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The Conners Bosses Told Us Their Favorite Guest Stars So Far And The 'Funny' Thing About The Roseanne Spinoff Hitting 100-Episode Milestone

More than 330(!) episodes between Roseanne and The Conners.

Hitting 100 episodes is a noteworthy pinnacle for any TV show, and all the more so in the modern era of shortened seasons and widespread cancellations . Which makes The Conners a stand-out on top of a stand-out for reaching the milestone in its sixth season after its predecessor Roseanne had gone well beyond 200 episodes. It’s a pretty unique honor for the little Lanford family that could (which Sara Gilbert celebrated with cake and scripts ), and CinemaBlend got showrunner Bruce Helford and executive producer Dave Caplan’s thoughts about the big accomplishment.

With the episode “Smash and Grab and Happy Death Day,” The Conners gave audiences its 100th outing as a proper spinoff, and thankfully without actually having any of the characters get killed repeatedly as the Happy Death Day title reference implies. I talked to Helford and Caplan — not quite as catchy as Laurel and Hardy — ahead of the airing, and also inquired about the duo’s favorite guest stars from everyone who’s appeared so far.

Paul Reubens' Sandy Bitinsky in The Conners

While some shows might choose to use Episode 100 to go all out with big-named guest stars, The Conners already pulls that kind of move on a regular basis, and turned past guest star Sean Astin into a Season 6 regular as Becky's newest. beau. And for what it's worth, this ep did feature Extended Family 's Sofia Capanna.

When I asked both Helford and Caplan about which guest stars stood out as their favorites, there wasn't much hesitation before the answers started flowing:

Bruce Helford: From the first hundred, I think Candice Bergen is one of them for me.
Dave Caplan: Yeah, that's right up there.
Bruce Helford: She was just wonderful, and she fit so beautifully into the group. I mean, she's just a natural actor, and definitely very honest.
Dave Caplan: It was fun for me to work with Jason Alexander. I had never done that. That was fun.
Bruce Helford: Yeah, Jason was great. He was great. Bill Macy was wonderful. I've always been a big fan of his.
Dave Caplan: And of course, Paul Reubens. You get to work with Pee-Wee Herman, why wouldn't you?

It feels like something of a missed opportunity not to follow Season 2's "Lanford, Toilet of Sin" by reconfiguring the plot to center entirely on Paul Reubens' town historian Sandy Bitensky. But I guess I can't hold it against anyone.

Bruce Helford continued, ackowledging how The Conners and its cast have the ability to convince just about anyone to show up.

God, we're just lucky. I mean, we just call up and say hey, you want to come play with John Goodman and and Laurie Metcalf and Sara Gilbert? They're like, 'Oh, yeah, sure.' We had Matthew Broderick on the show. Also, I'm a big fan of Matthew. So you know, we've been very lucky. And Katey Sagal, to have her on a regular basis is crazy.

Truer words never spoken. And clearly, the aforementioned Sandy Bitensky revamp would have also included Katey Sagal . (R.I.P. Paul Reubens.)

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Jackie and Dan in the repair shop in The Conners

Why The Conners Hitting 100 Episodes Is Such A Surprise

To the average non-jaded TV viewer, The Conners ' continued existence isn't such a surprise, considering its TV legacy, its stars, and the fanbase that continues truckin' along with it. But showrunner Bruce Helford says it's still altogether surprising for those behind the scenes, since the family's return to TV wasn't intended to last this long. As he put it:

Yeah, it's funny because we never set out to do [this many]. We set out to do one season to correct the legacy of Roseanne. And then when that blew up, we had to correct the legacy of that. [Laughs.] So we didn't know beyond one season where we would be going, so it's a surprise to us. A happy surprise, a wonderful gift. But we didn't plan on trying to go this far.

I suppose in some ways, the fact that Roseanne only returned for the lone tenth season before its cancellation fits into those original short-lived expectations, even if I'm sure no one involved would ever have wished for things to go the way they did. But the flagship sitcom did get ordered for a second season before the cancellation and retooling, with The Conners emerging as both a continuation and its own entity.

Which means it had to start over from the bottom as far as episode counts though, making it seem even less likely that the cast and crew would one day celebrate 100 episodes. Here's what Dave Caplan had to say:

I never for a second thought about 100. And I was just saying that when you start writing sitcoms, that's the goal. Everybody says, 'Can I get 100 episodes out of this thing that we're writing?' And I never for a second thought about that with this show. They just kept accumulating, and we kept telling the stories, and then suddenly it was 100.

No word yet on whether or not ABC will order up a seventh season to follow the truncated Season 6, which was affected along with everything else on TV by the 2023 WGA and SAG-AFTRA strikes. But so long as there are more stories to tell, and there always will be for this family, I wouldn't be surprised to be talking to Helford and Caplan about hitting Episode 150 in a few years.

10 Roseanne Characters Who Haven't Appeared On The Conners Yet That I'd Love To See Again

The Conners airs Wednesday nights on ABC at 8:00 p.m. ET, with episodes available to stream the next day with a Hulu subscription . (And the first five seasons are currently streaming with a Netflix subscription for anyone who missed the first 93.)

Nick is a Cajun Country native and an Assistant Managing Editor with a focus on TV and features. His humble origin story with CinemaBlend began all the way back in the pre-streaming era, circa 2009, as a freelancing DVD reviewer and TV recapper. Nick leapfrogged over to the small screen to cover more and more television news and interviews, eventually taking over the section for the current era and covering topics like Yellowstone, The Walking Dead and horror. Born in Louisiana and currently living in Texas — Who Dat Nation over America’s Team all day, all night — Nick spent several years in the hospitality industry, and also worked as a 911 operator. If you ever happened to hear his music or read his comics/short stories, you have his sympathy.

