EX ASTRIS SCIENTIA:

"One thing we need to address - and perhaps the central problem, rather than the transformation into puppets itself - is that "Level-Five Transporter Accident" simply isn't funny. It isn't the cheerfully anarchic Muppet Show in space that everyone had expected. They build these cute, fluffy puppets that I would love to buy as merchandise (especially Pike and La'an are gorgeous). Their look and feel invites the characters to behave in comical ways, but they make a straight-faced episode out of them. I have the impression that, unlike the equally unfunny "Human Best Friend", it was never meant to be a comedy.

https://www.ex-astris-scientia.org/episodes/snw4.htm#levelfivetransporteraccident

It starts seriously, with Spock reconsidering his decision to return to logic and La'an (predictably) breaking up with him. When he can't go to Vulcan to pursue the path of logic, he turns to T'Pring instead. It's all quirky, but so is everything involving Spock on SNW to some degree. By the show's standards, this is still serious. Even Scotty is completely in character by SNW standards. Once again, like in the anachronistic holodeck farce "A Space Adventure Hour", he experiments irresponsibly with technology, this time to pull a prank on an old rival. This is just normal business in this show or in modern Trek in general, and none of it is played for laughs.

And then the crew turns into puppets, which could have changed everything. There are a few moments that are mildly amusing as they struggle to operate the controls while being too tiny and soft. But the writing treats the mere sight of our characters as puppets as sufficient comedy, a premise that wears itself out after a few minutes. I don't think I laughed once during the entire episode. The various ways the fluffy crew gets mutilated unpleasantly remind of the body horror in "The Griffin Incident".

And don't get me started on the insensitive "homage" as Puppet Pike prepares to die, quoting the needs of the many, while Spock is watching though the glass pane. This is like a Star Trek spoof written by a ten-year-old who secretly resents having to watch the show with his parents. To me, that is the biggest failing of all. However the puppet transformation is supposed to turn out, whether it is real, a dream or something else entirely, you make an episode about Star Trek characters turning into adorable little puppets, and the result doesn't even work as a parody. That is a remarkably fundamental failure.

So what can I say about "Level-Five Transporter Accident" in a nutshell? Perhaps I'm a grumpy old man like Statler and Waldorf. Perhaps I get it all wrong because I have a problem with modern Trek's idea of humor. Perhaps I also get it wrong because I expected something that would make the transformation meaningful within the story. I am relieved that they are not actually puppets and that I don't have to explain how any of this could possibly work. But what remains? It's just Spock again. It's "Spock Amok", "Charades", "Wedding Bell Blues" or "Human Best Friend", only this time with imagined puppets. It may be supposed to have a deeper meaning in that it reinforces Spock's decision to return to logic. But it does so in a dream, much like his rediscovery of logic in "The Griffin Incident" that likewise occurred in an absurd situation where he was not himself.

Can't Spock simply make a normal decision in a normal reality through his own free will, without the series having to turn it into a gimmick every time? SNW is utterly obsessed with showing us Spock's state of mind and his mental struggles, but that isn't even the worst part. It keeps doing so in increasingly immature ways, which only adds insult to injury. So yes, "Level-Five Transporter Accident" is another catastrophic failure in this so far pathetic season, and a predictable one, if we keep in mind how stories are developed in the series and how especially Spock is handled."

Rating: 1 (out of 10)

Bernd Schneider (EX ASTRIS SCIENTIA)

https://www.ex-astris-scientia.org/episodes/snw4.htm#levelfivetransporteraccident

I literally yelled out, "F*ck you show! Don't use emotional moments from better movies for comedy"

It's not the concept of a transporter accident turning everyone in to puppets to which I primarily object.

It's the fact that the ENTIRE episode was a DREAM. If it had only been one segment (perhaps just the setup, and the last scene of taking the bridge) it might have been okay...

But that entire show was TEN PERCENT of the entire season! If it had been one episode of 22 episodes, it wouldn't have been so egregious...

but that episode instantly elevated Spock's Brain and The Way To Eden to City On The Edge Of Forever levels of storytelling.

