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How Strange New Worlds pulled off the first-ever Star Trek musical episode

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Throwing an hour of light comedy into the middle of a 10-episode arc with galactic-level stakes could derail an entire season, but Star Trek: Strange New Worlds dances gracefully from week to week between courtroom drama, time-travel romance, and its latest wild swing: a musical episode.

In “Subspace Rhapsody,” the crew of the USS Enterprise encounters a strange cosmic phenomenon that induces them to break into song and reveal their innermost feelings. The episode features 10 original songs by Kay Hanley and Tom Polce (of Letters to Cleo fame) and highlights the vocal talents of the cast, including Tony nominee and Grammy winner Celia Rose Gooding and singer-songwriter Christina Chong.

Executive Producer Alex Kurtzman, who heads up the franchise at Paramount, has been teasing the possibility of a Star Trek musical since 2020. But at the time, his only venue for bizarre genre experiments was Star Trek: Short Treks , a short subject anthology series that filled the gaps between Discovery and Picard . Short Treks eventually became the launchpad for Strange New Worlds , whose tone has proven equally elastic. After the warm reception to its first season, which contained everything from a screwball body-swap comedy to a grim political drama involving child sacrifice, it was time to set phasers to “sing.”

According to the episode’s director, Dermott Downs, Chong was the cast member who pushed the hardest for a musical episode. Chong, whose debut EP Twin Flames is also out this week, confesses in her Spotify bio that her screen acting career began as a way to raise her profile as a singer and stage actor. “Subspace Rhapsody” would seem to be an important landmark in her career, as she features heavily on the soundtrack, including the solo ballad “How Would That Feel?”

(Chong is unavailable for comment due to the conditions of the ongoing SAG-AFTRA and WGA strikes, as is the rest of the cast and the episode’s writers, Dana Horgan and Bill Wolkoff. Songwriters Kay Hanley and Tom Polce also could not be reached via Paramount publicity.)

Indeed, one of the interesting challenges of producing a musical episode of an established television show is tailoring the music to suit the talents of the existing cast. Who’s a belter? Who’s a crooner? Who’s funny? Who might not be comfortable singing at all? The tools at hand impact not only the distribution of the songs, but the shape of the story. The narrative and emotional weight of a musical has to fall on the shoulders of the cast members most prepared to carry it.

So, it’s no surprise that, while “Subspace Rhapsody” gives nearly every regular cast member an opportunity to show off, the heart of the story is Ensign Nyota Uhura, portrayed by Celia Rose Gooding. Gooding’s performance as Frankie in Jagged Little Pill , a Broadway jukebox musical featuring the songs of Alanis Morissette, garnered them a Tony nomination for Best Performance by a Featured Actress in a Musical, as well as a Grammy for Best Musical Theater Album (shared with the rest of the cast). Gooding sings the episode’s 11 o’clock number, “Keep Us Connected,” an undeniable earworm that showcases their impressive vocal range and power. Gooding’s Broadway bona fides bring a level of legitimacy to “Subspace Rhapsody” that’s lacking even in top-tier TV musical episodes like Buffy ’s “Once More, With Feeling” and Community ’s “Regional Holiday Music.”

This also isn’t Downs’ first crack at a musical episode, as he also helmed “Duet,” a crossover between The Flash and Supergirl that reunited former Glee castmates Grant Gustin, Melissa Benoist, and Darren Criss. Downs used this experience, as well as his long resume as a music video cinematographer, to secure the “Subspace Rhapsody” gig from the list of episodes in development for Strange New Worlds ’ second season. Combined with his fondness for the original Star Trek , the possibility of working on Trek’s first musical episode was too exciting to pass up, despite the obvious risks.

“There was a great potential to jump the shark,” says Downs, “because if you’re this grounded show, how are you going to do a musical in outer space? And to their credit, they crafted a great story. Once you understand the anomaly and how music pushes forward all of these interior feelings through song, then you have the potential for so many different kinds of songs.”

However, the prospect of singing for the viewing audience was not immediately appealing to every cast member, a fact that is lampshaded within the framework of the episode. Much of the Enterprise crew fears the subspace anomaly’s ability to make them spill their guts through song. Captain Christopher Pike (Anson Mount) is afraid of getting into an argument with his girlfriend, Captain Marie Batel (Melanie Scrofano), and the pair ends up airing out their relationship issues on the bridge. (This song is, appropriately, entitled “A Private Conversation.”) Mount’s singing role is simpler than his castmates’ on a technical level, but leverages his comedic talents and awkward, boy-next-door charm.

“He crushed it,” says Downs. “It was like a country ballad gone wrong.”

Babs Olusanmokun, who portrays the multifaceted Dr. Joseph M’Benga, sings the bare minimum in the episode, and his character makes a point to tell his shipmates (and the viewer) that he does not sing . For his part, Downs cannot comment on any studio magic that may or may not have been employed to make the less seasoned vocalists in the cast more tuneful, but a listener with an ear for autotune will definitely detect some pitch correction.

Downs says that Ethan Peck, who portrays the young Lieutenant Spock , was among the more apprehensive cast members, but if anything, this becomes an asset to his performance in the episode. Spock has spent this season actively exploring his human feelings, even entering into a romantic relationship with Nurse Christine Chapel (Jess Bush). Spock’s solo “I’m the X” sees Spock retreating into his shell, and the actor’s shyness feeds into the character’s conflict. Peck’s performance of the song, which was written for his smooth baritone, was the production’s most pleasant surprise. The temp track of the song that the crew worked with (until Peck recorded his version over a weekend, like the rest of the cast) featured a bigger, more conventionally Broadway vocal, but Peck performs it in character — superficially steady, but with strong emotional undercurrents just below the surface.

On a character level, however, the musical format might be most revelatory for Rebecca Romijn’s Commander Una Chin-Riley, aka Number One. Una began the series as a very guarded person harboring a secret that could end her career. Even as far back as her appearance in the 2019 Short Treks episode “Q&A,” her advice to new arrival Spock was to “keep your ‘freaky’ to yourself,” in this case referring to her love for Gilbert and Sullivan ( inherited from Romijn herself ). Since then, her much more consequential secrets have been revealed, and she finds herself unburdened, and uses the opportunity presented by the musical anomaly to encourage her mentees to do the same. Una’s songs, “Connect to Your Truth”’ and “Keeping Secrets,” see her offering advice to rising first officer James T. Kirk (Paul Wesley) and her protege La’an (Chong), respectively, about the futility of withholding your full self from others.

