Star Trek: Strange New Worlds – Season 2 (2023) 🚀🛰

“Oh look… Star Trek remembered how to be Star Trek again.”


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🎬 Let’s start by showing y’all the trailers shall we?

📖 Non-Spoiler Plot Overview

Season 2 of Strange New Worlds continues following Captain Christopher Pike (Anson Mount) and the crew of the USS Enterprise as they explore new worlds, deal with moral dilemmas, and face both personal and external conflicts.

And right away?

This feels like Star Trek.

Not just in name.

In structure, tone, characters—everything.

This show actually understands what made Star Trek work in the first place.

Episodic storytelling is back, which already puts it miles ahead of Picard. You’re not stuck in one dragged-out storyline that goes nowhere. Instead, each episode feels like its own adventure, its own idea, its own risk.

And that’s the key.

Every episode feels different.

You’ve got serious episodes.
You’ve got emotional ones.
You’ve got straight-up weird ones.
And somehow… it all fits.

And after the mess that was Picard?

Yeah…

This didn’t just feel like a breath of fresh air.

This felt like the franchise finally remembering what it’s supposed to be.


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🎭 Character Rundown

Christopher Pike (Anson Mount) — yeah… THIS is Pike.

Anson Mount might honestly be one of the best portrayals of a Star Trek captain we’ve gotten. I’m not even exaggerating.

He’s calm, confident, compassionate, and actually feels like a leader. He doesn’t need to yell. He doesn’t need to force authority. You just believe people would follow him.

And that’s something Picard Season 1 and 2 completely lost.

Pike leads.
He listens.
He supports his crew.

And yeah—the man cooks for them too.

That right there tells you everything you need to know about his character.

This is how you write a captain.

Also he’s the second best captain next to Kirk, reason I say that is Pike in this show gives odd major dad vibes. It was a cool decision to not make him stoic and boring like he was in the original series version.

Christine Chapel (Jess Bush) — yeah… this is one of the biggest upgrades in the entire show.

Because in the original series?

She was just… there.

Here?

She matters.

She actually feels like a main character.

She’s emotional, driven, conflicted, and her storyline with Spock gives her real depth. You understand her decisions—even when they hurt, even when they’re messy.

She feels human.

And that’s the big thing.

She’s not just “the nurse” anymore—she’s a person with her own story.

And yeah—her design plays into that too.

Her outfit keeps that classic Starfleet medical uniform vibe, but it’s updated in a way that feels modern without losing that original identity. It doesn’t feel like a costume—it feels natural.

And her hairstyle?

Simple, grounded, modern.

It makes her feel real.

It matches her personality perfectly.

Nothing about her feels forced or exaggerated.

Everything about her just works.


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Spock (Ethan Peck) — okay yeah, this version is definitely more J.J. Abrams than original series.

He’s more emotional. More expressive. More reactive.

Now is that 100% classic Spock?

No.

But here’s the thing—it works for THIS show.

Because the whole point is that he’s still figuring himself out.

You’re watching the conflict between logic and emotion happen in real time.

And that makes him interesting.

Even if it’s different.


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Una Chin-Riley / Number One (Rebecca Romijn) — one of the strongest presences in the entire show.

She’s calm, composed, authoritative, and when she’s on screen—you feel it.

And her storyline this season?

This is Star Trek at its core.

Moral dilemma. Identity. Consequences.

This is the kind of writing the franchise was built on.


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James T. Kirk (Paul Wesley) — yeah… still not working.

I’m not even gonna sugarcoat it.

He doesn’t feel like Kirk.

No Shatner presence. No charisma. No command energy.

It feels like someone playing Kirk instead of being Kirk.

And every time he shows up, it pulls you out a little.


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La’an Noonien-Singh (Christina Chong) — really strong this season.

She’s dealing with trauma, identity, and her past, and the show actually gives her time to grow.

She’s not just reacting anymore.

She’s evolving.

And that’s what makes her work.


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Nyota Uhura (Celia Rose Gooding) — continues to build into the character we know.

She’s still learning, still finding her place, and that arc feels natural.

You can actually see the progression.


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Dr. M’Benga (Babs Olusanmokun) — quietly one of the best characters.

When the show focuses on him?

It gets heavy.

FAST.

There’s depth there, and when it hits—it really hits.


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Erica Ortegas (Melissa Navia) — brings energy, humor, personality.

She helps balance the tone so the show doesn’t get too heavy all the time.


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⏱️ Pacing / Episode Flow

This is where the show really separates itself.

Episodic storytelling is back—and not just back, it’s done WELL.

Nothing drags.

Nothing feels stretched.

