 12 years ago.

Because once again that was never part of their backstory. These were simply the new Klingons and why it bothered people.

The series was not given a chance to get to an explanation. One was not germane to the plot of season one, but could have been explored in season two.

C’mon man. ‘This is a show that the writers and producers spent countless interviews talking up the show and Klingons before the first episode aired. And they had plenty of time SINCE to talk about it.

It was never mentioned anywhere before or after. If they can suddenly tell us WHY Klingons shaved their heads after the fact, then I’m pretty sure they could highlight that tidbit too..

I get it, you really like the show and feel people dump on it too much. I understand. I have done quite of bit of dumping on it too lol. Yes, guilty. So It’s nothing wrong to defend the decisions you think people are being unfair or extreme about. That’s why message boards exist.

But you have to also just admit the obvious as well. For the record they didn’t need an explanation at all, it’s all fiction and they can present the show however they wanted. But they knew the Klingons just wasn’t working with most fans. They rolled the dice, it just wasn’t something a lot of people liked. But they had PLENTY of time to use that as a reason even if it wasn’t presented on the show itself.

Now I get it worked for you and other people as well and that’s of course great. But it’s all a business. Subs were probably dropping for a service few people barely watched or cared about and they heard the complaints the show didn’t feel Star Trek enough. And probably why we saw bigger changes in season 2, many I liked personally.

But I think if Discovery had to do it all over again there would be many things they do differently today.

But it was the first Trek show out of the gate in the modern era and they were trying to shake things up. Unfortunately they have a very devoted but also nostalgic fanbase who wanted something more comfort food and familiar. Maybe even a bit bland…hence SNW. 😉

No, I wasn’t even thinking of the new Klingon look. That doesn’t bother me much, although I think “improvement” is very much a matter of opinion. The TOS Klingons really need to be updated from the cheap Fu Manchu look of TOS to the movie era, but I don’t think they really needed to change again for Discovery, that just smelled of “we can, so we did” at the revolving door producer’s office. Michael Dorn’s look in Picard proves that the Berman-era look works just fine on 2020s TV.

I was thinking of starting the saga with a mutiny, killing off their most prominent actress and most interesting character in Episode 2 and then within half a season jumping into the Mirror Universe, where they kill off probably the second most interesting character (Lorca.) I get it, this show is supposed to be Star Trek: Burnham and not an ensemble show. But the problem with Star Trek: Burnham is that it got old really fast. So presto, the killed-off Georgiou is back! That gave Burnham someone to play off, and every time the two of them were on screen, I’d think “if they’d never killed off Prime Georgiou, this is what Discovery could have been: a traditional Trek show with Captain Georgiou and First Officer Burnham. And it would have been better.”

Burnham being Spock’s adoptive sister wasn’t the show’s best idea, but it didn’t ruin the show for me, either. It is just kinda there. Not much really came of that, in the end, did it? They even ignored the opportunity for Peck to play Mirror Spock a few episodes ago.

Dorn’s look works great in post TMP Trek, not in post ENT/pre TOS Trek, which is when the first season of DIS took place.

But they didn’t bring back Georgiou. The Emperor is not the same character as the captain. They’re variants of the same person from two alternate realities but that doesn’t make them the same person.

While I don’t love the look of the Klingons in Discovery (or Into Darkness, for that matter), I will say I thought their look was feeling a little dated even by the time of DS9. With Apocalypse Rising, once we had the crew in makeup and costume and then all the other Klingons, I started to think maybe they could do something to freshen up what at that point was already a nearly 20-year old design. At least the wigs and costumes could change.

Sadly agreed. I think in terms of fan reception the show has been a misfire for most of it’s run because it just felt too different and what was given just wasn’t very good on top of it.

This season the reception is better than last season for sure but it’s still not a home run either. There is still just as many complaints about it from others but overall at least feels more satisfying.

But I think Discovery will be an enigma for a long time. It can’t be denied it help spur the modern Star Trek era we have today being the first, but oddly enough most of the shows seem to have the opposite tone, feel and style what Discovery did. Now maybe a lot of that was just to have the shows feel different from one another which is a positive. But it’s very odd Discovery has been basically been ignored by the other shows minus SNW. And that show feels like a completely different show from Discovery as well.

There was a large portion of the fan base decrying that it was a prequel, sure.. But it’s a big assumption that changing the setting is what has affected the quality. The show gained a new showrunner and a different focus, one that had nothing to do with the new setting and felt very much like what she wanted to do, not what fans were demanding en mass. It’s her show, and she was exercising a good amount of creative freedom, I’d say.