“Subspace Rhapsody” concludes with an ensemble number about the crew’s common purpose and fellowship — an appropriate sentiment not only for a musical episode but for Strange New Worlds . Star Trek has always been about friendship and cooperation, but no previous incarnation (save, perhaps, for Deep Space Nine ) has granted each member of the cast such even amounts of attention and importance, from Captain Pike to Ensign Uhura. Previous Trek series could perhaps have sustained a musical episode (Ronald D. Moore even pitched one for DS9 back in the ’90s). For a series sold to fans as a return to “old-school Star Trek,” Strange New Worlds has taken some wild creative risks. While the show has resumed its time-tested episodic “problem of the week” format, its writers and producers have used this structure to experiment in ways that its sister shows, Discovery and Picard , could never have gotten away with. As corny as it might be, on Strange New Worlds it feels particularly appropriate to close a story with the entire crew singing about their trust in each other, in perfect harmony.

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Star Trek: Strange New Worlds' musical episode (and the real singers on the Enterprise crew)

After 'Subspace Rhapsody,' we dive into how musical each cast member of Star Trek: Strange New Worlds is.

At this year's San Diego Comic-Con, the Star Trek Universe panel announced that Paramount+ 's Star Trek: Strange New Worlds would receive a musical episode. Luckily the wait was only a few weeks to watch 'Subspace Rhapsody.'

In season 2, episode 9, Uhura and Spock are experimenting on a quantum probability field. A freak accident causes the people onboard the U.S.S. Enterprise to reveal their innermost feelings in song. Though only the starship seems to be afflicted by the musical disorder, it has the potential to spread across the galaxy. So, they must work fast to contain it.

'Subspace Rhapsody' is a fun diversion from your conventional episode that still maintains the core of what Star Trek is. Each cast member does an admirable job, and you would think everyone has some musical talent. That made us curious about which actors had prior experience and which were out of their comfort zones. Here's a brief musical history of the actors of Star Trek: Strange New Worlds.

Anson Mount (Captain Christopher Pike)

Anson Mount has spread his acting career throughout television, film, and theater. In theater, he always performed in plays and never had the chance to share his voice in a prior musical. In an interview with Collider promoting the series Hell on Wheels, the interviewer asked whether he sings. The actor responded, "A little bit. Mostly people pay me not to sing, but I could learn."

After becoming Captain Pike in Star Trek: Discovery, Mount shared during a panel at the Great Philadelphia Comic Con in 2019 that he had a singing part in the second episode of season two entitled 'New Eden.' When the crew meets with human inhabitants of a distant planet, his character sings an old church hymn, 'Let Us Break Bread Together.' The actor even asked for a voice teacher for the part. But for story reasons, the scene was eventually cut. He would have to wait until 'Subspace Rhapsody' for others to see him finally sing on Star Trek.

Celia Rose Gooding (Nyota Uhura)

Celia Rose Gooding is a big reason Uhura plays a significant role in 'Subspace Rhapsody.' They are a talented singer who broke out as Mary Frances 'Frankie' Healy in the rock and roll musical Jagged Little Pill. They earned a Grammy award and a Tony nomination for the performance. They studied dance at the Alvin Alley Institute in New York City and majored in musical theater at Pace University before dropping out due to Jagged Little Pill obligations.

Melissa Navia (Erica Ortegas)

Helmsman Erica Ortegas is one of the breakout characters of Star Trek: Strange New Worlds due to Melissa Navia. In addition to acting, she is a writer and stand-up comedian. No wonder she hits Ortegas's one-liners and zingers. She grew up as a musical theater kid. In an interview with IRK Magazine , she mentions one of her earliest leading roles was as Peter Pan when she was younger. Despite many adult projects not needing song and dance, Navia still looks right at home in the musical episode.

Ethan Peck (Lieutenant Spock)

Entertainment runs in Ethan Peck's family as his grandfather and father were both actors. It's no surprise that he began his career as a child actor with his early roles, including parts in the made-for-TV movie Marshal Law and Passport to Paris, which starred the Olsen twins. Though none of his prior projects required any musical talent, he did appear in the music video for 'I Want You to Want Me' by KSM. The video was for the television series 10 Things I Hate About You. Peck also studied classical cello for six years when he was younger.

Christina Chong (La'an Noonien-Singh)

Christina Chong started dancing at the age of four. She initially studied at the Sutcliffe School of Dance in Longridge, England, then attended the Italia Conti Academy of Theater Arts in London beginning at 14. After graduating from the academy, she received a role in the musical Aida, which featured songs from Elton John and Tim Rice. An injury shortened her musical theater career, so she turned to acting. Chong proves she still has it in the Star Trek: Strange New Worlds' musical episode.

Carol Kane (Pelia)

The newest main addition to Star Trek: Strange New Worlds is Chief Engineer Pelia. Her actress, Carol Kane, has a long career in entertainment as an actor. She has also received an Academy Award nomination for best actress for the film Hester Street and earned two Oscar awards for her work on the sitcom Taxi. But did you know she has musical experience as well? She played Madame Morrible in Wicked during the first national tour and later on Broadway. For someone who is most known for her comedy, Kane is a sneaky musical ringer for "Subspace Rhapsody."

Jess Bush (Nurse Christine Chapel)

Jess Bush's first television appearance was as a contestant on the seventh season of Australia's Next Top Model. She later pursued acting in the Australian soap opera Home and Away and having a recurring role in the drama series Playing for Keeps. Playing Nurse Chapel on Star Trek: Strange New Worlds is her first international role. She might not be a singer, but she has other talents. She is a visual artist who has been selling her work since age 19, and she even designed some of the jewelry her character wears in the series.

Babs Olusanmokun (Doctor Joseph M'Benga)

The one crew member who isn't a slight bit amused with all the musical shenanigans is Doctor M'Benga. Compared to the other characters, he seems to sing the least. Looking through Babs Olusanmokun's filmography and history, there don't appear to be any roles that called for musical ability. That's okay because we saw one of his other talents front and center in the previous episode 'Under the Cloak of War." Olusanmokun utilized his championship Brazilian Jui-Jitsu skills in a sparring scene with Ambassador Dak'Rah.

Rebecca Romijn (Una Chin Riley/Number One)

Rebecca Romijn was first known as a supermodel before she transitioned into acting. She had geek cred even before Star Trek. Her first film role was as the mutant Mystique in the X-Men films of the '00s. Romijn has also dabbled in singing. She covered the Prince song 'Darling Nikki' for the 2005 album Electro Goth Tribute to Prince and featured on 'Color Me Love' on RuPaul's eighth studio album Realness. More recently, as cohost of The Real Love Boat, she sang the iconic theme song of the '80s show, which the reality romance television series is based on during the opening credits alongside her real-life husband, Jerry O'Connell.