‘Devastated’: X-Men ’97’s Gambit And Rogue Actors Shared Their Reactions To The Latest Episode's Tragic Twist

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Star Trek: Voyager – Season 1, Episode 11

Heroes and demons, where to watch, star trek: voyager — season 1, episode 11.

Watch Star Trek: Voyager — Season 1, Episode 11 with a subscription on Paramount+, or buy it on Fandango at Home, Prime Video, Apple TV.

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'Star Trek: Discovery' season 5 episode 2 sows the seeds of seasonal plot threads (Under the Twin Moons recap)

So far, this fifth and final season hasn't exactly exploded out of the starting blocks, but there's still time, so we remain hopeful

Warning: Spoilers ahead for "Star Trek: Discovery" season 5, episode 2

So, as you will have gathered from watching Star Trek: Discovery's episode 1 of season 5 , it would appear that the primary plot is based on a past episode of "The Next Generation" (TNG). Yes indeed, no new "Star Trek" show is safe from nostalgia — and very specifically — TNG-era nostalgia. Any storyline, from any previous incarnation of " Star Trek " could've been used, but it cannot denied that it feels like we're being given what Terry Matalas and the other executive producers who are still obsessed with living in the past want, which is to relive their teens.

The thing is, there's nothing wrong with TNG and if you watch the episode that all of this seems to be stemming from, "The Chase" (S06, E20) it's actually a pretty good installment. And in fact, it has a " Babylon 5 " quality and uses dialogue and straightforward set pieces to tell an interesting, nuanced story. (Aside from at least from one significant plot hole that is not explained.) But that was then — April 1993, to be precise — and this is now. And while it might have been fun to revisit this in a TNG-era movie for example, this ship really has passed. If you're need a refresher on how to watch Star Trek: Discovery, you can check out our Star Trek streaming guide for Paramount Plus .

Watch Star Trek on Paramount Plus: <a href="https://www.space.com/everything-we-know-about-star-trek-discovery-season-5" data-link-merchant="space.com"" target="_blank" rel="nofollow">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.

The episode "The Chase" is a fun explainer as to why all the humanoid aliens look the same. Obviously, it's all to do with budget in the real world, but in the Star Trek universe it's because a super-advanced race of aliens — unofficially referred to as Progenitors — opted to scatter different parts of our DNA across the galaxy, which when fully evolved over millions of years time, came to form humans, Klingons, Cardassians, Romulans and the rest. When DNA strands from all of these races are combined, it unlocked a ancient holographic message.

Related: 5 things Star Trek: Discovery season 5 needs to fix

Captains Saru and Michael Burnham, eminent archeologists and obtainers of rare alien antiquities.

"Life evolved on my planet before all others in this part of the galaxy. We left our world, explored the stars, and found none like ourselves. Our civilization thrived for ages, but what is the life of one race, compared to the vast stretches of cosmic time?" the unnamed humanoid alien said. "We knew that one day we would be gone, that nothing of us would survive. So, we left you. Our scientists seeded the primordial oceans of many worlds, where life was in its infancy ... The seed codes also contained this message, which we scattered in fragments on many different worlds. It was our hope that you would have to come together in fellowship and companionship to hear this message."

The potential of this was pretty big, but it was never followed up. It was rumored there might even be a connection to the Changling race and it was talked about in chat groups ... 15 years ago . And while this was a certainly an opportunity left open-ended, ready to be revisited after having been found by writers scrambling for ideas, it's also interesting to note that "The Chase" was directed by Jonathan Frakes, who as we know, is still very much involved with Nu-Trek.

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Back to "Discovery" season 5, episode 2 and possibly the biggest single, burning question is, will Captain Rayner (Callum Keith Rennie) met a death as utterly pointless as Captain Shaw, Huw and Cristóbal Rios? And now with Captain Saru (Doug Jones) leaving the USS Discovery and Raynor taking his place as first officer, Captain Burnham (Sonequa Martin-Green) now at least has an antagonist close by for this adventure.

Saru's (Doug Jones) story might be taking a slightly different path in this final season of "Discovery"

— 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)

This second episode feels a little less lost than the season premiere, although it relies rather heavily on the classic bureaucracy trope, something, you'd have to believe we'd really been able to get past in the 32nd century. Guess not. Staying with Rayner though, if his appointment to become the new First Officer of the USS Discovery just turns out to be another underused, Tarka-style antagonist, it will be a spectacular missed opportunity. But, "Discovery" does keep us guessing, that much is certain. Who'd have thought an socially awkward alien would cause all the dilithium in the galaxy to explode ?

There are some interesting set pieces in this episode, but let's hope we don't dwell on the whole breadcrumb-trail to alien artifacts theme too long. Also, where the blazes does the energy and the matter come from to instantly form replacement phasers? Just wonderin' like. But, on the plus side, Grudge is back and so is Zora.

In other "Star Trek" news, production on the new "Star Trek: Section 31" television movie starring Michelle Yeoh has started principal photography. Paramount Plus posted a pic on Instagram and Variety released a still. In addition to Yeoh, the cast includes Omari Hardwick ("Powers"), Kacey Rohl ("Hannibal"), Emmy Award winner Sam Richardson ("Ted Lasso"), Sven Ruygrok ("One Piece"), Robert Kazinsky ("Pacific Rim"), Humberly Gonzalez ("Ginny & Georgia") and James Hiroyuki Liao ("Barry").

Michelle Yeoh returns as Philippa Georgiou to finally fulfill her contractual obligations with Paramount

However, the most interesting news is that the story appears to be set in the "lost era" of "Star Trek" — between the events of the Kirk-era movie, "Star Trek VI: The Undiscovered Country" and the TV series TNG. Arguably the most underused and interesting field of opportunity within the "Star Trek" franchise...and Kacey Rohl ("Arrow") has also joined the project as a young Rachel Garrett, the future captain of the USS Enterprise-C, from the epic TNG episode "Yesterday's Enterprise" (S03, E15) where the character was previously portrayed by Tricia O’Neil.

