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‘Star Trek Strange New Worlds’ Season 4 Review: What Prequel Problem?

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Halfway through the rollicking, tumultuous fourth season of “Star Trek: Strange New Worlds,” one guest onboard the U.S.S. Enterprise is fed up.

“I’m sorry, but I have stood by this lunacy long enough,” she says to the unblinking crew gathered around her. “I am aware that pandemonium is the status quo on this Starship, but just this one time, could you please acknowledge that this entire situation is absurd?”

After a considerate beat, Ortegas (Melissa Navia) states the obvious — or what’s obvious to everyone except their aggravated guest: “Absurdity is kind of baked into the premise.”

While perhaps not its formal mission statement, “Star Trek: Strange New Worlds” has only grown more comfortable embracing absurd scenarios. Outrageous one-offs like the body swap episode, the musical episode, the murder-mystery episode, and more populate the first three seasons of the prequel to “The Original Series.” Season 4 keeps ’em coming, despite recent grumblings from select factions of Trekkies (who may or may not be represented by the aforementioned guest): There’s a drug-trip episode, a noir episode, a puppet episode, and what to me will always be (perhaps because I watched it shortly after Sam Neill’s passing) the “Event Horizon” episode.

Granted, the crew stumbling upon a ghost ship is more in line with classic “Trek” than the crew mutating into muppets, but therein lies the charm to “Strange New Worlds”: It’s all “Star Trek.” It’s science-fiction that’s pushing the fiction a little harder than the science, but — in line with the captain’s credo — it’s exploring the strangest worlds it can dream of, and it’s doing so with an invigorating gusto.

Sure, sometimes the tonal shifts get away from co-showrunners Akiva Goldsman and Henry Alonso Myers, or their attempts at genre storytelling miss the mark. But aren’t those intermittent slip-ups better than more of the same? Isn’t a fun “Star Trek” that’s willing to take risks on being goofy better than those previous, steadfastly serious Paramount+ programs that felt like any other streaming-era science-fiction shows? Shouldn’t we get our priorities in order before the new regime at Warnermount decides on the franchise’s future?

“Strange New Worlds” is still the best “Star Trek” we’ve seen in a long time, and many of its issues might be solved if it wasn’t running out of runway. Season 5, at only six episodes, is slated to be the final season, and there’s no word on whether Paramount is interested in “Year One,” the team’s pitch to bridge the gap between “Strange New Worlds” and “The Original Series.” In the here and now, Season 4 suffers from many of the same setbacks as Season 3: namely, the character arcs just aren’t strong enough.

Rebecca Romijn as Una in season 4, episode 3, of Star Trek: Strange New Worlds streaming on Paramount+, 2026. Photo Credit: Jan Thijs/Paramount+
Rebecca Romijn in ‘Star Trek: Strange New WorldsJan Thijs/Paramount+

Through six of the 10 episodes, the crew of the U.S.S. Enterprise is suddenly recycling old dilemmas: Christine (Jess Bush) is once again torn between staying at her challenging post or leaving for greener pastures. La’An (Christina Chong) is still worried she’ll break bad (like her ancestor, Khan). Joseph (Babs Olusanmokun) is still haunted by his past. Una (Rebecca Romijn) revisits her core paradox: when to break the rules and when to follow them.

It’s as if they’ve all reached the end of a race ahead of time, and rather than cross the finish line, they’re just politely running in circles. And that, my friends, is a prequel problem. Now, no one prevented Goldsman and Myers from creating more substantial personal matters for the cast to work through, and previous prequels have proven there are ways to complicate and progress characters without invalidating the people they’re destined to become. “Strange New Worlds” should be better here, plain and simple.

But the show’s episodic structure actually softens the impact of these blunders. The premiere strikes a note-perfect balance between a ludicrous adventure and ethical thought experiment. The “Event Horizon” entry is a fresh approach to mining personal demons through spooky (even gruesome) atmospherics. The drug-trip episode and black-and-white noir bite off more than they can chew (with the former choosing poor guides through an intoxicating company retreat and the latter capturing a shadowy rebel uprising with a fuzzy, cluttered visual palette), but Season 4 bounces back in a big way with “The Muppets Take Over the Enterprise” followed by a real-time ticking clock thriller.