I don’t really see much harm in the other overt changes like giving the Klingons a more familiar look or toning down the violence. I’d have to react to a list of anything else changed because of fan feedback. The rest just feels like a showrunner taking ownership.

That familiar look went against canon, though, which is what people complained DIS was doing when it changed the Klingons from looking like white guys in blackface and Fu Manchu makeup like they were portrayed in TOS.

I do think Paradise improved the series once she took over, and have no problem with the change of setting (I compare it to Voyager getting lost in space while DIS was lost in time), but, at the same time, it should not have gotten to that point.

That is not the direction the series should have gone in.

SNW is doing what DIS was intended to do, but because it has Spock, Kirk, Uhura, Pike, and Scotty and the Klingons look like they did in The Motion Picture instead of how they did in TOS and Enterprise people suddenly have no problem with it.

Klingons aside, SNW is as guilty of the same things people hated about the first season of DIS, but, for some reason, people turn a blind eye to it now.

I don’t know what to tell you. I only was hung up on the Klingons because the look wasn’t all that interesting to me and it interfered with every actors’ enunciation. Ever since TMP updated the Klingons and TNG updated the Romulans I haven’t cared about these incongruities. I love that Trials and Tribbleations and Enterprise leaned in and replicated the old look/explained continuity details, but I also appreciate a beautiful set in 2024.

What’s more important is what the showrunner does, and nothing apart from setting the show in the 32nd century seems to have been a direct influence of fandom on Michelle Paradise’s MO, and you say you prefer the show under her stewardship, so I’m not sure this particular argument about contonuity details affects things if we discuss issues with the show in seasons 3-5. We’re not speculating on a show led by Paradise that is still set in the 23rd century.

And it’s so weird hearing this bizarre argument that Paradise is just doing what fans were begging for when it feels like the complete opposite. Yes a lot of the changes were made to the show as a whole due to people complaining about it but all of that happened before she even took over and it wasn’t her idea to move the show to the 32nd century, it was Kurtzman’s. She said in interviews when she joined the show she knew the show was already going that direction.

Her stamp on it has been mostly negative when you look at third season on because she applies a more melodramatic and soap opera tone that just feels over done.

They have done less of it this season but still obviously there.

But season 3 and 4 also just felt like bore fests after the half way mark. The pacing was awful because it was clear there just wasn’t enough story to keep the seasons compelling enough. That’s one of the biggest positives about season 5, because it was shorter lol.

She has always put in these very grand ideas which is great but the execution of them has just been poor IMO.

And there are obviously people who vibe with her approach. I do think the quest theme and relative stability during production and where she’s positioned the characters has calmed the waters in season 5.

But if I were to criticize the melodrama or characters stopping everything to talk about self-care, getting in touch with their emotions, or their relationships (like in the middle of a time-sensitive heist onboard a Breen dreadnaught for example), that’s nothing to do with anything they did to placate the fans who were making a ruckus in season 1.

Anyone know how long this episode will be?

With everything they need to wrap up I would have assumed a 2 hr finale but I think it will be 1 as usual.

I have not seen any announcements that it is an extra-length episode.

It seems the extra stuff they filmed was about fifteen minutes. So maybe a bit over an hour total.

I just looked at the finale’s time slot for CTV Sci-Fi channel and they have it listed as a two hour episode (with commercials). So for P+ I assume it will be close to 90 mins. I think that may be the longest of the NuTrek episodes to date.

I don’t want the game to end.

Until I watched last week’s episode, I’d only watched one other episode this season (the one where the Trill scientist takes over Culber).

I’ve enjoyed what I’ve seen — while there’s still some melodrama and a plot that could probably have been resolved in six episodes, the show seems to have finally found its stride.

I’ll try to catch up before Thursday. I’m surprised to say that I’d welcome another season of this show.

That looks good! I honestly hope this season ends well, and those two clips give me hope.

Yeah me too!

No smiling koala so far…

It’s over, finally :)

It’s been a long road…

I think this season has probably been the most popular overall for a lot of the fanbase judging by online responses and truly hopes it goes out with a bang.

End predictions:

Discovery goes back in time to 24th century, crashes into Ent E. Worf escapes, (it wasn’t his fault). Burnham goes back to the beginning of time, integrates her DNA into the The Chase thingy, she is responsible for all humanoid kind. Riker appears, says ‘end program’

And then Burnham says “belay that order.” Riker is escorted off-screen.

It sounds like the holodeck has gone all trippy again. 😂

Moriarty will stop both of them lol

Wish Disco had found it’s legs sooner, because (with a couple very minor, obligatory nitpicks) this has been a largely terrific season of Trek.

Someone traded a bunch of Star Trek uniforms for K.I.T.T.???? Seriously?!