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.

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When Scott's application to the NASA astronaut training program was turned down, he was naturally upset...as any 6-year-old boy would be. He chose instead to write as much as he possibly could about science, technology and space exploration. He graduated from The University of Coventry and received his training on Fleet Street in London. He still hopes to be the first journalist in space.

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This Week In Space podcast: Episode 105 — Apoc-eclipse 2024!

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What time star wars: the bad batch season 3, episode 12 releases on disney plus.

Star Wars: The Bad Batch season 3, episode 12 will move the show into its final stretch, and remains consistent with prior release times on Disney+.

Omega's capture by Hemlock's clone sets the stage for a thrilling rescue mission by Hunter, Wrecker, and Crosshair in The Bad Batch season 3.
Expect tensions to rise between Hunter and Crosshair due to the latter's failure to safeguard Omega from the Empire in The Bad Batch episode 11.
The upcoming episode of The Bad Batch promises intense action and drama as the team races against time to free Omega from the Empire's clutches.

Star Wars: The Bad Batch season 3, episode 12 will move the show into its home stretch, leading many to wonder when exactly it begins streaming on Disney+. The ending of The Bad Batch season 3, episode 11 was suitably tragic, with Omega being taken once more by the Empire. The return of Asajj Ventress to Star Wars saw Clone Force 99 adequately warned about the Empire's threat to Pabu, yet the team did not have enough time to vacate the planet.

As teased in Star Wars: The Bad Batch season 3's trailer , Omega was captured by one of Hemlock's C-X2 clones and returned to the Empire. This will allow Hemlock and his associates to continue tests using Omega's blood, something that has proven integral to Star Wars' Project Necromancer and Palpatine's resurrection . Given this turn of events, it is expected that Star Wars: The Bad Batch season 3, episode 12 will reignite Hunter, Wrecker, and Crosshair's search for Mount Tantiss in a bid to save Omega , raising excitement for the episode's release on Disney+.

Upcoming Star Wars Shows: Story, Casts & Everything We Know

What time the bad batch season 3, episode 12 releases.

As has been the case for the prior 11 episodes, Star Wars: The Bad Batch season 3, episode 12 will be released on Disney+ at 12:00 AM PT, 03:00 AM ET, and 08:00 AM BST. This marks no change in The Bad Batch 's air time, as the show maintains consistency with each episode. It is expected that these release times will continue for all Star Wars animated TV shows, including the newly-announced Tales of the Empire story which is animated in the same style as The Bad Batch and The Clone Wars before it.

What To Expect From Star Wars: The Bad Batch Season 3, Episode 12

Hunter, wrecker, and crosshair will be on the warpath to recover omega from the empire's clutches..

Another potential subplot could be a rise in tensions between Hunter and Crosshair.

Concerning what to expect from the story of The Bad Batch season 3, episode 12, it will likely follow on from episode 11's cliffhanger. Omega is now back in the hands of the Empire, likely meaning her three brothers will stop at nothing to save her . The early episodes of The Bad Batch season 3 focused on the titular team trying to find the location of Mount Tantiss to free Omega, meaning this will likely resume now that the latter has been captured once more. Another potential subplot could be a rise in tensions between Hunter and Crosshair.

Crosshair allowed Omega to turn herself over to the Empire in The Bad Batch season 3, episode 11, as she trusted him to fire a tracker onto C-X2's ship. However, Crosshair failed to hit the vehicle, something that will surely anger Hunter, as will Crosshair's decision to let Omega get herself captured in the first place. As such, more bickering and anger can be expected between the two clones in Star Wars: The Bad Batch season 3, episode 12, harkening back to Crosshair's reintroduction to the group in earlier episodes of the season.

Star Wars: The Bad Batch

*Availability in US

Not available

Star Wars: The Bad Batch is an action-adventure animated series set after the events of The Clone Wars, following Clone Force 99 (a.k.a. the Bad Batch.) Finding themselves immune to the brainwashing effects of Order 66, the Bad Batch become mercenaries for hire while outrunning the empire, now seeing them as fugitives of the law.

How to Watch ‘The Challenge: All Stars’ Season 4 Premiere on Apple TV, Fire TV, Roku & Mobile

“ The Challenge: All Stars ” returns for its fourth season. In this series, some of the top competitors from “ The Challenge ” go head to head in hopes of securing a hefty cash prize. Along the way, they will have to navigate their relationships with one another and overcome tough battles. “The Challenge: All Stars” Season 4 premieres on Paramount Plus on Wednesday, April 10. You can enjoy the first two episodes this week, and then check back every Wednesday for a new episode. You can watch The Challenge: All Stars: Season 4 with a 7-Day Free Trial of Paramount Plus .

About ‘The Challenge: All Stars’ Season 4 Premiere

On “The Challenge: All Stars” Season 4, contestants travel to Cape Town, South Africa to push themselves to their limits. $300,000 is on the line and only one competitor will walk away with the title and grand cash prize. These fierce competitors previously appeared on “The Challenge” and performed well enough to earn them a spot on the spin-off’s Season 4 roster.

Throughout the 10 episodes, viewers will watch as the cast puts themselves through a series of physical and mental challenges. This season, the competition gets even more interesting as everyone must secure a star ahead of the final round. They also have the option to steal a star from another contestant, creating extra tension. The experienced All Stars are ready for anything that may be thrown their way. Who will rise above the rest and win it all?

