star trek 5 end credits

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Star Trek: Picard finale post-credits scene explained: Showrunner confirms big things to come

Showrunner Terry Matalas says Ed Speleers is gonna be a busy man after Picard.

Warning: Spoilers from Star Trek: Picard 's series finale are discussed in this article.

There might be another Star Trek series coming our way — or at the very least, another home for Ed Speleers ' Jack Crusher.

The series finale of Star Trek: Picard , which dropped on Paramount+ Thursday, came with a post-credits scene that teases big things ahead for the character. Showrunner Terry Matalas confirms in an interview with EW, "Jack's got a lot to do, let me tell you."

He wouldn't tell us exactly what, of course, but the producer — who has guided the Patrick Stewart -led spin-off to break into the Nielsen Top 10 ratings for the first time with season 3 — confirms his story isn't over.

After Jean-Luc Picard (Stewart) and Beverly Crusher ( Gates McFadden ) save their son from the Borg Queen with help from their longtime comrades, the finale episode jumps forward a year to see where these characters ended up. Among the reveals is the U.S.S. Titan, which has been rechristened as the Enterprise-G in recognition of Picard and his crew's efforts.

Seven of Nine ( Jeri Ryan ) has been promoted to captain, with Raffi (Michelle Hurd) as her No. 1. A few members of the Titan join them, including Sidney La Forge (Ashlei Sharpe Chestnut). Jack is now Ensign Jack Crusher, as he was placed on an accelerated track by Starfleet.

The post-credits scene cuts to Jack in his quarters on the Enterprise-G. He settles into his room when Q (John de Lancie) makes a surprise appearance.

"Young mortal, you have much ahead of you," he tells Jack.

"You told my father that humanity's trial was over," the young Crusher replies.

"It is... for him," he clarifies. "But I'm here today because of you. You see, yours, Jack, has just begun."

Matalas had the idea for this moment deep into season 2 when he was mapping out the trajectory of season 3. "Once I had the genesis of this idea and I knew it would be about Picard's son, I had envisioned a post-credit sequence in which you passed the torch to [him]."

He points to "Encounter at Farpoint," the first episode of Star Trek: The Next Generation season 1. "The first major interaction is Q and Picard," he says. "Where better to end than at the beginning?"

A Star Trek: Legacy series has been rumored for some time, with a few of the Picard actors teasing how season 3 leaves the door open to continue that story with the next generation of characters. Alex Kurtzman , who's been shepherding the new golden age of Trek, had even teased during San Diego Comic-Con last year that fans should expect more shows with female leads. So, perhaps, we're getting a Seven of Nine series for Ryan, with Jack as part of her crew.

The only new Trek titles that have been formally announced so far are Star Trek: Starfleet Academy , which Matalas says is part of a different timeline than Picard ; and Star Trek: Section 31 , the event movie starring Michelle Yeoh as Emperor Philippa Georgiou from Star Trek: Discovery .

Matalas won't disclose what the plans are for Speleers as Jack moving forward, only that he knows what they are. "Oh yes. I do [know]," he says. "Oh yes."

Sign up for Entertainment Weekly 's free daily newsletter to get breaking TV news, exclusive first looks, recaps, reviews, interviews with your favorite stars, and more.

Related content:

• Michelle Yeoh's Star Trek: Discovery spin-off is now a Section 31 movie event
• Star Trek: Starfleet Academy series will beam up a new generation of cadets
• Star Trek: Picard 's latest Next Generation cameo was all about 'doing a paranoia thriller'

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The TOS end credits

Discussion in ' Star Trek - The Original & Animated Series ' started by Carl West , Apr 8, 2012 .

Carl West Ensign Red Shirt

Hi folks. I've almost finished with my TOS "marathon," courtesy of Netflix. I've seen TOS sporadically since I was a little kid in the 70s, but this is the first time I've sat down and gave the whole series a proper viewing. Anyhow, one of my favorite parts of every episode is the end credits! I love seeing the succession of some iconic TOS images; but most of all, I love getting to hear the longer version of the theme. It may be sacrilege, but I find the opening title sequence to be tedious, with the old fanfare and Kirk's narration and the abbreviated theme song ... it's just gotten a bit tired over the years. But with the end credits, we get to hear that great 60s theme in its extended glory... I'm curious, though, how many changes were there to the end credits theme? I noticed that "Where No Man Has Gone Before" has a lovely version with a violin playing the melody -- I'm sad we didn't get to hear that one throughout S1. And then I believe the rest of S1 and S2 have the same arrangement of the theme, right (with the female soprano worked in)? Again, I'm only talking about the closing theme. And then with S3, it sounds different (it sounds as though they're using a different instrument for the melody), and it sadly ends more quickly than the closing theme for S1 and S2. Can any experts out there confirm this?  

Green Shirt Rear Admiral Rear Admiral

I believe the music from each season sounds different due to the fact that IIRC (due to union rules, I think) shows were required to re-record opening and closing credits theme music for each new season. I read something to this effect on a Bonanza website.  

Ssosmcin Rear Admiral Rear Admiral

The first season originally had the WNMHGB theme in the first 13 or so episodes, both main and end titles. The DVDs restored the main titles, but not the end.  

ssosmcin said: ↑ The first season originally had the WNMHGB theme in the first 13 or so episodes, both main and end titles. The DVDs restored the main titles, but not the end. Click to expand...

Harvey Admiral Admiral

Green Shirt said: ↑ I believe the music from each season sounds different due to the fact that IIRC (due to union rules, I think) shows were required to re-record opening and closing credits theme music for each new season. Click to expand...

Green Shirt said: ↑ ssosmcin said: ↑ The first season originally had the WNMHGB theme in the first 13 or so episodes, both main and end titles. The DVDs restored the main titles, but not the end. Click to expand...

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‘Star Trek: Discovery’ to End After Season 5

Christian zilko.

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It’s the end of an era for Trekkies. Paramount announced that “Star Trek: Discovery,” the series that launched the current litany of “Star Trek” shows streaming on Paramount+, will end after the upcoming fifth season . The last batch of episodes are expected to premiere in early 2024 (via The Hollywood Reporter ).

“As lifelong fans of Star Trek, it has been an immense honor and privilege to help bring ‘Star Trek: Discovery’ to the world,” executive producers and showrunners Alex Kurtzman and Michelle Paradise said in a statement. “The Trek universe means so much to so many – including us – and we couldn’t be prouder of everything ‘Discovery’ has contributed to its legacy, particularly with representation. If just one person sees themselves, or the possibilities for their future, in a new way because of ‘Discovery,’ then we think we’d have made Gene Roddenberry very proud.”