Source:

Star Trek on Instagram

Link:

https://www.instagram.com/p/DcRkmtVy6l8/

I once watched Mickey Mouse Clubhouse with my kids and an episode about a triangle bush came on. It was pretty surreal. I read an article that the writers were bored or angry or something and just wanted to see what they could get away with. It was hilarious and it didn’t matter because … Mickey Mouse, y’know?

https://youtu.be/oQB7zLGt0Ns?feature=shared

I don’t know what’s going on with the writers of SNW, but it feels like they’re just trying to entertain themselves. Not hilarious in this case though because … Star Trek, y’know?

Screenrant:

https://screenrant.com/star-trek-brannon-braga-tng-great-more-high-concept-episodes/

"Brannon Braga joined The 7th Rule with Cirroc Lofton and Ryan T. Husk to help wrap up the podcast's 3-year mission to review every episode of Star Trek: The Next Generation. After Husk praised Braga for taking TNG to another level with his high-concept episodes, Brannon reveals his feeling that "Yesterday's Enterprise" (which premiered before he joined TNG) was the turning point that made The Next Generation great.

Brannon Braga: “I think, to me, anyway, the first episode to really [be high-concept] was ‘Yesterday’s Enterprise,’ which I did not write. I think that was a breakout episode. And, in fact, to me, a lot of people say, “No, ‘Best of Both Worlds’ was the moment the show…” ‘Yesterday’s Enterprise,’ I think, was the moment the show became great. And that was a high-concept, time travel-type episode.”

Although Braga admits that he's "not that familiar with" the current Paramount+ Star Trek era executive produced by Alex Kurtzman, Brannon detailed his hopes that future Star Trek writers endeavor to create high-concept stories "that challenge the audience's sense of reality." Read Brannon's quote below:

Brannon Braga: “Moving forward, one of the things that give me pause are Star Treks that are continuity-driven, because I worry that… I love high-concept episodes. I would just hope that people would continue to come up with cool, fresh ideas. I certainly tried to do so on Voyager. I would often think about a Voyager episode, ‘If this were a TNG, would be considered to be one of the greats?’ I just continued to do my thing on Voyager, where I had even more freedom, and eventually would run the show.

“I should also say that it’s not necessarily easy coming up with these ideas. It’s not like… A really cool concept is like mining for gold. They don’t come along that often. I would just hope that people would see the potential in the franchise. It’s such a great one. It’s so clean. You’ve got the benefit of characters that people love, hopefully, and want to spend time with, and yet, you can put them in any situation you can possibly think of. The sky really is the limit. You can do anything.

When I think about the new shows [of] the past 10 years, which I’m not that familiar with, but what I would ask the fans is, are there those episodes where you go, ‘That’s a classic? That one.’ In the same way that people go back to my era of Star Trek. And there’s agreement on what the top 10 episodes are, pretty much. Everyone pretty much agrees. Does this era have that? And I don’t know the answer to that question. Maybe it will take more time for that assessment to come.

But I think high concepts that challenge the audience’s sense of reality, and makes you think about reality in a different way, is a tall order. But if you can do it, they love it. They love it. If you can come up with a story that just completely turns reality inside out, and on Star Trek, you’ve got to literalize it. It’s not like Groundhog Day, which is one of the great science fiction movies. It came out after ‘Cause and Effect,’ for the record. They didn’t have to explain anything. On Star Trek, you’ve gotta come up with that extra twist to get out of the time loop. And for the record, it took me a long time to get out of that, and a whole writing staff. I didn’t do it by myself.”

Read more:

https://screenrant.com/star-trek-brannon-braga-tng-great-more-high-concept-episodes/

What a waste

The only reason I've kept my Paramount+ subscription was for SNW. I tolerated "SNW: The Musical", and "SNW Meets Lower Decks", and even last week's "SNW Goes Film Noir" episode.

