star trek discovery ending explained

Star Trek Discovery season 1 ending explained - recap what happened before the season 2 premiere

With season 2 very nearly here, we look back on the big questions we had after watching the Star Trek Discovery season 1 ending

With Star Trek Discovery season 2 very nearly here (it premieres in the US on CBS All Access today, before hitting Netflix in the UK tomorrow), it's time to look back at the incredible Star Trek Discovery season 1 ending and recap where we left things before the series returns.

It's been a while since Star Trek Discovery season 1 aired and you'd be forgiven for not quite remember exactly everything that happened over its 15 episode run (there was A LOT). But never fear, because our Star Trek Discovery season 1 ending explainer will cover all the big events from the finale, as well as the season as a whole, including the big questions we had right after watching the Star Trek Discovery season 1 ending.

Some of them, like what Emperor Georgiou is up to, we already know the answer to now thanks to some season 2 news, while others, like whether Lorca will be back, remain mysteriously unknown. In either case, the below Star Trek Discovery season 1 ending breakdown (and the above discussion video) will get you ready for the return of the USS Discovery as it warps back onto our screens this week. And if you want to know how to watch Star Trek Discovery online wherever you are in the world, we've got you covered there too.

Note: The below feature was originally published on February 12, 2018.

1. Wait… why is the Federation/Klingon war over now?

This makes very little sense in the show, but apparently the war is now over between the Klingons and the Federation. Let me try and explain why, although I’m not super-convinced myself. Firstly, I think the problem lies with the term ‘war’. It’s probably more accurate to say that the Federation was subject to repeated acts of terrorism by different Klingon Houses. Because the Klingons were never united as a race against the Federation, it doesn’t seem accurate to refer to this as ‘war’. This seems trivial, but it may explain how L’Rell’s unification of the Klingons somehow ends the conflict with the Federation.

Each act of aggression against their enemies was an attempt by the Klingon Houses to show strength, as each one tries to ‘look tougher and more dominant’ than the others. There was never a concerted campaign of war against the Federation. Logically speaking, the unification of the Klingons under L’Rell, T’Kuvma, and a massive bomb buried somewhere on Qo’nos, should put an end to the military action because there is no longer any need for the individual Klingon Houses to show strength. Everyone got their cocks out, and it turns out none were as massive as L’Rell’s (figuratively speaking). But surely the Klingons would just unite and THEN crush the Federation, which is pretty broken at this point? Well, yeah, that’s what I thought too.

Perhaps L’Rell is somehow beholden to Admiral Cornwell, and is discouraging the Houses from properly going to war. Or maybe they will go to proper war in season 2, but the Federation will have more chance of winning because they now have the ability to decloak Klingon vessels AND they can roll out the DASH drive to all their ships. If it goes down that route… surely this is set in an alternative universe, because it seems very unlikely Discovery would be able to hit the reset button to get things in-line with the original series.

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2. Who is going to be the next Captain of Discovery?

That’s the big question, isn’t it? There are a few possibilities here. The first is that we’ll get a completely new Captain, who is just waiting for the crew to arrive on Vulcan. This person could be… anyone. Literally anyone. Place your bets now. The second possibility is that Discovery will get constantly side-tracked on its way to Vulcan, giving either Burnham or Saru time to step-up and claim permanent captaincy of the ship. It’s a neat idea, but seems unlikely, as the show has felt rudderless ever since Lorca died.

Speaking of which… fans loved Lorca. And with all the dimension-hopping, time-travelling, reality bending possibilities of the show, it’s possible that the showrunners will simply invent an excuse to get Lorca back. Only it could be the real Lorca, who we assume died on board the USS Buran. That’d be a serious treat. The final, outside possibility, is that we’re in an alternative timeline to the Original Series, and someone like Pike will assume command of Discovery. Vastly unlikely, but Discovery does like to overtly display its references to other Star Trek shows, often with a staggering lack of subtlety.

3. What’s up with the Enterprise?

The USS Enterprise is in distress, as we learn during the Star Trek Discovery season 1 ending. When is the Enterprise NOT in some kind of distress, eh? EH? Anyway, it looks to be in pretty good shape, so the big question is: why send the distress call at all? Maybe the ship’s warp drive really couldn’t take any more before Scotty was around to fix it. Maybe they heard a young, alien-loving Kirk was coming aboard and the medical staff was worried they didn't have enough anti-STD meds.

Jokes aside, it seems to be an internal problem rather than an external one, so we should expect to see Burnham and a few others beaming aboard the famed starship for a quick poke around. My best guess is that it’ll form the first (two-parter) episode of season 2, before the Discovery zooms off to Vulcan to receive its proper new Captain. Of course, it's possible the Enterprise is on the run, and we haven't see what it's fleeing from/to yet. Either way, it should form a significant part of the first few hours of season 2.

4. Will Discovery be using DASH drive tech in season 2?

All we really know about the spore drive on Discovery (aside from the fact it works like a dream now, and the crew has plenty of spores to fuel it) is that Starfleet is looking into a mechanised navigation system. In other words, they don’t seem keen to let Stamets continue to plug himself in. Fair enough, but it’s vastly unlikely that we’ve seen the last of it, and I predict it’ll take roughly, oooh, five minutes until the crew are forced to bust out the DASH drive in season 2.

The problem here is that the more it’s used, the harder it’ll be to explain why the technology isn’t used - or even referenced - in any of the following Star Trek shows. It would simply be easier for the showrunners to say that Discovery is set in an alternate universe, which very much takes the fun out of all the Easter eggs crammed into the show.

5. Where has Emperor Georgiou gone now?

In one of the most laughable moments of the season finale, Burnham tells Emperor Georgiou that she’s free to leave, and tells her ‘not to cause any trouble, or she’ll be in bother’. With the weakest threat known to man ringing in her ears, the most dangerous figure in the most dangerous dimension of the Star Trek universe simply walks off, free as a bird. Ignoring the fact that both the Federation and Burnham have acted with the kind of naivety you’d question in a newborn puppy, the question is: what is Georgiou up to next?

The answer, which is obvious to everyone except Burnham, it seems, is this: no good. Villainy. Being a space-bastard. Georgiou wants power, and she’s going to do literally anything to get it. It’s inevitable that she’ll turn up as an antagonist in season 2 now, and we can already see Burnham wringing her hands with indecision as she’s forced to face-off with her not-really-mentor once again.

6. What role does Ash Tyler/Voq have now?

Again, we’ve not seen the last of Ash Tyler. He’s uniquely positioned to fill some kind of Klingon/Starfleet ambassador role, given that he’s kinda both races all at once. To give Discovery the benefit of the doubt, it could be that his presence is the reason why the Klingons haven’t relaunched full-scale war against the Federation, but that’s never explicitly mentioned in the show.

I’m surprised he was allowed to leave at all, given how valuable an asset he has proven to be. Someone with insider knowledge of the Klingons is surely super useful to the Federation, and someone with intimate experience of the most advanced ship in Starfleet is also a bit of a boon for the Klingons. The more I think about it, the more Tyler’s freedom to leave makes absolutely zero sense. Oh well, he’ll probably be back for season 2, in an attempt to further torture Burnham and add some emotional frisson to the show.

7. How long will it take to rebuild the Federation?

Let’s face it, the Federation is knackered. Most of the Starbases are gone, the fleet has been largely destroyed, and many of the leaders were lost when the Klingons overran Starbase 1. It all seems very desperate, and there isn’t a whole lot of time in between Discovery and the Original Series to go from ‘totally ruined Federation’ to ‘really quite healthy Federation’.

The DASH drive might help, and could be a key factor in rebuilding quicker. Discovery does have a tendency to rush its plots too, so perhaps the speed of the Federation’s recovery will simply never be explained. Or, maybe, we’re looking at the alternate timeline again. Seems to be a lot of questions about that after the Star Trek Discovery season 1 ending.

8. What happened to the Terran ISS Discovery, then?

Remember how the Terran version of Discovery essentially swapped places with the regular version when it jumped to the Mirror Universe? Er, what happened to it? We hear from Admiral Cornwell that she saw it destroyed with her own eyes, but there's no other information on what it did, where it went, or how it messed up the Federation timeline. And did anyone escape? Is Captain 'Killy' still at large, ready for an Emperor Georgiou/Killy team-up in season 2? This whole mirror Discovery plot feels like a wasted opportunity if it truly is finished.

For more juicy Trek goodness, check out every Star Trek Discovery Easter egg hidden in season 1.

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How the ‘star trek: discovery’ finale pulled off the franchise’s boldest leap yet.

'Star Trek: Discovery' Alex Kurtzman discusses the aftermath of the season two finale and the state of the franchise as a whole.

By Mike Bloom

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'Star Trek: Discovery' Season 2 Finale Time Jump, Explained

[This story contains spoilers for season two, episode 14 of CBS All Access’ Star Trek : Discovery , “Such Sweet Sorrow.”]

“Let us see what the future holds,” Ethan Peck’s Spock says toward the end of Star Trek: Discovery ‘s second season. It’s a phrase that showrunner Alex Kurtzman takes to heart in the season finale, in which he sends Michael Burnham (Sonequa Martin-Green) and the crew of the Discovery into a wormhole, off to face a great unknown centuries into the future.

The move is a radical shift in the CBS All Access’ series status quo. Over the course of nearly 30 episodes, Discovery painstakingly tied its characters and stories to the original Star Trek series, including porting over Spock and Captain Pike (Anson Mount) as main characters for season two. Those ties are officially no more, thanks to Discovery disappearing into the void, part of a last-ditch plan to stop Control, the malicious AI behind the Starfleet organization Section 31 and the chief antagonists of the season, from achieving sentience and wiping out the universe. To prevent the scenario from happening again, Spock proposes that Starfleet erase all language about Discovery from their vocabularies — hence why Discovery is not mentioned in the original Star Trek canon.

The finale leaves the crew of the Enterprise to speed off on their own adventures, while Commander Burnham leads Discovery into a completely new time and setting — much further into the future than any previous Star Trek story, for what it’s worth. For his part, as showrunner, Kurtzman hopes it’s worth a lot. Ahead, he tells The Hollywood Reporter about what to expect from Discovery season three, how they chose to close up the series’ largest plot holes in the finale, and updates from other corners of the Trek universe.

'Star Trek: Discovery' Star Ethan Peck Reveals How Leonard Nimoy's Family Helped Him Play Spock

You spent season two building up Section 31 in the Discovery universe, and the finale ends with Ash Tyler (Shazad Latif) being made Commander of the crumbling organization. What do fans have to look forward to with that story?

If you’re a fan of Deep Space Nine , you’ve probably spent the past two years saying, “What the hell are they doing with Section 31? That’s nothing like the Section 31 we know.” That’s exactly right. In Deep Space Nine , they did not have badges or ships. They’re an underground organization. What you see on Discovery and our upcoming show with Michelle Yeoh is how Section 31 became that organization and why it was so underground by the time Deep Space Nine comes around.

Speaking of Section 31, Control seems to be neutralized in the finale, but Discovery is technically taking it into the future with them. Is there a chance it could resurrect in season three?

All I can tell you is that Control is officially neutralized, but there will be much bigger problems when they get to the other side of that wormhole.

Star Trek: Discovery has gone through a few captains so far, most recently in Doug Jones’ Commander Saru . Will there be more power shifts come next season?

We will definitely be exploring who inherits that chair. Obviously, there’s a very loaded look between Saru and Burnham. They’re both qualified in very different ways, and that’s something we’ll explore.

Your second season had an episode focusing on Lieutenant Commander Airiam (Hannah Cheesman), who to that point had been a tertiary castmember. Are you planning to pen more episodes dedicated to other members of the bridge crew?

Absolutely. We’ve really just scratched the surface. Our bridge crew is so capable. Every single person is so wonderful and really rose to the occasion this year. What we discovered is we and the fans delight in stories being told about them. We’re going to be using all of them much, much more. Especially because this crew has forfeited their lives for each other. They’ve jumped 950 years into the future for each other. If we didn’t service them, we’d be doing something very wrong.

Commander Michael Burnham from the 'Star Trek' TV show in an intimate and emotional moment

You told me after the premiere that season two would be focused around faith. How do you reflect on how it guided the past 14 episodes, and do you intend on carrying it forward?

I wanted to press on it, but not press on it too hard. It’s something that can really backfire, especially for fans of Trek who know that religion is a polarizing issue. But faith was never about picking on religion as much as it was about faith in each other and in themselves. There was a grand design of some kind that is leading them forward. Burnham really wrestled with that. As someone who was not raised with faith, she had to decide if she was going to become somebody who could put her faith in some type of design. Ultimately, she’s rewarded for her faith by finding out she’s the one who set the signals. If you believe in yourself, ultimately, the best outcome presents itself.

You made an effort to showcase the Discovery crew as a family this season. What’s the state of this interstellar household going into the future?

They’re more a family than they’ve ever been. They were very, very close in season two. But now all they have is each other. Their families are 950 years in the past. It will be very interesting to see the consequences of the choice they made. Saru said, “We all signed up for this, and we knew what we were doing. We love each other, respect each other and need each other enough to know we’re going to make this decision as a group, as a family.” But it doesn’t mean that it won’t come with emotional consequences. That’s something we’ll explore in season three.

Before season two aired, you said you wanted to bring more of the vision of Star Trek into Discovery , which you indicated was “an essential vision of optimism.” Is that something you want to keep inherent in the show now that it’s making such a big jump?

We can never let that go. That’s the core tenet of [creator Gene Roddenberry’s] vision, and we feel very indebted and anchored to it. That being said, it can’t be wine and roses all the time. What is dramatically interesting is the idea of exploring when that optimism is challenged, and what you do to preserve and protect it. In the writers room, we are constantly measuring tone, down to the inch. What feels like a violation of Star Trek ? You can intellectualize something, but does it feel right or wrong? We’re always asking, “How will fans feel about shaking things up?” I believe Star Trek has stayed so popular over the years because of the bold choices writers have made that challenge preconceived notions we have about the franchise. Star Trek is about optimism, hope and a brighter future. Even if the future turns out to be not as bright as we hope, we are always striving to protect and preserve the best version of it.

'Star Trek: Discovery' and Picard Series Will Be Very Different Shows

While Discovery has broken for season three, there are many other Trek series in the pipeline, including the upcoming Picard show starring Patrick Stewart. What is the state of that series as well as the franchise as a whole?

The intention is to have something Star Trek on the air all the time, but not necessarily on top of each other. These shows take a minimum of a year to develop, make, produce and post. We want to make sure we’re never compromising our loyalty with both our aesthetic and storytelling. We’re never going to rush anything out that isn’t ready. In order to be ready, we have to put many things into development. We have to make sure each show is unique tonally, visually and from a story perspective. What we don’t want to do is feel like, “Oh, I can just watch any one of these shows because they’re all the same.” A lot of work has been done to make sure they all feel very different from each other. And that’s really exciting.

The idea is to always have something. Two years from now, a show will end, there will be a little breath and then another show will begin. But we want to do it right and do it thoughtfully. We want to explore parts of the world that haven’t been explored, and find new ways to tell stories with very different tones. We’re experimenting with new interesting directors and especially with comedy. It’s been done, obviously, but I’d say in fairly limited amounts. The most important thing is that we’re never laughing at Star Trek , we’re laughing with it. I always think of Galaxy Quest as one of the best Star Trek films ever, because it was an absolute love letter. Bringing Star Trek into the future means honoring the past and what people love about it, and giving it to them while finding new and innovative ways to tell stories. We’re building a new future; that is our dedicated task. The diversity of voices reflect what you see in front of the camera. I believe that’s another essential way for Star Trek to survive.

[The Picard series] going amazingly. We start shooting soon. It will be really different from Discovery in tone, pace and story. I’m so excited with how our cast came together. Hanelle Culpepper , our director, is absolutely crushing it. We’re so excited because it’s so different. Yet, I think people who like The Next Generation will recognize that it’s made by people who love it equally. It will be really interesting to see how people respond.