Paul Wesley (Lieutenant James T. Kirk)

Before he was Lieutenant Kirk in Star Trek: Strange New Worlds, Paul Wesley is probably best known for his role as Stefan Salvatore in The Vampire Diaries. Due to the popularity of the series, he was a regular on the convention circuit featuring in many panels. You can search for videos of the various panels and find where the actor sings, including a viral video where he and The Vampire Diaries co-star Ian Somerhalder rap Vanila Ice's 'Ice Ice Baby.' However, these instances are all for fun to entertain the attendees in the audience. You'll have to dive deep into his filmography to find a role where he professionally sang. In the season 2, episode 11 of the legal drama Shark entitled 'Shaun of the Dead,' Wesley plays the lead singer of a rock band. There is a scene where the character performs onstage at a bar, and you can hear Wesley sing a few lines.

For more on Star Trek and how to understand it all, we have a comprehensive Star Trek watch guide .

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Star Trek: Strange New Worlds’ Musical Episode Songs, Ranked

Of course, as we’re going to discuss the songs and their context in the episode, if you’ve not yet seen “Subspace Rhapsody” consider this your final curtain call…

10) “Connect to Your Truth”

Una and Lieutenant Kirk are a fascinating pairing for a musical number, but this song is maybe the only real duff note in the whole episode, unfortunately. It’s just a bit too… twee, which is awkward for two characters who are anything but twee. Oddly, it’s a song that feels more about being in a musical in a fake way, rather than the actual songs in the soundtrack about being in a musical.

9) “Keeping Secrets”

Giving La’an and Una a song together makes a ton of sense—they’re consistently one of the more explored relationships on the show, and putting it through Una’s perspective lets her reflect on her own journey this season that puts a warm lens on her connection to La’an. It’s just a little sedate for a song that’s meant to be imploring people to trust each other and not be so guarded, never quite getting to the moment it wants to build to as an emotional release.

8) “Private Conversation”

The real shame here is that this doesn’t go on longer—there’s a great little tit-for-tat in the vibe here between Anson Mount and Melanie Scrofano. It just gets cut off as it’s getting really good, and it’s such a shame… even though Captain Pike appreciates the save.

7) “ Strange New Worlds Main Theme (Subspace Rhapsody Version)”

Maybe it’s cheating to put the title theme on here, but hey, they did a special a capella version, so it is technically it’s a new song for the episode! And it’s very good, mostly because the Strange New Worlds theme is already very good.

6) “I’m the X”

Giving Spock a reserved, almost mournful rumination on his relationship with Chapel falling apart is a great idea, especially as this is arguably the turning point in the character’s arc towards the one we know in the original Trek . But it’s also a very Spock song—starting off almost clipped and reserved before he gets to really bare his heart and sing, no longer able to hold his emotions in. The few equation puns in the lyrics are just icing on the cake.

5) “Keep Us Connected”

Celia Rose Gooding is a remarkable vocalist, and they get to really belt out some notes in Uhura’s reflective solo piece about her role as the glue that keeps the Enterprise crew together being their comms officer. Also maybe the first and only time someone in Star Trek is going to sing about their entire family violently exploding in a shuttlecraft accident, and that’s kind of amazing.

4) “I’m Ready”

I would say most of the songs in “Subspace Rhapsody” are great, but Nurse Chapel’s lounge number about realizing she’s willing to put aside her feelings for Spock to pursue her career dreams is where the episode really clicked into place for me. Some great choreography, a great performance by Jess Bush—the moment she sings “If I need to leave you/I won’t fight it” and realizes what she’s just said to Spock is a great little character beat. This one’s got the drama in ways few of the other tracks do.

3) “How Would That Feel”

Christina Chong alongside Gooding is the other really strong vocalist of the cast, and that’s on full display here in this power ballad/I want song. It’s perfect for La’an, this steady build up as she breaks her own walls down to yearn for what she could be if she opened herself to others. And how much she wants to sleep with Jim Kirk, of course.

2) “Status Report”

The first proper song of the episode is one of its best because it’s the only song that actually plays with Star Trek logic and language on the whole soundtrack—pretty much all of the other tracks are emotional, character-driven songs. It’s such a clever way of watching the premise of the episode wrap itself around the characters, as they try to do what any good Star Trek character would do in this situation: investigate and analyze.

And those harmonies at the end? Mwah . Wonderful.

1) “We Are One”

It’s almost unfair to put anything else—the triumphant ensemble piece is the joyous climax of “Subspace Rhapsody” and everyone gets a little moment to shine, as Uhura guides her chorus to freedom. It’s got a little bit of everything, some nice harmonies, a good chance for everyone to get a moment of their own, and some great jokes, especially for Spock getting increasingly grumpy.

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Let’s Rank the Songs of ‘Strange New Worlds’ Musical Episode, ‘Subspace Rhapsody’

At last, the Star Trek: Strange New World s musical episode is here! TMS’ Lauren Coates has us covered with a review of “Subspace Rhapsody” as a whole, but I’m here to talk specifically about the music . After all, a musical is judged by how likely you are to keep singing and listening to the songs long after the show is over. At least, that’s how I rate musicals.

So, how does the music stack up? Allow me to provide a humble ranking of the songs from “Subspace Rhapsody” from least to most awesome. Feel free to disagree with me about the order in the comments!

10. “ How Would That Feel ” – La’an Noonien-Singh (performed by Christina Chong)

Sadly, my least favorite song was performed by one of the characters I was most looking forward to hearing from.

La’an’s going through a lot: she traveled through time, she’s not supposed to talk about it, and she had romantic feelings for a version of Kirk who is now dead. She’s also one of the more guarded members of the crew, due to her harrowing experience with the Gorn and the assumptions people make from her last name. I was sure we wouldn’t hear from La’an for a while, but when we did, it would be meaningful .

Instead, we got a La’an song way too early, singing feelings I’m not convinced she’d sing, even on her own. Especially since she had the self-control not to sing when revealing her actual strong feelings to Kirk later in the episode. Imagine how much more powerful Kirk’s rejection would’ve been if it followed a heartbreakingly honest musical confession. Instead, we were served an emotionally incoherent, lyrically generic ballad way too early in the episode.

9. “ Keeping Secrets ” – Una Chin-Riley (performed by Rebecca Romijn)

Una Chin-Riley is another character who’s way more fascinating than the songs she was given. Unfortunately, Una’s two numbers in the episode are among the weakest. “Keeping Secrets” is the weaker of the two, as Una commiserates with La’an by comparing her unrequited love of Kirk to … her own battle to keep her identity a secret to avoid persecution? Una, all secrets are not equal. And in this context, Number One doesn’t know the timey-wimey reasons why La’an’s feelings for Kirk are so complicated. So, the fact that her approach is this serious in this song makes little sense.