Every episode has a purpose.

And more importantly?

Every episode is memorable.

You’re not sitting there going
“wait what happened again?”

You remember them.

Because each one does something different.

🎥 Visual Style — “Old School Star Trek Meets Modern Cinematic Energy”

One thing this show does REALLY well—and I don’t think it gets talked about enough—is how it looks.

Because this isn’t just modern Star Trek trying to look flashy.

This is a blend.

The show takes the original series vibe—the bright colors, the clean Enterprise design, that classic Starfleet look—and keeps it intact.

It still feels like the 60s version of Star Trek.

But then it layers in modern filmmaking on top of it.

You’ve got:

sharper visuals

better lighting

more dynamic camera movement

and yeah… a bit of that J.J. Abrams-style lens flare and cinematic polish


But here’s the difference.

It doesn’t overdo it.

It doesn’t go full “everything is glowing and blinding like the Abrams movies sometimes did.”

It uses it just enough to modernize the look without losing the identity.

And that’s why it works.

Because it doesn’t feel like:

👉 old Star Trek trying too hard to be modern
👉 or modern Star Trek ignoring the original

It feels like both.

A perfect middle ground.

This show doesn’t just understand Star Trek in writing—

👉 it understands how Star Trek is supposed to look too.

And that’s a big reason why it feels so authentic.
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✅ Pros

This show is FUN.

And I mean that in the best way possible.

Because Star Trek is supposed to be fun.

Picard forgot that.

This didn’t.

You’ve got:

humor that actually lands

emotional moments that actually hit

serious storytelling that actually matters

and creative risks that actually pay off


And that’s the difference.

This show doesn’t play it safe.

It experiments.

And it works.

The trial episode?

That’s peak Star Trek.

That’s the kind of writing that defines the franchise.

And visually?

This show nails it.

It blends:

the original series aesthetic

with modern cinematography

with that slight J.J. Abrams polish


And it actually works instead of feeling forced.


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❌ Cons

Kirk.

Still the weakest part.

And Spock can feel a little too emotional compared to the original version.

But honestly?

Compared to everything else?

That’s nothing.


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💭 Final Thoughts

This is what Star Trek should be.

Not dark for the sake of being dark.

Not stretched-out nonsense.

Not characters being butchered.

This is:

strong characters

creative storytelling

meaningful themes

and actual respect for the source material


After Picard Season 1 and 2?

This isn’t just a good show.

This is a full recovery.

This is Star Trek saying
“yeah… we still got it.”


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⭐ Rating

10/10


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⚠️ Spoiler Warning

Alright… now we’re getting into the GOOD stuff.


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🚨 Spoilers

That trial episode?

Yeah…

That’s one of the best episodes of modern Star Trek.

Una being put on trial for being genetically modified is EXACTLY the kind of story this franchise was built on.

You’ve got:

legal drama

moral conflict

discrimination themes


And it actually says something.

It doesn’t just exist for plot.

It matters.

And the way they expose Starfleet’s hypocrisy?

That’s the kind of writing that makes you sit there and go:

“yeah… THIS is Star Trek.”


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La’an’s time travel episode?

Really strong emotionally.

Her connection with Kirk works on paper—and the episode itself hits.

But again…

Kirk himself still doesn’t land.

The episode is carrying him, not the other way around.


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Spock and Chapel?

Yeah…

This is where the show really hits emotionally.

Because they actually build it.

You see the relationship grow.

You see the connection.

And when it falls apart?

It hurts.

Because it feels real.


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The Lower Decks crossover?

This had no right working.

And somehow…

It does.

It’s funny, self-aware, and still respects the tone of the show.

That’s not easy to pull off.

At all.


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And then…

The musical episode.

Yeah.

A MUSICAL.

And somehow…

IT WORKS.

That alone tells you how confident this show is.

Because it fully commits to the idea instead of half-trying it.

And that’s why it lands.


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M’Benga’s darker episode?

That one hits hard.

Way harder than you expect.

It shows the show isn’t just playing around—it can go serious when it needs to.


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And the finale…

That Gorn cliffhanger?

That’s how you end a season.

It builds tension, raises stakes, and actually makes you want to come back.

Something Picard never managed to do.


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So yeah…

This season doesn’t just work.

It experiments.

It takes risks.

And most importantly?

It understands Star Trek.

🤝 Lower Decks Crossover — “This Should NOT Have Worked… But It Did”

Okay, we HAVE to talk about this episode.

The crossover with Star Trek: Lower Decks.

Because on paper?

This is one of the dumbest ideas you could pitch.

