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It's sad that people completely misunderstand what Star Trek is about.
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this post was submitted on 24 Mar 2026
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Agreed. People should dislike modern Star Trek for it’s bad writing, not because it’s progressive.
Trek writing has never been consistently good. Half of TOS is unwatchably bad. TNG sucks until Riker gets more hair. DS9 sucks until Sisko gets less hair. Voyager's all over the place (even though it's my favorite). Enterprise is mostly bad. Only the even numbered TOS movies are good. Only the first two TNG movies are good.
I say this with a genuine love of Star Trek, but the quality of the writing has varied greatly over each individual series.
As a Star Wars nerd, I feel this so intensely. It sucks when you love the setting, but the actual writing is a crapshoot.
You hold up Andor, Rogue One, and the Animated Clone Wars Saga next to the Sequels, the Christmas Special, or Revenge of the Sith, and it makes your heart hurt.
Agreed. Season three TNG is peak Star Trek. That said, and at the risk of being flayed by the Star Trek community at large, I think DS9 was the best series, taken as a whole.
Subjectively agreed, although ds9 is not as suitable for random watching since some characters have like real arcs and there's a plot (which we can probably thank b5 for)
Which is one of the reasons why Discovery and Picard at least are problematic (I haven't seen Academy).
As you say, a lot of the old stories aren't really that good. What happens when they had a bad story, or maybe less 'bad' and just didn't engage with you? New one next week.
With Discovery and Picard? Well the whole season is the story, so if it doesn't engage with you, you are pretty much out for the season.
Personally, I never felt there was really enough narrative "meat" in their stories to warrant a season long arc, and so it felt a bit stretched for time for the perceived "a story needs to fill a binge" market.
Strange New Worlds primary win was returning to episodic, to give a story a chance to shine or fail in a digestable amount of time and move on. Was at its weakest when Season 3 kind of devolved to a weird arc.
Star Trek writing just depends on making sure the main characters have exactly the right hairstyle. They tried real hard to find it in Discovery, maybe with a few more seasons we would have got there.
The best progressive writing Trek did was when they addressed a social issue by having the actors pretend it wasn't an issue at all.
Uhura was a bridge officer who was a black woman, and nobody cared or even noticed because in-universe there was nothing special about that.
I like how in Discovery a character came out as non-binary and everyone is like "ok cool" and that was that and it was never brought up again (because why would it be)?
You can tell by the absolute meltdown conservative spaces had about that five second clip that it was absolutely the right thing to do.
But that's not what they did with Uhura. They never hung a lantern on her being black or a woman. She was just there and it was such a normal thing it didn't need to be addressed in-universe.
Having a character "come out" means the world is one in which people are hiding in the closet because of a social stigma. A world in which that stigma doesn't exist doesn't require a character to come out.
Huh? How is Stamets supposed to know if nobody tells him?
EDIT: Also Uhura's Blackness and femaleness were most certainly addressed in-universe in a longer scene than I shared above.
Don't spend 5 episodes uses feminine pronouns for the character then have them "come out" as non-binary. Just establish their pronouns from the outset, and don't make a big deal outside the show about how brave they are for having an NB Trek character.
You don't normalize something by pointing out that it's strange.
It got there, sure, but that coming out was a bit rough, because they treated it as a "big deal", they were afraid of coming out and ultimately did, but seemed to harbor anxiety that should have not had a place anymore. They got over it (I assume, I actually kind of lost track of Discovery), but at one point it was too big a deal.
Also, out of universe, they were a bit annoying about bragging about being the first non-binary representation in Star Trek ever, which just seems disrepectful of the times it came up before.
I don't believe any of this is supported by what we saw on screen. Do you have evidence to support these claims? Even just a single line of dialogue for each claim would be helpful.
I'd have to rewatch, but I recall as they picked Adira up from 32nd century Earth, despite being a fully grown up person, went by feminine pronouns. Adira had to work up to come out, rather than being out from the onset.
I recall because I was very confused on Adira's introduction because they kept yelling from the rooftops about how progressive they were by having a non-binary character, but Adira and everyone around Adira kept using feminine terms. I distinctly recall a 'coming out' moment which seemed to be played with trepidation.
The fairest thing I could say is that 32nd century earth was no longer "federation" and so maybe they had a big old conservative backslide and so Adira's plight was due to the gloomy setting of isolated Earth with the loss of FTL travel.