LOL that was a great segment of The Ready Room.

HAHA the best part was Wil totally freaking out!

Trapped inside a mysterious alien portal that defies familiar rules of time, space, and gravity, Captain Burnham must fight Moll – and the environment itself – in order to locate the Progenitors’ technology and secure it for the Federation.

I predict that at the center of the alien portal Burnham finds…a crying Kelpian child.

I actually predicted (which means it won’t come true) is that Burnham somehow reverses the Burn with the Progenitor tech.

LOL don’t even joke about that.

Or this becomes a sort of Deadpool thing and she ends up resolving every single canon issue, even incorporating the Kelvinverse.

But probably not. :-)

Note to the editors: the built-in pyrotechnics on these bridge sets are not meant to be seen in wide shots. Save that for the custom one-offs with debris.

Otherwise it just looks like a little heavy metal concert.

Can you imagine having something like that on Voyager or the original Enterprise. It just looks really silly to me.

The random sparks and flying rocks rarely made sense during space battles, but you could kinda go with the flow. They don’t often take me out of the moment like these wide shots of a hilarious ball of fire coming out not the same spot every time. That’s all on the editors – when it’s just coming into a close shot it’s effective.

“Time, space, and gravity” is a bit weird. The vast majority of *normal* space has no gravity at all.

What are you talking? Every space has Gravity…. Or No space has Gravity.

Depends in how you look at it. However, every tiny Bit If space is influenced by Gravity.

Zero G only means that it has no pull effect to us humans.

You coukd say, that space itself has no Gravity, but than the “majority” Thing majes No Sense.

I read it in the sense of “weightless.”

I have to admit that DSC is my least favorite Trek Show, but I remember feeling sad when the final episode of TNG, Voy, DS) and ENT aired. It was like saying goodbye to good friends.

Even behind the scenes, there’s just something about the Captain’s Chair. I remember working at Paramount when First Contact was filming. I got to visit the sets with Penny Juday and one of the sets we went on was the bridge. (Which, of course, nobody outside of production had seen yet…) I was blown away by the details on it, including the Starfleet Delta being embroidered on the seat backs. She asked if I wanted to sit in the Captain’s Chair, and I just couldn’t bring myself to do it. I kinda regret not sitting, but the fan in me just thought that it would somehow have been disrespectful to do so. I sat at Conn instead and looked back to the center which was still a pretty amazing thing to do.

I was so excited about this show when it premiered. I faithfully watched every ep of that first season. I eagerly gave CBSAA my money to support my franchise. And honestly, I really liked season 1. Yeah, it kinda flew off the rails towards the end, and it never lived up to its potential, but it was innovative and new Star Trek that at least had a lot going for it.

I couldn’t make it more than 3 episodes into season 2. I found so much of it so irritating, and I simply didn’t have enough time to dedicate to it. In reading all the reviews and fan discourse online, it seemed like I was never missing out, and I always reflect positively that I didn’t waste my time on a Star Trek that I simply was never going to fully enjoy.

Here we are at the end and it’s strange to know I have hardly watched any of this new era of my favorite show. I’ve seen Picard S1 and 3, LD S1, a few eps of SNW, and that’s it. I prefer rewatching the same eps of TOS. It’s sad to feel so disconnected to the new shows, but I’m glad they exist at any rate. Goodbye Disco – I can’t say you had a great run, but you did a lot for a lot of people and that’s what counts, I guess.

This breaks my heart a bit but you tried. I just know what a big fan you are and it’s never great to feel so disappointed in something. But it’s also OK to just say something isn’t for you and just move on

I wish I had that willpower lol. Hopefully there will be other shows that gets you excited again.

'Star Trek: Strange New Worlds' Anson Mount & Rebecca Romijn on ‘Season 2’ and the ‘Star Trek: Lower Decks’ Crossover Episode

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Anson Mount Just Beamed Up a Huge ‘Strange New Worlds’ Season 4 Update

Aemond targaryen will turn ‘house of the dragon’ season 2 “into a horror film”, two ‘survivor’ stars to join ‘the traitors’ season 3.

Showrunners Akiva Goldsman and Henry Myers ’ prequel series Star Trek: Strange New Worlds returns with Season 2 this month, premiering on Paramount+ on June 15. But before we catch back up with Captain Christopher Pike and his Number One, Collider’s Steve Weintraub spoke with the stars behind the USS Enterprise’s first and second in command, Anson Mount and Rebecca Romijn , on the upcoming episodes, and what the pair could tease for fans.