“Hey, let’s take a live-action Star Trek show that’s trying to be serious and grounded… and mash it with a chaotic animated comedy where everyone is yelling, overreacting, and making jokes every five seconds.”

That should NOT work.

That should be a tonal disaster.

And somehow…

It’s one of the BEST episodes of the season.


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They bring in Boimler (Jack Quaid) and Mariner (Tawny Newsome), and right away you’re thinking:

“there’s no way this translates to live action.”

And then it does.

PERFECTLY.

Boimler still feels like that nervous, over-excited Starfleet nerd who knows WAY too much. And Mariner still has that chaotic, rebellious energy—but toned down just enough so she doesn’t feel out of place.

And that’s the genius of the episode.

They didn’t force Strange New Worlds to become Lower Decks.

They brought Lower Decks INTO Strange New Worlds.


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And the comedy?

Actually lands.

Not cringe.

Not forced.

Not “haha look how wacky this is.”

It comes from character interaction.

You’ve got Boimler basically fangirling over Pike and the Enterprise like he just walked into Starfleet heaven, and Pike’s just standing there like:

“…what is happening?”

And it’s hilarious because it feels natural.


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But here’s the most important part—

It still feels like Star Trek.

That’s what shocked me.

This isn’t just a gimmick episode.

It still has:

structure

character moments

actual meaning


It still fits into the show.


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And honestly?

This episode proves something really important about Strange New Worlds:

👉 it’s confident

Because a show that isn’t confident in itself does NOT attempt something like this.

This is the kind of episode where if you mess it up, it ruins the tone of the entire series.

And instead?

It becomes one of the most memorable episodes.


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So yeah…

This episode should’ve been a disaster.

And instead?

It’s one of the best examples of how flexible—and how strong—this show actually is.

PTSD, Klingons, and Old Wounds (Episode Highlight)


There’s an episode in Season 2 where a Klingon ambassador comes aboard the Enterprise, and what starts off as a diplomatic situation very quickly turns into something a lot more personal—and honestly, a lot heavier than I was expecting.

Because this isn’t just about politics or tension between Starfleet and the Klingons.

This is about PTSD.

Dr. M’Benga (Babs Olusanmokun) especially—this episode really dives into his past, and you start to see that this isn’t just “he served in a war.” This is:

trauma

scars that didn’t heal

memories that never left


And the moment that Klingon shows up? It’s like everything comes rushing back.

You can feel it in his body language, in how he talks, in how he reacts. It’s not over-the-top, it’s not dramatized—it feels real. Like someone trying to stay composed while everything underneath is shaking.

And that’s what makes the episode so effective.

It doesn’t treat PTSD like a quick character trait—it treats it like something that lingers, something that can be triggered at any moment, especially when you’re face-to-face with the thing that caused it.

And yeah… it gets uncomfortable.

Not in a bad way—but in a:

> “This is hitting a little too close to home” kind of way.



Because Star Trek, at its best, has always taken real human issues and placed them in sci-fi settings—and this episode does exactly that.

It’s not just about Klingons.

It’s about what war leaves behind.

And honestly? This might be one of the heaviest and most grounded episodes in the entire season.

The episode ends dark when the Klingon ambassador comes back to visit Dr. Joseph M’Benga, before the ambassador leaves because it was time to get him off the ship. So they took the shortest route to his Destination. So his time on the enterprise was cut short, and he wanted to get to know the doctor the doctor did not want to get to know him. And he tells him to please leave him alone and leave.

He unfortunately does not listen, tries to tries to reason with him. Try to tell him i’ve been trying to make up for my mistakes, and Dr. Joseph M’Benga won’t hear any of it.And he reveals that he is actually the butcherer he’s the one who killed those Klingons.

And let this ambassador dude, take the take the fall for it. This entire time, it’s kind of I mean in his eyes he hates being called that, understandable, anyways, he the doctor pulls out a knife and starts to attack the ambassador and stabs him in the back. And then christine has to cover up for him.And tells pike that thr ambassador was the one who attacked first.

Yeah so this episode ended heavy, i’m glad they did not pull back like you.Just can’t end a episode like this in a nice bow, PTSD does so much damage to the psyche.

You can judge who’s in the wrong here.But I do think slightly Dr. Joseph M’Benga isn’t the wrong because he tells pike?We do know each other for a long time.And this is the one thing we ‘ll disagree on you have the privilege of believing everyone can change.While i’ve been to war and seen the true horrors of what war can do to people.

Yeah, that’s kind of stepping out bounds keep in mind.This is after pike said, we’ve known each other for a long time.And I’d like to assume that if you really did start the fight, you would have told me, and we would have figured it out, again you judge whos in the wrong.