I’d be able to forgive that if the music or lyrics were more interesting, but like “How Would That Feel,” this was another plodding, generic ballad during which I found myself checking my phone.

8. “ Connect to Your Truth ” – Una Chin-Riley and James T. Kirk (performed by Rebecca Romijn and Paul Wesley)

“Connect to Your Truth” was a stronger song for Number One, not only because it was a fun callback to her love of Gilbert & Sullivan—which she expressed in the Short Treks episode “Q&A” —but because it was a duet with a James T. Kirk who is not yet a captain. This allowed Una to give Kirk advice on how to be a better leader by staying true to who you are and connecting to your crew through vulnerability.

Also, this song was fun , which goes a long way. While this song is only slightly better than the first two songs on this list (and it’s probably the cheesiest song in the episode), both Romijn and Wesley seemed to be having a great time singing it. The song also makes sense on a character level as well as thematically.

7. “Main Title (“Subspace Rhapsody” Version)” – composed by Jeff Russo

I love when a themed episode of a TV show goes to the trouble of creating something different for the opening title sequence. SNW already did this once with a Lower Decks -inspired opening for “Those Old Scientists.” For “Subspace Rhapsody,” composer Jeff Russo orchestrated a boppy, choral version of the opening theme that will give you chills.

Hearing this version in the trailer truly got me excited about watching the episode! Literally the only reason for its “low” placement on this list is that it’s an instrumental and not really a “song,” but it needed to be on here!

6. “ Private Conversation ” – Christopher Pike and Marie Batel (performed by Anson Mount and Melanie Scrofano)

“Private Conversation” is a fun and hilariously awkward moment between two characters who are still trying to figure out what their romantic relationship looks like long distance.

Before any of the singing starts, we know that Pike and Batel have been discussing taking a vacation together. As Batel shares her preferred destination, it’s clear that Pike isn’t into it. But rather than being upfront about it, he deflects. Then, despite being so not thrilled about the singing, Pike is forced to reveal how he feels in song when Uhura patches a call from Batel to him on the bridge.

Hearing them both absolutely hate that they’re being compelled to sing while also having an awkward lovers’ squabble in front of subordinate crew members was an absolute delight.

5. “ Status Report ” – Enterprise Crew (performed by the SNW Cast)

“Status Report” understood the assignment, and is a perfect opening number for a Star Trek musical. It manages to sound very Trek (technobabble and all), while also sounding like a true musical number. Every cast member takes part in the number in a way that is true to their character. The song is a perfect, fun, and funny introduction to the unique nature of the problem: there’s nothing technically “wrong” on the ship, and yet there’s something very, very wrong on the ship.

I mean, just look at Pike’s face above. He really, really hates that this is happening, and I love it so much .

4. “ I’m the X ” – Spock (performed by Ethan Peck)

This darker, angrier reprise to Nurse Chapel’s song (which is slightly higher up on the list) is not only a perfect song for Spock at this point in his life, but it marks the beginning of the more stoic Spock that we (and Boimler) will come to know in the future. Freshly dumped by his fiancée, Spock learns that the woman he basically left her for has no qualms about leaving him to take a fellowship. So Spock decides that the only way to handle this is to put away emotions entirely . Oh, Spock. You adorable stupid jerk.

And leave it to Spock to sing a song about emotions and romantic relationships that uses math as a metaphor. I mean, it’s no “ The Math of Love Triangles ” from Crazy Ex-Girlfriend , but it is more accurate about math.

3. “ I’m Ready ” – Christine Chapel (performed by Jess Bush)

Thankfully, not all the women of the cast got sub-par songs to work with. “I’m Ready” has the distinction of being the only song in the episode that truly works both as a song for Chapel (in the context of the story) and as a completely standalone song that I cannot wait to hear someone crush at karaoke.

It’s also a great song musically and has a fun, flirtatious energy. Not flirty as in “with a person,” but flirting with the possibilities of life. And I love that the song subverts TOS Chapel, whom we see pining after Spock all the time. “I’m Ready” gives us a Christine who has feelings for Spock, but is more in love with her own future. Like Billie Eilish .

2. “ We Are One ” – Enterprise Crew (performed by the SNW Cast)

“Subspace Rhapsody” came out of the gate strong with a solid opening number, and it ended strong with a finale as optimistic as Star Trek is at its best. Of course the solution was going to be that we need more voices singing . Of course the solution was going to come from Uhura, Trek’s Queen of Communication. And of course, Uhura was going to highlight that music isn’t just about expressing one’s bad or secret feelings, it’s about expressing the good ones too!

She rightfully points out that cultures throughout history have used songs to celebrate and engage in communal activities, and she reminds the Enterprise crew that they are always at their best when they work together. “We Are One” ended the episode on a joyful note that made me proud to be a Trekkie.

1. “ Keep Us Connected ” – Nyota Uhura (performed by Celia Rose Gooding)

The clear standout of the episode is Uhura’s passionate ballad, “Keep Us Connected.” This song is an emotional roller coaster, and it was the one song in the episode that made me cry.

First, it honored a Trek legacy character whose contributions can never be praised enough. Second, it was deeply personal for Uhura, charting her journey from experiencing the death of her family at a young age to making a career out of bringing people together, giving her a depth that she’s rarely been given elsewhere. And third, because this song resonates on the same level as Encanto ‘s “Surface Pressure,” relatable to every woman who’s ever felt the pressure of, and recognized the strength required for, the invisible labor in which they so often engage in to care for others.

And Gooding performs the song brilliantly. They have an amazing voice, and while it took the entire cast to make me feel this strongly during the opener and the finale, Gooding was the only cast member able to elicit this level of emotion all on their own. I loved that what started as a song of grief and self-pity turned into Uhura recognizing that her ability to help others communicate is a gift. And in recognizing this gift, they arrive at the solution that saves the Enterprise from being a forever musical.

I will be listening to this song on a loop all weekend. You can, too, as the soundtrack for “Subspace Rhapsody” is available wherever you stream music.

(featured image: Paramount+)

‘Star Trek’ made its first ever musical episode, but was it any good? Our writers discuss

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This article contains spoilers for “Subspace Rhapsody,” the ninth episode of Season 2 of “Star Trek: Strange New Worlds .”

On Thursday, “Star Trek: Strange New Worlds” (Paramount+) debuted “Subspace Rhapsody,” which has been announced as the first musical episode in the franchise . (Some will, of course, remember Spock strumming on a Vulcan lute and Uhura singing in the original series or Data’s rendition of “Blue Skies” at Will and Deanna’s wedding in “Star Trek: Nemesis.”)