The show was notable for casting Sonequa Martin-Green as the first Black woman to lead a “Star Trek” series. In her own statement, the actress acknowledged the end of the historic show.

“I can hardly believe that this mind-blowing journey with Discovery is ending,” Martin-Green wrote. “I’m astoundingly blessed by God to have played Captain Michael Burnham and to have taken part in a legacy alongside an extraordinary cast, phenomenal crew and remarkable writing team. To our most supportive partners at CBS Studios and Paramount+, who insisted on making television history, I’m deeply grateful.”

The news comes at a moment of transition for the “Star Trek” universe. “Star Trek: Picard” is also ending after its upcoming third season , leaving “Star Trek: Strange New Worlds” as the franchise’s flagship series. That show earned rave reviews for its first season and quickly became the most-watched “Star Trek” series on Paramount+, prompting a quick renewal. Season 2 is expected to premiere later this year.

The animated side of the franchise is also thriving, as a fourth season of “Star Trek: Lower Decks” and a second season of “Star Trek: Prodigy” are both in the works. Kurtzman has also teased the development of a new live action series titled “Star Trek: The Academy,” though it has not been officially ordered.

Credits for Star Trek Into Darkness

• View history

List of credits as presented in the film Star Trek Into Darkness .

John Cho Benedict Cumberbatch Alice Eve Bruce Greenwood Simon Pegg Chris Pine Zachary Quinto Zoë Saldana Karl Urban Peter Weller Anton Yelchin

Paramount Pictures And Skydance Productions Present

A Bad Robot Production

A J.J. Abrams Film

Leonard Nimoy

• Kirk – Chris Pine
• Spock – Zachary Quinto
• Uhura – Zoë Saldana
• Bones – Karl Urban
• Scotty – Simon Pegg
• Sulu – John Cho
• Khan – Benedict Cumberbatch
• Chekov – Anton Yelchin
• Pike – Bruce Greenwood
• Marcus – Peter Weller
• Carol – Alice Eve
• Thomas Harewood – Noel Clarke
• Rima Harewood – Nazneen Contractor
• Ensign Brackett – Amanda Foreman
• Lieutenant Chapin – Jay Scully
• Ensign Froman – Jonathan H. Dixon
• Navigation Officer Darwin – Aisha Hinds
• Science Officer 0718 – Joseph Gatt
• Lead Nibiran – Jeremy Raymond
• Nibiran – Tony Guma
• Madeline – Kimberly Broumand
• Sean Blakemore ( Klingon 1 )
• Nick E. Tarabay ( Klingon 2 )
• Captain Abbott – Beau Billingslea
• Keenser – Deep Roy
• Lucille Harewood – Anjini Taneja Azhar
• Doctor – Jack Laufer
• Katie Cockrell ( Girl 1 )
• Kellie Cockrell ( Girl 2 )
• Cupcake – Jason Matthew Smith
• George Kirk – Chris Hemsworth
• Winona Kirk – Jennifer Morrison
• USS Enterprise Shuttle Ensign – Seth Ayott
• Torpedo Security – Marco Sanchez
• Uniformed Mercenary – Lee Reherman
• Scott Lawrence ( USS Vengeance Officer 1 )
• Usman Ally ( USS Vengeance Officer 2 )
• Nolan North ( USS Vengeance Bridge Officer 1 )
• James Hiroyuki Liao ( USS Vengeance Bridge Officer 2 )
• USS Vengeance Ensign – Rob Moran
• Berit Francis ( Starfleet Admiral 1 )
• Akiva Goldsman ( Starfleet Admiral 2 )
• Benjamin P. Binswanger ( Starfleet Admiral 3 )
• Transport Officer – Christopher Doohan
• Andy Demetrio ( USS Enterprise Bridge Crew 1 )
• Gianna Simone ( USS Enterprise Bridge Crew 2 )
• Rene Rosado ( USS Enterprise Bridge Crew 3 )
• Jacquelynn King ( USS Enterprise Bridge Crew 4 )
• Long Tran ( USS Enterprise Bridge Crew 5 )
• Ningning Deng ( USS Enterprise Bridge Crew 6 )
• Jodi Johnston ( USS Enterprise Bridge Crew 7 )
• Lady V – Colleen Harris
• USS Enterprise Security – Jeffrey Chase
• USS Enterprise Nurse – Monisola Akiwowo
• Shuttle Pilot – Paul K. Daniel
• USS Enterprise Red Shirt – Ser'Darius Blain
• Moto – Heather Langenkamp
• USS Enterprise Crew – David C. Waite
• Bar Girl – Melissa Paulo
• San Francisco Woman – Cynthia Addai-Robinson
• San Francisco Bar Patron – Drew Grey
• USS Vengeance Security – Douglas Weng
• Charlie Haugk ( San Francisco Resident 1 )
• Max Chernov ( San Francisco Resident 2 )
• Marc Primiani ( San Francisco Resident 3 )
• Jesper A. Inglis ( San Francisco Resident 4 )
• Jacob Rhodes ( Nibiru Child 1 )
• Kentucky Rhodes ( Nibiru Child 2 )
• Shaku – Anthony Wilson
• Eric Greitens ( Starfleet Ceremonial Guard 1 )
• Melissa Steinman ( Starfleet Ceremonial Guard 2 )
• Adam McCann ( Starfleet Ceremonial Guard 3 )
• Jon Orvasky ( Starfleet Ceremonial Guard 4 )
• Gerald W. Abrams ( Starfleet Memorial Admiral 1 )
• James H. McGrath, Jr. ( Starfleet Memorial Admiral 2 )

Second Unit [ ]

The Unexpected Resurrection of Harlan Ellison

Harlan Ellison died in 2018. Now, thanks to J. Michael Straczynski, he’s back. And louder than ever.

In 1968, a notoriously caustic science fiction writer accused Star Trek creator Gene Roddenberry of peddling “utopian bullshit.” In 1978, this same writer — in an introduction written for Doctor Who paperbacks — mocked Star Wars , decrying it as “adolescent nonsense.” In 1983, when he learned that James Cameron had admitted to “ripping off” one of his stories, he sued and got his name put in the end credits of The Terminator . In a 1979 interview in Starlog , Mark Hamill, baffled by this angry, impish contrarian, said: “I don’t want to get on a panel with Ellison… I thought he was like a game show host.” So who the hell was Harlan Ellison? And more importantly, why did he matter?