Is Jay-Den being gay not exactly that? Nobody cares in universe. But somewhat it is a big thing for a lot of people for no reason at all.
It is exactly that. Same with the meltdowns over Adira.
Discovery writing is all over the place I agree, but Starfleet Academy writing does not look that bad to me. What is so much worse then previous trek? If we do not cherry pick the best of the past against the worst of the new, writing is better or on the same level of what we saw before.
I mostly agree, but with shows like Starfleet Academy, the writing is bad in part because of the forced inclusive themes. You're broadly correct: these could be handled with tact for a better show. I still think these themes are handled best when they give the audience room to consider nuanced and complex ideas. Don't shoot me, but instead of a classic New Generation episode I'm going cite an episode of The Orville - "About a Girl". Bortus and Klyden have a baby, who is born female. They try to argue that she should be allowed to remain female, but ultimately the court rules that she undergo the Moclan gender reassignment procedure.
This touches on contemporary issues but also doesn't present the situation as "this side is 100% right, and this side is literally Hitler." The audience is actually left wondering, where does this sit in the contemporary debate? If a child is born one sex, should they be given the right to remain as that sex? Or should a court be allowed to step in and reassign sex? The episode also brilliantly explores the difficult dynamic between Bortus and Klyden, and doesn't portray one as a cartoon villain and the other as a male Mary Sue.
This is where New Trek fails horrible. Zero nuance. Everything is presented in the first 10 seconds as "this is good, this is bad. Accept the message we are feeding you are you are a bad person." That's not Star Trek. Most importantly, that's not interesting. It's not good storytelling. It might appeal to people who really like circlejerking about that particular issue, but that's a minority of people.
That's a lot of words to not provide a single example from a show of what makes "forced inclusion" different than "inclusion"
EDIT: Before anyone bothers clicking through the replies, he never actually explains himself or why he's parroting a common right wing buzz-phrase to discourage the presence of minorities in media.
Someone asked that question two hours ago and I replied with two examples. It's underneath my comment. I'm not sure which application you're using to browse Lemmy but you should be able to see it.
I saw that but I didn't see anything about what makes inclusion "forced" in one series but not in another.
Can you give me a practical example of Starfleet Academy lacking the kind of nuance you would like to see?
A specific example would be “Vox in Excelso.” Jay-Den learns the Klingons have become an endangered people after the Burn, General Obel Wochak rejects the Federation’s offer of asylum on Faan Alpha because accepting it as charity would dishonour them, and the episode resolves that by staging a fake battle so the Klingons can claim the planet “by conquest”. To me, that lands too neatly. The episode tells you very quickly that the Federation position is the sensible one and the Klingon objection is mostly pride that needs to be worked around, rather than really sitting with the possibility that their view of dignity, sovereignty, and survival might have more weight than the script gives it.
Another example is “Ko’Zeine.” Darem is pulled back to Khionia for an arranged royal marriage to Kaira, and the episode is clearly building toward the conclusion that suppressing your real self for duty and tradition is tragic and wrong. That is a fair theme, but the show signals the moral endpoint so early that there is not much room left for genuine ambiguity. Kaira ends up being understanding, Jay-Den is framed as the voice urging honesty, and the traditional path mainly exists to be rejected. Compare that with something like older Trek, where you were more often left to wrestle with whether duty, culture, and individual freedom could all make a legitimate claim on the character at the same time.
So when I say the show lacks nuance, I do not mean it should avoid these themes. I mean it too often starts from the answer and then builds the episode backwards, instead of letting the conflict stay uncomfortable long enough for the audience to think. And when the story concludes, they make it VERY clear which way the audience is expected to land. They do not allow for any ambiguity or moral disagreement. They present the "right and true" path, and make it clear that any deviation is wrong and immoral.
I am not disagreeing with you, but old trek does this all the time.
In season 5 episode 17 (the one with the J'naii androgynous race) the setup is exacly the same as Ko'Zeine: from the start you get the answer that suppressing your true self is bad. The J'naii are seen as bigoted and the federation position as the right one. I do not think there is any ambiguity about which side the viewer is supposed to take. The only difference is the end result. Or look at how Dr. Crusher treats Klingon ritual suicide in season 5 episode 16: their culture is treated entirely as a stubborn, barbaric hurdle to be overcome by the 'sensible' 24th-century human perspective.