Last year, Strange New Worlds expanded the Star Trek Universe in ways new and old, taking us back a decade before Captain Kirk ( William Shatner ) helmed the Enterprise in Star Trek: The Original Series . It’s a return to the classic episodic adventures that first captured spacefaring fans so many years ago, and Season 2 is bringing new imaginative worlds, aliens, and a surprise crossover with another spinoff series, the animated Star Trek: Lower Decks . Without giving away too much, Mount admits the crossover was a world he wasn’t quite ready to boldly explore when Goldsman and Myers first revealed their plans, believing the duo may have “lost their minds," in fact.

In Collider’s interview with Mount and Romijin, which you can watch or read below, Weintraub asks how they felt about the crossover, directed by Star Trek alum and legend, Jonathan Frakes , and both have a lot to say about their temporary co-stars, Tawny Newsome and Jack Quaid . Though they have to keep it pretty mum, lest they lose their fingers, we do find out that this season will be taking some “ big swings genre-wise ,” as well as big risks, and Mount promises the journey ahead will involve “things that Star Trek has never done before,” which kept the energy up during production to the very final episode. Season 2 will see the return of Ethan Peck , Melissa Navia , Celia Rose Gooding , Paul Wesley , Jess Bush , Babs Olunsanmokun , and introduce Carol Kane as the Enterprise’s new Chief Engineer, Pelia.

COLLIDER: I've seen the first six episodes of Season 2. My only complaint is I couldn't see seven through 10.

ANSON MOUNT: [Laughs] Good to know.

REBECCA ROMIJN: Yeah, thank you!

So you both get to do very cool things this season. What are you actually allowed to say?

ROMIJN: Nothing [laughs]. It makes it so difficult. I can't wait for you to see seven through the final four.

MOUNT: Yeah, it's in our contract, they get to remove a finger every time we make a slip-up.

It has to be interesting, though. It's hard to do press when the hands are tied behind your back. The second season is 10 episodes, which of the 10 is your favorite, and why?

MOUNT: Well, yeah, I have a clear favorite.

ROMIJN: I have a clear favorite, too, and I have a feeling it's the same one as Anson’s. It's gonna be Episode 9, but we can't say anything about it!

MOUNT: [Laughs] Yeah, it's Episode 9.

ROMIJN: Obviously, we can't discuss, but I think they'll probably be announcing something about it soon, possibly? Anyway, we obviously can't say anything about it. We took some big swings genre-wise this season, and we really got to play hard this season. It's like Season 1 but bigger and better, and we're pretty excited about it, to share it with everybody.

MOUNT: And what's cool about taking big risks, which are at the same time maybe things that Star Trek has never done before, is that the level of excitement it brings to the cast is amazing. When we were doing that episode that we've been talking about, Episode 9, obviously that was towards the end of the season’s shoot when everybody is tired. Because when you do the final episode, everybody is like, “Oh, okay, we’re almost done!” But a penultimate episode can be tough to get through. But because of the nature of the episode and what we were doing, we had to rehearse on weekends, and when people were coming in, everyone was genuinely excited to be there.

ROMIJN: Flying! Yeah, it was so exciting.

MOUNT: Which, I've never seen that before in all my days of doing television, and yeah, it came together even better than I'd hoped.

I'm just gonna throw a Hail Mary. It makes me think maybe some of this episode is a oner?

MOUNT: Well, we couldn't tell you if you're right or not.

ROMIJN: [Laughs] Because then we'd lose fingers!

MOUNT: But you are far afield, my friend.

One of the things about this season a lot of people are looking forward to, I believe it's Episode 7, which is your Lower Decks crossover episode. What was it like being able to crossover with that show because I didn't see it coming and it's just a cool idea.

MOUNT: When Akiva and Henry first told me about it, it's one of those moments where you sort of smile and nod your head, and inside your head, you're going, “Oh no, they have lost their minds” because I immediately was picturing something like [ Who Framed Roger Rabbit ], right? But once they explained to me the concept, I was like, “Oh, that is such a smart way to do it!” I had met and spent time with Jack [Quaid] before, and I had spoken with Tawny [Newsome] before, so I was really excited to have them on the set, and they didn't disappoint.

ROMIJN: And they were really smart to bring Jonathan Frakes in to direct that episode. He really added a lot to it. I also know Jack and Tawny fairly well because my husband's on Lower Decks , and they had some adjustments to make, having come from an animated Star Trek show onto our set. I mean, I think they even address it in some of the dialogue. They sort of had to adjust their energy level a little bit. It was interesting watching them, and they're so brilliant, both of them, I mean, two of the funniest people, so talented, so funny. But watching them come in and make little slight adjustments so that it still felt within the correct world was interesting.