Ahead of the premiere, the following contestants have been revealed:

Ace Amerson (5 Challenges)
Adam Larson (3 Challenges, 1 Win)
Averey Tressler (2 Challenges)
Ayanna Mackins (4 Challenges)
Brad Fiorenza (12 Challenges, 1 Win)
Brandon Nelson (5 Challenges)
Cara Maria Sorbello (14 Challenges, 2 Wins)
Derek Chavez (4 Challenges)
Flora Alekseyeun (1 Challenge)
Janelle Casanave (3 Challenges, 1 Win)
Jasmine Reynaud (6 Challenges)
Jay Mitchell (1 Challenge)
Kam Williams (5 Challenges)
Kefla Hare (1 Challenge, 1 Win)
Laurel Stucky (7 Challenges, 1 Win)
Leroy Garrett (12 Challenges)
Nicole Zanatta (3 Challenges)
Rachel Robinson (7 Challenges, 2 Wins)
Ryan Kehoe (6 Challenges)
Steve Meinke (2 Challenges)
Syrus Yarbrough (7 Challenges, 1 Win)
Tina Barta (7 Challenges)
Tony Raines (6 Challenges)
Tyrie Ballard-Brown (6 Challenges)
Veronica Portillo (13 Challenges, 3 Wins)

Can you watch ‘The Challenge: All Stars’ Season 4 Premiere for free?

Paramount Plus offers a 7-Day Free Trial . With your free trial, you can watch The Challenge: All Stars: Season 4 on Paramount Plus .

‘The Challenge: All Stars’ Season 4 Premiere Schedule

“The Challenge: All Stars” Season 4 kicks off with a two-episode premiere. After that, enjoy one new episode weekly for the remainder of the season.

Episode 1 : Wednesday, April 10
Episode 2 : Wednesday, April 10
Episode 3 : Wednesday, April 17
Episode 4 : Wednesday, April 24
Episode 5 : Wednesday, May 1
Episode 6 : Wednesday, May 8
Episode 7 : Wednesday, May 15
Episode 8 : Wednesday, May 22
Episode 9 : Wednesday, May 29
Episode 10 : Wednesday, June 5

Can you watch ‘The Challenge: All Stars’ Season 4 Premiere offline?

Like most of the Paramount Plus catalog, you can download The Challenge: All Stars: Season 4 and watch offline with your linked devices.

What devices can you use to stream ‘The Challenge: All Stars’ Season 4 Premiere?

You can watch The Challenge: All Stars: Season 4 on Paramount Plus using Amazon Fire TV , Apple TV , Google Chromecast , Roku , Android TV , iPhone/iPad , Android Phone/Tablet , Mac , Windows , PlayStation , Xbox , LG Smart TV , Samsung Smart TV , Sony Smart TV , and VIZIO Smart TV .

‘The Challenge: All Stars’ Season 4 Premiere Trailer

The challenge: all stars: season 4.

Twenty-two of the most iconic, boldest, and fiercest Challenge All Stars from the original The Real World and Road Rules return for a second chance at the ultimate competition as they vie for their shot at the $500,000 grand prize. Follow the competitors as they face unprecedented, over-the-top challenges set in the Andes Mountains of Argentina.

Paramount Plus

Paramount+ is a subscription video streaming service that includes on-demand access to 40,000+ TV show episodes from BET, CBS, Comedy Central, MTV, Nickelodeon, Nick Jr. and more. The lineup includes “1883,” “Tulsa King,” “Star Trek: Discovery,” Nickelodeon’s “SpongeBob SquarePants,” and “PAW Patrol.” Subscribers can watch the NFL, college football, The Masters, college basketball, UEFA Champions League, UEFA Europa, Serie A, and NWSL. The service also offers the option to watch your live CBS affiliate. The upgraded ad-free package includes premium movies and shows from Showtime.

Subscribers can choose between the Essential Plan (which includes ads) for $5.99/month, or go commercial-free and add more movies with Paramount+ with SHOWTIME for $11.99/month.

Subscribers to the more expensive plan will also get access to your local CBS affiliate to stream your local news, prime-time lineup, and late-night. You will also be able to download offline and watch select shows in 4K.

With the lower-cost “Essential” plan, you will still be able to watch live NFL games, Champions League, and national news – but you will no longer get your local CBS affiliate.

With their new app, enjoy advanced recommendations, curated homepages, and new content categories while still being able to stream major live sports like NFL , College Football , College Basketball . Sports fans will also appreciate the service’s inclusion of NFL on CBS, PGA Tour, along with every match of UEFA Champions League and Serie A.

The service was previously called CBS All Access.

For a Limited Time, Get a Month of Paramount+ With Code: LODGE24 .

How to Watch ‘The Challenge: All Stars’ Season 4 Premiere on Apple TV, Fire TV, Roku & Mobile

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Published Apr 8, 2024

Star Trek Explorer #11 Delivers A Difficult Encounter Between Captain Shaw and Seven of Nine

The latest issue of Star Trek Explorer hits newsstands tomorrow, featuring interviews with Sonequa Martin-Green, the Hagemans, and more!

Graphic illustration featuring the newsstand and exclusive cover of Star Trek Explorer #11

StarTrek.com

Tomorrow's release of Star Trek Explorer #11 is here to deliver on all your Star Trek news!

Star Trek Explorer #11 Newsstand Cover

Within the pages of the latest issue of Star Trek Explorer , dive into a handful of exclusive fiction, interviews, and features.

Star Trek Explorer #11 celebrates the final season of Star Trek: Discovery with an exclusive interview with Sonequa Martin-Green. She teases things to come as the series draws to a close, and offers some candid comments on what she hopes the legacy of the show will be.

