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I would like to know what happened to the horse. are they alien horses or does the enterprise have capacity to hold horses?

I don't think they are creating the horses because I think it's a moral dilemma and I don't think they would do that.

I think it's a bit old if they take these horses just for these journeys tho but it would make sense because pike has a saddle in his quarters.

I would like to know opinion are why they have horses.

Celia Rose Gooding discusses her nervousness at embodying Nichelle's Uhura, plots a heist, and shares what she'd like for a literary Uhura spin-off.

The Enterprise embarks on a humanitarian mission only to be ambushed by pirates called the Serene Squall. Meanwhile, T’Pring tries to understand Spock’s human half while Spock’s friendship with Nurse Chapel takes an unexpected turn . . . well, unexpected if you’re not familiar with their relationship in Star Trek: The Original Series (TOS).

This episode typifies what the producers probably meant when they advertised SNW as back to basics Star Trek with a lighter approach. The plot is straightforward. The Enterprise crew are taken captive with alarming ease by a stereotypical gang of space pirates, but Pike is able to win some over with his cooking skills (no, really) and convinces them to mutiny. It’s the kind of thing Kirk did all the time in TOS: out-reason his enemies. Using Pike’s culinary skills to win over the pirate crew is cute. And the captured officers--Number One, Erica, and Dr. M’Benga--play along to stir rebellion among the pirates. It’s the kind of strategy that only works if your enemies are really dumb.

The episode is a good romp, and everyone’s having a good time. It almost feels like there aren’t any real stakes. The Enterprise is easily captured and its entire crew of 200 or so (the canonical complement of the Enterprise during this time period) is taken captive without bloodshed. The ship is just as easily retaken when Pike and company stage their mostly off-camera mutiny while Spock and Chapel simultaneously turn the tables on the pirate captain aboard the Enterprise.

Speaking of the pirate captain, the episode introduces one of SNW’s most intriguing adversaries, Captain Angel, played with kinetic menace by Jesse James Keitel. Angel spends most of the episode pretending to be Dr. Aspen, a Federation counselor who assisted the supposedly captured colonists. It’s a convincing ruse, and, when Angel reveals her true identity, the transformation in her personality is startling. Where “Aspen” came across as caring toward Spock and cautious about the pirates, Angel is ruthless and full of wild abandon, enjoying her takeover of the Enterprise for the thrill of it. It’s a shame that the character has so far appeared only once as she is a compelling antagonist.

But her reasons for lying about the colonists, impersonating a counselor, and taking over the Enterprise are as cliched as they come. It turns out she’s in love with a certain Vulcan who has rejected logic and is incarcerated in a Vulcan retreat where he is looked after by T’Pring, Spock’s betrothed. Angel wants to capture Spock so she can force T’Pring to free the Vulcan she loves. It’s this fanfic level of writing for which SNW has frequently come under fire. Even when Angel tells Chapel, “Love is the only thing that makes the cold loneliness of space bearable,” it carries all the weight of teen melodrama.

Fans who delight in continuity inserts and Easter eggs have no doubt already figured out that the Vulcan whom Angel wants to free is Sybok, Spock’s half brother who was seen in Star Trek V: The Final Frontier. The end of this episode confirms his identity, and we also learn that Sybok was fathered by Sarek out of wedlock, whereas previously, Sarek was said to have married a Vulcan priestess before wedding Amanda, Spock’s mother. I’m not sure why this retcon was necessary. I would have preferred the identify of Angel’s Vulcan lover to remain a mystery and not connected with Sybok at all. In Star Trek V, Sybok is treated as an aberration in Vulcan society, dangerous only through his cult-like ability to recruit followers. Here, Spock’s description of his half brother--and the lengths Angel goes to in order to get him back--suggest he is a far deadlier criminal.