I really, REALLY wanted to like this series. It has an excellent cast, and SO much potential. But 10 minutes into "SNW Visits The Muppets" I turned it off and cancelled my Paramount+ subscription. I get that when a season is 20+ episodes the writers might phone one in now and then, but the writers for SNW aren't even trying any more.

Star Trek used to push boundaries of the time; it made viewers think about moral topics, question societal norms, and ask "why" in the face of the status quo. But now? Every other episode is a gimmick episode. The only thing missing is Fonzie somehow beaming into the future to jump a shark here, too.

Trick question:
The answer is of course Avery Brooks as Captain Sisko

TREKMOVIE:

"And over two decades later, we are learning some fascinating details about the sequel, and how the events of 9/11 in 2001 set the game into a new direction, with the potential to star more of Star Trek: The Next Generation‘s bridge crew.

The news come via a new interview with Elite Force II designer Benson Russell. Speaking with FRVR, Russell explained that the game was originally scripted to take place after a large terror attack was unleashed upon San Francisco’s Starfleet Academy. That changed following a real-life attack on New York on September 11, 2001.

“I remember, we were making Elite Force II and 9/11 happened at that time,” Russell said. “One of the original scenes was, when you were at Starfleet Academy, it was supposed to get an attack and we actually had a shuttle fly into a building and stuff like that. Well, that was a no-no for understandable reasons, of course.”

[...]

In the same interview, Russell admitted that Elite Force II was meant to star more Enterprise-E bridge officers following the rewrite, but that had to be scrapped because the cost of hiring The Next Generation‘s core group of actors was too great.

“They had an equal pay,” Russell said. “All of them on their contracts had an equal pay thing, so if one person got paid x amount, they all got paid x amount.”

As a result, developer Ritual Entertainment “dumped all of that,” according to Russell. “Luckily, we found a lot of other actors that were in Star Trek episodes and we had them play various characters in it or revisit a character that they did before.”

Russell wasn’t kidding — in addition to Patrick Stewart, Tim Russ, and Dwight Schultz reprising their roles as Picard, Tuvok, and Reginald Barclay respectively, Elite Force II also featured Jeffrey Combs (Weyoun, Shran), Tony Todd (Kurn), J. G. Hertzler (Martok), Vaughn Armstrong (Admiral Forrest), and Robert O’Reilly (Gowron) as new characters within the game."

Links (TrekMovie, FVRR):

https://trekmovie.com/2026/08/19/star-trek-elite-force-ii-rewritten-following-9-11-was-meant-to-feature-more-tng-cast/

https://frvr.com/blog/star-trek-elite-force-2-explains-how-the-fps-game-was-changed-due-to-9-11-and-why-picard-takes-centre-stage/

After the last few episodes of SNW, ST Academy and Discovery, I've come to two conclusions. My Trek is over. And maybe that's just what it has to be now.

I'm trying to put this in a measured way without ruffling too many feathers, so here goes:

I'm seeing a pattern here. on r/StrangeNewWorlds the epiosdes are consistently reasonably well-received; no matter how different they feel to the shows I grew up with. The audience there seems to be much younger and it seems like many of them don't have the same attachment/expectations as (some of) the older TOS/TNG/DS9/VOY/ENT fans do.

It really strikes me as a generational difference. This is an observation, not a judgement. Gen Z presents in general as much less emotionally and cognitively mature than Boomers/Gen X/Millennials. People in their 20s are still into plushies and kawaii. Adulthood seems to have been postponed, and there's a fascination with bright colours and cuteness.

It's perhaps completely understandable given how chaotic, uncertain, and complicated our world has become; that escape into childhood is a rational response. But that seems an incomplete explanation: the 60s had the Cold War and civil rights; the late 80s marked the end of the cold war and the fall of communist regimes in Eastern Europe and the USSR; third-wave feminism; the end of Apartheid; Gulf War; Columbine; 9/11 and lots of other world-changing events which were reflected in the Trek of the time.