This interview has been condensed and edited for clarity.

Follow THR.com/StarTrekDiscovery for more coverage.

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Star Trek: Discovery Review - 'That Hope Is You, Part 2'

Full spoilers follow for Star Trek: Discovery Season 3, Episode 13. Read our review of Discovery Season 3, Episode 12 for where we left off.

Star Trek: Discovery closes out its uneven third season with a finale that is full of action, has a few genuine heartfelt moments, and also resets the status quo for our heroes (again) by episode’s end. And yet, at the same time, the hour feels bloated and somehow superfluous, answering mysteries that viewers have likely already figured out and not paying off key cliffhanger moments from last week’s segment.

Star Trek: Discovery - Season 3 Photos: "That Hope Is You, Part 2"

Let’s start with The Burn, the big quest arc of the season. Yes, Bill Irwin’s Su'Kal triggered that galactic calamity over a century ago. That was pretty clear two episodes back, but here we get confirmation that it was the result of his crying out in anguish as a child at the moment of his mother’s death. It’s a great concept -- that the Federation, and the rest of the galaxy, were crippled not by some lethal, mysterious alien foe, but rather by the desperation and pain of one lost child -- and it’s a terrific scene here when Su'Kal (and the Disco away team) learn the truth, but it’s also anticlimactic because it was kind of easy to predict two weeks back.

I would imagine that the viewer who didn’t see this reveal coming might’ve appreciated this finale more than I did, but I can’t help but wonder if combining the episode “Su'Kal” with the character’s story from this week would’ve worked better as the final episode of the season. The answer to the season-long mystery combined with the emotional impact of the truth are quite effective, but they are unnecessarily spread out among the other , less compelling story thread that closes the season.

That would be the siege of the Discovery by the Emerald Chain, the show’s new group of villains who were, in the end, just not that interesting a threat. Indeed, it was in last week’s episode, “There Is a Tide...,” that Janet Kidder’s Osyraa finally became more than just a mustache-twirling baddie, as she came to Admiral Vance (Oded Fehr) with an offer of peace. The reasons for that treaty not being realized -- she wouldn’t stand trial for her crimes -- made sense, but unfortunately at that point she reverted to the manual manipulation of said mustache. And that led to a lot of running and gunning and running out of oxygen for the Disco crew this week. In the end, when Burnham (Sonequa Martin-Green) shoots Osyraa after their big fight, it almost seems too easy, like the Orion is going to come back ala Jason Voorhees or somebody. But nope, she’s gone, and you kind of forget about her just like that. (The show’s writers seem to feel the same way, with a throwaway line at the end here that “the Chain fractured,” indicating they were a one-and-done threat.)

The action stuff during Osyraa’s takeover of the Disco is all well done, of course, but it overshadows some of the more interesting twists from last week’s cliffhanger that needed more play here. For one thing, the DOT-23 drones that showed up to help the Disco crew last time around -- inhabited by the Sphere data as they were -- were kind of a non-issue in this episode. And Stamets (Anthony Rapp), ejected from the ship by Burnham to keep him from saving his husband (she had her reasons!) last week, keeps getting sidelined during this episode. Rapp is skilled enough to be able to convey his feelings of betrayal with a couple of glances, but a real scene between Michael and Paul would’ve been nice.

In the end, Burnham has saved the Federation, solved the riddle of The Burn, and finally taken the captain’s seat (and let’s face it, God love him but Saru was a bad captain). But what did this season of Star Trek really tell us about the loss of hope, the dissolution of our dreams? Michael’s refusal to take no for an answer is all well and good, but right now things seem worse than ever in the real world, while all Discovery’s problems were solved in 13 episodes flat. It remains to be seen where the show will go next, but hopefully its writers will find a way to mine the less than ideal 32nd century concept further in Season 4.

Questions and Notes from the Q Continuum:

I guess Blu del Barrio’s Adira and Ian Alexander’s Gray will be back next season, since the mystery of Gray’s return remains unsolved.
Book (David Ajala) apparently is also sticking around, and Stamets might want to watch his back now that there’s a new spore drive pilot in town.
Aditya Sahil (Adil Hussain) finally showed up again, and he’s got a Starfleet uniform and everything now!
Who’s this Lieutenant Ina (Avaah Blackwell) character who suddenly became so prominent the past few episodes? It sure seemed like she was filling the role Sara Mitich’s Nilsson usually would have, particularly when she was on the run with Detmer and company. Maybe Mitich was unavailable to shoot for a few days and they had to sub in someone?
A few weeks ago I guessed that the ghost-like creatures haunting Su'Kal were what was left of his crew after decades of radiation exposure. Seems I didn’t get everything right on this one…
Why does Adira get one of the fancy new Starfleet uniforms but Book doesn’t? Neither one was a member of Starfleet when this season began.
Is Zora/the Sphere data now going to just live in that cute little robot?
And that’s it: After a year-plus of Star Trek: Picard, Star Trek: Lower Decks, and Star Trek: Discovery, we’re fresh out of new Trek episodes… for now, anyway!

“That Hope Is You, Part 2” is reflective of the season overall in that it has plenty of moments that shine, but it’s also very uneven. Everything looks great as always, but the hour could’ve used less action and more character interplay and emotion to really center the resolution to the mystery of The Burn. Here’s hoping next season mines the complexities of the new world Burnham and the crew have landed in, and finds ways to mirror our world along the way, as the best of Star Trek does.

Star Trek: Discovery Review - ‘That Hope Is You, Part 2’

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Star Trek: Discovery season 3, episode 13 recap – the ending explained

Star Trek: Discovery season 3, episode 13 recap – “That Hope Is You, Part 2”

This recap of Star Trek: Discovery season 3, episode 13, “That Hope Is You, Part 2”, the ending explained, contains spoilers.

Things are not looking good for the crew of the USS Discovery. Its captain, Saru, is stuck with Culber and Adira on a highly irradiated planet in the middle of a volatile nebula with the man-child Kelpien whose temper tantrums caused the Burn. Its acting captain, Sylvia Tilly, is leading the bridge crew on an against-the-odds mission to retake the ship, which has been captured by Osyraa and the Emerald Chain. It’s only link with its experimental spore drive, Stamets, has been ejected by resident one-man-army Michael Burnham, who is also being held by the Chain along with Book, who spends a good chunk of “That Hope Is You, Part 2” (Part 1 was the premiere) being tortured. All in all, it’s a nightmare.

The fact that all of this turns out mostly okay is a bit of a condemnation of the show’s writer’s room since it requires some rather absurd logical gymnastics and contrived plotting to pull off. Virtually all of the crew are imperiled to an extent that they might die, but none of them do, which is a shame not because I care about any of the bridge crew – I don’t know most of their names offhand, in all honesty – but because it implies that the show isn’t willing to do anything genuinely interesting anymore. Perhaps it never was. But there was definitely a sense in the early days that nobody, except perhaps Michael, was ever truly safe. Now, in large part because of Michael, everyone seems too safe for their own good.

Ah, Michael. I wish I loved you as much as Star Trek: Discovery season 3, episode 13 obviously does. As I have speculated for a while now, Saru’s and Tilly’s leadership arcs were, really, just an excuse to put Michael in the captain’s chair, which is hardly an impactful decision since she has occupied the entirety of the plot’s attention until this point despite having been demoted more than once and having a well-documented history of insubordination that actually got worse, rather than better, since she was catapulted into the future, initially on her own. She has the scientific know-how to solve every plot problem, the pretty face to attract the attention of whatever handsome male happens to be around, and the right hook to deck any of the show’s plentiful villains. She’s a smart, capable, charismatic, daring leader who everyone likes. It hardly seems fair.

It’s not fair, obviously, which is entirely the problem with “That Hope Is You, Part 2”. You just know she’s got a plan. You know that no matter how much she flaunts Federation directives or the laws of physics she’s never going to be made to pay for it. Here, her famous inhuman competency actually becomes contagious. When the Discovery’s life support systems are turned off, Lt Owosekun – whose name I just had to Google – reveals that she can hold her breath for up to ten minutes at a time, which has never been mentioned before. At first, I thought she was being sarcastic. This, you understand, is basic storytelling stuff. We’re supposed to know this ahead of time so that when Osyraa proposes turning off the systems we can think, “Aha! Lt Owosekun can hold her breath!” Instead I just rolled my eyes – and not for the last time.

Other eye-roll moments included Book being able to operate the spore drive in Stamets’ absence thanks to his empathic talents, which have at least been mentioned before but never in relation to the drive, and Michael being forced into an all-consuming machine during a final fight with Osyraa just for her to… walk right back out again. The Spore Data gaining sentience and taking over the ship’s worker robots amounts to basically nothing beyond preventing the major characters from dying, and Osyraa’s pet boffin Aurellio’s face turn is handled as gracelessly as we predicted it would be last week . He’s even the one to figure out that Book can use the spore drive!

Star Trek: Discovery has never, if we’re being honest, been very good at all this stuff, despite its clearly ample budget allowing for a level of visual finesse that is admittedly impressive. “That Hope Is You, Part 2” looks great, when your eyes stop rolling for long enough to take it in, but what’s frustrating is that the rest of the episode, which concerns Saru, Culber, and Adira trying to essentially talk Su’Kal away from a dilithium-detonating ledge, is really good, thoughtful science-fiction. Gray gets to exist in physical form while in the simulation, which helps to further Adira’s personal arc, and Saru helping Su’Kal through his trauma, ultimately culminating in him seeing Saru as a Kelpien for the very first time, was genuinely moving. Culber, easily the most thankless role in the show, accomplished more with his warm embrace of Gray than any other interpersonal interaction does anywhere in the hour.

This stuff feels like Star Trek as it’s meant to be – the Die Hard In Space adventure aboard the ship itself feels like a Klingon spy wearing its clothes. I was almost resentful when a dementedly smiley Michael took the captain’s chair in her snazzy new uniform, with Vance’s explicit blessing, and without any resistance from an absent Saru, who has conveniently returned to Kaminar. The rest of the bridge crew look on adoringly at her, wishing that they, too, might one day get outfitted with so much plot armor . Michael’s captain’s catchphrase is simply, “Let’s fly.” Yes, let’s. Somewhere a bit more interesting next time.

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Jonathon is one of the co-founders of Ready Steady Cut and has been an instrumental part of the team since its inception in 2017. Jonathon has remained involved in all aspects of the site’s operation, mainly dedicated to its content output, remaining one of its primary Entertainment writers while also functioning as our dedicated Commissioning Editor, publishing over 6,500 articles.

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‘Star Trek: Discovery’ EP Explains That Big Finale Surprise

What does seeing [spoiler] mean for Season 2?

Warning: Spoilers for the Star Trek: Discovery Season 1 finale, "Will You Take My Hand?" are below.

When it comes to adapting a major franchise like Star Trek , which has such a sprawling universe of TV shows and movies, it's important to figure out where in that timeline everything exists. We know that the J.J. Abrams movies, which started in 2009, are in a parallel universe, for example, and it's helpful for fans (at least, those who want to go deep into the lore) to keep things straight when it comes to canon.

In the Star Trek: Discovery Season 1 finale, things just got a little more complicated, as the Discovery gets a distress call on its way to Vulcan ... from the U.S.S. Enterprise (with Captain Christopher Pike in command). EP and co-creator Alex Kurtzman spoke to Variety about what that reveal will mean for Season 2:

Image via CBS All Access “The show is called ‘Discovery.’ It’s not ‘Enterprise. So yes, the Enterprise will play a part of Season 2 but it will absolutely not overshadow Discovery. And I think with Enterprise’s arrival in the finale we recognize that the audience has a lot of questions about our synchronicity with the original series, which really means or synchronicity with canon. So the promise of the Enterprise holds the answers to a lot of those questions, including Spock’s relationship with his half-sister who he’s never mentioned. Which does not necessarily mean you’re going to see Spock, just that we owe an answer to that question.”

That connection now feels like a very bold move, as it starts to encroach on canon territory. There were other Star Trek universe allusions in the finale as well, as the trade pointed out, including "a quick glimpse of the Ceti eels from 'Wrath of Khan' being cooked up as a tasty snack. Clint Howard , who previously appeared in several different 'Trek' iterations, also makes an appearance."

When it comes to Discovery 's story specifically, it's also worth pointing out that the finale was a mirror of the pilot. Kurtzman explained that the whole idea for the season was reverse engineered how they knew they wanted to end things in Season 1, in following with the idea that protecting the ideals of the Federation are more important than the individual, and that mutiny (or the threat of mutiny) may be the only way to achieve that.

He added that one of the major themes of this first season centered on "how the war tested our ideals of Starfleet." And, that in addition to Michael becoming more comfortable on Discovery, it was "about bringing [the] crew together as a family."

Did all of that come through for you? How do you feel about the reveal of the Enterprise? Let us also know what you thought about the first season and finale in the comments. Star Trek: Discovery is available on CBS All Access.

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Jonathan Frakes Feels The Pain Of ‘Star Trek: Discovery’ Ending, Talks Up Plan For Series Finale

| March 8, 2023 | By: TrekMovie.com Staff 173 comments so far

A week ago, Paramount+ broke the news that the upcoming fifth season of Star Trek: Discovery will be the last . We have heard from members of the cast and crew already about the news, and now TNG veteran and regular Discovery director Jonathan Frakes is weighing in, adding some insight into how the show will wrap up.

Frakes “disappointed” Disco is ending

Speaking to Cinemablend , Jonathan Frakes talked about how the news of the Discovery ending in season 5 felt to him personally:

I’m disappointed. In many ways, it was my new home show. When I started on that show in season 1, it was a return to the Star Trek world for me. So I had a very strong connection [to it]… I feel the pain. It’s show business, but it still sucks.

Jonathan Frakes has directed six episodes across four seasons of Star Trek: Discovery , only surpassed by producing director Olatunde Osunsanmi.

Jonathan Frakes with Sonequa Martin-Green and Mary Wiseman directing the season 1 episode “Despite Yourself”

New series finale is “stunning”

Principal production on season 5 wrapped up last November, but because of the decision to end the show with the fifth season, there will be some additional production to “help craft a conclusion for the series.” In his interview with Cinemablend, Frakes talked about this:

I think they’ve got a stunning plan for a very satisfying ending.

Frakes himself returned to work behind the camera for season 5. Speaking to TrekMovie last year , Frakes revealed he directed the penultimate episode of the 10-episode (now final) season.

Jonathan Frakes with Doug Jones and Sonequa Martin-Green on the set of the season 4 episode “Stormy Weather”

Skeptical about more 32nd-century Trek

As for a potential follow-up show set in the 32nd century (like perhaps the much talked about Starfleet Academy series), Frakes expressed skepticism. When asked about the possibility of more 32nd-century adventures, the Trek vet said “I wouldn’t hold my breath.” Even though past comments from both Alex Kurtzman and Paramount+ execs have teased the launch of the Academy series, the new realities of cost-cutting in the streaming market may be getting in the way of these plans (as outlined in a TrekMovie analysis posted before the Discovery news).

Say goodbye in 2024

Paramount+ has set the debut of the fifth and final season of Star Trek: Discovery to early 2024. According to reports, there will be some additional shooting this year to make the season finale into a proper series finale.

A trailer for season 5 was released at New York Comic Con last October. Watch it below:

Discovery seasons 1 through 4 are currently streaming exclusively on Paramount+ in the U.S. Internationally, the series is available on Paramount+ in Australia, Italy, Latin America, the U.K. and South Korea. It will also stream exclusively on Paramount+ in Italy, France, Germany, Switzerland and Austria later this year. In Canada, it airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave.

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Don’t think they’ll do the Academy series. If Paramount is tightening their belt, we’re not going to get that AND a Titan spinoff. I’d rather have the Titan spinoff.

I think you’re probably right, but if for example, they made Riker the veteran leader and star of the Academy show, that might help get it made.