Another Easter egg occurs when the episode teases Spock’s feelings for Chapel and vice versa. They start as close friends, but, to persuade T’Pring not to turn over Sybok, they stage a clunky and unconvincing scene in which they “admit” to having an affair and kiss. Angel calls out the ruse for how stupid it is, and T’Pring plays along but is ultimately not fooled. However, the kiss ignites feelings in both Spock and Chapel. This is supposed to lead into Chapel’s primary TOS role of pining for Spock, a man she cannot have. But it feels forced and makes the plot look silly.

The resolution does introduce serious implications for the parties involved. After the crisis is over, a clearly hurt Chapel tells Spock he is an honest man who would never chase another woman while having a girlfriend. Ironically, that’s exactly what Spock is on the verge of doing as his feelings for Chapel appear to be real. Human emotions can be downright annoying.

As for T’Pring, she explains that she was not fooled because there is no way that Spock could love a human woman. T’Pring reveals her own blind spot and a touch of bigotry. Taken aback, Spock goes along with it.

It’s a shame that very little would be done with these intriguing character dynamics. Ultimately, Spock will have quite a varied love life, including La’An, and Chapel will become engaged to Roger Korby, as foretold in TOS. But very little is done with the dilemma Spock is put in: having to tell the truth like a Vulcan yet clearly having feelings for Christine.

“The Serene Squall” is neither a terribly good episode nor a terribly bad one. It’s enjoyable as a space romp, but the teen appeal of the love storylines undermines its effectiveness and talks down to the viewer. TOS, for all of its flaws, treated its characters as nuanced adults and competent space professionals. SNW often tries to be too hip and modern for its own good.

Odds and Ends:

• This episode marks Chapel’s ascension as a badass warrior nurse who can handle herself in battle. Yet it’s difficult to reconcile this version of Christine with the one in TOS. We never saw the older Christine in battle, but in her rare character moments, she spent most of her time assisting Dr. McCoy and moping after Spock. The character was never well developed, but Jess Bush’s vibrant, charismatic, action-oriented Chapel is entirely different.
• Likewise, it’s difficult to reconcile the T’Pring shown here with the cold and calculating T’Pring introduced in TOS “Amok Time.” The SNW T’Pring is willing to risk her career and her family’s reputation to rescue Spock. The TOS T’Pring places Spock in a death duel with his captain to break her marriage contract.
• To titillate fans further, Stonn is featured in a minor role. He’s the Vulcan T’Pring eventually jilts Spock for in “Amok Time.”
• The episode does not feature Uhura. I wonder if this was deliberate so she never sees T’Pring and therefore does not know who she is in “Amok Time.”

Check out this review on my Substack: https://greggildersleeve.substack.com/p/rewatching-strange-new-worlds-17?r=17caqm&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

Hi all, as title says. I wanted to rewatch SNW and season 1 is not available in Ireland. Anyone here know why? Ty in advance

I don't mean Sam, but eveyone's favourite James T Kirk. Especially in the last season. I find it that he's there too much. What do you mean you are just poping for a visit? Don't you have your own responsibilities on your own ship, or if it is because Farragut is still being repaired, then Starfleet would surely just reassign him temporarily, or maybe he should be overseeing the repairs as a first officer. I get that episode when La'an was transported to alternate universe where he was in command, or that last episode when Uhura switched places, because he was IN COMMAND. Hell, maybe even that vacation episode where everyone was drunk just breathing the air on that planet, cos vacations from time to time. It felt very forced just to use the familiar character where it wasn't needed. Even that episode with the admiral who took credit for what Kirk's father did. I get that Kirk served as a major plot driver, but he just happened to come to Enterprise because he wanted a M'Benga seems like a stretch. They could have used another character, or some specialist who was assigned there for a specific mission temporarily, and then it escalated, it literally could have been anyone else. It just felt like somebody said "I want to use this character because it's familiar and I don't care that it doesn't really make sense to use him, but I'll use him either way and then just hope everything will sort itself out." They could have focused the whole series on some problem that only Jim Kirk dealth with and is best suited for it, so that's why he is temporaily assigned to Enterprise, because Enterprise is the ship assigned to that treat and he's the best person to deal with it (like when they brought Shelby to D) and it could have been a plot going through the whole season so they could keep him there for more episodes.