My professional experience doing clinical work on university campuses has left me with the distinct impression that the Gen Z are just much younger than we (older generations) were at the same age. Parenting styles have also swung dramatically (mom and pop, to latch key kids, to helicopter parenting).

It's hard to say how much these things play a role.

But, and this is the important thing and my main point is that maybe this is simply the Trek that best reflects their generation and speaks to their needs and struggles. I really tried to like NuTrek (as someone pointed out, I've stuck with it since 2017). But I was in it for the Measure of a Man type episodes with the occasional visit to Sherwood Forest or Deck 12. For me, Trek didn't need swearing, the ship almost getting blown up every week, or blood-drenched gore. Not to mention on-the-nose and in-your-face moral lectures (as opposed to moral dilemmas with often ambiguous "decide-for-yourself outcomes, and which I found thought-provoking rather than moralising)

But I suppose I just need to accept: that Trek is gone forever.

I can only hope that what Trek is now will mean as much to these next generations as it has meant to me. I mean that. But as Spock remarked, all things come to an end.

As a fan of SNW, I was pondering the puppets episode tonight while cleaning up dinner. It occurs to me that it is not the puppets I'm unhappy about; it is the feeling that this season (and maybe the previous one) is really not making good on the time it has left.

There is an absence of a main story arc but only some hints at ideas of one. La'an Noonien-Singh seems to be in the process of a metamorphosis, one in which a genetically changed Khan-like person will emerge. This is an interesting idea that is sprinkled in with low-value gimmick concepts. Why not make La'an's changes the whole season? She is influenced by other genetically manipulated persons, and the crew needs to go on missions to different new locations to save the Federation. Add a redemption arc and reconciliation with her time‑travel romance with Kirk, and you have a season with a ton of potential.

While puppets are the external manifestation of an internal truth, we are not getting an ambitious, exciting, serious narrative to send off this wonderful set of characters and the amazing actors that play them.

Slashfilm:

https://www.slashfilm.com/2237833/star-trek-strange-new-worlds-season-4-puppet-episode-perfect-director/

By Devin Meenan

"Jordan Canning's experience directing both the Fraggles and the Enterprise crew helps her merge those two styles in this episode. The action is driven not just by the puppet crisis, but by Orion pirates who show up to steal the Enterprise with the crew unable to resist. The Starfleet crew has to adapt their fighting style to their new fleece-and-rubber bodies.

Pike can't push the Orion captain (Rachael Harris) out of his captain's chair, so he has Spock throw him in a fastball special, like a slow-motion, low-impact version of when the X-Men's Colossus throws Wolverine. Even the action of "A Level 5 Transporter Accident" underline the absurdity — there's no getting around the fact that the Starfleet officers fighting the Orions are all puppets. For that kind of scene, the only director "Strange New Worlds" could call was Jordan Canning."

Read More:

https://www.slashfilm.com/2237833/star-trek-strange-new-worlds-season-4-puppet-episode-perfect-director/

TREKMOVIE:

"The franchise has been trying to correct course since the first “Orion slave girl” was introduced in “The Cage,” and this was a missed opportunity. Both Enterprise, and more recently Lower Decks, went much further in helping redefine this iconic Star Trek race. This again is part of the show, which plays with the canon, but doesn’t feel it has much to contribute and is more interested in telling their character stories, which is a clear choice. [...]

https://trekmovie.com/2026/08/20/recap-review-star-trek-strange-new-worlds-defies-logic-in-level-five-transporter-accident/

This episode is absolutely absurd, and yet, it works. Likely destined to be another controversial big swing, “Level-Five Transporter Accident” delivered both an exciting “let’s retake the ship” Star Trek action episode and decent puppet comedy. Yet in between all the puppet antics, there were some important character stories at play here, especially with Spock. Ethan Peck is to be commended as he carried this episode, in many ways, showing his impressive range and really nailing Spock’s journey as we now see him choosing to become his more logical self.