Frankly, I would rather see SNW become the ongoing flagship show that runs for a decade, and shorter-run shows like Star Trek: Titan, Starfleet Academy, and Section 31 each airing for 2-3 season, and perhaps even less on a schedule, rather than annually.

Frankly there’s a lot of ways Paramount can play this thanks to the freedom of streaming, allowing them to expand the franchise while still keeping expenses in check.

In today’s market, no Star Trek show is going to run for a decade. That’s just not possible, given how much an episode of Star Trek costs.

First off you’re taking me far too literally. Second, you’re just wrong. If a show continues to pull in big numbers, it will continue. Is that likely? Maybe not. But again, we’re talking pipe dreams here.

My larger point was that the network should embrace the idea of short runs. Not every show needs to go for 5-7 years, and can be planned as a 2-3 season series, or even less.

The solution is animation. This is why I really hope great shows like Lower Decks and Prodigy stay for a long time. These two shows have been a great and unexpected surprise. And they are the perfect bridge between live action productions. Animation have a better ROI, if this is what really move these streaming executives.

I have personally set my mind to 7 seasons, but this is because STNG, DS9 and Voyager. I accept we are at a different time. But as a Star Trek fan, wish we have a continuous/ongoing show all year around.

I read that for their metrics (in Wall Street) they urgently need permanent subscribers. If they respect the Star Trek audience, getting at least a new episode every week, that could help (Paramount+) to attract more users to pay for the whole year.

I wouldn’t be opposed to an adult animated drama. But while LDS and Prodigy are good, they don’t really serve the core fanbase.

You’ve always got to be growing your fanbase or it will just die off and so will your show. These two shows are doing a good job of growing that fanbase. If you were to only rely on existing fans then it would be a losing game as we haven’t found eternal life and are continuing to die off. I was disappointed with Discovery for reasons that will probably never stop irritating me. However there was also good here. Production values were good and Saru really turned out great. Kudos to the actor and makeup artists. If it weren’t for the absence of hair I could’ve really enjoyed the Klingons’ new look. Mixing it up a bit isn’t necessarily bad, but they made some bad choices with established alien races. Now if only they could give us longer seasons of SNW and avoid more blunders that would be nice. The latest season of Picard has been pretty good and would love for a new show to pick up where it leaves off timeline-wise.

You misread me somewhat: I’m not suggesting LDS and Prodigy have no place. Prodigy in particular is hugely important to attracting kids, who will grow into the next generation of adult fans, to help keep the franchise alive.

But if animation is going to be the format for another spin-off, it should be an adult-skewing drama, not a comedy or kids show, like the ones that already exist.

Frankly, I don’t see either of those being greenlit any time soon.

If neither is greenlit, that would leave just one potential live-action Star Trek series for 2024. I suppose that’s possible, but… I think it’s unlikely.

Why is that unlikely? Paramount+ needs to diversify its programming to attract more subscribers and ST is niche programming. At this point, if they had only so much money to spend and had to choose between a ST series or another Taylor Sheridan show, there’s no doubt in my mind which way they’d go.

Because I think it’s unlikely they’ll want just ten episodes of live action Star Trek per year. Considering 1923 cost $23M per episode and was well behind Picard in audience demand, I’m not sure a Sheridan spin-off is any more likely than a Trek spin-off.

The fact that their commercials still push Star Trek more than anything, i’d say it’s potentially more likely that they want more Trek than anything. The fact is, it’s the only globally recognized brand they have on TV right now.

1923 may well have attracted more new subscribers though, that’s the key. Trek is popular enough that it makes sense to make enough of it to air practically year-round, help retain the subscribers who only tune in for it. In theory they could just have the three shows if Prodigy keeps having 20 episode seasons, but that’s skewing things pretty heavily, no matter how much less animation costs. Star Trek makes a splash when it is live action. Having a prequel and a fresh 25th or 32nd century show balances things out better.

They’ll have two live action shows for 2024 if the rumours of SNW season three starting production soon are to be believed, as well as the last season of DISC.

Oh right, I forgot DSC was pushed to 2024. That may actually be why they pushed it back slightly. Give themselves time to prep the next spin-off, while still have 20 episodes of live action Trek for the year.

Try as I might, I can’t work up any enthusiasm for an Academy show. Why does anyone believe there’s a market for a show about people who are in training to become Starfleet personnel someday in the future. Picard always gets a tear in his eye about his Academy days…. studying and getting life lessons from Boothby. Does anyone really find this….. compelling?

Yes. There is definitely potential there. It’s astonishing how narrow-minded and insular fans have become. They have no imagination anymore, it seems.

anything can be compelling if it’s written, produced, and well-acted. I’m not particularly attached to the 32nd century however.

We are on the exact same page. I have no interest in the 32nd century, but who knows what a good team of writers can do. I am open minded to just about any concept, if the right people are behind it.

Okay, as you’re suggesting I’m being narrow minded and insular, where’s the potential in what amounts to a show that’s about the prep academy to enter Starfleet? Civilian Skippy, who’s dreamed of flying the stars since he was a kid, shows up at Starfleet Academy. Someone, somewhere is going to decide if he’s officer material, then he’s off to college for four years (think Annapolis). Oops, Skippy isn’t officer material (or washes out), so it’s off to Starfleet Academy Basic Training (think Great Lakes). Eight weeks there, then off to a specialty school for up to two years to learn whatever job it is Skippy is supposed to be doing. After all that, Skippy could still wash out, land some desk job as an Ensign shuffling paper on a Starbase, or it’s off to the Cerritos as transporter maintenance specialist. Academy hijinks’ might be amusing…..or it probably isn’t. Just how does an Academy show become Wagon Train to the Stars?

I’m not saying I have the answers, I’m saying there’s a world of possibilities. Just because you can’t see one doesn’t mean it doesn’t exist.

It is the wisest man who acknowledges that there is much he does not know.

No, you’re saying it would be a draw. The fans will love it. It’ll grow the base. I’m asking you why, and all you’ve done is deflect. In so much that my OP acknowledges I don’t see how watching Cadet Skippy navigate four years of classes at Starfleet Academy is of anymore interest then watching Boothby’s grass grow I’m saying this seems like a flawed concept. If you don’t, or can’t respond, you’re pretty much proving my point. Cheers….

And AlphaPredator did not respond, so yeah, he proved your point, Phil.

I don’t think an academy show would be much of a draw, honestly.

If it looked good, had a good cast, and was well made, I have no doubt it would be a draw. The key is just making sure it has a good cast and is well made.

It’s a show about some schmuck making his way through four years of space college. But with great production values and beautiful people in the cast, people will watch. That’s what you’re selling here…

And here I get criticized for having a bad attitude lmao

I can’t help but imagine an Academy show as something like Riverdale, except instead of cults and supernatural elements, it would be aliens and science fiction instead.

I do wonder who the audience for an Academy show would be, I feel like if they’re trying to appeal to general teens and young adults, it’ll be those who already have an interest in Trek, those who aren’t interested probably wouldn’t get into Trek through a show like that.

I’d also assume that the Academy is also covering the basics, as Picard alluded to. Philosophy. Biology. Linguistics. A space bachelor’s degree.

If the Academy show is being groomed as programming for the YA market, it won’t look anything like the Trek we know. Discovery tried to shake things up a bit, and if comments here are any indication, it just had massive amounts of vitriol aimed at it for trying to be different. The legacy fan base would lose it’s s**t with a YA Trek show.

You seem very angry. I’m sorry you’ve had a bad day.

I’m not mad at all. Amused, actually. Kinda like listening to the folks who continue to insist the election was rigged but can’t produce any evidence to support the claim. You’re adamant it’ll be a draw, but have no idea why.

A YA show could be cute if it doesn’t take itself too seriously, but I’m not sure there’s a demand for it.

I doubt it would appeal the legacy fan base (although I’m not sure that’s the demographic Paramount is hoping to appeal to, most likely, they want to expand and appeal to different demographics), but I’m not sure it would appeal to YA viewers either.

Does the YA audience even care about ST? I’m not sure, but I kind of doubt it.

I doubt the general YA audience would care about Star Trek itself (why would they? Many haven’t even seen Star Trek before), which is why I don’t get what kind of an Academy show would be aiming towards.

I’ve read that, in the publishing industry, YA Sci-Fi is considered to be a hard sell, and I think that would also be the case with television. And honestly, if the Academy show is a YA show that preaches the values that Trek tends to promote (as in, being heavy in allegory), I feel like it would feel too preachy for an audience that sees themselves as young adults, with an emphasis on the adult part.

That said, I do think that if the Section 31 show gets made, that could be appealing to the YA audience (and general audiences) for its edginess, the whole idea of the “dark side” of a utopia.

I find that a little hard to believe given that some of the biggest franchises of the past 20 years were sci-fi / fantasy YA properties. Twilight, The Maze Runner, The Hunger Games, Divergent, Percy Jackson, the Narnia series, and let us not forget (with regrets) the Potterverse. Or on television, the entire Buffyverse, Arrowverse, etc.

I could see a Starfleet Academy show that’s a lot like HP mixed with elements of Buffy and even Top Gun.

Protagonist who’s born of tragedy, marked as special, forming a found family with other misfits, who discover / develop special skills over time; being antagonized by seniors / legacy students whose parents are Starfleet brass; facing tough challenges academically and personally; and confronting hidden threats to the Federation – an ongoing story that builds in seriousness over several seasons.

This means you can have menace-of-the-week stories mixed in with more personal B-stories and C-story threads.

Also, we could get an extended look at what Earth is like in Star Trek continuity – everyday life, what cities are like, where students live, politics, economics, etc (always as an allegory to the present day, of course.)

I wouldn’t set this in the 32nd century, but maybe around the time period of Picard.

Oh no, YA fantasy is an easy sell (and it’s one of the most popular YA genres), the franchises you’ve mentioned are fantasy, or the futuristic dystopian. None of them are sci-fi… Even Star Wars is more of a space opera, or a fantasy story set in space than sci-fi. (And by sci-fi, I mean something either with aliens, spaceships, or at least be based in science in some way… Cyberpunk doesn’t really count either.)

Dystopian themes and “dark” themes (even if it’s just stuff like conspiracies or criminals being recruited as assets… like the Suicide Squad) are popular with YA audiences, like with Maze Runner or Hunger Games. Which is why I think that Section 31 would be appealing to YA audiences.

Personally, I think a YA show set in an actual sci-fi setting would be cute, but I do think it would be very niche. Seeing the characters deal with the challenges that come with growing up, interpersonal dramas, academic stress and challenges, I don’t think that would appeal to most older fans, but I also don’t think it would appeal to the YA audience. Like yeah, it’s essentially the same thing as countless YA shows set in a high school/college, but without the fashion and possibly less drama.

A young cadet show could explore what happens if there is a sudden war that requires them to be conscripted. I would rather that than a teenage-focused show like 90210 in space, which would be horrible beyond belief. I fear they might be trying to capture a wider demographic, including teenagers and kids, which will likely result in something awful.

Great to read Jonathan Frakes talk highly about Discovery.

Out of all the current shows Discovery has been the best imo and it will be missed once the final season airs. I do hope we see these great group of characters again someday.

I would love if they eventually pulled a Picard in 10-15 years and did a Star Trek Burnham show with it following Michael’s life outside Starfleet and embracing her xenoanthropologist roots.

That would be fantastic. The way TV works nowadays, no show ever truly ends.

Indeed. There’s an entire generation of Trek fans who count Discovery as their entry point. In 15 years, a return of Burnham would be celebrated by them.

People been talking about doing a Star Trek Archer show, a character based from another show that got prematurely cancelled and that was nearly 20 years ago now/ So I can definitely people wanting a Burnham show. I’m not personally one of them, but she has her fans like all of them, so yeah it’s very possible.

And the way Star Trek nostalgia works, that show will probably be highly loved in the next 15 years as well.

I wouldn’t be opposed to a show about Archer, I still have yet to try ENT again but I care about the characters and it’s actually firmly in the middle of my personal Trek show rankings.

So yeah I agree, in around two decades, there will likely be people wanting that. And I’d support them in that.

Yep so would I. I’m not remotely sad Discovery is leaving, but I wasn’t sad about Enterprise leaving either. I don’t have to love every show personally though and as long as enough fans want to see these characters again, then I’m sure they will find a way at some point.

Ehhhhh…, I hated bakula as Archer. Was never a bakula fan…., in ENT, he was always getting his Butt beat by someone. Best character hands down on ENT was Trip. Unfortunately, He had the Kenny syndrome from south park. Let’s find another way to kill him in the show.

That’s fair.

I don’t see that a lot of folks are clamoring for more Archer. I’ve no issue with Bakula, Orson Wells couldn’t do anything with Archer, either. The character was terrible, emotionally and intellectually constipated, with the charisma of a potted plant. Enterprise is the one show that should get reimagined. Pretend the old one dosen’t exist, and start over.

I also want another show set in the 32nd century too but with Paramount having money troubles and needing to cut costs i don’t see them continuing with their 5 shows a year plan at least not with the current budgets for shows.

I can see any future live action shows only having half(or even 2/3rds) the budget that Discovery/SNW has as they are both really expensive shows.

I never liked the 32nd century. They only went there in response to knee-jerk reactionary fans who whined about minor continuity problems. It was not a creative choice made because they felt it was the best thing for the show. I’m happy to steer clear of it.

No, I don’t like the vision of the future they envisioned. A broken federation and xenophobia everywhere, no thanks.

I actually hope one of the current shows undoes this vision of the future somehow, which makes it in an alternative future.

I too am hoping they eventually decide that Discovery actually went to an alternate future and not one associated with the Prime timeline. That whole burn thing with the kelpian child really killed the rest of the show for me.

Fully agreed. Not only was it ridiculously dystopian, it was also dull. 1000 years of change and we get…Somalia-style warlordism writ large. Ugh.

I’m one of the few others who really love the 32nd setting as well, but I can’t help feeling, being Discovery, they really squandered it as well and the whole Burn thing just fell into ridicule after learning it’s the fault of a Kelpian kid from 120 years ago, who is still oddly alive. (sigh).

But I would like to see another show continue in the setting, but no I’m not very hopeful either, especially after what Frakes said.

Tv execs are listening to the reaction of all the shows. Discoverys has all but cooled off and any associated academy show as well is in the bin, quite possibly that section 31 one as well.

Titan series surely on the cards just for the lure of staying in the 25th century where old and new characters can mix.

I agree here, and I think it’s also possible a third live-action series will be greenlit for an early 2025 slot. It might seem unlikely, but we’re talking 2 years out, by which time LDS may come to a natural end as well.

A Titan series full of legacy characters sure is something fans would want. But let’s put ourselves in the shoes of a Paramount programming exec. Does that sound like something that will make people (other than ST fans) subscribe to Par+? Hard to say.

They have data on whether it works already, just looking at their internal numbers on the subscriber impact of Picard season three thus far. This isn’t rocket science.

And yet I don’t think a Titan show would be “full of legacy characters.” My gut says two or three Seven as a series regular, and perhaps Riker and Picard as a recurring duo.

The main cast, assuming it were a spin-off based on what we see in S3 of Picard, would be Shaw, Seven, Sydney LaForge, Mura, T’Veen, and Esmar.

That’s a pretty fresh cast, if you ask me.

I hate to break it to you, and the rest of the folks here…. Picard will die in the last episode of picard. You heard it hear 1st. It was already hinted at by when they said they wanted to give TNG a proper send off. He may not die like kirk did in a ribbon thingy…, but rest assure, picard will be Stewart’s last ST appearance. He’s 82, and who has the energy, or wants to at that age to go in and do shoots all day.

He’s been relentlessly saying that he wants to do more, so unless that’s a complete deception, no, Picard will not be dying.

I’m gonna be silly and say: Jack Quaid could be a guest star sometimes.

What are they going to do with Lower Decks? Season after season of inside-baseball jokes, homages to past glory, fan service, lame comedy, etc.? Parody the parody?