Whether or not one views this as an insult to or a delightful expansion of the series, it has become, if not quite de rigueur, not unusual for a comedy or drama or even a soap opera to get its inner “Rent” on. “Buffy the Vampire Slayer” was perhaps the most ballyhooed show to take this step toward Broadway, but all sorts of series have danced into the footlights: “Fringe,” “Psych,” “Xena: Warrior Princess,” “Futurama,” “One Life to Live,” “Grey’s Anatomy,” “Community,” “Transparent” and more.

Entertainment and arts reporter Ashley Lee, who knows a lot about musicals but little about “Star Trek,” and television critic Robert Lloyd, who knows quite a bit about “Star Trek” and less about musicals (at least any written after 1970), got together to discuss the episode.

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Oct. 28, 2021

Ashley Lee: Because I love musical theater, I’m always intrigued when TV shows take the risk to make a musical episode. The task of creating original songs for the screen is already tricky enough, especially in a way that invites along the show’s weekly audience and still moves its stories forward. And then there’s the task of asking the actors to perform them, whether or not they’ve ever sung or danced onscreen before. It’s an episodic experiment that, over the years, only some shows have gotten right.

I admittedly put on the musical episode of “Star Trek: Strange New Worlds” with low expectations because, outside of “Little Shop of Horrors,” putting sci-fi to song hasn’t historically been so harmonious (R.I.P., “Spider-Man: Turn Off the Dark”). Even though I had no prior connection to any of these characters, I found “Subspace Rhapsody” to be a pleasant surprise.

I loved how the songs, written by Kay Hanley and Tom Polce of the ’90s alt-rock band Letters to Cleo, poked enough fun at the oddity of suddenly breaking out into song without insulting the TV tradition. And I found it hilarious that the episode, directed by Dermott Downs and written by Dana Horgan and Bill Wolkoff, deemed “confessing highly personal, emotional information” a legitimate security threat. (When you think about it, such can definitely be true in the real world!)

I’m surprised that, after all these years, this is the first ever “Star Trek” musical episode. Robert, as a longtime fan of the franchise, were you open to the idea?

Robert Lloyd: In sci-fi fandom, any unusual step is bound to raise some hackles. But as a TV critic since before flat screens, I have seen at least a few of these “special musical episodes” mounted in otherwise nonmusical series. I suspect the impetus came not from viewer demand but from the producers or the writers, who are always looking for something new to entertain the audience and, not incidentally, themselves and was seized upon happily by cast members, many of whom will have had backgrounds in or at least a love of musical theater, even if only from their high school production of “Guys and Dolls” (which I mention because it was produced at my high school — not with me).

History shows there’s no sort of show more likely than another to take on this challenge, but of all the “Star Trek” series, “Strange New Worlds” is perhaps the one most amenable to it. It’s got a strong vein of humor, and, as a highly episodic show, it’s subject to — in fact, embraces — tonal shifts from week to week. This season has been particularly … goofy? Two weeks prior to “Subspace Rhapsody,” they aired a crossover with the animated spinoff “Star Trek: Lower Decks,” in which cartoon characters became flesh and fleshly characters cartoons.

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I thought it was smart to give the musical element of the show a “scientific” rationale — if the usual “Trek” technobabble — with the Enterprise overwhelmed by feedback from a substance fault into which, on the inspiration of Carol Kane’s Pelia, they sent a playlist in an attempt to communicate musically.

And it’s quite appropriate for a season full of romantic subplots, including Ethan Peck’s Spock — who, you must know, is more about logic than feeling — having a thing with Jess Bush’s Nurse Chapel, and security chief Noonien-Singh’s (Christina Chong) awkward reunion with a young James T. Kirk (Paul Wesley), who doesn’t recall their relationship from an alternative timeline. (That bit may have made no sense to you, Ash.) Appropriately, the story makes it clear that heightened emotion is what causes the characters to sing — which is, of course, the underlying rationale of music theater.

All else aside, how did the music strike you? It was odd that although the music they fed into the fault was the “Great American Songbook” — the standards of early to mid-20th century popular song, often written for musicals — none of the songs in the episode were actually modeled on that tradition. Not much in the way of Jerome Kern or Rodgers and Hart there. It all sounded post-Andrew Lloyd Webber to me.

Lee: Haha, you’re right! While I did appreciate the use of Cole Porter’s show tune “Anything Goes” as a very literal cue to the audience of the storytelling “rules” ahead, many of the tunes were more contemporary than Golden Age. The one that’s most “vintage” in style was the sweet duet “Connect to Your Truth,” when Una Chin-Riley (Rebecca Romijn) shared key leadership advice with Lt. Kirk.

Regarding the romances, I admittedly became deeply invested in these will-they-won’t-theys by the end of their musical numbers. I particularly loved La’an Noonien-Singh‘s song “How Would That Feel,” about contemplating vulnerability; it was like an introspective, angsty version of “Company’s” “Being Alive” in the musical style of “Wicked” (and is a promising preview of her music — Chong just released a debut EP). And the stark differences in genre between Spock’s brooding electropop ballad “I’m the X” and Nurse Chapel’s Amy Winehouse-esque fellowship celebration “I’m Ready” definitely maximized the tension amid their miscommunication.

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Beyond those, the opening number titled “Status Report” was so strong — a perfect example of musicalizing a familiar routine of the world (think “Opening Up” from “Waitress” or “Good Morning Baltimore” from “Hairspray”) — and the choral, orchestral rendition of the show’s main title was a delight. Also, the double meaning of communications officer Nyota Uhura’s anthem “Keep Us Connected” was very satisfying and, in my opinion, only scratched the surface of Celia Rose Gooding’s vocal abilities (she earned a Tony nomination for her performance in “Jagged Little Pill”).

If “Star Trek” ever officially makes the leap to the stage, I imagine these three songs in particular would transfer well. (Though if so, I’m gonna need a full expansion of that brief interlude of autotuned, rapping Klingons.) Bravo to Hanley and Polce for writing all the music and lyrics of this episode; while many have attempted it over the years, only a few pop stars and rockers have successfully walked the tightrope of writing effective and entertaining stage musicals (e.g., Cyndi Lauper, David Byrne and Elton John).

Overall, did you enjoy “Subspace Rhapsody”? Was the first musical episode of the franchise worth the wait?

Lloyd: I can’t say I was waiting for it, but I certainly enjoyed it. I’m all about nutty “Star Trek,” going back to “The Trouble With Tribbles,” and also found it a really effective way to embody the emotional crises being faced by “Strange New Worlds’” eminently likable characters. Certainly, the cast bursting into song (and the occasional dance), with music dropping in from … somewhere, is no more nonsensical than about, oh, a hundred things that have happened to the various starship crews over nearly six decades.