Elsewhere, the latest issue has an exclusive interview with the Hagemans — creators of Star Trek: Prodigy ! There’s a Star Trek: Picard short story, "Confirmation Bias" by Michael Dismuke, centering on a difficult encounter between Captain Shaw and Seven of Nine aboard the U.S.S. Titan -A. And in David Mack's short story, "Dignified Transfer," it’s a sad mission for Captain Picard. All this and so much more!

Star Trek Explorer #11 Exclusive Cover

Thanks to our friends at Titan Magazines, we have an exclusive excerpt of the short, "Confirmation Bias" by Michael Dismuke, below!

"Your vessel will be towed to Starbase G-6 where you'll be remanded into the custody of Starfleet Security. From there, a formal tribunal will be formed to decide your fate. If your planet has a judicial system, they have the right to provide for your legal defense. Of course, they might disavow you. I would, since you are such abject losers. If that happens, you'll be provided a replacement from our judge advocate general's office."

Liam Shaw, captain of the U.S.S. Titan -A, finished reading the two captives their rights.

The Usangi'I males sat in two separate but adjacent holding cells in the ship's brig. Blue-hued force fields prevented the duo of criminals from escaping. Shaw couldn't help but think that the portly prisoners, dressed in shiny orange uniforms, resembled tubby worms with the facial features of star-nosed moles – the kind he had caught as a kid back home in Illinois. In a universe shaped by the peculiarities of interstellar evolution, the faces of the Usangi'I captives looked as if a cosmic engineer had attached an otherworldly satellite dish to their snouts. Comprising thirty to forty fleshy, prehensile tendrils that splayed outward like a miniature constellation, their unique facial appendages were endowed with hyper-sensitive neural clusters. These clusters resembled minuscule antenna arrays, fine-tuned to intercept and interpret environmental signals.

The crew of the Titan- A would have preferred to learn about a new, sentient species in a more diplomatic manner. However, the actions of the Usangi'I had changed their status to that of prisoners in the brig rather than of guests on the bridge.

Star Trek Explorer #11 short story accompanying art featuring Liam Shaw and Seven of Nine

Star Trek Explorer #11 'Confirmation Bias' Artwork

"I'll make sure my chief of security sends you a few holopics of the innards of of a Federation penal colony. I'd hate to keep you in suspense regarding your new digs." Captain Shaw punched a few more notes into the PADD, signed off on the formal charges, then handed it to his first officer. "How many hours until we arrive at G-6, Commander Hansen?"

Seven checked the PADD, added her own sign off, and handed it to one of the two stern-faced security officers that stood guard. "Twelve hours, sir," she responded, silently roiling at the fact that Captain Shaw refused to refer to her by her chosen name.

Though she had thrown off the shackles of the Borg Collective, she had spent approximately half of her life as Seven of Nine, Tertiary Adjunct of Unimatrix Zero One. Once liberated from the Borg, her crewmates aboard U.S.S. Voyager called her by the abbreviated moniker "Seven of Nine" — or just "Seven" — as did her associates in the Fenris Rangers. Shaw's insistence on referring to her by birth name, Annika Hansen, ran deeper than mere accuracy and formality, though the man was a model of procedural compliance. Over the course of weeks, the tonal inflections with which he uttered her name evolved from passive-aggressive jabs to more overt micro-aggressions.

"Captain," Seven asked as they exited the brig into the bustling corridor of the Neo-Constitution -class ship, "may we speak privately?"

"I don't see why not," he responded without making eye contact.

Within short order, Shaw and Seven regrouped to the starship's Observation Lounge. Shaw rounded the conference table and sat down opposite from where Seven stood. He didn't bother to offer a seat to his first officer. With a swipe of the hand, he activated the computer built into the surface of the table and tapped away without looking up. "What can I do for you, Commander Hansen?" He swiped left, making a few selections on the console.

Seven's lips pursed momentarily in a silent symphony of agitation as the captain summoned from the ship's database Vivaldi’s Concerto For Violin And Strings In F Minor. "I would like to address what transpired during our recent contact with the Usangi’I pirates, sir."

Shaw adjusted the volume of the music to his liking. "What exactly would you like me to address?" He sat back, his eyes set for the challenge. "We made first contract with a new species. We quickly determined hostile intent. We uncovered their ruse. Now they sit in the brig awaiting Starfleet justice. Not bad for this crew’s thirty-fifth mission. If you want to take the lead in writing the report, go right ahead."

"I’m not sure you want me to write that report." She offered a moment's hesitation. "Sir."

"Is that so?" The challenge had been accepted. He leaned forward, locking his hands together and resting his elbows on the table. "Pray tell."

You can read the complete short story in Star Trek Explorer #11 on sale April 9. Plus, there's an exclusive interview with Sonequa Martin-Green looking forward to Star Trek: Discovery 's fifth and final season; the Hagemans discuss the importance of Star Trek: Prodigy ; there’s more exclusive short fiction; your definitive guide to Star Trek: Picard Season 3 and much, much more!

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The Future of ‘Star Trek’: From ‘Starfleet Academy’ to New Movies and Michelle Yeoh, How the 58-Year-Old Franchise Is Planning for the Next Generation of Fans

“I can’t believe I get to play the captain of the Enterprise.”

“Strange New Worlds” is the 12th “Star Trek” TV show since the original series debuted on NBC in 1966, introducing Gene Roddenberry’s vision of a hopeful future for humanity. In the 58 years since, the “Star Trek” galaxy has logged 900 television episodes and 13 feature films, amounting to 668 hours — nearly 28 days — of content to date. Even compared with “Star Wars” and the Marvel Cinematic Universe, “Star Trek” stands as the only storytelling venture to deliver a single narrative experience for this long across TV and film.

In other words, “Star Trek” is not just a franchise. As Alex Kurtzman , who oversees all “Star Trek” TV production, puts it, “‘Star Trek’ is an institution.”