I really have to believe this as well. No one ever even discusses an Academy show until it’s mentioned somewhere like here. But fans in general don’t seem particularly interested in it and like S31, probably a reason it keeps getting stalled. This was one of the shows discussed waaaaay back in 2018 being developed and it still feels on the back burner.

But everyone is screaming for a 25th century show and people been wanting that the second they heard Picard was done nearly a year ago. Now more than ever after what we’re getting in season 3.

That RT score for Picard, in the context of itsusers downvote campaigns for women and POC led genre fiction, sealed the deal. Paramount would rather downgrade Trek into entertainment for edgy bigots than stand by its values. The only black woman in the show is an unwed mother on drugs–get it? What is Picard but a warm blanket for the edgelords and bigots (many on this comment section) who prefer sugary fan service to even a speck of originality?

The fan service comment, hey whatever, but… while I agree that DSC was the bane of the right wing for its diversity: a show led by a woman of color, I think you’re taking it too far by insisting that anyone who likes Picard is a bigot because… what, it’s led by a white man?

Yeah, never said “ anyone who likes Picard is a bigot”

Wrote, “ Picard [is] but a warm blanket for the edgelords and bigots (many on this comment section) who prefer sugary fan service to even a speck of originality”

But some are, like RMB. That guy’s gone full tilt to the dark side.

By calling Picard “a warm blanket for edgelords and big*ts” you’re basically saying that its fans are edgelords and big*ts, whether that’s your intention or not.

Naming yourself AlphaPredator basically means you’re a rapist. See how stupid that sounds?

Just take the L, my dude.

…whatever it is you’re talking about, I don’t think it has anything to do with this article, which didn’t mention PIC at all. What’s an ‘edgelord?’

Also, SNW has more women than men in the show and is almost certain to get its third season.

There are strong women of color represented all over television and film, and they’ve been there for some time. I’m giving The Walking Dead a re-watch right now, as a good example, which was a ratings juggernaut in its day. Michonne and Sasha (Burnham, by the way), and more. There are many examples. Some of the writing for those women is good, some is bad, just like any other demographic.

It’s funny to me that Trek is being called “woke” by the right, and then this guy calls it the opposite

SNW has three white leads. PIC has 4-5 white leads.

That’s a win for the RT bigots.

It’s kindve soured me to see one of the Picard show runners constantly hanging around and laughing with these bigots too

Matalas’s endorsement from anti-woke crusader Robert Meyer Burnett was an ugly mistake. And the fact that Inglorious Treksperts Mark also went to the mat for his friend – just gross. That show is a litmus test for the integrity of a television critic.

Yeah me too. It’s tiring. I don’t even look at what people think about Trek most of the time and this is the only Trek fan site I visit tbh. Because I’d rather not see the bigotry, I can see that in spades in my local news.

Do go on. Eye roll.

what is RT?

My problems with Disco had nothing to do with the casting and everything to do with the story and yeah – continuity. If they had just had the guts to say – new timeline, new generation, let’s go. I’m there for that. In fact, I think that’s what they should do with SNW instead of playing loosey-goosey and trying to make it fit and doing a bad job of it.

I was first in line on my couch, giddy with excitement for the first episode the first season. It went downhill from there about halfway through and just never gave me anything to care about. The cast is good; in fact, almost every cast ever in any Trek show or movie has been great. Some have just been underutilized, which is the case with Disco imo.

I’ve not loved any of the story or execution of any season of Picard yet either so… – but that’s not the cast fault there either. It’s all about writing and story for me.

RT referenced here is Rotten Tomatoes, the film and TV review site, I believe.

I think that’s what they should do with SNW instead of playing loosey-goosey…. Yes. This, exactly. That would be great.

I had the same excitement when DSC premiered, couldn’t wait for it to start. It was such a let-down at the time to realize it was, well, what it was. If they’d called it a different timeline that would have made more sense to me, but wouldn’t have improved the show as far as I was concerned. Dropped out at the end of S2, with no regrets.

You should create a chart indicating exactly how many people from which categories shows should be required to use, and make sure you specify the maximum number of white people allowed. I think that would be helpful to everyone.

You can argue Discovery isn’t always doing D&I proud either. Gray the walking metaphor, Culber the hastily reversed “Bury your gays” trope, Commander Bryce apparently being interchangeable with Lt. Christopher whenever Ronnie Rowe Jr. was busy, Airiam’s only featured episode deserving significant side eye from the disabled community… The most diverse show of them all and it’s still easy to poke holes in how it presents minorities.

The point is that hearts of the people making these shows are in the right place and they are sincerely trying. To start tallying up the whites in a Star Trek show’s cast and making inflammatory remarks that the producers are happily cafting a show that’s a safe haven for bigots… It’s not productive.

The issue here anyway starts with 198-whatever (idr the exact year, I wasn’t alive yet) when TNG came out. When Geordi was pretty much the token person of color because blah blah blah Worf doesn’t count, he’s not human. (Worf does count though.) And all three white women never got to do much, and then one was killed off at least twice.

Then with the new characters for the season, you have a bunch of people of color who haven’t gotten to do much yet. The captain, a white man, who also hasn’t done much yet but be set up as being mean and cruel for having trauma (which I especially gotta hit with 🙄). Then after that it’s ??? Who even knows. Seven of Nine was always written weird (yes I’m saying this as a VOY fan), and Raffi, the one character returning from the previous two seasons, was also always written in bad and weird ways. The show was more on the diverse end before (but not by much) but now that you have this reunion, it becomes more glaringly obvious that it was originally a TNG problem. Which is part of why I could never get into it.

That’s an interesting perspective, though I think I need more elaboration about what being “written weird” means.

I grew up with TNG, and I really didn’t look at it through the lens of being too white. Geordi never felt token to me, ditto Worf and Guinan. LeVar Burton was even the most famous member of the cast when the show started. But by the time Voyager premiered, I did feel like Kim and Chakotay were perhaps there for diversity first, character opportunities second. But again, it’s not the worst initial gesture, it’s just a shame when the follow through to make a good character doesn’t happen.

I don’t come from a white family, but lack of diversity has rarely been a criteria that stops me from getting into an English language show or movie. I do seek out something that is more diverse on purpose at times, and there are things I notice like thankless/diminished roles for women and certain minorities, both historically and today, but I havent often found myself alienated by a preponderance of Caucasian actors. Maybe that’s because the community I grew up in was predominantly white, so I’m used to it. It’s interesting what biases creep into our habits, I appreciate this moment of taking stock in that.

I can’t really put the words together to explain it right now. It’s not exactly bad writing but it’s not good writing either. It can be better and mostly leans towards the bad. If that makes any sense.

When I say Geordi was the token one, if you look at the development of the character before the show aired, yeah, he absolutely was. He was also the token character for being blind imo. Now of course I’m not blind so I can’t speak for those who are, I’m just near sighted.

I do agree with Harry and Chakotay, they also felt like token characters, and I would never say it wasn’t with good intentions, but they could always always do better. I’m not white either, I’m more picky about what I watch though. Maybe it’s just that I grew up in the Southern US so I see things differently.

You continue to make great points, Ian! Chakotay and Kim: noble inclusions that never lived up to their potential, because producers never put effort into finding ways to explore what made them unique and/or interesting.

I’ve always said, Voyager was 170+ episodes of wasted potential, and that’s just one more area that proves true.

Ian, you make good points about interpretation. Discovery was not perfect in its representation, and fell victim to a few regrettable stereotypes. Thanks for bringing that up, as its important to note that it wasn’t perfect, even if the producers had the right intention. We should always be striving to do better, and too many people seem to think that just because we are doing better, the job is done.

It’s all a learning process, and I may never get it quite right. I push for D&I hiring at my work when it comes to considering directors, production companies, DPs and talent. It’s important to do, but sometimes the reasons behind it aren’t totally altruistic. I’m still representing a company that doesn’t want to look bad because it hires too many white men. We just try to make things merit-based while also looking for talent in new places to combat unintentional bias, but sometimes it does mean disqualifying someone just because they are not a minority or a woman. It’s easy to feel a bit conflicted about that even with the best of intentions.

So with Trek, at least TOS and Roddenberry set a precedent – these casts must represent Starship Earth and a society that is more colorblind and less prejudicial in the ways our society can be. It’s a never ending balance to try to pull off though – there’s discussion here of how Geordi could be construed as a token black character, but then we also got Sisko and Burnham. Hoshi, Chakotay, Tuvok, Sulu, Uhura, Kim, Mayweather, Gray, Discovery’s bridge crew, Raffi… they all can be seen as positive efforts but also lacking essential qualities that would have made their representation sing. And at the same time they sit alongside the likes of Worf, Georgiou, Janeway, Bashir, Guinan, Mariner, Rios, Rutherford, Stamets & Culber, SNW Uhura, and Reno as moving the needle in the best Trek traditions.

It’s hard to qualify what makes for a success when at the end of the day most shows have a hit or miss track record for their characters, regardless of casting, Trek is no exception. Regardless of the intentions behind D&I in media, I think you avoid the whiff of tokenism by making compelling characters. Only thing is that if it was that easy then we’d have nothing to debate here!

Picard Season 3 is a ten-episode farewell to a show called Star Trek: The Next Generation from the late 20th century. SNW was made in response to fan enthusiasm to Mount, Peck, and Romijn. And FYI, judging by their video titles, the right-wing Youtube ranters view SNW as woke trash. So you’re mostly just talking nonsense that you made up in your head.

Your nonsense is so laughable it isn’t even worth engaging with.

Yes, that must sting a bit for him, DSC was his ticket back into the franchise. And despite what I think of the writing and the show itself, that’s no reflection upon the cast and crew. They seem a tight-knit bunch here from the cheap seats, and it’s clear Frakes got along with everyone very well.

No interest whatsoever in an Academy series here, but PRO surprised me with how much I like it, so who knows?

I have to admit I don’t see a reason for a Starfleet Academy series. I also don’t see a reason for a Section 31 show. Star Trek is at its best when it’s about exploration.

Totally disagree. Star Trek is at its best when its written well. TNG S1 was about exploration and is one of the lowest points the franchise has ever seen. The most beloved Trek movies are not about exploration either.

Totally agreed. I was going to mention my disdain at the thought of a Sec. 31 show as well, but didn’t want to come off as too negative. As others have pointed out, the only way I can see a show based on 31 working is to time-travel and visit different Trek eras, which would likely be cost prohibitive and would need to be written really, really well.

Between a S31 show and an Academy show I’m FAR more interested in an Academy show. I think it would be a bit harder to make work than your traditional ship board show and I don’t think Secret Hideout is up to it of course. But it can be done and done well. Setting it in the right era would be a good start but there are still hurdles. I would vote for late TOS era but that’s me as that gap is one I’d love to see fleshed out at some point. That said it’s not that high on my list of Trek concepts I’d like to see.

…if you’re talking about exploring the time between TUC and TNG, ML, yes, I’ve always been interested in what could take place in that 70-80 year gap of time myself.

That is exactly the era I’d love to see explored more.

Totally agree. Ripe for exploration, and the perfect use of a prequel setting.

I would like to see a show about the Enterprise C

Agree as well. I think a post-TUC/TNG prequel show would work great in this timeline as well. I always wanted to see how they got into a war with the Cardassians for example, that would be a great time to show it.

Please add my name to the list of people clamouring for a post-TUC show. I love the monster maroons, the ship design etc of that period.

I was not much enthused for a show about Cassian Andor until it snuck up on me to the point where I’m hailing it as Star Wars’ DS9.

You never know!

I still haven’t watched Andor, but who the heck was excited about that when it felt like a desperation series, like they scraped the bottom of the SW barrel for a character to lead a spin-off… then it became critically acclaimed! You never know, indeed.

I was going to make that point about being open-minded about an Academy series, as Prodigy was such a pleasant surprise for most, but you made it for me!

I am still hoping for an Academy show in the 32nd/33rd century. Nothing bores me more than time travel, and I’d rather skip over the time ships and temporal cold war. The far future provides a way to get back to real exploration.

To be fair, the idea of a spinoff being a time travel show is only fan speculation at this point.

How about a show that takes place in the 23rd Century TOS Film series era? I really think there are a ton of stories that can be told during that period, all we have are six films, some random flash back scenes in TNG and Voyager. I don’t think we need a Sulu show, but there is 80 years of time between TOS films and TNG, I think it’s ripe for some good storytelling.

Will season five have additional episodes for the final

Only reshoots for the existing finale have been announced.

No, it just sounds like they redoing the final episode a bit. People seem to think they are making more episodes that doesn’t sound remotely the case.

If someone told you during that rickety Comic Con launch video that Discovery would last five seasons and Paramount would spend over $500 million to produce it, I think you’d be very happy with that, and on those measures alone, I don’t think the show can be considered anything other than a success. That people still love Voyager and Enterprise (two blechs from me when they premiered in real time) proves this show will have an audience for generations. Again, a success by any measure.

Louder for Nerdrotic fans in the back.

Their design of the Enterprise and bridge in season 2 were awesome.

Every Star Trek show has fans, I don’t think that’s really in question. People were disappointed when Enterprise were cancelled back in 05 just like others are about this. The issue just seems to be, like Enterprise, the show was becoming too costly and probably getting bigger drop offs of people watching season by season.

So yeah, the show is still a success because it at least got this far. As I been saying many times already, very few streaming shows even go past the fifth season. Some do of course but those shows probably still get huge views or at least solid ones. Discovery was already near the end anyway, it seem more like a question could they have one more season to end it properly (or even a shortened season like five episodes or something) and the answer was no unfortunately.

I don’t think Discovery will just disappear although it probably won’t be referenced much given it’s 800 years into the future lol. But it will definitely be a part of the franchise as all the others just the same.

I think if SNW and Picard hadn’t been so well received, DSC would get more seasons. It’s just that in comparison, it no longer warrants continuation, when they could put more eggs into those baskets (SNW Season 3, a Picard spin-off, etc)

Maybe, but again listening to some people here, they were saying Discovery was well received, mostly by new fans. And maybe it was, but clearly it wasn’t enough. ;)

As I said in the original thread when they announced its cancellation, I don’t pretend to know obviously. But it always made sense the show was just getting older and more expensive anyway and once we heard Paramount wanted to do more belt tightening it made sense that and Picard would be the first on the chopping block. And since Picard was already ending than DIS was easily next.

But yes, all that said, if Picard season 3 is hitting on all cylinders then I can see it getting a spin off show. I don’t really think that was ever in doubt, it’s more of a question of what we’re getting specifically. Will it be a costly legacy show or something with mostly new characters (and I’m for either one, I just care more about the continuation of this timeline). And if they are trying to cut expenses I imagine Stewart won’t be the face of it like he was with Picard. But I can still Seven, Riker, Worf or someone else leading it.

It sounds like Matalas idea is to have a mixture of old and new characters anyway.

It was well-received enough for their needs when it was the only Trek on the air. Once those other shows popped up and wiped the floor with it, they reevaluated.

Yes fully agree. That’s also another possibility.

If Matalas’s lobbying efforts do wind up getting a Legacy show, I’m very interested to see how the rest of the deal plays out. As far as I know, the only reason Picard is based in LA is because of Patrick Stewart. I would think that Paramount would want to keep costs as low as possible by having all Trek produced in Toronto, in which case, I wonder how much of his vision for Legacy would remain intact. Does Jeri Ryan want to relocate to Toronto for 5-6 months a year or whatever?

Also, it might just be easier for them to expand SNW to 20 episodes a season while they figure out what’s next. That might wind up being a taller order just based on the limited attention spans of the people currently writing/producing the show, but it sort of serves all of P+’s needs from a cost and content standpoint.

Yeah I’m interested to see how it will play out too. I think the deal with Stewart in L.A. is one example, but also remember the show got a huge tax cut to do it was well. It wasn’t Stewart alone. He may have still gotten his wish, but that already made the show cheaper to make, maybe what it would’ve cost to shoot in Toronto but that’s speculating obviously.