For generations of science fiction and fantasy aficionados, saying the name Harlan Ellison is like uttering a dark spell. Ellison’s writing — primarily in short story format — is fantastic and provocative, but his reputation for contentiousness was equally potent, often overshadowing the art itself. And for younger genre fans, the name Harlan Ellison might not mean anything at all. If you’re into science fiction and fantasy and came of age in the new millennium (and his 2014 Simpsons cameo went over your head), there’s a good chance you’ve never heard of Ellison.

“There was a time when he was one of the hottest speakers on college campuses anywhere, and now, he’s fallen between the cracks,” J. Michael Straczynski tells Inverse . “It was really important for me to introduce people to Harlan’s work again. A lot of his work just hasn’t been available for the past 10 or 20 years.”

Following Ellison’s death in 2018, Straczynski — comic book writing legend and creator of Babylon 5 — set out to reboot the legacy of the most energetic, and perhaps misunderstood, figure in all of speculative fiction. But this mission isn’t an attempt to sanitize or censor Ellison. Instead, with the release of a new book Greatest Hits (edited by Straczynski, with introductions from Neil Gaiman and Cassandra Khaw), Ellison’s specific brand of fantasy has re-emerged from those cracks, zombie warts and all.

The Leader of the New Wave

Harlan Ellison in 1977.

Harlan Ellison hated labels. Especially the label of “sci-fi writer.” In a 2013 profile written by Jaime Lowe for New York Magazine , Ellison said, “Call me a science-fiction writer and I will come to your house and nail your dog’s head to the coffee table!”

Part of his animosity stemmed from his tireless work to undo the genre stereotypes and constraints put on writers who worked outside of the mainstream. From the beginning of the 20th century up to the 1960s, the genre of science fiction was very different from what came next. A huge part of that change was the revolution of the “New Wave” of science fiction writers who pushed back against the stodgier and stuffier traditions of “Hard SF” and infused the genre with more literary and poetic sensibilities. Some started saying the written genre of “SF” stood for “speculative fiction,” not just science fiction. But without Ellison, science fiction (or speculative fiction) might never have grown up.

“What Harlan did in particular was to codify the New Wave,” Straczynski says. “With Dangerous Visions , he pulled it all together into one place and made it an event.”

Published in 1967, Dangerous Visions was a massive SF anthology of short stories, all edited and acquired by Ellison. (It’s just been republished, complete with a new introduction from Patton Oswalt. ) The goal was to give writers a home for short stories that were so extreme or taboo that even science fiction publications wouldn’t touch them. The first volume included edgy tales from Philip K. Dick, Robert Bloch, and J.G. Ballard, while the second volume, Again, Dangerous Visions , boasted classic short stories from the likes of Ursula K. Le Guin, Kurt Vonnegut, Joanna Russ, and Kate Wilhelm. As something of a trademark of Ellison, each story contained a lengthy introduction about the author, written in a rapid-fire, off-the-cuff style that would make Hunter S. Thompson blush. In his introduction to Dangerous Visions , Ellison brazenly declared : “What you hold in your hands is more than a book. If we’re lucky, it will be a revolution.” In a sense, he was right.

“There’s the whole thing about social movements,” Straczynski says. “Often, one person stands up and sort of embodies all of what they’re saying, and then it becomes a movement, and then it becomes a thing. And with Dangerous Visions and the New Wave, Harlan became that movement and that spearhead.”

But beyond bolstering the careers of others (he was Octavia Butler’s mentor and champion) Ellison’s own writing was unlike any other science fiction stories in the field. His two most famous stories, “Repent, Harlequin, Said the Ticktock Man” (1966) and “I Have No Mouth and I Must Scream” (1967), are simultaneously arresting and, for their time, extremely creative. In the first, a future society obsessed with time subtracts minutes from people’s lives when they are late or break the law. In the second, a sadistic AI keeps six human beings alive and tortures them to the ends of the Earth. But that’s just the tip of the dark matter iceberg that is Harlan Ellison.

“He pulled it all together into one place and made it an event.”

He pioneered stories about super-powered telepaths with his classic “Deeper Than Darkness” (1957) and touched on concepts of immortal, undying evil in “Mefisto in Onyx” (1993). When read today, his doppelganger story “Shatterday” (1977) feels like a condensed version of a David Lynch movie, combined with the parallel worlds antics of contemporary Apple TV shows like Constellation and Dark Matter .

But Ellison’s brand of dark speculative fiction wasn’t just limited to the page. He was also part of a growing trend in the 1950s and 1960s, in which authors of prose sci-fi began writing for TV. With thrilling episodes of The Man From U.N.C.L.E. and The Outer Limits , plus authorship of what is considered to be the best episode of the original Star Trek , Ellison was like a one-person Black Mirror . Indeed, one of his sci-fi horror stories, “Life Hutch,” was adapted as part of Love Death and Robots in 2021.

So with all of this success and brilliant output, why was Harlan Ellison so angry?

The Antichrist of Science Fiction

Writer Harlan Ellison at Mile High comics book store in 1982.

Harlan Ellison wrote Star Trek ’s seminal time-travel tragedy, the 1967 episode “The City on the Edge of Forever.” For almost six decades, this single story has often been cited as the best episode of Star Trek , ever, and its legacy continues to be relevant to the canon today — Michelle Yeoh’s upcoming Section 31 movie is a direct result of her character, Philippa Georgiou, stepping through the Guardian of Forever , a time portal originally introduced in Ellison’s episode.

Ellison infamously hated the aired version of the episode. While at least one entire book has been written about this kerfuffle, Ellison’s frustration basically comes down to a rowdy, and utterly divergent rewrite, which he said compromised his artistic integrity. Ellison felt steamrolled by Gene Roddenberry, which was ironic because just one year prior he’d formed “The Committee” — a select group of massive science fiction authors, including Frank Herbert , A.E. van Vogt, and others — with the express purpose of making sure Star Trek remained on the air.

“I think he just saw a lot of sloppiness going on [with Star Wars ].”

“What Star Trek really did was popularize science fiction in ways that hadn’t been done before,” Straczynski says. “It brought a new language in the vernacular to the popular culture. It galvanized the space program. There will never be another Star Trek any more than there’ll be another Beatles, and their place in the culture cannot be overestimated. The downside of that is that it codified a certain kind of storytelling in ways that limit other opportunities.”

Ellison clearly saw the rise of big franchises like Star Trek and Star Wars as a double-edged sword for the larger world of speculative fiction. Yes, it made SF more mainstream, but it was also reductive. So he went on the attack. In the humorous and raunchy story “How’s the Nightlife on Cissalda?” (1977), Ellison, still annoyed by his Star Trek experience, depicted a fictionalized version of William Shatner unsuccessfully trying to seduce an alien creature.

The classic Star Trek episode “City on the Edge of Forever.”