Without a steady infusion of new blood, though, institutions have a way of fading into oblivion (see soap operas, MySpace, Blockbuster Video). To keep “Star Trek” thriving has meant charting a precarious course to satisfy the fans who have fueled it for decades while also discovering innovative ways to get new audiences on board.

“Doing ‘Star Trek’ means that you have to deliver something that’s entirely familiar and entirely fresh at the same time,” Kurtzman says.

The franchise has certainly weathered its share of fallow periods, most recently after “Nemesis” bombed in theaters in 2002 and UPN canceled “Enterprise” in 2005. It took 12 years for “Star Trek” to return to television with the premiere of “Discovery” in 2017; since then, however, there has been more “Star Trek” on TV than ever: The adventure series “Strange New Worlds,” the animated comedy “Lower Decks” and the kids series “Prodigy” are all in various stages of production, and the serialized thriller “Picard” concluded last year, when it ranked, along with “Strange New Worlds,” among Nielsen’s 10 most-watched streaming original series for multiple weeks. Nearly one in five Paramount+ subscribers in the U.S. is watching at least one “Star Trek” series, according to the company, and more than 50% of fans watching one of the new “Trek” shows also watch at least two others. The new shows air in 200 international markets and are dubbed into 35 languages. As “Discovery” launches its fifth and final season in April, “Star Trek” is in many ways stronger than it’s ever been.

“’Star Trek’s fans have kept it alive more times than seems possible,” says Eugene Roddenberry, Jr., who executive produces the TV series through Roddenberry Entertainment. “While many shows rightfully thank their fans for supporting them, we literally wouldn’t be here without them.”

But the depth of fan devotion to “Star Trek” also belies a curious paradox about its enduring success: “It’s not the largest fan base,” says Akiva Goldsman, “Strange New Worlds” executive producer and co-showrunner. “It’s not ‘Star Wars.’ It’s certainly not Marvel.”

When J.J. Abrams rebooted “Star Trek” in 2009 — with Chris Pine, Zachary Quinto and Zoe Saldaña playing Kirk, Spock and Uhura — the movie grossed more than any previous “Star Trek” film by a comfortable margin. But neither that film nor its two sequels broke $500 million in global grosses, a hurdle every other top-tier franchise can clear without breaking a sweat.

There’s also the fact that “Star Trek” fans are aging. I ask “The Next Generation” star Jonathan Frakes, who’s acted in or directed more versions of “Star Trek” than any other person alive, how often he meets fans for whom the new “Star Trek” shows are their first. “Of the fans who come to talk to me, I would say very, very few,” he says. “‘Star Trek’ fans, as we know, are very, very, very loyal — and not very young.”

As Stapf puts it: “There’s a tried and true ‘Trek’ fan that is probably going to come to every ‘Star Trek,’ no matter what it is — and we want to expand the universe.”

Every single person I spoke to for this story talked about “Star Trek” with a joyful earnestness as rare in the industry as (nerd alert) a Klingon pacifist.

“When I’m meeting fans, sometimes they’re coming to be confirmed, like I’m kind of a priest,” Ethan Peck says during a break in filming on the “Strange New Worlds” set. He’s in full Spock regalia — pointy ears, severe eyebrows, bowl haircut — and when asked about his earliest memories of “Star Trek,” he stares off into space in what looks like Vulcan contemplation. “I remember being on the playground in second or third grade and doing the Vulcan salute, not really knowing where it came from,” he says. “When I thought of ‘Star Trek,’ I thought of Spock. And now I’m him. It’s crazy.”

To love “Star Trek” is to love abstruse science and cowboy diplomacy, complex moral dilemmas and questions about the meaning of existence. “It’s ultimately a show with the most amazing vision of optimism, I think, ever put on-screen in science fiction,” says Kurtzman, who is 50. “All you need is two minutes on the news to feel hopeless now. ‘Star Trek’ is honestly the best balm you could ever hope for.”

I’m getting a tour of the USS Enterprise from Scotty — or, rather, “Strange New World” production designer Jonathan Lee, who is gushing in his native Scottish burr as we step into the starship’s transporter room. “I got such a buzzer from doing this, I can’t tell you,” he says. “I actually designed four versions of it.”

Lee is especially proud of the walkway he created to run behind the transporter pads — an innovation that allows the production to shoot the characters from a brand-new set of angles as they beam up from a far-flung planet. It’s one of the countless ways that this show has been engineered to be as cinematic as possible, part of Kurtzman’s overall vision to make “Star Trek” on TV feel like “a movie every week.”

Kurtzman’s tenure with “Star Trek” began with co-writing the screenplay for Abrams’ 2009 movie, which was suffused with a fast-paced visual style that was new to the franchise. When CBS Studios approached Kurtzman in the mid-2010s about bringing “Star Trek” back to TV, he knew instinctively that it needed to be just as exciting as that film.

“The scope was so much different than anything we had ever done on ‘Next Gen,’” says Frakes, who’s helmed two feature films with the “Next Generation” cast and directed episodes of almost every live-action “Trek” TV series, including “Discovery” and “Strange New Worlds.” “Every department has the resources to create.”

A new science lab set for Season 3, for example, boasts a transparent floor atop a four-foot pool of water that swirls underneath the central workbench, and the surrounding walls sport a half dozen viewscreens with live schematics custom designed by a six-person team. “I like being able to paint on a really big canvas,” Kurtzman says. “The biggest challenge is always making sure that no matter how big something gets, you’re never losing focus on that tiny little emotional story.”

At this point, is there a genre that “Strange New Worlds” can’t do? “As long as we’re in storytelling that is cogent and sure handed, I’m not sure there is,” Goldsman says with an impish smile. “Could it do Muppets? Sure. Could it do black and white, silent, slapstick? Maybe!”