But let me ask you, did it make you liable to keep watching the series? (No judgment.)

Lee: Robert, these subplots were so genuinely compelling, even when concisely moved forward in song, that I’ll likely start this series from the beginning and continue on past this episode. Plus, I’m so intrigued by Lt. Kirk and Noonien-Singh’s romance in that alternate timeline!

‘Star Trek: Strange New Worlds’

Where: Paramount + When: Anytime, starting Thursday

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Ashley Lee is a staff reporter at the Los Angeles Times, where she writes about theater, movies, television and the bustling intersection of the stage and the screen. An alum of the Eugene O’Neill Theater Center’s National Critics Institute and Poynter’s Power of Diverse Voices, she leads workshops on arts journalism at the Kennedy Center American College Theater Festival. She was previously a New York-based editor at the Hollywood Reporter and has written for the Washington Post, Backstage and American Theatre, among others. She is currently working remotely alongside her dog, Oliver.

Robert Lloyd has been a Los Angeles Times television critic since 2003.

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Star Trek: Strange New Worlds Season 2 Soundtrack

• Action TV Series , Adventure TV Series , Apple TV , Canal+ , Claro TV+ , Crave , CTV , Paramount+ , Ruutu , Sci-Fi TV Series , SkyShowtime , Strim , TV Series , TV2 Play , TVNZ+

Season 2 • Episode 1: ‘The Broken Circle’ (S02E01)

Season 2 • Episode 2: ‘Ad Astra Per Aspera’ (S02E02)

Season 2 • episode 3: ‘tomorrow and tomorrow and tomorrow’ (s02e03), season 2 • episode 4: ‘among the lotus eaters’ (s02e04), season 2 • episode 5: ‘charades’ (s02e05), season 2 • episode 6: ‘lost in translation’ (s02e06), season 2 • episode 7: ‘those old scientists’ (s02e07), season 2 • episode 8: ‘under the cloak of war’ (s02e08), season 2 • episode 9: ‘subspace rhapsody’ (s02e09).

Season 2 • Episode 10: ‘Hegemony’ (S02E10)

Category: Action TV Series , Adventure TV Series , Apple TV , Canal+ , Claro TV+ , Crave , CTV , Paramount+ , Ruutu , Sci-Fi TV Series , SkyShowtime , Strim , TV Series , TV2 Play , TVNZ+

IMDB: Star Trek: Strange New Worlds

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Star Trek: Strange New Worlds - Did The Actors Actually Sing In The Musical Episode?

From "Riverdale" to "My Crazy Ex-Girlfriend," musical numbers in television shows have become more commonplace than ever. "Star Trek: Strange New Worlds" was the next to attempt such a feat, and to great success. In an episode aptly named "Subspace Rhapsody," the crew of the Enterprise encounters an anomaly that ultimately causes a rip in space-time. Naturally, this results in an alternate reality where everyone bursts into song.

The plan for this musical episode stretches back as far as Season 1 of "Star Trek: Picard" and finally comes to fruition near the end of Season 2 of "Strange New Worlds." The cast is full of talented singers, some of whom are musicians in their own right. Christina Chong, who plays La'an Noonien-Singh , debuted one of her singles, entitled "Twin Flames," in a previous episode. Before she played Uhura, Celia Rose Gooding earned a Tony nomination for the Broadway show "Jagged Little Pill." 

One of the biggest surprises, however, comes from Ethan Peck, who plays a younger Spock in the series. Showrunner Akiva Goldsman was shocked to learn of the actor's talents, on top of his prowess as the half-human, half-Vulcan science officer. "Our composer played with all of them to see what their range was, and we wrote for them. I mean, I didn't know Ethan could sing ..." Goldsman relayed to Variety . "Which is, by the way, kind of what happens when you watch the episode. You're like, 'Wait, Spock is singing now?'"

Star Trek is no stranger to out-of-the-box thinking

Star Trek has the virtue of throwing its characters into surprising situations, and this isn't even the first time that "Strange New Worlds" has done this. Earlier in Season 2, Jonathan Frakes directed the "Lower Decks" crossover episode. The animated series originally hails from CBS and stars Jack Quaid as Ensign Brad Boimler. He and Ensign Beckett Mariner (Tawny Newsome) are given the live-action treatment in "Strange New Worlds," which does not hold back. This is an apt precursor to the musical episode, which pulls out all the stops. 

During the final moments of the episode, the fearsome Klingons have their own musical sequence that is more than surprising. The creatives behind the series did two versions of the song, unsure of which would play best. "We did an operatic [musical number] which was also great because the Klingons have a history with that. And it was also good," executive producer Henry Alonso Myers reflected to Variety. However, the song in the episode won out, and the Klingons do their version of a pop boy band. Myers continued, "The boy band took you by surprise. It was not what you thought was going to happen. I'm delighted by it." 

The episode cultivates humorous moments such as these and heartbreaking songs that hammer home themes of loneliness, making it as well-rounded as any musical on screen.

Screen Rant

Strange new worlds actors reveal cut star trek musical finale moment & why spock dances.

Star Trek: Strange New Worlds' Ethan Peck, Celia Rose Gooding, and Christina Chong drop some BTS about the musical episode's grand finale number.

• Star Trek: Strange New Worlds' musical episode concludes with a grand finale showcasing the power of unity and camaraderie among the crew.
• Lt. Spock's logical decision to dance in the musical finale helps boost subspace rift's 'improbability levels,' aiding the crew in saving the galaxy.
• A bonding moment between Uhura and La'an highlights the ensemble's support for each other, showcasing a sense of solidarity and friendship, but it was cut from the episode.

Star Trek: Strange New Worlds ' Celia Rose Gooding and Christina Chong reveal a cut moment from the finale of the first-ever Star Trek musical, and Ethan Peck explains why Lt. Spock decided to dance in the closing musical number, "We Are One." Strange New Worlds season 2's acclaimed musical episode, "Subspace Rhapsody," was written by Dana Horgan and Bill Wolkoff and directed by Dermot Downs. All of the songs were composed by Kay Hanley and Tom Polce from Letters to Cleo. The musical required the entire cast of Star Trek: Strange New Worlds to sing and dance, and everyone embraced the musical with gusto.

In Star Trek: Strange New Worlds' musical episode, a subspace rift created a reality defined by the rules of musicals that threatened to engulf the entire galaxy. Meanwhile, aboard the USS Enterprise, Captain Christopher Pike (Anson Mount) and his crew unwittingly express their deepest feelings and emotions through songs. Ensign Nyota Uhura (Celia Rose Gooding) deduced that to close the subspace rift, the crew of the Enterprise needed to perform a grand finale, and every single person aboard the starship joined in for the big finish musical number, "We Are One."