And I’m sure Jeri Ryan would have no issues of doing the show in Canada if she’s the freaking star. Anson Mount was reportedly not happy about shooting in Canada and the amount of time to shoot the show, but they obviously convinced him other wise because there he is lol.

But that would actually go against the idea of doing more SNW episodes. I think like Stewart, Mount was probably adamant he only work on the show so long. I don’t think he would remotely want to shoot that many considering how much he complained how long it is to make the show with half that. He’s an established actor, he probably wants to just do more things than just Star Trek which would be a full a year round show to make if they went that high.

That and plus I don’t think P+ wants any show over 10 episodes. This has been obvious since every show being made by it is only 10 episodes. DIS reduced to 10 next season once it was being made completely under P+. When it was part of Netflix, that original deal probably called for 13 at the time which is ironic today since most of Netflix shows are around only 10 now.

So I wouldn’t hold my breath on that. This is just the standard for streaming today or much bigger shows like Stranger Things or the Mandalorean would have 10+ episodes a season too. And why not just make Halo 20 episodes instead then if that’s the biggest show on Paramount+ I’ve seen some people say here. And that will have only 10 episodes next season too.

I didn’t know Mount was struggling with the move. Yeah, that does matter. Great point about Paramount being a lemming when it comes to streaming. They seem to take great pleasure in following the trends, but always seeming to be a year or two behind.

There are many reasons I don’t see SNW going more than 10 episodes, another is that it’s probably smarter to diversify their Trek slate. If they have $200M to spend a year, best to put $50M into 4 different shows with 10-12 episodes each than $100M into two that each get 20-24 episodes.

Any investor will tell you that diversifying your portfolio is crucial, and that’s true here, too.

Hmm well at the end of the day, diversifying the portfolio isn’t really in play here because we’re talking about just one IP in the portfolio. It’s Star Trek product. And between Prodigy (which I have to believe is a shared burden with Nick) and Lower Decks and live action show x, that should be enough content to keep Star Trek fans subscribed for a calendar year (plus the library content). They can always spend less per episode to make more of them, too, which might be possible if they back out of their deal with SH (which could happen once P+ and Showtime merge), although I’ve been told SH’s off the top cut per episode isn’t *that* much — every little bit would help. But, you’re right, they’ll definitely stick with 10 or fewer eps per season because that’s what everybody else is doing. I’m not sure that the episodes look like their price tags in every case, but I can easily see the quality going down very quickly if they *did* spend less.

The Enterprise issue goes beyond ratings. Ratings then did not include time shifting and Enterprise was usually the most time shifted show there was each week. Also the front office at UPN was being shaken. This was before the WB merger and the way things were going even if Enterprise had much better ratings it still very likely would have been canned due to the upcoming merger.

tbh yeah I think ENT was not that well written and had other issues but also I think it got sabotaged by everything you’re saying here.

Yeah but you could’ve said that about EVERY Star Trek spin off lol, at least in the beginning. Most people seem to think that the first two seasons of TNG were extremely bad, it still went on to be a hit show and got better every season. Same for DS9 and a lesser extent VOY. I think with ENT it wasn’t anymore worse IMO than those shows earlier seasons, but there were other issues with it for sure, fatigue being a big part of that. I can speak on that personally because I was just kind of done with Star Trek when ENT started. If I liked it I would’ve kept watching but by that point I had for 15 years straight, I needed a break. I think a lot of people did and it was easier to bail on the show by then.

It says it more today because new fans seem to like that show more than old fans kind of like how people claim new fans like Discovery.

That’s a very good point. I wouldn’t know because at that time I was a new fan, I was also a kid. I hadn’t been watching for 15 straight years because I hadn’t even been alive that long by that point 😂. I do believe you when you say that contributed to the issues and I do believe that ENT had other issues.

Yeah the show had issues for sure, but no more than every show before it. The difference was those shows had stronger ratings out of the gate so they weren’t in fear of cancellation like the way Enterprise was after its second season. And it DID get better. It doesn’t mean every one loved it, but it improved just based on how much many seem to hail season 4. Personally I fell in love with the show by the second season, but I stopped watching the show after the first one and never watched it again for 12 years lol. So when I say I was fatigued over Star Trek at the time, I mean it. It’s no way I could’ve gone more than a few weeks watching the other shows even if they were super bad.

Today I love Enterprise personally. It’s still on the lower end of the classic shows but I love it more than all the new shows minus ONLY Prodigy. So I imagine ENT could’ve been as loved as TOS, TNG and DS9 if it stayed the course from season 4 on. But obviously just my opinion.

I was also thinking about how it got sabotaged by the writing. What was the point of the Xindi War and all of that. Obviously I’m not against wars in Trek as a whole, DS9 is my favorite series. If it had been about the war between the Romulans and Earth, I would have been okay with that. But the Xindi War just never made any sense to me and it seems like it never did to others either which is why I say it was also sabotaged by the writing.

Dude I know this and you know I know this.

Still though, it did get cut due to ratings obviously and it was probably the most expensive show as well which was probably it’s biggest factor; especially since UPN was also belt tightening at the time just to stay on the freaking air. And when you can probably get twice the audience for half the price with something like wrestling, then it’s going to be an issue at SOME point regardless.

But yes they didn’t take into account the time shifting viewings like today and that streaming shows don’t have an issue with at all. And I’m pretty certain more people watched Enterprise in its last season, at least in America, than probably most if not all of the Trek shows on Paramount+ today as well, but that’s also with different metrics.

I still say if they’d migrated Enterprise to Showtime it would have made it to season 7. All Access proved Star Trek is effectively monetized behind a paywall.

I doubt that would have been the case in 2005 though. Few people back then added premium channels just for one show. I know I wouldn’t have subscribed just for ENT, but today, a streaming network? I would, because streaming apps are vastly superior and offer loads more upside.

For ENT to do better it would have needed a bigger network, not a smaller one. That said, when streaming networks started picking up canceled shows in the 2010s, I think a fifth season could have done well if the fan-driven rumor of a Netflix revival had panned out.

I dunno, lots of people were actually giving money to a pre-GoFundMe for a 5th season, and the campaign raised millions before refunding everyone. I would have subscribed, but I also pretty much only got cable to watch Voyager.

Showtime wasn’t devoid of content, adding a Trek show easily could have persuaded enough people to make it worthwhile, especially with syndication and dvd sales still in the mix.

Ah well, we’ll never know.

That is an urban legend. Three aerospace industry corporate donations garnered $3 Million to the Trekunited fundraising effort, with only a bit more than that being provided by small donations from a couple hundred fans. Most fans had abandoned the series by that point — there was no groundswell of support at all from the general Star Trek fan community to keep Enterprise going.

The 32nd Century setting existed solely to capitulate to the people that hated the first season of Discovery. That was its sole purpose. Without Discovery, it no longer needs to continue.

I rather future shows expand on the 23rd Century (Strange New Worlds) and 25th Century (Picard) settings.

A Starfleet Academy series would fit well in the former, while a Titan series would fit well in the latter.

As for movies, they need to stop trying to do a fourth Kelvin movie and instead do a 25th Century Enterprise movie spun-off from Picard.

Yep. I have no problem with the 32nd century in concept, but that it was the result of giving in to pressure from whiney fans was regrettable.

I’d be curious to see a Starfleet Academy series during Pike’s time.

To be fair, fans weren’t screaming to put the show in the 32nd century lol, I think many were just tired of prequels up to that point. And yes, if Discovery just fit in the 23rd century better the way SNW is now, then less people would’ve been screaming about it. But they knew they had a problem going forward and needed to change the image of the show to keep fans from bolting and this was the solution. One that I fully backed but I had no issues if they kept in the 23rd century either, just tell better stories. And ultimately that was the main issue for me regardless what century it was in.

No, but moving forward at all was a panic move. I don’t care how loudly the loudest voices scream, you do what’s best for the show creatively, not what a consensus complaining group of fans tells you.

If viewership is low and reviews bad, re-evaluate the series with writers and producers, don’t go on fan forums and look for criticism and advice. Besides, reviews weren’t bad and viewership was strong, which makes it all the more pathetic a move.

I agree it was a panic move but I also think they moved it because they themselves wanted to just be able to do their own thing with it too.

Remember it was Bryan Fuller who came up with the setting and he seemed to have specific ideas for it. Once he was given the boot, no one probably knew what to really do with it and it was obvious they wanted to do more advance stuff with the show. Fuller didn’t come up with the spore drive for example, that came after he left. And many fans kept saying it made no sense for it to be there but they kept it anyway. Now they found a way to keep it and for people to stop hollering about it, which was to put it in a more advance setting where it belonged and where it became even MORE important lol.

So that’s the issue, yes they moved the show to appease fans but they also moved it because they probably wanted to have more creative freedoms themselves and not have to feel like they were threading canon like the first two seasons.

And many people like me never said the show HAD to be in a different setting for them to do whatever they wanted. I always said if they want to keep it in the 23rd century, fine, then just make it clear it’s a reboot and do whatever they wanted. But they chose the other option.

I’m not buying what you’re selling. They could already do their own thing and had plenty of creative freedom. SNW, despite its many ties to canon, is finding ways to tell fun, exciting, compelling stories. Discovery just wanted to shut people up about continuity.

One alternative I might buy is that they wanted something to fundamentally set it apart from the upcoming Strange New Worlds. Ie: they didn’t want them both set in the same time period, where stories might be forced to impact one another.

You know what seals the deal for me? The fact that the story had Starfleet seal the records of Discovery, pretend none of them ever existed, and swear even Spock to secrecy.

Anyone with half a brain didn’t care that Spock had never mentioned his sister before in canon, but the loudest complainers wanted to know why the spore drive or Burnham were never mentioned (when the reason was obvious, they hadn’t existed yet).

So the writers bent over backwards to make them happy when they didn’t need to. But the joke was on them: those complainers were never going to enjoy Discovery anyway. That’s why listening to those people is pointless.

Just do your thing, and let it sink or swim on its own merits. Because now we’ll never know if the show could have continued to improve if the writers had been allowed just to go with what they felt was best.

Yeah, I thought ALL of that was beyond stupid and unncessary too but it obviously done to placate the fans who hated the Burnham and Spock connection. For the record, I originally hated it too but it wasn’t that big of a deal to me lol. It’s still just a TV show, I can accept they want to do different things with it. The problem is they probably did too many things too differently and it bothered a lot of fans who just wanted either A. a more classic TOS experience or B. wanted to go forward in the timeline and DIS had problems with both groups…so they moved it.

But I always said this, if DIS was just a better show out the gate, then most people would’ve gotten over it pretty quickly as well. But because many felt the writing sucked on top of everything else, those things just became more emphasized.

LOL Alex Kurtzman literally stated that was one of the reasons they wanted to go forward, so they didn’t have to worry about canon. So take it up with him sport.

And dude, this is not exactly a big argument, ie the fall of the Federation story line in season 3. They couldn’t have done anything like that in the 23rd century, correct? Now they could and did. That was the point. They could’ve just thrown DIS in any time period if that was the case. So no, that proves your argument completely wrong. They couldn’t do whatever they wanted. That’s the perfect example and why they specifically made it the 32nd century because as stated, there was NO canon after it, it only went up through the 31st century by that point.

So yeah man, it can be both things. They did it because they knew the show didn’t work in the 23rd century but also because they can just do whatever they wanted and the freedom probably felt more immense to do it. That proved true because all the canon complaints went away after that. It should’ve been there on day one.

Unfortunately, I don’t have a direct line to Kurtzman. But I have no doubt what he meant was “to worry about canon so people will stop yelling at us.”

It’s called PR spin.

As for “proving” anything, there is literally no way to PROVE it one way or the other from where we sit. So relax there, little guy, this ain’t calculus, your theorems don’t work here.

Dude, he said it. You can question him on it, fine. I don’t.

And I already said yes, the MAIN issue were fans were complaining about the show so they rebooted it to be in another era thanks to all the moaning about it being in the 23rd century. We completely agree on that, OK? I think most people do. But they obviously saw what a great opportunity they had to create a new era for Star Trek that they can do anything with, literally the first time since TNG back in 1987. In fact, they could’ve just moved it to the 24th century so Riker or Worf can show up as its new captain if they were just trying to clamp down on complaints, right?

Yeah, I think it can just be both lol.

And it’s hilarious you’re the one telling people to relax considering people are telling you that in literally every thread every time you get triggered over someone’s comments lol. Take your advice dude, you obviously need it more than I do. ;)

Ultimately, Discovery stole so much from Bryan Singer’s “Federation” pitch, such as the fall of the Federation, the future setting, and not making the lead the captain, that it wasn’t funny… Exclusive Details & Excerpts From ‘Star Trek: Federation’ Series Proposal – TrekMovie.com

Strange New Worlds is guilty of the same offenses as Discovery, though. The only difference between the two is that SNW panders to their preconceptions of what they think a Trek series should be about (ship visiitng planets, which is not true of ALL Trek. Never has been (i.e, DS9).

Case in point, whereas people lost their sh*t over Michael being Spock’s previously unknown sister, no one cared that Uhura’s parents and siblings are now suddenly dead, which shows that they didn’t care about canon or about revelations about established characters’ families.

Likewise, they don’t care about the introduction of new characters, such as most of the crew of Pike’s Enterprise.

All they seemed to want is a lighter tone and a planet of the week. Not because it made sense, not because it’s good or right, but only because that is what they’ve come to expect from Star Trek.

SNW better be on the air for 10 years given that it has everything they demanded.

I don’t care about any of that. The core difference for me, between the two shows, is that SNW is well-written, with interesting characters and exciting stories. Discovery never had any of that as far as i’m concerned, outside of a handful of moments when someone like Saru or Adira showed potential.

EDIT: Sorry, thought you were replying to me.

Discovery was well written. Considerably much better in the first season than in the ones that followed.

Problem is, not just with Trek, that people tend to confuse “it contradicts my preconceptions” with “bad writing”.

People went into Discovery expecting the same Trek as TOS, TNG, VOY, and ENT, an episodic ensemble series about a ship that travels from planet to planet. Instead, it was a serialized series about a ship caught up in a war centered on a single main character, which rubbed people the wrong way.

Not because it was wrong, or badly written, but merely because it wasn’t what they were expecting based on said preconceptions.

In turn, SNW is the episodic ensemble series about a ship that travels from planet to planet they expected, and because it checks those boxes for them they are perfectly fine forgiving it when it commits the same sins Discovery made.

Oh yeah I 100% agree with this too and for the record I have always cited SNW canon issues as I did Discovery’s. No matter how some may feel about my opinions here, they are not hypocritical. I have always pointed out my problems with both shows and I’m a huge fan of SNW so far at least. And I’ve even been criticized by others for my views over SNW by some on this very board.

Now that said, I also think SNW has done a much better job at canon than DIS without question. SNW actually looks and feels like it at least belong in the TOS era, just more updated. DIS never did IMO which was really the biggest issue for a lot of fans who complained about it and another reason it was booted out of there.

And another example is just how advanced DIS felt. I mentioned the spore drive as the most obvious example but they did tons of things that just did not feel authentic to the setting. Everything about Section 31 felt more suited in a post-Nemesis era IMO than it did DIS. It’s a big reason people are not excited about having that show now because it all went against what we knew about them in DS9. With SNW, I can’t think of a single thing that felt out of place technologically. It fits exactly what we think of the 23rd century.

So yeah there are stark differences IMO but no, SNW is far from perfect; especially with its own canon issues and eye rolling pandering like throwing in a Khan descendant on the crew. That’s still ridiculous to me even now and purely for fan service although no one was begging to see a Khan descendant on the Enterprise lol. And believe me, I will still be calling out any canon issues in season 2 as I did in season 1.

And I knew nothing about Uhura’s parents until now. I didn’t even know they been mentioned on TOS before. If so, again, pretty odd to change it.