Never without spirit and repeatedly inspired, the new episodes continue to push the boundaries of what audiences expect from a “Star Trek” series, while honoring the franchise’s past through its reimagined characters and world-of-the-week framework. Even as it builds toward the original series’ starting point, those absurd premises better distinguish “Strange New Worlds” within the established universe, while helping to distract us from any persisting serialized hang-ups.

In a perfect world, “Strange New Worlds” would have six more seasons instead of six more episodes to explore the crew’s depths and experiment with genre, tone, and style. In the real world, Goldsman and Myers might feel like they don’t have time to start the crew down new paths before their race wraps. Instead, they’re leaning into the old “Star Trek” ideals of being culturally curious, communally supportive, and strangely fun — all of which help set the series apart from its Paramount-era predecessors.

Perhaps the most telling example of Season 4 character development (or lack thereof) happens in the first episode. After spending the dramatic hour contemplating a promotion — one that would take him away from his ship and his crew — Captain Pike relays his final decision. “I want to focus on my now,” Pike says. “And that’s here. With the Enterprise.”

“Strange New Worlds” is living in the now, too — choosing to boldly stay true to itself, even as it approaches exactly where “Star Trek” began.

Grade: B

“Star Trek: Strange New Worlds” Season 4 premieres Thursday, July 23 on Paramount+. New episodes will be released weekly through the finale on September 24.

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‘Shōgun’ Season 2 Cast Adds Rick Kumazawa (EXCLUSIVE)

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EXCLUSIVE: In the first development on FX‘s Shōgun in months, we can tell you that Rick Kumazawa (Grey’s AnatomyYou) is set for a recurring role in the Emmy-winning drama’s second season.

Kumazawa is playing Gaspar; no further character details have been disclosed.

Other previously announced newcomers to Shōgun in Season 2 include Asami Mizukawa, Masataka Kubota, Sho Kaneta, Takaaki Enoki, Jun Kunimura, Ren Meguro, Risei Kukihara, Ryô Satô, Seishiro Nishida, Mantaro Koichi and Takashi Yamaguchi.

Emmy winner Hiroyuki Sanada and Cosmo Jarvis will return from Season 1, along with Fumi Nikaidô, Shinnosuke Abe, Hiroto Kanai, Yoriko Dôguchi, Tommy Bastow, Yuko Miyamoto, Eita Okuno and Yuka Kouri.

Production on the new season kicked off in Vancouver earlier this year.

Adapting James Clavell’s bestselling novel, Shōgun‘s first season watched as Lord Yoshii Toranaga (Sanada) fought for his survival as his enemies in the Council of Regents united against him. When a mysterious European ship was found marooned in a nearby village, its English pilot John Blackthorne (Jarvis) shared vital strategic secrets with Toranaga that tipped the scales of power in his favor to win a century-defining civil war.

The TV adaptation hails from creators Rachel Kondo & Justin Marks and is produced by FX Productions. Kondo and Marks are joined as executive producers by Michaela Clavell, Edward L. McDonnell, Michael De Luca and Sanada. Season 2 casting has been handled by Kei Kawamura and Laura Schiff, whose work on the first season won them one of the show’s 18 Emmys, as the show became FX’s first to win Outstanding Drama Series.

Season 2 of Shōgun will stream on Hulu in the U.S. and Disney+ internationally and air on the FX channel.

Kumazawa is a Japanese-American actor whose television credits include recurring roles on Grey’s Anatomy, Netflix’s You and While You Were Breeding, a guest star role on S.W.A.T., and appearances on Grown-ishVeep and Animal Kingdom. His voice work includes Assassin’s Creed ShadowsRise of the Ronin and WWE 2K25. He is repped by Jackson Entertainment Management and Skrzyniarz & Mallean.

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Select Management Group Names Paul Luckenbaugh Head Of Theatrical Talent

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EXCLUSIVE: Next-generation talent management firm Select Management Group has upped talent manager Paul Luckenbaugh to Head of Theatrical Talent, Deadline has learned.

Whereas traditional agencies have had film & TV as a pillar, getting increasingly into the creator economy as time has gone on, Select’s approach to entertainment has been a bit of the reverse. News of Luckenbaugh’s role at Select, which is newly created, reflects their continued investment in filmed entertainment and the growing convergence of traditional Hollywood and creator-led talent.