Star Trek Strange New Worlds Musical Episode Ending Explained

Star trek: strange new worlds' musical cut a moment from the grand finale, celia rose gooding explains a missing moment from the musical episode..

In an interview with TV Insider, Celia Rose Gooding and Christina Chong reveal that there was a bonding moment between Ensign Nyota Uhura and Lt. La'an Noonien-Singh that was cut from the final version of Star Trek: Strange New Worlds ' musical episode 's finale number, "We Are One." Read their quotes below:

Celia Rose Gooding: La’an and Uhura had a little handshake moment that we made up on the spot. Christina Chong: We did! Celia Rose Gooding: We did, but that didn’t make it. But in my mind, there was something so beautiful about that after we finished the song. Our instinct was first to just celebrate one another, and then get back to work. I think that is such a nod to our routine as an ensemble to just check on each other and really boost each other up because we’re doing something that some characters are not super comfortable with and that isn’t their instinct to burst out into song. And so that final moment of camaraderie - of course, it had to be shrunk down for the nature of TV - but in my perfect world, there’s an edit of five minutes of everyone just giving each other compliments.

"We Are One" was a catharsis for the crew of the Starship Enterprise. For La'an, the Strange New Worlds musical's finale reaffirmed her decision to be more open with her feelings, even after her confession that she is attracted to Lt. James T. Kirk (Paul Wesley) didn't go as she had hoped. Meanwhile, Uhura realized that her role in keeping the crew of the Enterprise connected was a gift, and it empowered her to save the ship. Both La'an and Uhura shed their old inhibitions and took steps forward to becoming happier people .

Watch the full TV Insider interview with Star Trek: Strange New Worlds' cast below:

Why Spock Dances In Star Trek: Strange New Worlds' Musical Finale

Ethan peck knew spock would only dance when it was logical to dance..

Ethan Peck also explained Lt. Spock's decision to dance in Star Trek: Strange New Worlds ' grand finale, "We Are One." Peck, who understands Spock like Leonard Nimoy did , needed a logical justification for Spock to dance , and he found out. Read Peck's quote below:

Ethan Peck: There was a moment there in that finale where life really imitated art. I mean, that happens so frequently, but never so closely together as in that moment. Spock doesn’t get to participate because, obviously, he doesn’t want to be dancing. I spoke with Dermot, the director, about it. How would Spock dance? Well, I guess he has to to get that meter maxed out so we can break out of the musical reality. And he would do it for that, and so he joins in for the very end of it. So I felt like kind of an outsider. I join in at the very end of that whole sequence. And then Chapel and Spock are sort of on rough terms, and I remember its ending. We had this joyous moment, and then we have kind of a broody look to each other. So my experience was a little bit different from some of the other cast members.

Lt. Spock dancing in Star Trek: Strange New Worlds' musical finale did boost the subspace rift's 'improbability levels ', and helped put the Starship Enterprise crew over the top. Unlike Uhura and La'an's moment, the final cut of Star Trek: Strange New Worlds ' musical included the awkward moment between Spock and Nurse Christine Chapel (Jess Bush) after the couple ended their relationship through song. What happens next between Spock, Chapel, and the crew of the USS Enterprise in Star Trek: Strange New Worlds season 3 remains to be seen, although it won't include another musical episode. (At least not in Star Trek: Strange New Worlds season 3.)

Source: TV Insider

Star Trek: Strange New Worlds is available to stream on Paramount+

Star Trek Is Ending Another Show — But Just Renewed Its Biggest Hit

The foundational sci-fi franchise is consolidating.

2024 will see the series finales of not one, but two different distinct Star Trek series. In addition to the swan song of Discovery , it's now been revealed that Lower Decks will have its final season this year, too. At the same time, the most popular Star Trek series since The Next Generation — Strange New Worlds — will continue for at least two more seasons. If you're a casual fan, this announcement will likely be a shoulder shrug. If you’re a diehard Trekkie, you’re probably devastated.

As revealed on the official Star Trek website, the animated comedy Star Trek: Lower Decks will air its fifth season later in 2024, which, will become its finale. Simultaneously, the hit series Star Trek: Strange New Worlds — which is currently filming its third season — has been renewed for a fourth season. So, is Lower Decks really done? How long will Strange New Worlds last? And is the Star Trek TV renaissance over? Here’s what this (probably) means for the future of the Final Frontier.

Lower Decks comes to an end

Lower Decks is ending with Season 5, later in 2024.

Over on StarTrek.com, Lower Decks creator Mike McMahan and producer Alex Kurtzman issued a joint statement , confirming that “this fall will be the fifth and final season of Star Trek: Lower Decks .” Tellingly, this statement mentions that “five seasons of any series these days seems like a miracle.”

While fans are already raging about this ending, it’s worth remembering that Mike McMahan warned fans about this very real possibility in 2023. In an interview with Inverse in October 2023, McMahan made it very clear how and why Lower Decks could end, saying:

“If people want more Lower Decks , they’ve got to tune in and get a couple of other people to tune in. So instead of a letter-writing campaign, let’s all watch Lower Decks right away, please. I’m working on Season 5 right now, but by the time people realize Lower Decks has been canceled, it will be too late. We do these seasons a year in advance. So the only trick here is early and consistent viewership. That will help me make more Lower Decks .”

For all of its philosophical musings about an ideological future, Star Trek is not a nonprofit organization. The reality is, in terms of streaming numbers, it would seem that Lower Decks simply didn’t find a broader audience beyond the core group of Trek fans who watch everything. “It’s not the largest fan base,” producer Akiva Goldsman told Variety earlier this year, noting that Star Trek’s numbers are not on the level of Star Wars or Marvel. McMahan’s comment about “getting a couple of other people to tune in,” seems to support this idea. Just like in every other previous decade — and just like any other media empire — Star Trek needs mainstream crossover success to sustain multiple TV series. It is not Lower Deck’s fault that it didn’t find that mainstream crossover audience.

Strange New Worlds rising

The crew of the Enterprise in the Season 2 finale of Strange New Worlds .

Since 2022, the debut of Strange New Worlds has represented a kind of shift for the new era of Trek on TV. If Discovery Seasons 1-3 and Picard Season 1 were Phase I, then Strange New Worlds definitely represented Phase 2. More colorful, more buoyant, and — crucially — more accessible than its immediate predecessors, Strange New Worlds is a back-to-basics Star Trek show, that is also somewhat unapologetic about its format. Unlike most of the other shows, Strange New Worlds is mostly episodic; you can skip episodes and not feel confused. This format describes most of TV prior to the end of the 20th century, but it also highlights what kept The Original Series alive in the 1970s, after it was canceled in 1969, and, also what made The Next Generation into a bonafide mainstream hit in the 1990s. In short, the Trekkie barrier to entry is less intimidating with Strange New Worlds than with any of the other new shows.