MOUNT: Yeah, and also, I have to say, it's really tough in a lot of ways being a guest star on a show that already has its wheels turning and its tone in place. You're kind of hoping you're not disappointing anybody, but they really came in and had full ownership over what they were doing, which you have to with comedy, especially because comedy is more of a living, transformative thing at the moment of doing it.

ROMIJN: And Tawny and Jack both have great backgrounds in improv, so they were really able to play with a lot of the stuff that was given to them. I mean, a lot of it was taken off the page and they would do completely different things in every take. It was really fun to watch.

You can watch all of Star Trek: Strange New Worlds Season 1 on Paramount+ ahead of the Season 2 premiere on June 15.

• Star Trek: Strange New Worlds (2022)
• Anson Mount

‘Star Trek: Discovery’ is over. Now Alex Kurtzman readies for ‘Starfleet Academy’ and ‘Section 31’

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In “Star Trek” terms, and in the real world of “Star Trek” television, Alex Kurtzman, who oversees the 21st century franchise, might be described as the Federation president, from whose offices various series depart on their individual missions. Indeed, to hear him speak of it, the whole enterprise — honestly, no pun intended — seems to run very much on the series’ ethos of individual initiative and group consensus.

The first series to be launched, “ Star Trek: Discovery, ” has come to an end as of Thursday after five seasons on Paramount+. Others in the fleet include the concluded “ Picard, ” which brought “The Next Generation” into a new generation; the ongoing “ Strange New Worlds, ” which precedes the action of what’s now called “The Original Series,” from which it takes its spirit and several characters; “Lower Decks,” a comedy set among Starfleet service workers; and “Prodigy,” in which a collection of teenage aliens go joyriding in a starship. On the horizon are “Starfleet Academy,” with Holly Hunter set to star, and a TV feature, “ Section 31, ” with Michelle Yeoh back as Philippa Georgiou.

I spoke with Kurtzman, whose “Trek” trek began as a writer on the quantum-canonical reboot movies “ Star Trek ” (2009) and “ Star Trek: Into Darkness ” (2013), at Secret Hideout, his appropriately unmarked Santa Monica headquarters. Metro trains glide by his front door unaware. We began the conversation, edited for length and clarity here, with a discussion of his “Trek” universe.

Alex Kurtzman: I liken them to different colors in the rainbow. It makes no sense to me to make one show that’s for everybody; it makes a lot of sense to make a lot of shows individually tailored to a sect of the “Star Trek” audience. It’s a misnomer that there’s a one-size-fits-all Trekkie. And rather than make one show that’s going to please everybody — and will almost certainly please nobody — let’s make an adult drama, an animated comedy, a kids’ comedy, an adventure show and on and on. There’s something quite beautiful about that; it allows each of the stories to bloom in its own unique way.

Do you get pushback from the fans?

Absolutely. In some ways that’s the point. One of the things I learned early on is that to be in love with “Star Trek” is to engage in healthy debate. There is no more vocal fan base. Some people tell you that their favorite is “The Original Series,” some say their favorite is “Voyager” and some say their favorite is “Discovery.” Yet they all come together and talk about what makes something singularly “Trek” — [creator] Gene Roddenberry‘s extraordinarily optimistic vision of the future when all that divides us [gets placed] in the rearview mirror and we get to move on and discover things. Like all great science fiction, you get to pick your allegory to the real world and come up with the science fiction equivalent. And everybody who watches understands what we’re talking about — racism or the Middle East or whatever.

What specific objections did you find to “Discovery”?

I think people felt it was too dark. We really listen to our fans in the writers’ room — everybody will have read a different article or review over the weekend, and we talk about what feels relevant and what feels less relevant. And then we engage in a healthy democratic debate about why and begin to apply that; it seeps into the decisions we make. Season 1 of “Discovery” was always intended to be a journey from darkness into light, and ultimately reinforce Roddenberry’s vision. I think people were just stunned by something that felt darker than any “Trek” had before. But doing a dark “Star Trek” really wasn’t our goal. The show is a mirror that holds itself up to the times, and we were in 2017 — we saw the nation fracture hugely right after the election, and it’s only gotten worse since then. We were interpreting that through science fiction. There were people who appreciated that and others for whom it was just not “Star Trek.” And the result, in Season 2, Capt. [Christopher] Pike showed up, Number One showed up, Spock showed up, and we began to bring in what felt to people more like the “Star Trek” they understood.

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You’re ending the series after five seasons. Was that always a plan?

