Yes, the Klingon augment thing was deeply stupid, both in-universe and out, and I think it’s to SNW’s strength that we’re all just going to pretend it didn’t happen.

Yeah, frankly I think this says more about broadcast television than about Doctor Who. It was in fourth place for the day, with News at Ten, Casualty, and Blankety Blank above it - I think it’s rather clear what the demographics are for broadcast TV.

I like this chart for comparing the current series’ performance to past ones, because it relies on seeing it against the wider television landscape rather than just as abstract numbers. Doctor Who may be getting lower over-the-air ratings, but everything is - its been pretty impressively stable.

I’m especially excited for Inua Ellams’ episode - I really hope it works, because in addition to quite liking his writing, he’s exactly the sort of writer whom I was hoping they’d recruit for the show: someone who’s loved Doctor Who their whole lives, for whom Doctor Who is extremely meaningful, but also willing to put the Doctor in a very different story - temporally and narratively – from what we’ve seen before.

It’s still so weird that they got the one completely charisma-free actor on the show to play Jim Kirk, and yet Sam Kirk lights up every scene he’s in

I think season 4 was the only one I didn’t have to push myself to like - there were lots of great bits scattered throughout the first three seasons, but the fourth is where I felt like the whole season was enjoyable and strong (particularly the last couple of episodes).

I adore how campy this looks, but I’m so frustrated by the constant shoehorning of Kirk into the show. Maybe if the performance were interesting or there was something compelling about him it would be different, but he just seems to drag down the show whenever he appears (outside of the episode with La’an, but really, she was doing all of the work in that one).

How do you say “devour feculence” in Klingon?

And of course she has perfect taste and loves DS9. Iconic.

FINALLY a Cerritos!

Why are they wasting this on Picard ships?

I cannot tell if it’s terrifying or just hilariously bad. She looks like a drunk ventriloquist doll.

I guess they couldn’t make a Rutherford because all their plastic went to Spock’s incredibly long torso. Also, this set is VERY kind to Jonathan Frakes.

Even just the idea of Pete McTighe as showrunner has ruined my night. Yuck.

I have never read any Juno Dawson, but as a librarian I see her books come through pretty often and I’ve always heard good things!

These are all great choices, except what in the world is Pete McTighe, writer of the most quietly evil Doctor Who episode ever made (and then one of the most forgettable), doing there?

Every day this world gets dumber and dumber and yet I’m still surprised by how completely incompetent and unstable the main ENT crew (sans T’Pol and Phlox) are. It is something that even by 2025 standards - which are just about the lowest standards for stupidity possible - these people probably could probably not get through a week working at Walmart without getting fired for like fighting a stranger or sexually harassing their coworker.

Brent Spiner, who has a story credit on “Star Trek Nemesis”

Life finds new ways to disappoint you every day

Their capital city being a bunch of egg-shaped buildings around a giant birdcage building was a hilarious touch.

“Kahless, the first one, the original one, the one who did impressions” is just, I have no words

Their capital city being egg-shaped buildings around a giant birdcage building was a hilarious touch.

I have definitely been proven wrong by Star Trek things that look terrible at the outset, but…this looks terrible. I mean I guess we’re getting a Deltan, so that’s fun? And a chameloid is a bit of a deep cut? But jesus, I could not want to see this less. I hope I’ll be proven wrong!

Usually contracts have to be negotiated after five seasons. Especially after the strikes last year, studios are committed to never budging an inch on contracts or residuals, even if it means losing money in the short term. To them, it’s worth it to cancel even a successful or popular show if it means keeping their workers in a perpetual state of gig work and at a disadvantage for contracts on new shows.