When it came to Trek , Harlan Ellison liked to bite the hand that fed him.

“He could dine off of ‘I wrote for Star Trek ’ for quite some time,” Straczynski says. “He was able to parlay that to success in many respects, even though he hated the process.”

While his anger over being rewritten explains some of his animosity with Star Trek — and its fans — why was Ellison so anti Star Wars ? As someone from the print world of science fiction who had tried to start a more progressive, literary trend in the genre, Ellison almost certainly saw the gee-whiz swashbuckling brand of Star Wars’ heroism as inherently regressive, more reminiscent of the conservative era of SF publishing in the ’30s and ’40s, than anything from what was then the modern era of speculative fiction.

“I think he just saw a lot of sloppiness going on [with Star Wars ],” Straczynski says. “Harlan was fairly rigorous in his writing, and there was just so much there that didn’t make sense.”

Ellison was hardly a voice in the wilderness on this topic: His friend and colleague Ursula K. Le Guin also trashed Star Wars in 1978, writing , “What is nostalgia doing in a science fiction movie?”

Because of his acerbic and often petty put-downs, Ellison behaved in public more like a bratty rock star than a writer. In a 1977 issue of Fantasy and Science Fiction , he even referred to himself as “the antichrist of science fiction.” In 1982, in the introduction for Ellison’s book Stalking the Nightmare , Stephen King acknowledged that not everyone was down with Ellison’s brand of iconoclasm but defended his artistic idealism, writing, “People who are afraid don’t like people who are brave.”

A Rebirth Before Death

Harlan Ellison and lifelong friend Walter Koenig (of Star Trek fame) at the Star Trek Las Vegas Convention in 2014. Ellison rarely did Star Trek conventions but lightened up on his animosity toward Trekkies in the last years of his life.

Because he cared about human rights (and the often tramped-on rights of writers), Ellison didn’t make things easy on himself. As Straczynski writes in his introduction to Greatest Hits , it was “exhausting” to be Harlan Ellison.

But then, after 2006, following a surreal acceptance speech at the Hugo Awards, something unexpected happened: Harlan Ellison, publicly, appeared to repent for some of his bad behavior. He was no longer giving terse and angry interviews. He was apologizing. He allowed a documentarian to chronicle his life. He even lightened up on Trekkies. In 2014, with the full cooperation of the Star Trek licensing division, IDW Comics published Star Trek: Harlan Ellison’s City on the Edge of Forever, a five-part miniseries that presented Ellison’s original award-winning teleplay as an episode of the classic Trek. In the letters pages, Ellison even walked back long-held assertions about how his script was misinterpreted, admitting, among other things, that despite decades of complaining about other writers not knowing the difference between “runes” and “ruins,” it turns out no such confusion ever existed.

In 2011, I was asked to call Harlan Ellison, after having written a review of his short story, “How Interesting: A Tiny May.” Fearful of his litigious reputation (I had compared Ellison to the Gallagher brothers from Oasis in my essay), I dialed the number with trepidation. But it turned out that the angry old man had merely wanted to thank me, saying “I appreciate you taking the time to read my story and say something about it.”

So, what happened? Why did Ellison mellow out later in his life? While it’s a much longer tale — that Straczynski plans to tell in due course — let’s just say that the lighter, more ebullient side of Ellison was partially because of the influence of Straczynski himself. There’s a reason why Ellison chose Straczynski to take on his literary estate, and their friendship and trust for each other is part of why Ellison’s final years were ones of good humor and grace.

A Writer’s Writer

Harlan Ellison, around the time he edited Dangerous Visions in 1967.

Ellison disliked the pretension of writers and often insisted it shouldn’t be thought of as a “holy chore” but a job like any other. He often would sit in the windows of bookshops with his typewriter and write short stories based on prompts that were put in sealed envelopes ahead of time. In the final short story in Greatest Hits — “All the Lies That Are My Life” — Ellison makes a working-class distinction between an author and a writer . The former was someone who liked awards and prestige, the latter was “someone who gets hemorrhoids from sitting on his ass all his life… writing .”

This kind of attitude is probably best exemplified in his epic “Pay the Writer” rant , which highlights the ways in which the act of writing is so brutally devalued in the capitalist nightmare. Celebrated writer Patty Lin — the author of the recently published memoir End Credits: How I Broke Up With Hollywood — remembers Harlan Ellison’s staunch support of the rights of writers fondly. At the end of the 2007-08 Writers Guild of America strike, Lin recalls Ellison being furious that the WGA had capitulated too easily. Wearing “rumpled pajamas,” Lin says, Ellison chastised the union leadership for not going far enough. “We had them by the balls,” Lin remembers Ellison saying, depressed that the WGA didn’t get a better contact.

“It was that no-bullshit, justifiably angry way he expressed it that was so on brand.”

“I loved Harlan Ellison for what he said that day,” Lin tells Inverse . “It was exactly what I was thinking and what many other people in that room were probably thinking. It was that no-bullshit, justifiably angry way he expressed it that was so on brand. And that dramatic flair was what made him a great storyteller.”

As the title suggests, Greatest Hits is a kind of historical document. These are stories that don’t necessarily reflect where science fiction and fantasy are going but where the genre has been, as seen through the dark lenses of Harlan Ellison. Some of the stories (like “Shatterday”) hold up beautifully. Some, as Cassandra Khaw points out in her introduction, have problematic elements.

But unlike recent reissues of books by Roald Dahl or Ian Fleming , these stories remain uncensored. The fight against censorship was one of Ellison’s lifelong passions, and so, other than a few content warning labels in the book, the sex, sci-fi, and rock ’n’ roll of this writer's vision remains intact and raucous. Like the punk rock of genre fiction, Ellison’s stories are as jarring and blistering as ever.

“No, no, you don’t touch Harlan’s stuff, man,” Straczynski says. “Even if he’s dead, he’ll come after you.”

Harlan Ellison’s Greatest Hits is out now from Union Square and Co.

• Science Fiction

‘Star Trek: Strange New Worlds’ Renewed for Season 4; ‘Lower Decks’ to Conclude With Season 5 (EXCLUSIVE)

By Adam B. Vary

Adam B. Vary

Senior Entertainment Writer

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“ Star Trek : Strange New Worlds,” currently in production on its third season, has been renewed by Paramount+ for Season 4. Meanwhile, “ Star Trek: Lower Decks ,” the first animated “Star Trek” comedy, will conclude its run on the streamer with its fifth season, which will debut in the fall.