This approach is also meant to appeal to people who might want to watch “Star Trek” but regard those 668 hours of backstory as an insurmountable burden. “You shouldn’t have to watch a ‘previously on’ to follow our show,” Myers says.

To achieve so many hairpin shifts in tone and setting while maintaining Kurtzman’s cinematic mandate, “Strange New Worlds” has embraced one of the newest innovations in visual effects: virtual production. First popularized on the “Star Wars” series “The Mandalorian,” the technology — called the AR wall — involves a towering circular partition of LED screens projecting a highly detailed, computer-generated backdrop. Rather than act against a greenscreen, the actors can see whatever fantastical surroundings their characters are inhabiting, lending a richer level of verisimilitude to the show.

But there is a catch. While the technology is calibrated to maintain a proper sense of three-dimensional perspective through the camera lens, it can be a bit dizzying for anyone standing on the set. “The images on the walls start to move in a way that makes no sense,” says Mount. “You end up having to focus on something that’s right in front of you so you don’t fall down.”

And yet, even as he’s talking about it, Mount can’t help but break into a boyish grin. “Sometimes we call it the holodeck,” he says. In fact, the pathway to the AR wall on the set is dotted with posters of the virtual reality room from “The Next Generation” and the words “Enter Holodeck” in a classic “Trek” font.

“I want to take one of those home with me,” Peck says. Does the AR wall also affect him? “I don’t really get disoriented by it. Spock would not get ill, so I’m Method acting.”

I’m on the set of the “Star Trek” TV movie “Section 31,” seated in an opulent nightclub with a view of a brilliant, swirling nebula, watching Yeoh rehearse with director Olatunde Osunsanmi and her castmates. Originally, the project was announced as a TV series centered on Philippa Georgiou, the semi-reformed tyrant Yeoh originated on “Discovery.” But between COVID delays and the phenomenon of “Everything Everywhere All at Once,” there wasn’t room in the veteran actress’s schedule to fit a season of television. Yeoh was undaunted.

“We’d never let go of her,” she says of her character. “I was just blown away by all the different things I could do with her. Honestly, it was like, ‘Let’s just get it done, because I believe in this.’”

If that means nothing to you, don’t worry: The enormity of the revelation that Garrett is being brought back is meant only for fans. If you don’t know who the character is, you’re not missing anything.

“It was always my goal to deliver an entertaining experience that is true to the universe but appeals to newcomers,” says screenwriter Craig Sweeny. “I wanted a low barrier of entry so that anybody could enjoy it.”

Nevertheless, including Garrett on the show is exactly the kind of gasp-worthy detail meant to flood “Star Trek” fans with geeky good feeling.

“You cannot create new fans to the exclusion of old fans,” Kurtzman says. “You must serve your primary fan base first and you must keep them happy. That is one of the most important steps to building new fans.”

On its face, that maxim would make “Section 31” a genuine risk. The titular black-ops organization has been controversial with “Star Trek” fans since it was introduced in the 1990s. “The concept is almost antagonistic to some of the values of ‘Star Trek,’” Sweeny says. But he still saw “Section 31” as an opportunity to broaden what a “Star Trek” project could be while embracing the radical inclusivity at the heart of the franchise’s appeal.

“Famously, there’s a spot for everybody in Roddenberry’s utopia, so I was like, ‘Well, who would be the people who don’t quite fit in?’” he says. “I didn’t want to make the John le Carré version, where you’re in the headquarters and it’s backbiting and shades of gray. I wanted to do the people who were at the edges, out in the field. These are not people who necessarily work together the way you would see on a ‘Star Trek’ bridge.”

For Osunsanmi, who grew up watching “The Next Generation” with his father, it boils down to a simple question: “Is it putting good into the world?” he asks. “Are these characters ultimately putting good into the world? And, taking a step back, are we putting good into the world? Are we inspiring humans watching this to be good? That’s for me what I’ve always admired about ‘Star Trek.’”

Should “Section 31” prove successful, Yeoh says she’s game for a sequel. And Kurtzman is already eyeing more opportunities for TV movies, including a possible follow-up to “Picard.” The franchise’s gung-ho sojourn into streaming movies, however, stands in awkward contrast to the persistent difficulty Paramount Pictures and Abrams’ production company Bad Robot have had making a feature film following 2016’s “Star Trek Beyond” — the longest theaters have gone without a “Star Trek” movie since Paramount started making them.

First, a movie reuniting Pine’s Capt. Kirk with his late father — played in the 2009 “Star Trek” by Chris Hemsworth — fell apart in 2018. Around the same time, Quentin Tarantino publicly flirted with, then walked away from, directing a “Star Trek” movie with a 1930s gangster backdrop. Noah Hawley was well into preproduction on a “Star Trek” movie with a brand-new cast, until then-studio chief Emma Watts abruptly shelved it in 2020. And four months after Abrams announced at Paramount’s 2022 shareholders meeting that his 2009 cast would return for a movie directed by Matt Shakman (“WandaVision”), Shakman left the project to make “The Fantastic Four” for Marvel. (It probably didn’t help that none of the cast had been approached before Abrams made his announcement.)

The studio still intends to make what it’s dubbed the “final chapter” for the Pine-Quinto-Saldaña cast, and Steve Yockey (“The Flight Attendant”) is writing a new draft of the script. Even further along is another prospective “Star Trek” film written by Seth Grahame-Smith (“Abraham Lincoln: Vampire Hunter”) and to be directed by Toby Haynes (“Andor,” “Black Mirror: USS Callister”) that studio insiders say is on track to start preproduction by the end of the year. That project will serve as an origin story of sorts for the main timeline of the entire franchise. In both cases, the studio is said to be focused on rightsizing the budgets to fit within the clear box office ceiling for “Star Trek” feature films.