🎵 The Musical Episode… yeah, THIS happened

Okay… we need to talk about that episode.

Because at some point, someone in the writers room looked at Star Trek—a franchise about space exploration, diplomacy, war, science, morality—

…and said:

👉 “what if they just started singing?”

And not like… one song. Not like a quick gag.

No.

👉 THE ENTIRE EPISODE.

Everyone. Is. Singing.

And the explanation? Some kind of space anomaly that turns emotions into musical numbers.

I wish I was joking. I’m not.


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At first, you’re sitting there like:

“okay… haha funny bit… this will pass…”

It does not pass.

It gets worse.

Because the episode fully commits. Characters are having serious emotional conversations… through SONG. Confessions? Song. Awkward tension? Song. Relationship drama? Song.

And the craziest part is…

👉 they play it completely straight.

Nobody is like “hey this is weird”

They’re just like: “yeah I guess I’m singing now”


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Now here’s where it gets complicated.

Because as bizarre as it is…

…it actually kind of works??

And I hate that it works 😭

The songs are catchy, the performances are good, and it actually pushes character arcs forward. Like this isn’t filler—important stuff happens in this episode.

Relationships shift. Feelings get exposed. Characters say things they’ve been holding back.

But they do it… through a full-on Broadway performance in space.


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And I’m sitting there the whole time like:

👉 “this is either genius or insanity and I genuinely can’t tell which”

Because on one hand, it’s creative. It’s bold. It’s different.

On the other hand…

👉 this is STAR TREK.

Why am I watching Spock process emotions through a musical number??


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By the time the episode ends, you’re not even questioning it anymore.

You’ve just accepted it.

Like: “yeah… that happened… Starfleet broke into song… okay”


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So yeah, it’s one of the strangest episodes I’ve ever seen in a show like this.

But I’ll give it this:

👉 it’s memorable.

You’re not forgetting that episode.

Ever.

🚨 Season 2 Finale – The Gorn Attack


Okay… THIS is the episode where everything escalates. Because virginia, the gorn were just a one off episode threat that kirk fought off in the original series.In a hand to hand combat with their leader, but this preco series took the approach and made the gorn into a threat like the borgs.

Like up until now, the Gorn have been this lurking threat. Dangerous, creepy, unpredictable… but mostly in the background or in isolated situations.

Not here.

👉 Here they go full-on attack mode.

And it’s not subtle.

This isn’t: “oh no, a ship encounter”

This is: 👉 Federation getting hit
👉 ships under threat
👉 people trapped
👉 survival mode activated

And the tone shift is immediate.


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The biggest thing that stood out to me?

👉 how intense it gets.

Because this episode doesn’t feel like your typical Star Trek diplomacy episode.

There’s no: “let’s sit down and talk this out”

It’s: 👉 “we might not make it out of this”

You’ve got characters split up, stuck in dangerous situations, trying to survive while the Gorn are basically hunting them.

And the Gorn in this show?

They are NOT the slow, rubber-suit version from the old days.

These things are:

fast

aggressive

brutal

straight-up horror movie creatures


It turns into survival horror in space.

Also we get introduced to scotty, yes another o g character.


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And what really hits is how personal it gets.

This isn’t just ships firing at each other.

You’ve got:

crew members in danger

decisions being made under pressure

that constant feeling of “we are not in control here”


And Pike, as always, is trying to hold everything together while things are clearly spiraling.


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But the real kicker?

👉 it doesn’t wrap everything up.

This finale basically says: “yeah… this isn’t over”

It feels like the beginning of something bigger, not the end of a story.

Which is both exciting… and frustrating.

Because you’re sitting there like: 👉 “WAIT… that’s where you’re ending it??”


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💭 Final Thoughts on the Finale

This episode is huge.

It shifts the show from: 👉 exploration and character-driven stories

to: 👉 full-scale threat and ongoing conflict

And honestly?

It works.

It makes the Gorn feel like a legitimate danger, not just a one-off villain.

It raises the stakes.

And it leaves you wanting more… even if you’re a little annoyed it cuts off where it does.


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If anything, this finale proves one thing:

👉 Strange New Worlds can go from light, fun, even musical…

…to straight-up intense survival chaos real quick.

And yeah… that whiplash?

Kind of impressive.

The way the season ends ends on a cliffhanger.With the gorns, attacking the ship and everyone’s in danger.And ends on it to be continued.And yes, this gets picked up in the first episode of season three I think this was a clever decision.


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If you want, I can also give you a second segment roasting it harder or one that leans more positive depending on how you want your review tone to hit 😆

Join me as we talk about season 3.