Strange New Worlds also exhibits an obvious trust between its writers room and its cast. Rather than being precious about the established legacy characters, such as Mr. Spock (Ethan Peck) and Nurse Christine Chapel (Jess Bush), this series allows them to take on a life of their own as if there was no established precedent for how they ought to be employed in a story. Season Two continues to place Peck’s Spock at the heart of the show’s broadest comedy and steamiest romance, because regardless of whether that’s something you’d do with Leonard Nimoy’s Spock, it’s clearly working here...
...The comparison against the
lore-stuffed, nutrient-free fan candy of the final season of Star Trek: Picard is night and day. So much media during this age of the perpetual franchise extension feels like it could be written by an AI, absorbing the previous hundred hours of a saga and extrapolating what the next hundred hours might look like, without the benefit of any real imagination. It’s not new, it’s merely more.
Strange New Worlds was willed into existence by a campaign of fans who were hungry for the familiar, but it nevertheless feels fresh and vital. It has the unmistakable flavor of real human investment. Its Spock/Chapel/T’Pring love triangle may have been suggested by
The Original Series, but it belongs to
this series, and to
these storytellers. Its Ensign Uhura honors the memory of Nichelle Nichols, but she is her own entity, and a joy to watch on her own merits. If
Strange New Worlds were suddenly to divert from the Star Trek canon entirely and veer off into its own continuity, never reconciling with the classic series, nothing of value would be lost. That, for my money, is the highest compliment you can pay to any prequel.