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“Lower Decks” charted brand new territory for “Star Trek” when it debuted in 2020, as both an animated comedy and a series that focused on the junior officers of the USS Cerritos: Beckett Mariner (Tawny Newsome), Brad Boimler (Jack Quaid), D’Vana Tendi (Noël Wells) and Sam Rutherford (Eugene Cordero). Set in the years following the feature film “Star Trek: Nemesis,” the series has included voice cameos from many beloved “Star Trek” alumni, like George Takei, Jonathan Frakes, Marina Sirtis, John de Lancie, Will Wheaton, Armin Shimerman, Nana Visitor and Robert Duncan McNeill.

Given its premise, concluding “Lower Decks” make sense considering the main four characters all received promotions in Season 4. But in a message to fans, Kurtzman and executive producer and showrunner Mike McMahan left the turbolift doors open for continuing the characters’ stories following their time at the bottom of the Starfleet pecking order. 

The “Star Trek” TV universe, overseen by Kurtzman through his Secret Hideout production company and produced by CBS Studios, has enjoyed a robust expansion since “Star Trek: Discovery” first premiered in 2017. Along with “Strange New Worlds,” the made-for-television movie “Star Trek: Section 31” recently concluded production with star Michelle Yeoh, and the new series “Star Trek: Starfleet Academy” will begin shooting later this year.

“It has been incredibly rewarding to continue to build the Star Trek universe, and we’re so grateful to Secret Hideout and our immensely talented casts and producers,” said Jeff Grossman, executive vice president of Programming at Paramount+. “‘Strange New Worlds’ has found the perfect blend of action, adventure and humor. Similarly, ‘Star Trek: Lower Decks’ has brought the laughs with an ample amount of heart to the franchise across its four seasons. We can’t wait for audiences to see what is in store for the crew of the U.S.S. Cerritos in this final season.”

“‘Lower Decks’ and ‘Strange New Worlds’ are integral to the ‘Star Trek’ franchise, expanding the boundaries of the universe and exploring new and exciting worlds,” said CBS Studios president David Stapf. “We are extraordinarily proud of both series as they honor the legacy of what Gene Roddenberry created almost 60 years ago. We are so grateful to work with Secret Hideout, Alex Kurtzman, Mike McMahan, Akiva Goldsman, Henry Alonso Myers and the cast, crews and artists who craft these important and entertaining stories for fans around the world.”

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‘Star Trek: Lower Decks' to End With Season 5

Paramount+ has made two big decisions about its Star Trek universe.

Strange New Worlds has been renewed for a fourth season, while Lower Decks will end with its previously announced upcoming fifth season, expected to air sometime this year.

Lower Decks creator Mike McMahan and executive producer Alex Kurtzman posted a statement on the Star Trek website about the decision to conclude the animated series: "While five seasons of any series these days seems like a miracle, it's no exaggeration to say that every second we've spent making this show has been a dream come true. Our incredible cast, crew and artists have given you everything they have because they love the characters they play, they love the world we've built, and more than anything we all love love love Star Trek . We're excited for the world to see our hilarious fifth season which we're working on right now, and the good news is that all previous episodes will remain on Paramount+ so there is still so much to look forward to as we celebrate the Cerritos crew with a big send-off. … We remain hopeful that even beyond season five, Mariner, Boimler, Tendi, Rutherford and the whole Cerritos crew will live on with new adventures."

Meanwhile, Strange New Worlds is currently in production on its third season, which is set to debut in 2025.

" Strange New Worlds and Lower Decks are integral to the Star Trek franchise, expanding the boundaries of the universe and exploring new and exciting worlds," said David Stapf, president of CBS Studios. "We are extraordinarily proud of both series as they honor the legacy of what Gene Roddenberry created almost 60 years ago."

Strange New Worlds is based on the years Captain Christopher Pike manned the helm of the  U.S.S. Enterprise . The series follows Captain Pike, Science Officer Spock, Number One and the crew of the  U.S.S. Enterprise , in the years before Captain Kirk boarded the starship, as they explore new worlds around the galaxy. It stars Anson Mount, Rebecca Romijn, Ethan Peck, Jess Bush and Christina Chong.

Lower Decks is an animated comedy series that focuses on the support crew serving on one of Starfleet's least important ships, the  U.S.S. Cerritos . The voice cast stars Tawny Newsome, Jack Quaid, Noël Wells and Eugene Cordero.

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Long-lost first model of the USS Enterprise from ‘Star Trek’ boldly goes home after twisting voyage

The first model of the USS Enterprise is displayed at Heritage Auctions in Los Angeles, April 13, 2024. The model — used in the original “Star Trek” television series — has been returned to Eugene “Rod” Roddenberry, the son of “Star Trek” creator Gene Roddenberry, decades after it went missing in the 1970s. (Josh David Jordan/Heritage Auctions via AP)

Joe Maddalena, executive vice president of Heritage Auctions, left, and Eugene “Rod” Roddenberry, the son of “Star Trek” creator Gene Roddenberry, shake hands over the recently recovered first model of the USS Enterprise at the Heritage Auctions in Los Angeles, April 13, 2024. The model — used in the original “Star Trek” television series — has been returned to Eugene, decades after it went missing in the 1970s. (Josh David Jordan/Heritage Auctions via AP)

Joe Maddalena, executive vice president of Heritage Auctions, left, and Eugene “Rod” Roddenberry, the son of “Star Trek” creator Gene Roddenberry, view the recently recovered first model of the USS Enterprise at Heritage Auctions in Los Angeles, April 13, 2024. The model — used in the original “Star Trek” television series — has been returned to Eugene, decades after it went missing in the 1970s. (Josh David Jordan/Heritage Auctions via AP)

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DALLAS (AP) — The first model of the USS Enterprise — used in the opening credits of the original “Star Trek” television series — has boldly gone back home, returning to creator Gene Roddenberry’s son decades after it went missing.

The model’s disappearance sometime in the 1970s had become the subject of lore, so it caused a stir when it popped up on eBay last fall. The sellers quickly took it down, and then contacted Dallas-based Heritage Auctions to authenticate it. Last weekend, the auction house facilitated the model’s return.

Eugene “Rod” Roddenberry, CEO of Roddenberry Entertainment, said he’s thrilled to have the model that had graced the desk of his father, who died in 1991 at age 70.

“This is not going home to adorn my shelves,” Roddenberry said. “This is going to get restored and we’re working on ways to get it out so the public can see it and my hope is that it will land in a museum somewhere.”

AP AUDIO: Long-lost first model of the USS Enterprise from ‘Star Trek’ boldly goes home after twisting voyage.

AP correspondent Margie Szaroleta reports on the return of the original model of the USS Enterprise from the TV show “Star Trek.”