You know, we were surprised we didn’t continue, and yet it feels now that it was right. One of the things that happened very quickly as streaming took off was that it radically changed watch patterns for viewers. Shows that used to go 10, 12 seasons, people would tap out after two — like, “I got what I want” — so for any show to go five seasons, it’s a miracle. In ways I don’t think we could have predicted, the season from the beginning feels like it’s the last; it just has a sense of finality. The studio was wonderful in that they recognized we needed to put a button on it, we needed a period on the end of the sentence, and so they allowed us to go back, which we did right before the strike, and [film] the coda that wraps up the series.

“Discovery” is a riot of love stories, among both heroes and villains.

There’s certainly a history of that in “Star Trek.” Whether or not characters were engaged in direct relationships, there was always a subtext of the love between them. I believe that’s why we love the bridge crew, because it’s really a love story, everyone’s in a love story, and they all care for each other and fight like family members. But ultimately they’re there to help each other and explore the universe together. If there’s some weird problem, and the answer’s not immediately apparent, each of them brings a different skill set and therefore a different perspective; they clash in their debate on how to proceed and then find some miraculous solution that none of them would have thought of at the outset.

One of the beautiful things about the shows is that you get to spend a long time with them, as opposed to a two-hour movie where you have to get in and out quickly and then wait a couple of years before the next one comes along. To be able to be on their weekly adventures, it affords the storytelling level of depth and complexity a two-hour movie just can’t achieve in that way.

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It’s astonishing how much matter you got into these things. Some storylines that only lasted an episode I remembered as seasonal arcs.

The sheer tonnage of story and character we were able to pack into “Discovery” every episode was kind of incredible. The thing to keep in mind is that “Discovery” was made as streaming was exploding, so what I think you’re also seeing there is a lot of writers who were trained in the network world with an A, B and C story applying it suddenly to a very different kind of storytelling in a much more cinematic medium. And when you have that kind of scope it starts to become really, really big. Sometimes that works really, really well and sometimes it was too much. And we were figuring it out; it was a bunch of people with flashlights in the dark, looking for how to interpret “Star Trek” now, since it had been 12 years since it had been on a television screen.

Are you able to course-correct within a season?

Sure. You get people you really trust in the room. Aaron Baiers, who runs Secret Hideout, is one of my most important early-warning systems; he isn’t necessarily in the room when we’re breaking stories, but he’s the first person who’ll read an outline and he’s the first person who’ll read a script. What I value so much about his perspective is that he’s coming in cold, he’s just like, “I’m the viewer, and I understand this or I don’t understand it, I feel this or I don’t feel it.” The studio executives are very similar. They love “Star Trek,” they’re all die-hard fans and have very strong feelings about what is appropriate. It then goes through a series of artists in every facet, from props to visual effects to production design, and they’re bringing their interpretations and opinions to the story.

Did “Strange New Worlds” come out of the fact that everybody loved seeing Christopher Pike in “Discovery?”

I really have to credit Akiva Goldsman with this. He knew that I was going to bring Pike into the premiere of the second season of “Discovery,” and said, “You know, there’s an incredible show about Capt. Pike and the Enterprise before Kirk takes over; there’s seven years of great storytelling there” — or five years, depending on when you come into the storyline. I said, “We have to cast a successful Pike first, so let’s see if that works. Let’s figure out who’s Number One, and who Spock is,” which are wildly tall orders. I hadn’t seen Anson Mount in other things before [he was cast as Pike], and when he sent in his taped audition it was that wonderful moment where you go, “That’s exactly the person we’re looking for.” Everybody loves Pike because he’s the kind of leader you want, definitive and clear but open to everyone’s perspective and humanistic in his response. And then we had the incredibly tall order of having Ethan [Peck] step into Leonard [Nimoy’s] and [Zachary Quinto’s] shoes.

He’s great.

He’s amazing, just a delight of a human being. And Rebecca Romijn‘s energy, what she brings to Number One is such a contemporary take on a character that was kind of a cipher in “The Original Series.” But she brings a kind of joy, a comedy, a bearing, a gravitas to the character that feels very modern. Thank God the fans responded the way they did and sent that petition [calling for a “Legacy” series], because everybody at CBS got the message very quickly. Jenny Lumet and Akiva and I wrote a pilot, and we were off to the races. Typically it takes fans a minute to adjust to what you’re doing, especially with beloved legacy characters, but the response to “Strange New World” from a critical perspective and fan perspective and just a viewership perspective was so immediate, it really did help us understand what was satisfying fans.

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What can you tell me about “Starfleet Academy?” Is it going to be Earth-based or space-based?

I’m going to say, without giving anything away, both. Right now we’re in the middle of answering the question what does San Francisco, where the academy is, look like in the 32nd century. Our primary set is the biggest we’ve ever built.