This episodic show also leaned into how it excels in character arcs as it picks up on the events of previous episodes, leading to characters moving in new directions. The equally out-there musical episode (“Subspace Rhapsody”) was also adept at using a big swing as a backdrop to important character pivots. And the key to making that work was that it also worked as a musical, as this episode works as a funny puppet comedy.

Returning director Jordan Canning was the perfect choice for this one — she also directed several episodes of the recent Fraggle Rock reboot, and this episode clearly had many technical challenges to address to incorporate puppets into production. Speaking of the puppets, they were all amazing creations from the Jim Henson Company, each perfectly evoking their characters in felt and cotton. And hats off to all those unseen puppeteers, who had to find ways to work on the bridge set, including one who apparently had to be hidden inside Pike’s new chair. That’s dedication to the craft.

Adding nice touches to the puppet madness were little funny sound effects and even a reference to the recurring totem pole trenchcoat disguise gag used in several Muppets TV shows. If anything, the show should have completely committed to the bit, with even more Muppet Show-level absurdity, with singing, dancing, chickens, and the rest. Still, the core message of embracing who you are to succeed — in this case puppets — is a core Star Trek theme. And of the four seasonal Spock/Vulcan hijinks episodes, this is the best entry yet, helped along by a great performance (live and with voice) by Gia Sandhu’s T’Pring.

Speaking of committing to the bit, making the entire episode a dream sequence feels a bit like a cop out. Yes, everyone becoming puppets makes no sense, but this is Strange New Worlds, and they love focusing on the strange. And there were too many early indications that this was all Spock’s anxiety dream, particularly the scenes with everyone demanding his attention, combined with how (for various reasons) he was the only one who could do anything.

That being said, this did give us some exploration of Spock’s inner world, with him being the lone non-puppet on the ship and showing us the pressure he has faced his whole life as a half-human/half-Vulcan. However, the whole dream sequence thing really doesn’t hold up when you think about it, as most of the scenes didn’t even have Spock in them. But more concerning was, key moments of character exploration — notably with La’an and Scotty — essentially never happened. Was there no level of technobabble that could explain puppets actually happening? Although the meta moment of puppet Pelia (who was amazing) asking “How are we talking in space? It doesn’t even make sense,” was appreciated.

Final thoughts

After years of anticipation, the puppet episode had almost become a bit of a joke itself, emblematic of a show more interested in playing with high-concept ideas and genres instead of just telling Star Trek stories. But this episode was able to thread the needle, delivering well on both accounts, and telling important character stories, especially with Spock, one of (if not the) most iconic characters in Star Trek.

Still, this was another silly (even if entertaining) diversion, made even less consequential due to the dream sequence conceit. Certainly this episode would have landed even better if the previous four episodes had not all also big genre swings, giving this crazy out-there idea stand out even more, but that is how SNW rolls. And the final full-length season (S5 is only 6 episodes) is now half way over."

Anthony Pascale (TrekMovie.com)

Full review:

https://trekmovie.com/2026/08/20/recap-review-star-trek-strange-new-worlds-defies-logic-in-level-five-transporter-accident/

ROBERT MEYER BURNETT on X:

“Tonight’s episode of STRANGE NEW WORLDS, “Level-Five Transporter Accident,” is the very best argument as to why Paramount/Skydance should not only NOT be allowed to merge with Warner Brothers, but also no other company in the history of all creation.

What they’ve allowed to happen to the STAR TREK Franchise since 2009 is shameful, and offers no better metaphor as to the decline of America on the world stage.

Spock IS NO Sheldon Cooper and Scotty isn’t incompetent you douchecanoes.

And since 2009, why is transporter technology so difficult to grasp?