Heritage’s executive vice president, Joe Maddalena, said the auction house was contacted by people who said they’d discovered it a storage unit, and when it was brought into their Beverly Hills office, he and a colleague “instantly knew that it was the real thing.”

They reached out to Roddenberry, who said he appreciates that everyone involved agreed returning the model was the right thing to do. He wouldn’t go into details on the agreement reached but said “I felt it important to reward that and show appreciation for that.”

Maddalena said the model vanished in the 1970s after Gene Roddenberry loaned it to makers of “Star Trek: The Motion Picture,” which was released in 1979.

“No one knew what happened to it,” Rod Roddenberry said.

The 3-foot (0.91-meter) model of the USS Enterprise was used in the show’s original pilot episode as well as the opening credits of the resulting TV series, and was the prototype for the 11-foot (3-meter) version featured in the series’ episodes. The larger model is on display at the Smithsonian’s National Air and Space Museum.

The original “Star Trek” television series, which aired in the late 1960s, kicked off an ever-expanding multiverse of cultural phenomena, with TV and movie spinoffs and conventions where a fanbase of zealous and devoted Trekkies can’t get enough of memorabilia.

This USS Enterprise model would easily sell for more than $1 million at auction, but really “it’s priceless,” Maddalena said.

“It could sell for any amount and I wouldn’t be surprised because of what it is,” he said. “It is truly a cultural icon.”

Roddenberry, who was just a young boy when the model went missing, said he has spotty memories of it, “almost a deja vu.” He said it wasn’t something he’d thought much about until people began contacting him after it appeared on eBay.

“I don’t think I really, fully comprehended at first that this was the first Enterprise ever created,” he said.

He said he has no idea if there was something nefarious behind the disappearance all those decades ago or if it was just mistakenly lost, but it would be interesting to find out more about what happened.

“This piece is incredibly important and it has its own story and this would be a great piece of the story,” Roddenberry said.

Thankfully, he said, the discovery has cleared up one rumor: That it was destroyed because as a young boy, he’d thrown it into a pool.

“Finally I’m vindicated after all these years,” he said with a laugh.

Star Trek: Discovery Season 5 Episode 4 Recap

Episode 4 of Star Trek: Discovery sees Burnham and Rayner team up to save the Discovery and its crew from a time travel wormhole.

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What happened in star trek: discovery episode 4, how does star trek: discovery episode 4 end.

Episode 4 of Star Trek: Discovery aired on Paramount Plus this week,as it approaches the halfway mark in the fifth and final season. The sci-fi spin-off series consists of ten episodes, with one airing each week until the finale on May 30. The show began in 2017, and Season 5 has been praised for its serialized storytelling and exciting visual effects. Star Trek: Discovery stars Sonequa Martin-Green, Callum Keith Rennie, Doug Jones and Anthony Rapp.

The fourth episode of Star Trek: Discovery 's final season sees Burnham and Rayner put their differences aside when they realize they are in a wormhole and have traveled back in time. They must fight to save the Discovery and the crew on board, by facing off with bounty hunters, Moll and Lák.

Star Trek: Discovery Season 5 Episode 3 Recap

Star Trek: Discovery Episode 4 sees Moll and L’ak meeting with a dodgy dealer. They hand him a bag of the latinum and the dealer tries to raise the price of it, and it turns out Moll has poisoned the latinum, and takes the item from the dying dealer. L’ak is uncertain. But Moll assures him they’ll get ahead of the USS Discovery . She continues that once they have the Progenitor’s tech, they’ll be free. She tells him they have to hurry to catch Discovery on Trill. It is revealed that the device obtained from the dealer is the same one planted on Adira Tal in the final moments of the previous episode.

Elsewhere, the device activates in Adira’s quarters on the Discovery, and the device hops off the uniform and runs across the room and disappears into a girder.

In his lab, Stamets spots the bug and watches as it disappears into the wall. Captain Michael Burnham gets a report from Owo, revealing that she’s picking up some odd readings, and something has broadcast a signal from the ship. Burnham and Captain Rayner try to beam to the bridge, but they go nowhere.

The ship is moving but the lights flicker and a klaxon sounds. Rayner asks if they are under attack, as Burnham tries to contact the bridge but nothing seems to be working. Burnham and Rayner head to the bridge on foot and find the rest of the crew unconscious and wearing 23rd-century Starfleet uniforms. Rayner and Burnham realize they’re in a wormhole and have traveled back in time. Discovery follows Burnham as she goes through the wormhole into the future. Turns out, they haven’t just traveled back in time, but they’re actually jumping through time.

Burnham arrives in the future and explains the situation, and that she's undertaking an important mission for the future Discovery . Burnham demonstrates her personal knowledge of several crew members to prove her story , as Airiam, Tilly and the rest of the crew are confused at her appearance.

They remain skeptical of Burnham’s claims, but she says she will convince Airiam, and everyone will trust her judgment in the end. Burnham reveals she saw Airiam die, and she recounts the climax of “Project Daedalus.” Airiam convinces the rest of the crew of Burnham's legitimacy, and asks what help Burnham needs from them. Elsewhere, in the lab, Rayner and Stamets prepare to tackle the temporal shield, but a phaser wielding TB and Rhys interrupt their plans.

YB orders Stamets to shut down the warp core, but Rayner suggests Burnham come down, but there’s no time for that, and she urges Rayner to handle the situation. Rayner convinces Rhys they’re from the future with the knowledge he learned during interviews, but YB is still not convinced.

Rayner tells the story about Burnham arriving at the bridge and not feeling like she belongs. He tells YB she deserves to be there, and pleads with her to trust her instincts, which he knows are currently telling her to stand down, with YB seemingly convinced. Discovery ’s warp bubble is broken, and Rayner puts the device on the chronophage. Another time jump occurs, and they arrive back to the present day, which is fully intact.

Burnham orders Rayner to go to see Culber to tend to his hand injury, while Rayner states that it isn’t lost on him that what made them successful was their closeness with the crew. He admits he can be stubborn like Burnham used to be, but Burnham concludes they make a good team.

Star Trek: Discovery episode 4's ending sees the rest of the crew caught up on the chronophage. In the six hours since the time jumps began, the DOTs have found a warp signature that matches M’ak’s ship. Rayner compliments Rhys on his theory, which proved to be accurate. However, M’ak’s trail disappears, as Burnham orders the bridge crew to get to work on solving the mystery.

Star Trek: Discovery

Star Trek: Discovery is an entry in the legendary Sci-Fi franchise, set ten years before the original Star Trek series events. The show centers around Commander Michael Burnham, assigned to the USS Discovery, where the crew attempts to prevent a Klingon war while traveling through the vast reaches of space.