Far from complaining, everyone seems to relish the challenge. Visual effects supervisor Jason Zimmerman says that “working with Alex, the references are always at least $100 million movies, if not more, so we just kind of reverse engineer how do we do that without having to spend the same amount of money and time.”

The workload doesn’t seem to faze him either. “Visual effects people are a big, big ‘Star Trek’ fandom,” he says. “You naturally just get all these people who go a little bit above and beyond, and you can’t trade that for anything.”

In one of Kurtzman’s several production offices in Toronto, he and production designer Matthew Davies are scrutinizing a series of concept drawings for the newest “Star Trek” show, “Starfleet Academy.” A bit earlier, they showed me their plans for the series’ central academic atrium, a sprawling, two-story structure that will include a mess hall, amphitheater, trees, catwalks, multiple classrooms and a striking view of the Golden Gate Bridge in a single, contiguous space. To fit it all, they plan to use every inch of Pinewood Toronto’s 45,900 square foot soundstage, the largest in Canada.

But this is a “Star Trek” show, so there do need to be starships, and Kurtzman is discussing with Davies about how one of them should look. The issue is that “Starfleet Academy” is set in the 32nd century, an era so far into the future Kurtzman and his team need to invent much of its design language.

“For me, this design is almost too Klingon,” Kurtzman says. “I want to see the outline and instinctively, on a blink, recognize it as a Federation ship.”

The time period was first introduced on Season 3 of “Discovery,” when the lead character, Michael Burnham (Sonequa Martin-Green), transported the namesake starship and its crew there from the 23rd century. “It was exciting, because every time we would make a decision, we would say, ‘And now that’s canon,’” says Martin-Green.

“We listened to a lot of it,” Kurtzman says. “I think I’ve been able to separate the toxic fandom from really true fans who love ‘Star Trek’ and want you to hear what they have to say about what they would like to see.”

By Season 2, the “Discovery” writers pivoted from its dour, war-torn first season and sent the show on its trajectory 900-plus years into the future. “We had to be very aware of making sure that Spock was in the right place and that Burnham’s existence was explained properly, because she was never mentioned in the original series,” says executive producer and showrunner Michelle Paradise. “What was fun about jumping into the future is that it was very much fresh snow.”

That freedom affords “Starfleet Academy” far more creative latitude while also dramatically reducing how much the show’s target audience of tweens and teens needs to know about “Star Trek” before watching — which puts them on the same footing as the students depicted in the show. “These are kids who’ve never had a red alert before,” Noga Landau, executive producer and co-showrunner, says. “They never had to operate a transporter or be in a phaser fight.”

In the “Starfleet Academy” writers’ room in Secret Hideout’s Santa Monica offices, Kurtzman tells the staff — a mix of “Star Trek” die-hards, part-time fans and total newbies — that he wants to take a 30,000-foot view for a moment. “I think we need to ground in science more throughout the show,” he says, a giant framed photograph of Spock ears just over his shoulder. “The kids need to use science more to solve problems.”

Immediately, one of the writers brightens. “Are you saying we can amp up the techno-babble?” she says. “I’m just excited I get to use my computer science degree.”

After they break for lunch, Kurtzman is asked how much longer he plans to keep making “Star Trek.”

“The minute I fall out of love with it is the minute that it’s not for me anymore. I’m not there yet,” he says. “To be able to build in this universe to tell stories that are fundamentally about optimism and a better future at a time when the world seems to be falling apart — it’s a really powerful place to live every day.”

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Star Trek: Strange New Worlds

A prequel to Star Trek: The Original Series, the show follows the crew of the USS Enterprise under Captain Christopher Pike. A prequel to Star Trek: The Original Series, the show follows the crew of the USS Enterprise under Captain Christopher Pike. A prequel to Star Trek: The Original Series, the show follows the crew of the USS Enterprise under Captain Christopher Pike.

Akiva Goldsman
Alex Kurtzman
Jenny Lumet
Anson Mount
Christina Chong
1K User reviews
38 Critic reviews
9 wins & 32 nominations total

Episodes 30

Melissa Navia Wants to Know Why You Aren't Watching Her on "Star Trek"

Captain Christopher Pike …

La'an Noonien-Singh …

Lt. Erica Ortegas …

Una Chin-Riley …

Nurse Christine Chapel

Nyota Uhura …

Dr. M'Benga

USS Enterprise Computer …

Lieutenant George Samuel 'Sam' Kirk

Jenna Mitchell

Captain Batel …

Admiral Robert April

Captain James T. Kirk …

T'Pring
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Did you know

Trivia Bruce Horak , the actor who plays Hemmer, is legally blind, just like his character's species, the Aenar, who are also blind.
Goofs There are some rank insignia mistakes. Number One is introduced as "Lieutenant Commander Una Chin-Riley" yet she is wearing the rank insignia of a full commander: two full stripes. A Lieutenant Commander's rank insignia is a full stripe under a thin stripe (in TOS it is a full stripe and a staggered stripe). It is not uncommon for a ship's first officer to be a Lt. Commander if they have not been in the position long. Spock at this point is a Lieutenant but he is wearing Lieutenant Commander's stripes; a Lieutenant just has one stripe. La'an is the ship's chief of security and the ship's second officer. She is also wearing Lt. Commander stripes but is addressed as a Lieutenant, but it would make more sense for her to be a Lieutenant Commander. Either way both of their rank insignia are not matching the rank they are addressed by. Ortegas is addressed as a Lieutenant but is wearing Lieutenant Commander's strips. A Lieutenant Commander may be addressed as a Commander or Lieutenant Commander but never as just a Lieutenant, so either her rank insignia or the manner she is addressed by the rest of the crew is in error.

[opening narration]

Captain Christopher Pike : Space. The final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.