Well, in terms of production values, Discovery could afford to do better than TOS did. For instance, the monitors on the bridge were actual monitors and not stickers.

Discovery may not have felt like a prequel to TOS in terms of imitating their production limitations, but it certainly felt like a sequel to Enterprise.

Trek is not supposed to adhere to the 1960s vision of the future. It has to be rooted in the present. Technology must therefore extrapolate from what is possible now, not what was possible then. Discovery, and Enterprise before it, did that really well.

I don’t think Uhura’s family was ever mentioned before. But neither had Spock’s brother, and no one cared about him in Trek V like they did Michael in Discovery.

I don’t recall any mention of Uhura’s parents.

Yeah, I fully agree, it was to reboot the show and give its own life and canon, which a lot of fans wanted from the start. But that doesn’t mean they can’t do more shows in that era either now that it exists. But yes, I imagine for the majority of fans out there they want shows to take place in the 23rd-25th century era because that’s where most of the legacy characters live.

But for some of us, even the ones who still wasn’t a huge fan of Discovery like me, that was it’s biggest pull, to finally have a show in a completely new era and can set up it’s own new characters, species,conflicts etc. This is what I been wanting since Voyager went off the air, to finally go forward in the timeline again. Yeah maybe they went a bit too far lol, but they wanted to clear everything in canon up until that point.

So I would still like that to continue, but yeah wouldn’t be shocked it didn’t happen now, especially as all the interest right now is for another 25th century show, which I definitely want as well.

I could see two live action Star Trek shows at most, a Titan spinoff would probably be more cost effective since they have most of the sets, costumes, props, etc. But it’s another ship show like SNW so I’m not sure they want to do that. They could also move production to Toronto and redress the Discovery sets for a new 25th Century show, they seem to get more for their money there and they have the AR wall for virtual sets.

Obviously the TNG+ fan in me just wants a 25th Century Enterprise show, a Next Next Generation so to speak. Yet this obvious idea seems to be impossible. Maybe once we conclude TNG, that possibility open sup. I don’t mind a Titan show, but I would rather the show start fresh just as TNG did back in 1987.

I love Discovery but I think it has run its run. 5 years is great. I love the characters, the ship, everything. I’m sure we’ll see someone again from that show. But like others have said, most trek fans are interested in the Picard time period and hopefully it continues. SNW is great. Maybe after their run, we get that Archer series with updated characters and better stories. There is lot to look forward to. It’s just the waiting! I’m really loving Picard Season 3.

Star Trek could actually do well producing a “cheaply made” show – a show that emphasizes the theatricality that is so clear when rewatching episodes from any show from TNG to Enterprise. Don’t move the camera so much. Save a ton of money. Discovery suffered from having so much money they probably didn’t use as many cheap solutions as they could have.

As much as you or I would love that, would it appeal to a broader audience? I do think it’s worth trying, but that would be the kicker. If it could — awesome, it might start a new trend.

I’ve overall enjoyed Discovery despite its flaws. The show has some great characters and they’ve taken some big swings that haven’t always worked but I think it’s been a fun ride. I think the thing I’m most dissapointed about is less the cancellation (which again, I like the show, but five seasons seems ok to me), but the fact that we have to wait another year for the next season. This new streaming thing of waiting years between seasons of tv shows (not specific to Trek but just in general) is not my favorite thing.

It is a bummer that this wasn’t a creative decision to end the show but a cancellation that came as a surprise to the people whose job it was to make it.

I been on other boards and I see some people doubting what Frakes is saying and that he must say it to keep his job, etc, which is nonsense. But these people forget that Frakes has developed real relationships with the cast and crew and yes it was the show that revitalized his Trek career. The guy was doing OK regardless, but Star Trek is a huge part of his life he cherished and constantly wanted to be part of again in some way. He said so over and over lol.

So I can definitely understand how much it sucks for him. He had become a part of the show as everyone else there. That said, I’m not sure I believe they have a ‘stunning’ plan for an ending but we’ll see. If it’s at least better than that ending he personally took part in with TATV, then it will probably be considered a win for Discovery at least. ;)

“Computer end program” that’s how I want DSC to end lol. I’m relieved the show is concluding, it was a chore to watch. I liked season 2 & parts of season 1 with Lorca but overall it was a very uneven show

I think you are one of a great many who would like to see the show end that way.

I hate to praise a certain other franchise here, but I think the limited series and one-off movies they’ve done have actually worked really well in fleshing out the universe and not needing to run ten or however many episodes over years. I would be okay with Star Trek peppering in limited-run series. In a way, Picard was the first time a Star Trek series was specifically set to only run a scant 30 episodes. So it’s not a stretch. Let Michelle Yeoh have a single season of assassination and intrigue and general badassery, then show us some other corner of the galaxy. Show us Star Fleet academy. Show us Andorian penguin herders in love. If I had to point to a reason Discovery failed, it was that it tried to become all things to all people. Limited-run series could avoid that pressure.

You had me at Andorian penguin herders.

Hmm, this is not gonna be a popular idea but I kinda want a limited series set in the Gamma Quadrant. Time frame may vary.

Many of us here (me in particular though) have wished that the Short Treks had continued (more like the Marvel One Shots), along with made-for-streaming series or limited series.

This seems however to be a Paramount policy issue rather than Trek franchise strategy.

Why Paramount has a policy of standard 10 episodes seasons for all its streaming services is beyond me. Some would do better with 6 or 8 episodes, some longer than 10.

For whatever reason, perhaps scheduling to minimize churn, they have seemingly become quite rigid. I wonder if we’ll see some movement on that now that the senior executives have moved around again.

WE HAVE ALL FELT THE PAIN of seeing ridiculous plots and characters constantly crying. Let it go.

I’m so glad it’s ending, the show was terrible and what they did to legacy characters like Spock unforgivable. Discovery is just the very worst.

I’m still OK with Star Trek: Discovery ending with season five, to be honest.

He shouldn’t hold his breath about a Picard spin-off either.

I doubt Frakes would be upset over a new Titan show with an Admiral Riker acting like Charlie from Charlie’s Angels.

I would much rather a Titan spin-off show than a Starfleet Academy with Tilly.

For the Titan show: Captain Shaw, Commander Seven, those four bridge crew, and Jack as Dr. Crusher.

Jonathan Frakes Agrees Star Trek: Discovery Ending After Season 5 'Sucks,' Shares Thoughts On Plans For Finale And 32nd Century Timeline

The Star Trek actor kept it real.

Star Trek: Discovery is confirmed to be ending after Season 5 , and there are a number of fans disappointed to see the series come to its conclusion. Readers can count The Next Generation and Picard 's Jonathan Frakes among that group as well, as he exclusively shared his thoughts about the series ending with CinemaBlend. Frakes had a lot to say about Discovery 's final season and what's yet to come, and shared the fact that the latest news "sucks" just as much for him as anyone else.

I spoke to Jonathan Frakes in regards to his still stellar work on Star Trek: Picard , as well as the upcoming ending of Discovery . Frakes has been a part of Discovery since Season 1, serving as a director, and has spoken fondly in the past about the series that kicked off the most recent influx of streaming Trek fare. As such, I wanted his thoughts on knowing the sci-fi saga is gearing up for its final batch of episodes, and the Trek star wasn't too subtle about his feelings on the situation:

I’m disappointed. In many ways, it was my new home show. When I started on that show in Season 1, it was a return to the Star Trek world for me. So I had a very strong connection [to it]. And Sonequa [Martin-Green] is not just my favorite, but kind of a favorite of anyone who has had the privilege of working with her. Her set is a joy to be a part of. A great cast. Michelle Paradise put together a fascinating series of stories. I felt, you know, I feel the pain. It’s show business, but it still sucks.

Jonathan Frakes is indeed disappointed to see Star Trek: Discovery go, in case anyone thought this plan was conceived and discussed long ago, but still had praise for just about everyone involved in its production. His statements about feeling the "pain" of its ending is certainly interesting to me, as there are questions about how long the creative team has known that the series would end with Season 5.

The silver lining behind Star Trek: Discovery ending is that the cast and crew are getting a production extension to film a proper conclusion to the series, as well as a proper set-up for that conclusion. Jonathan Frakes didn't say one way or the other if he was behind the camera or involved at all with the finale, but did indicate he knows what the plan to wrap up these characters' respective stories. What little he could say already has me hyped for the finale, even if I'm bummed that Discovery is ending. In his words:

I think they’ve got a stunning plan for a very satisfying ending, however.

Jonathan Frakes appears satisfied with the idea in place for Star Trek: Discovery 's swan song, so I don't feel too concerned just yet about what's on the way. I'm really hoping this means the series won't get the kind of divisive ending that plagued the immediate aftermath of another spinoff that existed outside of the TOS and TNG timeline: Star Trek: Enterprise .

Unfortunately, there is a bit of potential bad news to deliver. I asked Jonathan Frakes about the possibility of more adventures that are set in Star Trek 's 32nd century, and got this pretty surprising response:

I wouldn’t hold my breath.

While the Riker actor likely doesn't know everything coming down the Star Trek franchise pipeline, but he has worked on a number of the current shows, and is very likely more in the know than the average actor/director. If he's not optimistic about there being more Discovery adventures or shows set in the 32nd century, then I think it's possible the odds of a planned spinoff happening in the future are low.

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Star Trek: Discovery fans will need to wait until early 2024 to see Season 5 and the reconfigured finale, which means there's plenty of time to hear more franchise cast and crew members sharing their thoughts about the upcoming season. There's also a chance Alex Kurtzman and the powers that be could announce something continuing these characters' adventures. But as Jonathan Frakes said, perhaps we shouldn't hold our breath.

Those with a Paramount+ subscription can stream Star Trek: Discovery 's first four seasons right now, as well as the currently airing final season of Picard and other upcoming shows . Here's hoping Discovery is the only unexpected ending that fans hear about from the franchise this year.

Mick Joest is a Content Producer for CinemaBlend with his hand in an eclectic mix of television goodness. Star Trek is his main jam, but he also regularly reports on happenings in the world of Star Trek, WWE, Doctor Who, 90 Day Fiancé, Quantum Leap, and Big Brother. He graduated from the University of Southern Indiana with a degree in Journalism and a minor in Radio and Television. He's great at hosting panels and appearing on podcasts if given the chance as well.

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The Entire Star Trek: Discovery Timeline Explained

For a series ostensibly about exploring the galaxy and meeting new lifeforms in the hopes of sharing knowledge and resources, there sure is a lot of time travel in "Star Trek." It's been present from the very beginning, as even Kirk and crew visited the past multiple times . Two of those adventures resulted in the iconic episode "The City on the Edge of Forever" and "Star Trek 4: The Adventure Home."

Modern "Star Trek" adventures have embraced this aspect of the universe, as time travel was also the direct cause of the Kelvin Timeline featured in the 2009 "Star Trek" film and its sequels. When the Romulan Nero traveled back in time and destroyed the USS Kelvin, killing James Kirk's father, he accidentally contributed to the creation of a new universe running parallel to the prime timeline. Ultimately, time travel has become every bit as important to "Star Trek" as exploration.

"Star Trek: Discovery" is no exception to this. Initially a prequel series set ten years before the original series, it soon became a sequel set further into the future than any other "Star Trek" installment. Time travel tends to muddy the narrative progression of a story, so we will be looking at where "Star Trek: Discovery" started to shed some light on where it ended up. Here is the entire "Star Trek: Discovery" timeline explained.

A visit to Talos

"Star Trek: Discovery" is set ten years before what is now referred to as "Star Trek: The Original Series." However, one episode of "The Original Series" actually occurs before "Discovery." In many ways, it is the beginning of the entire "Star Trek" franchise. While most viewers back in the late '60s probably remember it as the story told in the exciting two-parter "The Menagerie," which reuses the footage captured for the original "Star Trek" pilot called "The Cage."

We have to begin here because these events play a crucial role in "Star Trek: Discovery" Season 2. "The Cage" sees the Enterprise crew, led by Captain Christopher Pike, visiting Talos IV, encountering a strange alien race. These are the Talosians, telepaths who experience life by manipulating beings they keep in their menagerie. By forcing Captain Pike to endure multiple illusions of their creations, they hope to understand love, anger, fear, excitement, and other emotions they forfeited by choosing to further develop their mental abilities.

Years later, after Captain Pike temporarily assumes command of the USS Discovery, he is forced to revisit Talos IV to cure Spock of his current mental disorder. Not only is it a chance to save Spock's life, but it also allows Pike to seek out closure regarding his past experiences on the planet.

The Battle at the Binary Stars

"Star Trek: Discovery" officially begins with a huge two-part story called "The Vulcan Hello" and "The Battle at the Binary Stars." This is where we meet the star of the show, Commander Michael Burnham, the first officer of the USS Shenzhou. While most "Star Trek" shows tend to be ensemble pieces, "Discovery" belongs to Burnham and it is her arc that we follow.

This opening episode sees Starfleet encountering Klingons for the first time in about a century. An extremist group of Klingons led by the xenophobic T'Kuvma engaged in a devastating battle with the USS Shenzhou after an altercation with Burnham resulted in the death of one of their own. This opening battle becomes a war between the Federation and the Klingons, the effects of which are still being felt during "The Original Series" and the six original "Star Trek" movies .

Following this battle, Michael Burnham is stripped of her rank and sentenced to life in prison — which leads to the true beginning of the show.

Six months later

Following Michael's sentencing, the show jumps ahead six months. While being transferred to a new prison, there's an emergency and the Discovery arrives to save her. While on the ship she meets its captain, a dark and elusive man named Gabriel Lorca, and its crew. She also reunites with her old friend from the Shenzhou, Commander Saru. Healing their relationship following her mutiny is a major part of the first two seasons of "Star Trek: Discovery."

Lorca believes that Michael's knowledge and experience could be of some use to them on the Discovery, so he invites her to unofficially join them as a specialist. The reasons behind Lorca's decision to go out of his way to save her, and why he wants her working with him on the Discovery, is another major element to the first season. His character comes off as a little strange right away, as Starfleet captains tend to be fairly approachable and diplomatic. However, Lorca is intimidating, conniving, and a little too adept at war to fit the typical captain archetype.

Taking Control

To correctly understand the timeline of "Star Trek: Discovery," we next need to dive into some events that are revealed during Season 2 but take place in Season 1.

Section 31 is the secret Black Ops division of the United Federation of Planets . They operate in the shadows, carrying out missions the Federation doesn't want to be made public. They feature heavily in "Star Trek: Discovery" and its second season. Following the events of "The Battle at the Binary Stars," Section 31 starts using a threat assessment artificial intelligence called Control in the hopes of preventing wars.

The idea is the Federation would give Control information regarding potential threats, and Control would then provide suggestions on how to proceed. As often happens in science fiction when artificial intelligence is involved, things go haywire when Control decides it no longer needs human beings to implement its suggestions. Instead, it assumes "control" of human beings to enact its agenda. This leads to the massive time jump the USS Discovery would take into the future during the end of Season 2.

Into the Mirror Universe

The USS Discovery has an experimental new system called a spore drive. It allows the Discovery to travel along a microscopic network spread throughout the universe, effectively making instant travel possible. It's an incredibly complex system, one that Forbes notes was inspired by a real-life mycologist, which can be used to break the barriers between realities.

The idea is proposed to astromycologist Commander Paul Stamets by Captain Gabriel Lorca. Stamets is considering leaving Starfleet, but Lorca convinces him to stay on to try one final experiment to see if it truly is possible to visit alternate realities. The experiment works, and the entire crew of the USS Discovery is transported into the classic evil dimension of the "Star Trek" universe — the Mirror Universe .

In the "Star Trek" Mirror Universe the heroes are villains and the villains are heroes, and it is soon revealed that this is where Lorca is from. He arrived in the prime timeline, took over the original Gabriel Lorca's life, and orchestrated events to unite with Michael Burnham — who was his lover in the mirror universe — and use the spore drive to return to his universe and overthrow Emperor Georgiou.