Star Trek 4: Paramount Needs To Let This Sequel Die

'Star Trek: Discovery' season 5 episode 3 'Jinaal' is a slow but steady affair

Humans have evidently evolved beyond the need for stairs in the 32nd century as teleportation has replaced the simple act of actually walking to places

Warning: Spoilers ahead for "Star Trek: Discovery" season 5, episode 3

The latest installment of "Star Trek: Discovery" season 5 on Paramount Plus adds a little water – and possibly some fertilizer – to the various different story seeds sewn last week. 

Entitled "Jinaal," the primary plot revolves around a revisit to the planet Trill and as you may recall, the last time we spent any length of time here was the episode " Forget Me Not " (S03, E04), which was not terrible. In fact, it was undeniable highlight of the third season, which itself had some of the best we've seen from "Discovery." Incidentally, that was first look at the Trill homeworld since " Star Trek: Deep Space Nine " episode "Equilibrium" (bizarrely, also S03, E04). (If you need a recap on how to watch Star Trek: Discovery, check out our Star Trek streaming guide for Paramount Plus .)

Watch Star Trek on Paramount Plus: Get a one month free trial  

Get all the Star Trek content you can possibly handle with this free trial of Paramount Plus. Watch new shows like Star Trek: Discovery and all the classic Trek movies and TV shows too. Plans start from $4.99/month after the trial ends.

Curiously, in that episode "Forget Me Not," Dr. Hugh Culber (Wilson Cruz) was given a rare and welcome chance to shine and he does so once again in this episode as well. To briefly recap, Adira (Blu del Barrio) and her lover, a Trill named Gray (Ian Alexander), were aboard a generation ship way back when. They were both orphans, very much in love, and Gray had just received his symbiote when the ship was struck by an asteroid and everyone was ordered to evacuate. Unfortunately, Gray was fatally injured and the only way to save the symbiote was for Adira to join with it. And that's how it was for all of season three right up until the fourth season episode " Choose To Live " (S04, E03). 

Then, after all of that, Gray Tal has his consciousness transferred out of Adira and into an artificial synth golem before heading back to Trill to complete all that monk-style studying. And now you're all caught up. 

While a trip back to Trill is nice, you can't help but start to wonder if this fifth and final season will end up a 10-episode long epilogue as it ties up all its loose ends, almost like season five of " Babylon 5 ."  Commander Jett Reno (Tig Notaro) pops up in this episode at last, which more or less just leaves Commander Nhan (Rachael Ancheril), whom we last saw in the episode " Rubicon " S04, E09, to make an appearance. Although Ancheril's IMDb page does currently say, "Coming up in 2024, Rachael will be seen again in 'Chucky' season three [and] 'Star Trek Discovery' for its final season," so who knows. 

The big highlight this week was, as we alluded to above, Cruz's chance to stretch his acting chops just a little bit and he does not disappoint. The two biggest grumbles however, are the dialogue written by a writer who just saw "Lethal Weapon II" for the very first time and that the notion of teleporting around the place instead of just walking, has been taken to ludicrous extremes. 

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"Star Trek: Discovery" seems to be at peace with lifting from other IPs, sci-fi or otherwise. We've seen a nice " Close Encounters of the Third Kind " reference with mashed potato and we've even seen a fun nod to "Scooby-Doo," but these were all subtle. Then there was the extremely unsubtle " Die Hard " thing and then in " Scavengers " (S03, E06) the writers went  way  beyond homage and practically lifted a set piece directly from the 1987 movie "The Running Man." The premise was the same, the effect was the same and even the setting was practically identical.

This week's insight into what classic movie the Gen-Z writers of "Discovery" have recently discovered comes from a legendary scene with equally legendary dialogue between Sgt. Martin Riggs (Mel Gibson) and Sgt. Roger Murtaugh (Danny Glover) during a rescue attempt after the latter learns that the toilet he's been sitting on has been rigged with a bomb in the first "Lethal Weapon" sequel. Lest we forget, this underrated action extravaganza also gave us Leo Getz and immortalized phrases like "diplomatik immunitee." and "but, but...you're blick."

Still, at least it was just a line or two of dialogue this time and not an entire set piece. My other main grumble with this episode as we mentioned above is the carefree abandon with which transporters are used. And I've touched upon this before. Despite beaming becoming a very common part of everyday life of the 32nd century, to the extent that folk use transporters instead of stairs and even to just change outfits, like we saw in the season four premiere episode — but the thing is, transporters kill you .

The creators of " Star Trek " have never officially confirmed that transporters kill you. However, solely based on the science, transporters do kill you. In simple terms, these teleportation devices scan every molecule in your body and briefly store them in the pattern buffer, while at the same time, the original body is to all intents and purposes, disintegrated. The transporter then converts the scanned copy into energy and beams the data stream to the desired location, where the body is rebuilt, from a sub-atomic level, using technology similar to a replicator. It's comparable in principle to a fax, except this fax machine destroys the original, to prevent duplication, although that has been known to happen.

The issue is essentially an existential one. Since our bodies are made up of identifiable matter, why won't transference of consciousness occur? What makes our consciousness so unique? What's the difference between an identical copy and you? If you were to put your copy into a different room that you hadn't been into, would you be able to see it? No. It's a perfect copy, but it's not you. There is a good article on Ars Technica that really goes into detail on this.

Still, all of this banter aside, this episode is not ... terrible. It is very evenly paced and that, despite the not-exactly edge-of-seat storyline, makes it bearable. Every sub-story seems to be given equal time and brief-but-enjoyable interplay between Lt. Tilly (Mary Wiseman) and Captain Rayner (Callum Keith Rennie) is fun. Plus, of course, we get to see the Trill homeworld again, which is nice. 

In other "Star Trek" news, " Strange New Worlds " has been renewed for a fourth season, while " Lower Decks " will end with its previously announced upcoming fifth season, expected to air sometime this year. Creator Mike McMahan and executive producer Alex Kurtzman posted a statement on the Star Trek website: “While five seasons of any series these days seems like a miracle, it’s no exaggeration to say that every second we've spent making this show has been a dream come true. Our incredible cast, crew and artists have given you everything they have because they love the characters they play, they love the world we've built, and more than anything we all love, love, love Star Trek."

Meanwhile, "Strange New Worlds" is currently in production on its third season, which is set to debut in 2025. It seems that all of this combined with the fact that "Section 31" ended up as a movie , casts doubt over the future of the Starfleet Academy spin-off and hopefully signals the end of the idiotic idea of "Star Trek: Legacy." Perhaps Paramount should look to cancel other ludicrous endeavors like the proposed Picard movie instead of cancelling decent shows in their efforts to tighten purse strings. 