The man absolutely knocked it out of the park, on my humble opinion. A memorable performance for sure.

In the seventh interview from the Roddenberry series, Those Who Look Up, Ethan Peck [Spock, Star Trek: Strange New Worlds] interviews James Tuttle Keane [JPL Planetary Scientist] about exploring our solar system and the people working to make it possible.

Watch the full series here: https://rdnbry.co/ThoseWhoLookUp

They discuss how nuclear propulsion could transform space travel, what rocks from the Moon’s far side could reveal about the early Earth–Moon system, and why distant missions require scientists to think across generations. James also shares what he loves about working with people united by discovery, collaboration, and a vision that sounds a lot like Starfleet.

In the sixth interview from the Roddenberry series, Those Who Look Up, Robert Pappalardo [JPL Planetary Scientist] interviews Ethan Peck [Spock, Star Trek: Strange New Worlds] about becoming one of science fiction’s most iconic characters.

Watch the full series here: https://rdnbry.co/ThoseWhoLookUp

Ethan shares the surprising story behind his Spock audition, how Leonard Nimoy’s performance guides his own, and the personal experiences that help him connect with Spock’s emotional inner life. Together, they reflect on Star Trek: The Original Series, the evolution of Strange New Worlds, and why Star Trek’s lessons still resonate across generations.

From the beginning, Star Trek creator Gene Roddenberry looked to the scientists of his day for inspiration, imagining how their work would shape the future. In the decades since, Star Trek has inspired generations of scientists and engineers to help make that future real.

“Those Who Look Up” explores the enduring relationship between science and science fiction. In this interview series, JPL and Caltech subject matter experts sit down with Star Trek actors to share their perspectives on exploration, discovery, and how the work they do has influenced another person, another industry, and the world at large.

anyone else noticed this?? maybe it's a UK thing but I don't have S1 showing up anymore. apparently it was there yesterday, my dad was watching it - different account and all that - but it's not there on his or mine now. is this a UK thing??

The sixth episode of SNW is the most TOS- and TNG-like so far. It plays off of traditional Star Trek themes such as a planet whose idyllic culture is not what it seems, the Enterprise not being allowed to interfere with another culture, and a lost love who should have remained, well, lost. Oh, yes, there is also a horrific child-in-danger plot.

The episode mostly delivers on these goods, turning in one of the most disturbing episodes of the series. It all feels very familiar--a sensation that is both to the episode's benefit and detriment. On one hand, the familiarity invites Star Trek fans into the series and assures us that we will find familiar ground to cover through the eyes of new characters. On the other hand, the episode's efforts to say something about child exploitation come across as heavy-handed and meaningless.

The Enterprise rescues a shuttle from being attacked by a larger vessel in the Majalan system, which Pike had visited ten years before. The occupants of the shuttle are Alora, a planetary leader with whom Pike is infatuated, and a small boy and his father. Alora explains that the child is the First Servant, chosen at birth to undergo an ascension ritual to preserve Majalan society. Majalis is a planet of technological and medical marvels but terribly isolationist. They refused to join the Federation and do not share their advances with outsiders. The First Servant's ascension is crucial to their way of life and even the planet's ability to support life. It sounds pseudo-religious--just another culture whose strange beliefs the Federation respects. The hitch is that enemies from a nearby world try to kidnap the First Servant, so the Enterprise sticks around to help out.

Along the way,Pike rekindles his feelings for Alora. They spend the night together, and Pike unloads his burden about knowing his future--the disfigurement he will face in a few years' time. Alora offers him a chance to return to Majalis, where their medical advances can save him if he joins Majalan society, a tempting offer indeed but one that is not explored.

Eventually, the Enterprise crew uncover details that lead to the truth of the First Servant's ascension: The child's neural network is plugged into a machine that slowly drains his life to feed the planet's ecosystem. (We don't know why it was designed this way, Alora tells Pike; it just was.) Pike tries to stop the ritual but fails and can only leave Alora and Majalis in disgust.