And TNG is also full of examples of "the federation knows best". In Season 7 Episode 13 the federation works around a similar problem with the forced migration on the holodeck. Or Season 2 Episode 18, where the enterprise force the merge of the Bringloidi and the Mariposans. Or when in Season 1 Episode 8 we dismiss Edo society position immediately as immoral despite them living in a paradise society.
That's fair, and to be clear, I do not think the point is that old Trek was always perfectly nuanced and new Trek never is. Of course old Trek had plenty of episodes where the writers clearly had a preferred moral conclusion. The difference, for me, is in how often it still let the opposing view feel internally coherent, emotionally serious, and worth wrestling with before the resolution arrived.
Take The Outcast. Yes, the episode clearly wants you to sympathise with Soren, but the J’naii are not just framed as sneering idiots for 45 minutes. Their position is tied to a broader social order, Riker cannot simply speechify it away, and the ending is bleak rather than triumphant. Same with Ethics. Crusher is obviously the more humane voice, but Worf’s position is not treated as random barbarism. It comes from honour, fear, identity, and a real cultural framework, which is why the conflict works at all. You can disagree with how those episodes land while still admitting they spend more time inside the conflict.
That is really my criticism of newer Trek. It is not that it has politics, or even that it has a preferred answer, because Trek always has. It is that newer Trek too often signals the answer immediately, flattens the dissenting side into an obstacle, and then resolves the issue in a way that feels morally pre-approved. Old Trek could be didactic too, but it was more willing to leave the audience sitting in the mess for a while. That is the distinction I am getting at.
I understand your point, but I think you are having a lesser opinion of new trek because you are missing some of the messages they want to share with the viewer.
In Ko’Zeine the conflict is not between self and tradition, but more about the internal conflict of Darem. The enemy here is his own crippling self-expectation, not society. I think this conflict resonate a lot with modern morality topics such as LGBTQ+ acceptance.
In Vox in Excelso is the same: the fake battle is a compromise. Both the federation and the klingon knows it is a farse. But they go with it anyway as a way to preserve their own self representation in a post burn galaxy. To me Vox in Excelso is political realism. The klingon are not treated as an obstacle to be tricked, but as political partner in a mutual charade. In the episode this is explicitly framed as a klingon solution to a klingon problem.
I appreciate you referencing the Orville's most pivotal episode. And honestly, the twist involving Klyden's reasoning for reassigning Topa, as a trans sci-fi nerd, broke my heart.
Spoilers about the most crucial arc of the story
That's the perspective that a lot of people don't have when they see that episode. It's easy to take Klyden's lawyer's argument as legitimate when he makes the point of comparing it to the cultural version of a cleft lip.And then Haveena walks into the room. And she proves, conclusively, that she is a woman and she would never choose to be anything other than what she is. That her gender is a gift. And then, later on, we see the hidden planet of the female Moclans, and it is so radically different from Moclus that you'd hardly believe this is the same species.
We see Moclan men testing weapons anywhere they please above civilian airspace, and the backdrop is an industrial wasteland because they never developed ecocentrism... because safety laws, industrial regulation, and other 'soft' ideas went unobserved and unvalued.
Contrast the Hidden Planet, and we see Moclan women, dancing in a style that they invented, revering the planet that protects them. We see women warriors carefully watching the Orville's crew as little girls play in the street. It feels indescribably very... honestly, African. I can't put my finger on why, but it does.
All of those differences are deliberate. And they were set up very, very early.
I agree completely with your point about the Orville. It was really well done.
I don't agree with your assessment of New Trek, however. I know it's all very variable and I don't want to generalise, but even if we accept this:
Then, I have to point out the obvious: if it's so lacking in nuance, then yes, if you don't accept it you are a bad person. For example, if it's saying, "gay people are ok and normal", there's no subtlety to that because it's not something anyone in the future will hopefully give a shit about. And if someone in their society did, then yes, they would be in the wrong. 100%.
Yeah, nothing is organic. Feels like it's not normal to the characters too, because they have to keep explaining it to themselves.
The message is not the issue, the inability of the writers to insert it in the story is.
I find the actual problems they face to be more organic than other series, there's always at least a semi-good reason why the threat of the week is occuring rather than something stupid like flying through enemy territory with no shields or some rando just beaming out your ships main computer being a huge weakness that no one ever thought might be a problem.
i was pointing it out alot on nutrek videos, some people dont believe its bad writing lol. have you seen them act lately, or the writing. its wierd how kurtzman sees the live action as transformer style/copaganda of nutrek but with the animated is more in line with old trek.