Luckenbaugh will draw on his track record in film & TV to grow Select’s representation expertise in the space, expanding opportunities for clients across the full Select talent roster.

“I’m thrilled to step into this new role as Select continues to redefine talent management at the intersection of Hollywood and the creator economy,” Luckenbaugh told Deadline. “Traditional and digital entertainment have never been more interconnected, creating new opportunities for talent to build careers across verticals. I look forward to growing our theatrical business and helping our clients navigate this evolving landscape.”

Select Management Partners Lisa Filipelli, Brittany Maxwell, Caroline Nardilla and Amy Neben said: “From day one, Select has been focused on bridging the gap between Hollywood and the creator economy, helping talent build careers that extend beyond any single platform. With a roster that spans creators, actors and hybrid talent, Paul has a deep understanding of where the industry is headed and a proven ability to navigate both worlds. He is the ideal leader for our theatrical division as we enter this next phase of growth.”

Luckenbaugh first joined Select in 2018. Alongside his new role as Head of Theatrical Talent, he will continue managing a roster of in both the digital and traditional entertainment spaces. Collectively reaching over 100M followers, his list includes digital-native talent such as Morgan Evelyn Cook, Gigi Gorgeous, Eva Gutowski, Jess Val Ortiz and Crescent Shay, among others. Luckenbaugh also works with actor-first creators such as Roman Banks, Bennett Curran, Jenny Lorenzo, Uly Morazan and JJ Niemann.

Notable clients at Select include Jennifer Affleck, Mikayla Mathews, Mayci Neeley, Jessi Ngatikaura, Aspyn Ovard and Layla Taylor, stars of The Secret Lives of Mormon Wives and The Secret Lives of Mormon Wives: Orange County, and actors such as Miss Benny, Hannah Love Lanier, Jenny Lorenzo, Uly Morazan, JJ Niemann, Katie Rose and Tyler Scherer, in addition to myriad creators, athletes and entrepreneurs.

The company also produces Hulu’s cultural phenomenon The Secret Lives of Mormon Wives and its upcoming spinoff The Secret Lives of Mormon Wives: Orange County.

Select Management is part of the Propagate Content family of companies, which also includes Artists First, Authentic Talent & Literary Management, Parker Management and Sway Social, among others.

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Alyssa Farah Griffin Calls Out ‘The View’ Co-Hosts for Initially Backing Graham Platner

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Alyssa Farah Griffin was quick to remind her co-hosts on “The View” on Thursday that they initially supported Graham Platner, as the ABC hosts debated how much character matters among political candidates these days.

The conversation came as the women discussed new polling, which shows Rep. Alexandria Ocasio-Cortez as a presidential frontrunner for Democrats in 2028. Host Joy Behar opined that the country likely still won’t vote for a woman, as evidenced by the losses of Hillary Clinton and Kamala Harris, sparking a debate on who people would vote for at this point.

“I don’t know that I’m convinced either party puts up the best people. I’m just going to be honest,” Farah Griffin argued. “Like I love you guys, but a lot of you guys defended a guy with the Nazi tattoo who is credibly accused of a number of things.”

Farah Griffin was, of course, referring to Democrat Graham Platner, who dropped out of the Maine senate race earlier this month amid sexual assault allegations from a former partner. At the reminder of their initial support, the hosts of “The View” quickly pushed back, as Farah Griffin conceded that they did walk it back.

“I did not,” Joy Behar said.

“I did, but I didn’t know most of the background,” Sunny Hostin said.

“I didn’t see that tattoo as a Nazi thing,” Whoopi Goldberg offered. “No one ever told me that that tattoo — what that was. And I say, it’s not up to us. It’s up to the people who are voting in that state.”

Elsewhere in the conversation, host Sara Haines argued that, at this point, actual policy is not the highest item on the priority list of voters anymore.

“People are looking for people with character, integrity,” she said. “And policy, to me, is almost third, and I mean that deeply. That’s the policies almost everyone agrees on. The primaries pick the most extreme candidates because of how our system works, but they won’t win in general elections.”

“The View” airs weekdays at 11 a.m. ET on ABC.

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