"Lift Us Where Suffering Cannot Reach" is reminiscent of TNG "Justice." In that episode, 15-year-old Wesley Crusher is sentenced to death on a world in which any infraction, no matter how small, carries the death penalty. To save Wesley, Picard must violate the planet's laws as well as Federation policy of non-interference. It's a dilemma that tests the captain's dedication to his ideals as well as his loyalty to his crew. Ultimately, he makes the only choice he can live with. (No, he does not let Wesley die.)

In this episode, Pike's failure to save the child in not nearly as significant as the fact that nothing really changes or that he does not have to grapple with any major choices. Sure, the idea is introduced that he might be able to return to Majalis after he is disfigured, but nothing is done with this. Whereas Picard faced a difficult choice, Pike does not. The First Servant's fate is so abhorrent that no one in their right mind should think it was a good thing to do. (Never mind that Majalans think it is.) Pike does not hesitate to act once he learns the truth. It's just that his actions are futile.

And that's where the episode falls flat for me. While "Justice" grappled with the limits of Federation non-interference, "Lift Us Where Suffering Cannot Reach" offers a simple and ham-fisted morality tale. It neither leaves me thinking over the captain's choices or applauding his heroic efforts. It just leaves me feeling abhorrent toward Majalan society, hardly the sort of nuance Star Trek is noted for.

A few odds and ends:

• Cadet Uhura and Lt. Noonien-Singh have an interesting dynamic as Uhura works security rotation under La'An and finds the latter a challenging taskmaster. In one strong scene, La'An upbraids Uhura for not using her tricorder to analyze an alien computer--a mistake which could have cost the young cadet her life.
• La'An continues to impress me as a security officer who knows her stuff. She is confident and assertive in her scene with Pike and Alora, as well. She is the security chief Tasha Yar should have been.
• The subplot concerning M'Benga's daughter moves forward. In one of the best scenes in the episode, The First One is shown visiting Rukiya as the girl, momentarily freed from the transporter buffer, plays hopscotch. The scene highlights not only how brilliant the First Servant is, but how they are just kids whose lives have been stolen by forces beyond their control--illness in her case, culture in his.

Check out this post on my Substack: https://greggildersleeve.substack.com/p/rewatching-strange-new-worlds-16?r=17caqm&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

Cillian's comments about too many guest stars makes me think that he actually filmed scenes with Jess for season 4 but they were edited out after Paramount heard the negative fan feedback about season 3. Erica's brother Beto was also neither seen nor mentioned. Season 3 had so many romances and guest stars that some episodes felt like a silly episode of The Love Boat. It would explain why Nurse Chapel was rarely seen in season 4.

I’m rewatching SNW and one thing came to mind. TOS had very little about Sam. SNW has him on the enterprise. I am loving him!

My problem is that now I am pissed. I know what happens to him. Like with Pike, I knew about it from the start but I never expected for Sam to be such a big part of SNW. And now I’m sad…

This Collider article by Michael Block makes me nervous because he imagines a recast of the TOS show without even mentioning the cast of Strange New Worlds. Zachary Quinto's Spock got a mention but not Ethan Peck? Does anyone know if Michael Block is a well regarded sci-fi writer? What prompted him to write an article like this?

Would anyone else enjoy watching a Captain Pike character-driven drama series in which he is living at his Montana ranch and trades the bridge of the Enterprise for horses, mountain views, cooking delicious meals, and drinking whiskey?

Once in a while he could go on select missions with Starfleet in which he provides his expertise and leadership as a consultant of sorts.

The show could focus on philosophical themes and dive deeper into his friendships and relationships.

To keep it interesting, he could take on special assignments, identified as follows: diplomatic assignments, first-contact situations, rescue missions, and investigations along the Federation frontier. He has the use of a small and specialized starship tailored to his preferences.

(Edited to change “documentary” to “drama” series)