So you’re setting this —

In the “Discovery” era. There’s a specific reason for that. As the father of a 17-year-old boy, I see what my son is feeling as he looks at the world and to his future. I see the uncertainty; I see all the things we took for granted as given are not certainties for him. I see him recognizing he’s inheriting an enormous mess to clean up and it’s going to be on his generation to figure out how to do that, and that’s a lot to ask of a kid. My thinking was, if we set “Starfleet Academy” in the halcyon days of the Federation where everything was fine, it’s not going to speak to what kids are going through right now.

It’ll be a nice fantasy, but it’s not really going to be authentic. What’ll be authentic is to set it in the timeline where this is the first class back after over 100 years, and they are coming into a world that is only beginning to recover from a cataclysm — which was the Burn, as established on “Star Trek: Discovery,” where the Federation was greatly diminished. So they’re the first who’ll inherit, who’ll re-inherit, the task of exploration as a primary goal, because there just wasn’t room for that during the Burn — everybody was playing defense. It’s an incredibly optimistic show, an incredibly fun show; it’s a very funny show, and it’s a very emotional show. I think these kids, in different ways, are going to represent what a lot of kids are feeling now.

And I’m very, very , very excited that Holly Hunter is the lead of the show. Honestly, when we were working on the scripts, we wrote it for Holly thinking she’d never do it. And we sent them to her, and to our absolute delight and shock she loved them and signed on right away.

And then you’ve got the “Section 31” movie.

“Section 31” is Michelle Yeoh’s return as Georgiou. A very, very different feeling for “Star Trek.” I will always be so grateful to her, because on the heels of her nomination and then her Oscar win , she just doubled down on coming back to “Star Trek.” She could have easily walked away from it; she had a lot of other opportunities. But she remained steadfast and totally committed. We just wrapped that up and are starting to edit now.

Are you looking past “Starfleet” and “Section 31” to future projects?

There’s always notions and there are a couple of surprises coming up, but I really try to live in the shows that are in front of me in the moment because they’re so all-consuming. I’m directing the first two episodes of “Starfleet Academy,” so right now my brain is just wholly inside that world. But you can tell “Star Trek” stories forever; there’s always more. There’s something in the DNA of its construction that allows you to keep opening different doors. Some of that is science fiction, some of it has to do with the combination of science fiction and the organic embracing of all these other genres that lets you explore new territories. I don’t think it’s ever going to end. I think it’s going to go on for a long, long time. The real question for “Star Trek” is how do you keep innovating, how do you deliver both what people expect and something totally fresh at the same time. Because I think that is actually what people want from “Star Trek.” They want what’s familiar delivered in a way that doesn’t feel familiar.

With all our showrunners — Terry Matalas on “Picard,” the Hagemans on “Prodigy,” Mike McMahan on “Lower Decks,” Michelle Paradise, who has been singlehandedly running “Discovery” for the last two years, and then Akiva and Henry Alonso Myers on “Strange New Worlds” — my feeling is that the best way to protect and preserve “Star Trek” is not to impose my own vision on it but [find people] who meet the criteria of loving “Star Trek,” wanting to do new things with it, understanding how incredibly hard it is to do. And then I’m going to let you do your job. I’ll come in and tell you what I think every once in a while, and I’ll help get the boat off the dock, but once I hand the show over to a creative it has to be their show. And that means you’re going to get a different take every time, and as long as those takes all feel like they can marry into the same rainbow, to get back to the metaphor, that’s the way to keep “Star Trek” fresh.

I take great comfort because “Star Trek” really only belongs to Gene Roddenberry and the fans. We don’t own it. We carry it, we try to evolve it and then we hand it off to the next people. And hopefully they will love it as much as we do.

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Netflix’s Eric, Star Trek: Discovery’s series finale, and more new TV this week

Plus: The end of Hulu’s Under the Bridge, Hacks season 3, and more

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Share All sharing options for: Netflix’s Eric, Star Trek: Discovery’s series finale, and more new TV this week

The week has barely started (if you’re in the U.S. and reading this on the Monday holiday: even less so!), and already there’s a whole lot of TV to get through.

With any luck, the long weekend gave you some time to catch up with things — after all, as our summer preview is any indication, there’s only gonna be even more coming soon. But while a bunch of new stuff might be coming up, there’s plenty to watch this week alone. Under the Bridge and Hacks are both wrapping up really strong seasons, while shows like Pyramid Game and We Are Lady Parts are just ramping up.

Here are all the best new TV premieres and finales this week.