Cynics might say that Strange New Worlds plays it safe, and that’s why it’s so much more popular than the other new shows. But Strange New Worlds actually takes a lot of risks, including, but not limited to, a musical episode , an animated crossover episode, and an ongoing, radical reimagining of one of Trek’s most iconic aliens . The cocktail that is working with SNW is fairly easy to understand: It’s a risky show disguised as a familiar one. It looks like Star Trek and feels like Star Trek to a casual fan, but rewards and validates a longtime fan, too.

The future of Star Trek on TV

Ethan Peck as Spock in a preview scene from Star Trek: Strange New Worlds Season 3.

Will Strange New Worlds last beyond its now greenlit Season 4? Right now, that seems very likely. Other than SNW , the only other new Star Trek series currently in production is the YA live-action series Starfleet Academy . Interestingly, Tawny Newsome — the voice of Mariner on Lower Decks — is in the writers’ room for Starfleet Academy, indicating that the Lower Decks flavor is certainly not leaving the franchise. Plus, both Kurtzman and McMahan are “hopeful” that the Lower Decks characters might pop up in other parts of the franchise. After their live-action debut in Strange New Worlds in 2023, the idea of seeing the Cerritos crew in other Trek shows feels less of a question of if, and more of a question of when.

But, for now, it seems that the Star Trek franchise on TV is consolidating a bit. Considering Paramount itself is up for sale, and possibly entering a merger with Skydance , this isn’t too surprising. The media economy isn’t exactly what it was five years ago, and the instability of the entertainment industry certainly isn’t unique to Star Trek.

This little sci-fi show has been canceled, shut down, and gone dormant before. Not having five TV shows on the air at the same time isn’t a sign of failure nor is it the end of the universe. Star Trek will endure because unlike some of its competitors, it's scrappy. That said, when you’re scrappy, you sometimes have to make hard decisions.

Lower Decks Season 5 will air on Paramount+ later in 2024. Strange New Worlds Season 3 is currently filming, while Season 4 is in development.

This article was originally published on April 14, 2024

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Forgotten Star Trek: TNG Episode Filled With Original Series Easter Eggs

Posted: April 24, 2024 | Last updated: April 25, 2024

If most Star Trek: The Next Generation fans are being honest, they’d rather take a phaser blast to the face than watch the majority of the first season. However, depending on what you are looking for from the franchise, there are some real gems hiding inside some otherwise forgettable episodes. For example, “The Battle” isn’t really a great episode of The Next Generation, but it contains some great Easter eggs (including special effects and a different ship model in Picard’s Ready Room) referencing The Original Series.

Has it been a while since you watched this Star Trek episode, or maybe you’ve never had the dubious pleasure of seeing “The Battle?” Here’s a quick breakdown: in this episode, a Ferengi commander brings Captain Picard the derelict Stargazer, which Picard is happy to receive because this is the first ship he ever captained. It all turns out to be a ploy on the part of the Ferengi, who uses a strange orb to affect Picard’s mind and make him think he’s living in the past and that he must use his famous Picard Maneuver to defeat the Enterprise. 

Shut Up, Wesley

Much of this early Star Trek episode is painful to watch, and it even includes some particularly cringeworthy Wesley Crusher dialogue that Wil Wheaton is convinced turned the fandom against him. However, the episode is notable for giving us plenty of fascinating insights into Captain Picard’s early Starfleet career. If you know where to look, the episode also includes some great homages to The Original Series, something that was a real rarity in the early days of TNG.

What Kind Of Ship?

For example, Picard’s earlier ship Stargazer is a new design, and it is listed as a Constellation-class vessel. Originally, though, it was going to be a Constitution II-class vessel, allowing the show to re-use the Enterprise model from the early Star Trek films. The decision to change what class of ship this was came late in the production of “The Battle”, and the class name “Constellation” was chosen because it roughly matched the lips of LeVar Burton and Wil Wheaton, who are clearly saying “Constitution-class” in some of their scenes.

The Star Trek: The Next Generation producers were very committed at one point to making the Stargazer a Constitution-class vessel, and this was going to retroactively explain why Picard has what appears to be a silver model of a Constitution-class vessel in his Ready Room in “The Battle” and earlier episodes. After the decision was made to turn Picard’s original command into a Constellation-class vessel, however, that model was swapped out for the more familiar golden Stargazer model we see in future episodes.

Old School Warp

There is one more Original Series Easter egg hidden in this Star Trek episode, and it involves the famous Picard Maneuver. In “The Battle,” we find out this is a kind of slick warp speed tactic invented by Picard to win a showdown with an attacking Ferengi vessel. At one point, Picard takes the Stargazer into warp, and if you look closely, this vintage ship has the same warp speed effect from movies like The Wrath of Khan rather than the newer TNG warp effect.

We Never Said It Was A Good Story

Again, if you go into this Star Trek episode expecting great storytelling, you’re likely to be disappointed. However, if you approach “The Battle” as a chance to learn more about Picard’s career and to see some sly nods to the days of Captain Kirk, you’ll find plenty to love. 

By the way, if you love the episode enough to repeatedly watch it, can someone please explain how the heck the Picard Maneuver foils enemy ships’ sensors? I tried to get a former boy genius to explain it to me like I was 12, but Wil Wheaton never picks up the communicator when I call.

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Carin León Unveils International Tour Dates Ahead of Stagecoach Debut

Carin León will head out on his 'Boca Chueca' tour starting July 22.

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Música Mexicana artist Carin León has announced his international “Boca Chueca Tour,” slated for this fall. León will kickoff the trek later this year after making debut appearances at both Coachella and Stagecoach .

The “Boca Chueca Tour” will hit major cities across North America and Europe, including a night at Madison Square Garden in New York City, two nights at the United Center in Chicago, Bridgestone Arena in Nashville, Coca-Cola Coliseum in Toronto, and BMO Stadium in Los Angeles.

Following the North American leg, León will venture into Europe with confirmed dates in Madrid, London, Amsterdam and Paris.

Popular on Variety

“Embarking on this tour is an exhilarating opportunity to share my new music with fans throughout North America and Europe alike. Taking my songs and the vibrant essence of Música Mexicana to a global stage is truly an honor,” said León.

Ticket pre-sales begin April 30 at 10 a.m. local time and a limited number of VIP packages will also be available starting April 30. Tickets go on sale to the general public on May 3.

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