While the time the crew spends in the mirror universe might seem brief, it turns out that nine months pass during that time.

Nine months later

When Gabriel Lorca dies in the mirror universe, the crew of the USS Discovery returns to their native universe — but they've brought the emperor with them.

One of Michael Burnham's defining character traits is parental issues. She lost her human parents at a very young age. She was then adopted by the Vulcan Sarek and his human wife, Amanda. They raised her on Vulcan with their son Spock, effectively making her Spock's human step-sister .

Although she tried to live like a Vulcan, her human emotions were far too powerful. As a result, when she joined Starfleet and was assigned to serve on the USS Shenzhou, she gravitated to its human captain Phillipa Georgiou, seeing her as a maternal figure. Tragically, Georgiou died in the Battle of the Binary Stars, and the guilt of her loss has tortured Burnham ever since. Upon arriving in the mirror universe and finding another Georgiou, she can't help but try and bring her back to the prime timeline, hoping to correct her biggest regret.

Back in the prime timeline, they discover that nine months have passed and the war has not been going well. Discovery is boarded by Sarek and Admiral Cornwell, who informs the recently-returned crew that the Klingons have almost won the war.

The mystery of the Red Angel

By the end of Season One, the Klingon War is over, and there is an uneasy peace between the two sides. However, the crew of the Discovery doesn't have long to reflect on these events, as they soon encounter the Enterprise and are boarded by Captain Christopher Pike. Pike has been directed to temporarily assume command of the Discovery to research red burst anomalies that have been popping up all over the galaxy.

The red bursts are caused by an entity referred to as the Red Angel. The identity of this entity and the reasons for its actions are complex but intimately related to Michael. It turns out that there are two Red Angels — one is Michael Burnham's mother, Gabrielle, and the other is Michael herself. The form of the angel is actually a suit capable of traveling through time developed by Michael's parents as a project for Section 31.

At some point, Gabrielle decides to use the suit to escape an attack from Klingons but winds up in the distant future. She sees that the AI system Control has taken over the galaxy, so she uses her suit to jump around in time in the hopes of preventing Control from evolving and spreading across the galaxy. Michael then uses the suit to send signals that appear as red bursts for the crew of the Discovery to follow, defeat Control, and travel to the future.

The all-knowing Sphere

Season 2 of "Star Trek: Discovery" is full of big, wild ideas that could serve as the basis for a film or an entire series. The first, of course, is the threat of Control. The second is the Red Angel. The third is a sentient, planet-sized lifeform called the Sphere.

This Sphere has spent hundreds of thousands of years exploring the galaxy, collecting information and experiences. It has existed for such a long time that it is now dying. With such a wealth of knowledge and experience, it doesn't want to be forgotten, so it transfers its memory to the Discovery's computers.

As wonderful a find as this is, it is also incredibly dangerous. When Airiam, a cybernetic member of the Discovery crew, is infected by a future version of Control, she is directed to transfer all the sphere data on artificial intelligence to the current form of Control. With that information, Control will be able to gain full sentience and take over the galaxy — just as seen in Spock's vision from the Red Angel.

Defeating Control

For any "Star Trek" fans upset that "Star Trek: Discovery" takes place 10 years before "The Original Series" but the technology is significantly more advanced — or that Spock never mentioned having a human step-sister — their fears were partially quelled when the ship made the jump ahead almost one thousand years.

By the end of Season 2, Control was defeated, the mystery of the Red Angel was solved, and the need to get the sphere data to a safer time period arose. With the data merging to Discovery's computers, the decision was made not to try and delete the data but take it into the future. Using the Red Angel suit, Michael Burnham drags the USS Discovery into a time in a future not yet explored by the "Star Trek" franchise .

Once Discovery is gone, the Federation decides to clear the ship's existence from all Starfleet records and never speak of it, the crew, or its mission again. Thus, Michael Burnham is never mentioned, nor is the Discovery or its experimental spore drive.

The future of Starfleet and the Federation

The jump to the future is successful, but Michael arrives there alone. Since she was towing the ship, not riding in it, the trip was different for her. Immediately upon arriving, she rams into a ship piloted by Cleveland Booker before being pulled in by a nearby planet's gravity, regaining control of the Red Angel suit only seconds before splattering on its surface.

At first, she is panicked that Discovery won't answer her call but is soon thrilled by the knowledge that there is life on this planet. She eventually meets Cleveland Booker and discovers that the Federation barely exists anymore. The reason for its diminished size and influence was something called the Burn. In the 31st century, nearly every warp core installed in Federation ships exploded, wiping out swaths of life and nearly destroying the Federation. Exactly what caused this "burn" is the central mystery of Season 3.

One year later

In this new world, where dilithium is more precious than ever, Michael travels the galaxy, trading it for goods and services. She spends an entire year recording her experiences and searching for any sign of the Discovery. Finally, her search efforts pay off, and she is reunited with her crew. In a completely new headspace, Michael isn't sure about serving on the Discovery any longer. True, she earned back her respect and rank but is she is more interested in solving the mystery of the Burn and restoring the Federation rather than limiting herself to a single ship.

By the end of Season 3, the mystery surrounding the Burn is solved, the Federation is in the early stages of reconnecting with its lost members, and Michael joins the crew of the Discovery again. This time, however, she isn't a specialist or a first officer — she is the captain.

Season 4 is still set in the 32nd century and Michael is now known as Captain Michael Burnham. Her arc mirrors the real-life arc of the show. She started as a first officer who lost everything and worked her way back to a command position, while "Star Trek: Discovery" began life as a prequel with a dubious connection to canon and became a sequel that takes the franchise to brand new heights.

Star Trek: Discovery Is Ending with Season 5 — It Couldn’t Come at a Better Time

It’s sad to see DISCO go, but now, the flagship show of the new Trek era can end on a high note.

Wilson Cruz as Culber, Emily Coutts as Detmer, Sonequa Martin-Green as Burnham and Doug Jones as Sar...

It’s been a long road, getting from the 23rd century to the 32nd century, but soon, the last days of DISCO will be upon us. The gutsy and tumultuous Star Trek series that ushered in a new era of TV trek — Star Trek: Discovery — will end its run in Season 5, in 2024. It’s a somber moment for fans of the series who have supported it from the beginning. But, this endpoint might also be the best case of Discovery’s legacy.

According to official statements released by executive producer Alex Kurtzman and showrunner Michelle Paradise , Discovery’s upcoming fifth season will be the final season, which confirms the suspicious of several fans and pundits, and oddly, reinforces the idea that Discovery was first conceived with a five-year plan in mind. This news also comes at a time when Paramount is cutting costs across the board, and several other Star Trek series are already in production.

But, beyond the cold, hard facts, how should fans feel about this? It’s sad when a Trek show ends, but the final season of any Star Trek series is usually an exciting event. And in this franchise, endings and beginnings are pretty much the same thing. The end of Discovery is certainly not the end of Star Trek on TV, and perhaps, could signal that yet another new series will rise in its place.

Sonequa Martin-Green and Michelle Yeoh in the debut of 'Star Trek: Discovery’ in 2017.

When Star Trek: Discovery debuted in 2017, there had not been a new Trek TV series in 12 years. Early buzz for DISCO was mixed, and although the fan response and interest in the first season were strong, the critical reception was all over the place. There were also not-so-secret behind-the-scenes changes , which made some fans wonder who was really steering the ship. One important example: the departure of showrunners Aaron Harberts and Gretchen Berg, midway through Season 2 of Discovery , shook-up the series while it was trying to pivot to a new tone. Halfway through this crucial season, which incorporated legacy characters like Spock (Ethan Peck) and Captain Pike (Anson Mount), the people running that show were fired. Stepping into that gap was Michelle Paradise, who, bravely took Discovery through not one but two radical reinventions.

Discovery began as a series about the Klingon War and the Mirror Universe. Then, in Season 2, it became a family story about Michael Burnham (Sonequa Martin-Green) and her brother Spock (Ethan Peck). Season 3 changed the show again , but also altered the setting , by catapulting the crew 930 years into the future, smack-dab into the 32nd Century, and far away from any version of Trek canon we’d seen before. Season 4 continued in that timeline, which brings us to the impending Season 5.

As of this writing, it appears possible and even likely that Season 5 was not initially planned as the ending of Discovery , and that this move to make it the final season is somewhat retroactive. According to the Hollywood Reporter , “there will be additional filming to help craft a conclusion for the series.” For cynics or worried fans, this might sound like bad news, but, when it comes to the legacy of Discovery , this is probably the right time for the show to end on a high note. It’s taken the series quite a while to find its footing, and it seems possible, even likely, that if the series continued beyond Season 5, there would be a temptation for it to reinvent itself again.

More than any other Star Trek series, (yes, even Picard ) the basic premise of Discovery , as well as its cast of characters, has changed somewhat radically from season to season. Arguably, some of this was by design, but the fact is, each season of Discovery saw massive departures of characters or the arrival of new ones. Other than Michael Burnham (Sonequa Martin-Green), Saru (Doug Jones), and Paul Stamets (Anthony Rapp), it’s difficult to find other characters who appear as consistently across the series as these three. Even Tilly (Mary Wiseman) was absent for a huge chunk of Season 4, while newer fan favorites, like Book (David Ajala) or Adira (Blu del Barrio) didn’t arrive until Season 3.

Michelle Yeoh as Georgiou and Sonequa Martin-Green as Michael Burnham in Discovery Season 3.

Season 3 also saw the departure of Michelle Yeoh’s mega-popular character, Philippa Georgiou, who has (so far) played two versions of a character with this name, from two different universes. Although Season 4 had its merits, the absence of Michelle Yeoh was keenly felt.

Through no fault of its own, each season of Discovery has felt like the show was saying goodbye to something. Famously, Season 2 found Michael and the crew saying goodbye to Pike, Spock, Number One, and the Enterprise , which allowed Strange New Worlds to become its own spinoff show. Season 3 said goodbye to Michelle Yeoh, but also to semi-regular Rachael Ancheril. Tilly took a break in Season 4, as did Grey (Ian Alexander) . To borrow a phrase from Scotty, DISCO can’t take much more of this. Because the series opened the door for Star Trek to even exist again on TV, it’s almost as if Discovery exists as multiple Star Trek shows at once. It’s the show that brought back the franchise. It’s the show that set up Strange New Worlds , and it’s the show that changed Trek canon in several ways, but retroactively, and proactively.

In most ways, Discovery has accomplished its goals. And, it lasted longer and was more dynamic than some of the naysayers believed. Its reputation is already intact. Now is a good time for the crew to jump that Spore Drive, while the series is stable, consistent, and fully sure of its identity. It may not be the ending that was planned, but this could be exactly what Discovery and the rest of the Trek franchise need.

Star Trek: Discovery Season 5 will hit Paramount+ sometime in early 2024.

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Official Trailer | Star Trek: Discovery - Season 5

Get ready for the final adventure!

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

The hit original series will premiere on Thursday, April 4, exclusively on the service in the U.S., the UK, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia and Austria. It also will premiere on April 4 on Paramount+ in Canada. The first two episodes of the series’ 10-episode final season will be available to stream at launch with new episodes dropping weekly on Thursdays.

In addition, Season 5 of Star Trek: Discovery will be available to stream April 5 on SkyShowtime. Seasons 1-3 arrived on the service on March 8, with Season 4 arriving this week on March 22, ahead of the final season's launch.

Star Trek: Discovery Seasons 1 through 4 are currently streaming exclusively on Paramount+ in the U.S., the UK, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia and Austria. Seasons 2 and 3 also are available on the Pluto TV “Star Trek” channel in Switzerland, Germany and Austria. In Canada, the series airs on Bell Media’s CTV Sci-Fi Channel. Seasons 1 to 4 of Star Trek: Discovery is also available to stream on SkyShowtime. Star Trek: Discovery is distributed by Paramount Global Content Distribution.

Michael Burnham, as seen in Season 5 of Star Trek: Discovery

A Complete History of Star Trek's Klingons in The Original Series Era

The Klingons are some of Starfleet's best enemies, but the Star Trek aliens have a long history dating back before even the Federation or Starfleet.

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The origin of the klingon empire in star trek, the klingon empire acquires warp drive and a new level of war, starfleet and the klingons engaged in hot and cold war, the klingons vs. captain james t. kirk and how he brought peace.

Star Trek has six decades of history behind the scenes, but the aliens and characters in the narrative go back millennia. Despite being created on a whim for Star Trek: The Original Series , the history of Klingons is one of the most fully realized in the universe. Even though much of it was defined after that first show, how the Klingon Empire took shape is important.

The Klingons were created by Gene L. Coon as a surrogate power for the Soviets to the Federation's United States of America. When the Cold War ended with the fall of the Berlin Wall, the final film with The Original Series ' cast was in production. It told the story of how the Federation made peace with its most iconic enemies. The Khitomer Accords mark a significant point of transition in what it meant to a Klingon. Even though antagonism continued into the 24th Century, the way the Empire (as created by Kahless the Unforgettable) found a way to accept the peace-loving Federation is a remarkable Star Trek story. It's made better with Star Trek: Discovery and Star Trek: Strange New Worlds adding new details to this part of the timeline.

The Planned Opening for Star Trek VI: The Undiscovered Country Was a Disaster

The Klingons shared genetic markers, found in Vulcans and Romulans that point to a single humanoid ancestor more than four billion years in the past. This progenitor race seeded planets with unknown technology that encouraged the evolution of creatures with a head, two arms and two legs. Klingons, however, could trace their origins back to large reptilian or insectoid predators with exoskeletons and redundant organs .

The Klingon homeworld Qo'noS was ruled by Malor in the 10th Century CE on Earth. A common warrior, Kahless led a revolution that became the founding myth for the Klingon Empire. Legends of his battles were shared among Klingons into the 24th Century. He eventually killed Malor in single combat and founded the Klingon Empire. Kahless became a god-like figure in the culture, inspiring wars and warriors for millennia . There were a number of ruling dynasties and civil wars, continuing once Klingons took to the stars.

Four hundred years after Kahless united Qo'noS, the Hur'q species from the Gamma Quadrant sacked their homeworld. This started a period of uncertainty about war as a way of life. During the Second Dynasty, General K'Trelan killed the Imperial Family, installing more democratically minded Klingons in power. They claimed to be members of the Imperial houses to gain the respect of those bloodlines, but eventually they returned to their warlike ways.

Star Trek: Discovery's Klingons Were More Accurate Than the TNG-Era

The Klingons acquired warp drive sometime in the Earth's 20th Century, and they turned their attention on the galaxy at large. While they still warred with each other, there were new planets to conquer and people to fight. Vulcans, who also were new to warp drive, encountered Klingons who opened fire on them. Until diplomatic relations were officially opened, Vulcans would fire first on any Klingon ship, eventually called "the Vulcan Hello." Klingons traveled the stars, warring and exploring, including sending a vessel into the Delta Quadrant.

In the 2150s, a Klingon crash-landed on Earth and was shot by a farmer. Dr. Phlox, a visiting alien, saved his life, and the NX-01 Enterprise was launched taking the Klingon back to Qo'noS. Captain Archer helped this Klingon maintain his honor and relations between humans and Klingons were off to an amiable start, but this didn't last. The NX-01 Enterprise helped refugees flee the Klingons by engaging them in battle. This led to Captain Archer being wanted as an enemy of the state. He was put on trial on Qo'noS and sentenced to the Rura Penthe colony. He escaped, leading to multiple hostile encounters with them throughout the Star Trek: Enterprise series.

In 2154, tyrannical, genetically augmented humans attacked the Klingon Empire, but the Enterprise was able to avert war. However, a Klingon scientist tried to use the augment DNA to create superior Klingon warriors . Instead, a deadly virus broke out, and Dr. Phlox was kidnapped to help cure it. He was successful, but the treatment led to the Klingons losing their distinctive cranial ridges. The Klingons then withdrew from Federation territory, until the Klingon-Federation war.