The fifth and final season of "Star Trek: Discovery" and every episode of every "Star Trek" show — with the exception of "Star Trek: Prodigy" — currently streams exclusively on Paramount Plus in the US while "Prodigy" has found a new home o n Netflix.  

Internationally, the shows are available on  Paramount Plus  in Australia, Latin America, the UK and South Korea, as well as on Pluto TV in Austria, France, Germany, Italy, Spain and Switzerland on the Pluto TV Sci-Fi channel. They also stream on  Paramount Plus  in Italy, France, Germany, Switzerland and Austria. In Canada, they air on Bell Media's CTV Sci-Fi Channel and stream on Crave.

 —   Watch the bittersweet trailer for 'Star Trek: Discovery's final season (video)

 —  'Spaceman' sees Adam Sandler shine as a cosmonaut in crisis in Netflix's somber sci-fi film (review)

—  Star Trek's Seven of Nine returns in new novel 'Picard: Firewall' (exclusive)

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Published Apr 12, 2024

Star Trek: Lower Decks to Conclude with Fifth and Final Season

The hit original animated series will arrive later this fall.

StarTrek.com

Star Trek: Lower Decks will conclude later this fall with its fifth and final season.

Series creator Mike McMahan and executive producer Alex Kurtzman confirm the news in a touching tribute to the series and its fans:

To the fans,

We wanted to let you know that this fall will be the fifth and final season of Star Trek: Lower Decks . While five seasons of any series these days seems like a miracle, it’s no exaggeration to say that every second we've spent making this show has been a dream come true. Our incredible cast, crew and artists have given you everything they have because they love the characters they play, they love the world we've built, and more than anything we all love love love Star Trek . We’re excited for the world to see our hilarious fifth season which we're working on right now, and the good news is that all previous episodes will remain on Paramount+ so there is still so much to look forward to as we celebrate the Cerritos crew with a big send-off.

Finally, thank you for always being so creative and joyful, for filling convention halls and chanting LOWER DECKS!" We remain hopeful that even beyond Season 5, Mariner, Boimler, Tendi, Rutherford and the whole Cerritos crew will live on with new adventures.

LLAP Mike McMahan and Alex Kurtzman

Star Trek: Lower Decks is an animated comedy series that focuses on the support crew serving on one of Starfleet’s least important ships, the U.S.S. Cerritos . The crew residing in the “lower decks” of the U.S.S. Cerritos includes Beckett Mariner, voiced by Tawny Newsome; Brad Boimler, voiced by Jack Quaid; D'Vana Tendi, voiced by Noël Wells; and Sam Rutherford, voiced by Eugene Cordero. The Starfleet characters that comprise the U.S.S. Cerritos ’ Bridge crew include Captain Carol Freeman, voiced by Dawnn Lewis; Commander Jack Ransom, voiced by Jerry O’Connell; and Doctor T’Ana, voiced by Gillian Vigman.

The series is produced by CBS’ Eye Animation Productions, CBS Studios’ animation arm; Secret Hideout; and Roddenberry Entertainment. Executive producers include Alex Kurtzman, Mike McMahan, Aaron Baiers, Rod Roddenberry and Trevor Roth. Titmouse, the Emmy Award-winning independent animation production company, serves as the animation studio for the series.

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Star Trek: Lower Decks streams exclusively on Paramount+ in the U.S. and is distributed by Paramount Global Content Distribution. In Canada, it airs on Bell Media’s CTV Sci-Fi Channel. The series will also be available to stream on Paramount+ in the UK, Canada, Latin America, Australia, Italy, France, the Caribbean, Germany, Austria, Switzerland, Ireland and South Korea.

Screen Rant

Jack quaid comments on star trek: lower decks ending with season 5.

Following Paramount+'s announcement that Star Trek: Lower Decks will end with season 5, Jack Quaid reacts to the show wrapping up on social media.

• Jack Quaid expressed gratitude to fans and the team behind Star Trek: Lower Decks as season 5 is announced to be the final season.
• The actor wishes he could continue playing Boimler for many more seasons but looks forward to the upcoming fall 2024 premiere.
• Paramount+ also confirmed the renewal of Star Trek: Strange New Worlds for season 4.

Jack Quaid reacts to Star Trek: Lower Decks ending with its upcoming season 5. Quaid plays Lieutenant Bradward Boimler (and his transporter clone, Lt. William Boimler) on Lower Deck s, and he even got to portray Ensign Boimler in live-action in Star Trek: Strange New Worlds season 2's crossover episode along with Tawny Newsome's Ensign Beckett Mariner. Quaid and his Star Trek: Lower Decks cast mates completed voicing their season 5 episodes last year .

Following Paramount+'s announcement that Star Trek: Lower Decks season 5 , which premieres in fall 2024, will be the final season, Jack Quaid (@jack_quaid) addressed his followers on his Instagram account. Quaid thanked everyone who makes and watches Star Trek: Lower Decks , and he wishes he could play Boimler for 17 more seasons. Read his post below:

Paramount+ also announced Star Trek: Strange New Worlds is renewed for season 4.

Star Trek: Lower Decks Cast Guide - Who Voices Each Character In All 4 Seasons

What to expect from star trek: lower decks season 5, lower decks' final season premieres in fall 2024 on paramount+.

Star Trek: Lower Decks season 5 will pick up a couple of plot threads left behind by season 4's finale. A shakeup on the USS Cerritos saw Lt. D'Vana Tendi (Noel Wells) resign from Starfleet and return to her homeworld of Orion. Lower Decks season 5 will continue the show's exploration of Orion culture, as the animated comedy was the first Star Trek series to actually visit the Orions' home planet. Meanwhile, the Vulcan Lt. T'Lyn (Gabrielle Ruiz) continues to fit in aboard the Cerritos, and Lower Decks showrunner Mike McMahan teased a wedding in season 5.

Fans certainly join Jack Quaid in wishing Lower Decks could have 17 more seasons.

Production of Star Trek: Lower Decks season 5 wasn't affected by the dual WGA and SAG-AFTRA strikes last year, and season 5's episode scripts were completed, as was the actors' voice-over work, by the end of 2024. Animation of Star Trek: Lower Decks season 5 has been ongoing, but all 10 episodes should be completed before season 5 premieres in fall 2024. While it's good to have 10 more half-hours of Lower Decks season 5 to look forward to , fans certainly join Jack Quaid in wishing Star Trek: Lower Decks could have 17 more seasons (or at least 2 to match Star Trek: The Next Generation 's 7 seasons ).

Source: Instagram

Star Trek: Lower Decks is available to stream on Paramount+