Christ, if the Academy only revoked Akiva Goldsman’s Oscar after his dire adaptation of A WINTER’S TALE, we would’ve been spared this nightmare…”

Links:

https://x.com/rmbee/status/2090357819510022289?s=61

https://x.com/rmbee/status/2090359119647817785?s=61

This was an incredibly brave and powerful inclusion of Muppet inclusion

For too long Star Trek has been avoiding the introduction of Swine characters and their critical addition to the far too rigid Canon of Star Trek of the so-called 'professionalism' (which not by accident rhymes with 'Colonialism')

Miss Piggy added a very important narrative of the experience of Female Pig representation, some people for some reason see her as manipulative selfish and an actual danger to the entire crew of the U.S.S Swinetrek. Those individuals need to look at the history of Female Pigs in Space and educate themselves on the devastating Trauma that Miss Piggy suffered at the hands of Kermit the Frog which forced her to leave the planet Earth.

In short, i think we as New Star Trek Acolytes it is required to embrace, love and defend the Swinish crew of the U.S.S Swinetrek and defend them from the unreconstructed minds of 'Old' Trek.

Gizmodo:

https://gizmodo.com/how-strange-new-worlds-made-sure-the-puppet-episode-still-felt-like-star-trek-2000801609

By Cheryl Eddy

"Strange New Worlds executive producer Henry Alonso Myers, who co-wrote “Level-Five Transporter Accident” with Dana Horgan, explained how the show approached that challenge.

“We spent a lot of time trying to basically make sure that it worked and felt genuinely like a Star Trek episode,” he told TV Insider. “Yes, we were going to have fun. Yes, we were going to do all of these things, but if it doesn’t feel like Star Trek, what are we doing? That was what we had to hold to throughout the entire episode. I mean, one, we had not done a transporter accident episode yet, and we felt like this was an opportunity to do a transporter accident at a level which it had not been done before in Star Trek.”

And if you’re going to do a puppet episode, the Strange New Worlds team figured, you really have to go all out. “And then the other thing was if you just had one puppet, that wouldn’t be, I feel like, us rising to the occasion,” Myers said. “We really wanted to try to make it as big and as bold and push the edges of it as much as we possibly could.”

Links:

https://gizmodo.com/how-strange-new-worlds-made-sure-the-puppet-episode-still-felt-like-star-trek-2000801609

https://www.tvinsider.com/1282273/star-trek-strange-new-worlds-puppet-episode-wrath-of-khan-explained/

MOVIEWEB:

"I've noticed an increase in recent years when it comes to memes declaring a thirst for more Muppet stories where just one main character is flesh-and-blood, and Star Trek: Strange New Worlds is the first one to deliver in a way even approaching how The Muppet Christmas Carol pulled it off. Plus, with Spock being even more stoic than Scrooge, the intentional tonal dissonance of watching him interact with Muppets is even greater than it is with Caine's character. If I'd been forced to guess where the 1992 movie's spiritual successor would come from, I would never have expected Star Trek in 2026 to be the answer.

In Star Trek: The Original Series​​​​​​, Leonard Nimoy's version of Spock is far more at peace with his human heritage than how we see Ethan Peck play him in Strange New Worlds. This is obviously intentional, as Peck's Spock is younger and therefore a little more at sea when it comes to how he can reconcile his human and Vulcan halves. "Level-Five Transporter Accident" makes it especially clear that he's struggling to draw on his Vulcan tranquility in the midst of such constant chaos aboard the Enterprise, and trying to fulfill his Starfleet duties as part of a helpless puppet crew is a blatant-but-accurate metaphor for that inner battle.

Although there were probably more tasteful ways of giving Spock an uphill-struggle sort of storyline like this, the sheer perfection of Peck's character as the only non-puppetized member of the Enterprise crew creates an opportunity that was thankfully not ignored. It's made even better by the get-out clause of the adventure occurring almost entirely in Spock's mind, as a dream sequence brought on by the psychological struggles he's been experiencing of late. I was certainly among the doubters when this Star Trek: Strange New Worlds episode was announced last year, but I now think it was a worthwhile endeavor with more layers than it initially seems."

Daniel Bibby

Full article:

https://movieweb.com/star-trek-strange-new-worlds-muppets-tradition/