Why Uhura Speaks Klingon in Strange New Worlds, but Not Star Trek VI

The Klingons weren't seen in what would become Federation space for much of the late 22nd and early 23rd Centuries. They had again entered into a period of infighting and civil war, as any house sought to rule. When Starfleet did encounter the Klingons, there were open hostilities. There was a raid on a planet called Doctari Alpha and a battle at a planet called Donatu V. The Klingons resorted to spiritual studies, usually based on the Kahless myth, though a sect studied time travel at the Borleth Monastery .

In 2256, T'Kuvma, a unique-looking Klingon spiritual leader , united the great houses on the ancient Sarcophagus Ship. He provoked a war with the Federation at the Battle of the Binary Stars, dying at the hands of Michael Burnham. General Kol, who originated Klingons' use of cloaking technology, took control. The war raged for a year, with the Klingons nearly defeating the Federation . When General Kol was killed and the Sarcophagus Ship destroyed, things only got worse. Eventually, Section 31 developed a plan to destroy the Klingon Homeworld, but Michael Burnham prevented it from reaching fruition. Instead, she gave control of the hydrobombs to L'Rell.

A less war-hungry acolyte of T'Kuvma she was able to continue his mission of uniting the warring factions on Qo'noS. She even allied her fleet with the Federation to stop a rogue AI that threatened all life in the Alpha Quadrant. The Timekeepers at the Borleth Monastery also helped Starfleet solve the mystery of the "Red Angel," and helped Captain Christopher Pike fix the timeline after he tried to prevent his future debilitating accident. Time itself needed James Kirk and Spock to take the helm of the Enterprise. However, the tenuous peace wouldn't last for long.

What Made Worf a Better Klingon Warrior on Star Trek: The Next Generation?

A new war broke out between the Federation and the Klingons in 2257, but it was short-lived. When the USS Enterprise and General Kor's fleet arrived at Organia, the powerful beings that lived there forced them to negotiate an end to hostilities. The Treaty of Organia ended the war, but there were still clashes and battles throughout the sector. Klingons armed pre-warp species, as did Kirk and the Enterprise crew, albeit reluctantly. A Klingon who went by the name Arne Darvin was surgically altered to look human, and almost carried out a terrorist bombing on a starbase.

After a little more than a decade of relative peace, a rogue Klingon commander named Kruge took a Bird of Prey to the newly-created Genesis planet. There he destroyed the Starfleet science vessel studying it and killed David Marcus, the son of James Kirk. He defeated the Klingons, killing all but one of them, and stole the Bird of Prey. Another rogue Klingon Captain named Klaa tried to battle Kirk and the Enterprise, but Klingon Ambassador Korrd ordered Klaa to save him from the God of Sha Ka'Ree. With the destruction of the moon Praxis in 2293, the Klingon homeworld was threatened and peace finally had a real chance.

Chancellor Gorkon knew the Klingon Empire wouldn't survive unless it made peace and accepted help from the Federation. A conspiracy of Starfleet officers, Romulans and Klingons (including General Chang) assassinated Gorkon and framed Captain Kirk for it. He was sent to Rura Penthe, escaping with the help of Spock and the Enterprise. They arrived at the peace summit just in time to save the Federation president. Captain Kirk's heroics led to the signing of the Khitomer Accords and all-but the end to open hostility between the Klingons and the Federation . While not completely allies with the Federation, the Klingons and Starfleet were no longer at war.

The Star Trek universe encompasses multiple series, each offering a unique lens through which to experience the wonders and perils of space travel. Join Captain Kirk and his crew on the Original Series' voyages of discovery, encounter the utopian vision of the Federation in The Next Generation, or delve into the darker corners of galactic politics in Deep Space Nine. No matter your preference, there's a Star Trek adventure waiting to ignite your imagination.

Star Trek: Discovery's New Alien Captain Species Revealed

Captain Rayner from Star Trek: Discovery is revealed to be a Kellerun, not Vulcan or Romulan.
The Kellerun species was first seen in Star Trek: Deep Space Nine season 2.
Trek Central tweeted about Michelle Paradise confirming Callum Keith Rennie as a Kellerun in SFX Magazine.

Star Trek: Discovery showrunner Michelle Paradise has revealed the surprising alien species season 5's new Starfleet character, Captain Rayner (Callum Keith Rennie), belongs to. From the early images and Discovery season 5 trailers, it initially appeared that, with his pointed ears, Rayner may be a Vulcan or Romulan . However, the final Star Trek: Discovery season 5 trailer showed Rayner snarling with rage, heavily implying that he wasn't an emotionally repressed Vulcan.

In an interview with SFX Magazine , Michelle Paradise confirmed that Star Trek: Discovery 's Captain Rayner is not a Vulcan, nor is he a Romulan. Instead, Rayner is a member of the Kellerun species , first seen in Star Trek: Deep Space Nine season 2, episode 13, "Armageddon Game". Trek Central tweeted the news, complete with an image of a Kellerun from DS9 's "Armageddon Game". Read their tweet below:

Star Trek: Discovery Season 5 - Everything We Know

Kellerun species in star trek: ds9 explained.

The Kellerun only appeared in one episode of Star Trek: Deep Space Nine , "Armageddon Game" . A species that hailed from the Gamma Quadrant, the Kellerun were encountered by Chief Miles O'Brien (Colm Meaney) and Dr. Julian Bashir (Alexander Siddig) at the end of a brutal war with the T'Lani. O'Brien and Bashir were dispatched to help with destroying the final traces of a biological weapon known as the Harvester. Sharat (Peter White), a Kellerun ambassador, sought to secure lasting peace by erasing all knowledge of the weapon by killing everyone involved with it, including Bashir and O'Brien.

Their encounter with the Kellerun was a crucial moment for Chief O'Brien and Dr. Bashir's friendship , establishing the bond between them. Sharat's single-minded desire to erase all knowledge of the Harvester in Star Trek: Deep Space Nine could have interesting implications for Captain Rayner. From the clips released from Star Trek: Discovery season 5, Rayner seems similarly single-minded, nearly killing Captain Michael Burnham (Sonequa Martin-Green) and his own crew in pursuit of the villainous Moll (Eve Harlow) and L'ak (Elias Toufexis). Scorched Earth policies are clearly a Kellerun trait , which could set up a fascinating dynamic between Rayner and Burnham in Star Trek: Discovery season 5.

Star Trek: Discovery and Star Trek: Deep Space Nine are available to stream on Paramount+.

Sources: SFX Magazine, Trek Central

Genres Drama, Sci-Fi, Adventure

Streaming Service(s) Paramount+

Franchise(s) Star Trek

Directors Jonathan Frakes, Olatunde Osunsanmi

Showrunner Alex Kurtzman

Star Trek: Discovery's New Alien Captain Species Revealed

Screen Rant

How star trek: discovery's surprise finale cameo happened.

Exclusive: Star Trek: Discovery director Olatunde Osunsanmi explains how Stacey Abrams' surprise cameo came about in the season 4 finale.

Star Trek: Discovery director Olatunde Osunsanmi explains how the show's surprise season finale came to fruition. The series, which debuted in September 2017 on CBS's now rebranded Paramount+ streaming platform, follows Captain Michael Burnham and the crew of the starship Discovery, beginning approximately ten years before the events of Star Trek: The Original Series . Helmed by showrunners Michelle Paradise and Alex Kurtzman, the series earned itself critical acclaim and landed a Primetime Creative Arts Emmy for prosthetic makeup and visual effects. Supporting Sonequa Martin-Green's lead as Captain Burnham are series regulars Doug Jones, Anthony Rapp, Mary Wiseman, Wilson Cruz, David Ajala, Blu del Barrio, and Tig Notaro.

In a surprising twist, the Star Trek: Discovery season 4 finale sees the real-life politician, voting rights activist, and admittedly proud Trekkie, Stacey Abrams, cameo as the President of United Earth. Abrams' role as the United Earth President awarded the Georgia politician to test her acting chops alongside Martin-Green's Captain Burnham . The previously unseen President also formally proclaimed that United Earth would be rejoining the Federation. Although it is unclear whether Abrams will reprise the role for the show's season 5, it was indeed a casting call nobody saw coming.

Related: Discovery’s Species 10-C Finally Breaks Star Trek’s Alien Rule

In an exclusive interview with Screen Rant , Star Trek: Discovery director, Olatunde Osunsanmi, explains how Abrams' surprise cameo in the season 4 finale came to be. Osunsanmi admits he was pretty surprised when he learned Abrams could cameo in the finale, with the connection to Abrams coming from Wilson Cruz, who portrays Chief Medical Officer Dr. Hugh Culber. After a productive phone call between the showrunners and Abrams, the politician eventually slid into the United Earth President role much to the surprise of Star Trek fans everywhere. Check out Osunsanmi's exact remarks below:

Yeah, it was a bit of a surprise for me too when I found out. She's always been a huge fan of the show. Alex and Michelle were pushed by Wilson Cruz, who was like, "Would you want to have a chat with Stacey?" They said, "Sure!" So they hopped on [a call] with her, and Alex and Michelle pitched this idea of, "Would you mind coming on the show?" She said yeah, she'd love to. They figured out what character to slide her into, and it ended up being the President. So once we found out about that casting, it was quite the surprise.

Abrams' real-life immersion in the political scene translates perfectly to her portrayal of the United Earth President in Star Trek: Discovery . In the 2018 Georgia gubernatorial election, Abrams claimed the Democratic nomination, becoming the first African American female nominated in the United States for a major-party gubernatorial race. Additionally, in 2018, the former Georgia State Representative founded an organization to address voter suppression, called Fair Fight Action. The fiery politician also lends her hand to writing, as the author of both fiction and nonfiction works which have landed on the New York Times best sellers list.

Landing Abrams was undoubtedly a brilliant play for the series' showrunners, and in such an unexpected way. While little is known as to whether or not Abrams may return in the next installment, as Star Trek: Discovery moves into its fifth season, more exciting developments are likely on the horizon. The series opens the door to the possibility of a multiverse with Dr. Tarka's creation of a next generation spore drive. That being the case, the franchise has awarded itself more liberties similar to that of the Marvel Cinematic Universe and DC Extended Universe. Perhaps Star Trek: Discovery season 5 explores that next frontier, and maybe Abrams returns to reprise her Presidential role. Either way, audiences will have to sit patiently by and wait until season 5 hits Paramount+.

Next: Star Trek: Discovery Season 4 Ending Explained (In Detail)

Why Star Trek's Trill Mysteriously Sprouted Spots When It Came Time For Deep Space Nine

The Trill were first introduced in the "Star Trek: The Next Generation" episode "The Host" (May 11, 1991). In that episode, Dr. Beverly Crusher (Gates McFadden) engaged in an intense love affair with a Trill super-diplomat named Odan (Franc Luz), a man whom she later discovered had a very unusual biology. It seems some members of the Trill species are joined with incredibly long-lived worm-like symbionts that are surgically implanted in their stomachs. The symbionts possess the memories and experiences of all their hosts and take over the personalities of the people they are implanted inside of. Symbionts can live through dozens of hosts in their lives.

In "The Host," Odan sported inverted v-shaped forehead ridges above his eyes and a larger, extended septum. The makeup was designed by Michael Westmore, a longtime "Next Generation" makeup artist.

It wouldn't be until "Emissary" (January 3, 1993), the pilot episode of "Star Trek: Deep Space Nine," that Trekkies would encounter another Trill. "DS9" featured a Trill character named Jadzia Dax (Terry Farrell), who served as Deep Space Nine's science officer. In the lore of the series, Jadzia had recently been given the Dax symbiote after it spent many decades inside the body of a party-loving old man named Curzon. Jadzia had to reconnect with several old friends who knew her from her previous life.

Dax, one might immediately note, doesn't have the same forehead ridges that Odan did. It seems that the makers of "Deep Space Nine," after trying out similar ridges on Farrell, elected to do something less obtrusive. According to Paula M. Block's and Terry J. Erdmann's book "Star Trek: The Next Generation 365," Dax's makeup artists modeled her new "spots" after Westmore saw how good they looked on Famke Janssen in the "Next Generation" episode "The Perfect Mate" (April 27, 1992).

Famke Janssen, the perfect mate

Resourceful Trekkies can likely find the early makeup tests that Terry Farrell went through for "Deep Space Nine." It seems that the original Dax makeup design was to give her Odan's forehead ridges but to make them less pronounced . The reason for a more "subtle" version of the makeup was likely twofold. For one, the series already featured numerous alien characters that required hours-long makeup jobs, and having one fewer was cheaper. It's also likely that someone didn't want the actor's face covered. According to the "365" book, the studio in particular didn't want an attractive actor like Farrell to sport a weird alien forehead. A redesign of the Trill makeup was required.

Westmore recalled doing makeup for "The Perfect Mate" and was inspired. In that episode, a woman named Kamala (Famke Janssen) is being transported in stasis to a diplomatic summit where she will offered as a bartered bride. Kamala's arranged marriage with a distant politician will, it is hoped, end a generations-long war. Naturally, Kamala — having been released from stasis early by accident — accidentally bonds with Captain Picard (Patrick Stewart). Kamala was depicted as being romantically and sexually irresistible, and her makeup was meant to reflect that. Westmore was fond of her look, which incorporated a series of small red spots on Kamala's temples.

That look was recreated for Dax and even expanded. Dax had a complex series of spots that ran down her temples and down her neck. A flirtatious alien once asked Dax how far down the spots go, and she winkingly replied, "All the way."

The new Trill look worked well. It denoted that she was an alien, but more subtly than the show's Changeling or Ferengi characters.

The continuity headache

Sadly, the new makeup design caused no small amount of headaches for Trekkies obsessed with continuity (which is to say, most Trekkies). In "The Host," both Odan and the eventual second host of his symbiont (played by actor Nicole Orth-Pallavicini) had the ridged forehead and pronounced septums. After that, all Trill had the temple spots, even into the days of "Star Trek: Discovery." There has never been a canonical reason for the change, and no characters have ever commented that Trill used to look different.

It is, frustratingly, just another changed "Star Trek" premise that fans merely have to accept. For many years, for example, Klingons looked like humans, only sporting Fu-Manchu-style mustaches. In "Star Trek: The Motion Picture," they suddenly had outsize forehead ridges. In "Next Generation," their foreheads were enormous, and in "Discovery," they sported either jet-black or pearl-white skin, elongated skulls, new eyeballs, and even extra nostrils. These kinds of changes are done for the benefit of the showrunners' creativity and typically serve to make fans squirm uncomfortably. Something similar happened with the Romulans as they moved from the original "Star Trek" to the days of "Next Generation."

Of course, with the Klingons, their change was eventually addressed . A multi-part episode of "Star Trek: Enterprise" explained that the "Original Series" Klingons were infused with enhanced human DNA. That DNA would eventually be bred out of Klingons in a few generations, hence they looked the way they did in "Next Generation."

Given the attention to detail some "Trek" writers pay, it's likely a future episode will explain away the Trill foreheads in earnest.

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‘Star Trek: Discovery’ Finale: Ending Explained
Star Trek: Discovery Season 4 Finale Ending Explained
'Star Trek: Discovery' Season 3 Ending Explained: What caused the Burn
Star Trek: Discovery Season 1 Finale Ending Explained
Star Trek Discovery Ending

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Star Trek Discovery season 1 ending explained - recap what happened before the season 2 premiere

1. Wait… why is the Federation/Klingon war over now?

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2. Who is going to be the next Captain of Discovery?

3. What’s up with the Enterprise?

4. Will Discovery be using DASH drive tech in season 2?

5. Where has Emperor Georgiou gone now?

6. What role does Ash Tyler/Voq have now?

7. How long will it take to rebuild the Federation?

8. What happened to the Terran ISS Discovery, then?

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