New shows on Netflix

Genre: Drama miniseries Release date: May 30, with all episodes Showrunner/creator: Abi Morgan Cast: Benedict Cumberbatch, Gaby Hoffmann, and more

Vincent (Benedict Cumberbatch) is a puppeteer happily living and working in 1980s New York City. Then, his 9-year-old son goes missing on the way to school, plunging Vincent into a dark, volatile depression. Vincent believes his son will come back if only he can get Eric, a monster based on a drawing his son did, to the screen.

Genre: Teen show Release date: May 30 Based on the book by: Holly Smale Cast: Emily Carey, Sarah Parish, Emmanuel Imani, and more

Harriet (Emily Carey) is just another geek trying to get by in high school, even if it means brushing off some mean girl bullies to do it. But everything changes when — against the odds and Harriet’s wishes — she finds herself scouted to be the next hot supermodel.

New shows on Hulu

The veil season finale.

Genre: Spy thriller Release date: May 28 Showrunner/creator: Steven Knight Cast: Elisabeth Moss, Yumna Marwan, Josh Charles, and more

The stage is set in London for a deadly attack. But Imogen (Elisabeth Moss) and Adilah (Yumna Marwan) are also on the move. And with Imogen keeping her master plan secret from even us, it seems likely that this attack could go either way.

Under the Bridge finale

Genre: True-crime mystery Release date: May 29 Showrunner/creator: Samir Mehta, Quinn Shephard Cast: Lily Gladstone, Riley Keough, and more

There’s nothing about the murder of Reena Virk (Vritika Gupta) that feels easy to swallow, and it’s a testament to Under the Bridge that the show has been able to balance the complexities of that reality in its seven episodes so far. Now, it’s coming to a close — one that no doubt will carry the weight of every ounce of tragedy in this story.

New shows on Max

Hacks season 3 finale.

Genre: Comedy Release date: May 30 Showrunner/creator: Paul W. Downs, Lucia Aniello, and Jen Statsky Cast: Hannah Einbinder, Jean Smart, and more

It’s all happening for Deborah (Jean Smart), now that she finally got her dream of hosting a late-night show. Only suddenly, there’s some last-minute doubt: Will Ava (Hannah Einbinder) be allowed to come along for the ride?

New shows on Paramount Plus

Pyramid game.

Genre: Thriller Release date: May 30, with all 10 episodes Showrunner/creator: Choi Sui Cast: Bona, Jang Da-a, Ryu Da-in, and more

Seong Su-ji is a new student at the Baekyeon Girls’ High School, and everything is already feeling like a fight for survival as she battles bullies and studies alike. And then she’s introduced to a new ranking system that lets people secretly vote for who they think should be a class outcast. Now, Su-ji has to decide whether to keep going along (and possibly accepting the violence that comes with it) or else lead an uprising against this shadowy “Pyramid Game.”

Star Trek: Discovery series finale

Genre: Star Trek Release date: May 30 Showrunner/creator: Akiva Goldsman Cast: Sonequa Martin-Green, Mary Wiseman, Doug Jones, and more

The end of an era! By which I mean not only the season we got of 900 years in Star Trek’s future, but also Discovery , which wraps up this Thursday. It’s the end of the first Star Trek show of the modern era, and is free in a way Star Trek hasn’t been in a long, long while , all while paving the way for more Trek to come.

New shows on Peacock

We are lady parts season 2.

Genre: “Yeah, I’m in a band” teen comedy Release date: May 30, with all episodes Showrunner/creator: Nida Manzoor Cast: Anjana Vasan, Sarah Kameela Impey, Juliette Motamed, and more

We Are Lady Parts is back and ready to record their debut album. Which means it’s the perfect time for more bandmate shenanigans — including battling a rival Muslim band, playing a festival, exploring your “villain era.” All that and Malala Yousafzai is supposed to show up sometime this season!

New shows on Apple TV Plus

Loot season 2 finale.

Genre: Comedy Release date: May 29 Showrunner/creators: Alan Yang and Matt Hubbard Cast: Maya Rudolph, Joel Kim Booster, Nat Faxon, and more

The Wells Foundation — and Molly (Maya Rudolph), the billionaire woman who runs it — are nearing their greatest success yet. Which, of course, means reality is about to come crashing in with some major personal decisions. How will the dust settle in the season 2 finale?

New shows on Showtime

Couples therapy season 4.

Genre: Documentary series Release date: May 31, with one episode; on-air premiere at 10 p.m. EDT on June 2 Showrunner/creator: Dr. Orna Guralnik Cast: Real-life couples in therapy

It’s a new season of Couples Therapy, and an all-new cast of couples to undergo real therapy with Dr. Orna. The result will be unpredictable — couples therapy, after all, is about figuring yourselves out together, not necessarily saving the relationship. The good news? It will most likely be cathartic, one way or another.

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