Strange New Worlds? No, strange old ideas about gender roles.
Star Trek‘s utopian vision for an equal society, especially in terms of gender equality, has always been a complicated aspect of its idealized vision. It’s true that the franchise has a legacy of beloved, nuanced female characters and has championed putting those characters in the spotlight over six decades of storytelling. But it’s equally true that Star Trek‘s often conservative vision of women in leadership roles, as figures of desire, and as beholden to the stories of male characters has sat hand in hand with that feminist progressivism.
There are perhaps, however, few individual seasons of Star Trek from the past 60 years that reflect that dichotomy more than Strange New Worlds‘ recently concluded third.
On paper, Star Trek: Strange New Worlds arguably has one of the largest groups of female characters in its primary cast. Of the current main crew, just four of the show’s central characters are men—Pike, Spock, M’Benga, and this season’s addition of Martin Quinn as the younger Montgomery Scott—in comparison to six women: Una, Uhura, La’an, Ortegas, Chapel, and Pelia. That gap has only grown over the course of the show’s life, with Pelia replacing former chief engineer Hemmer after season one, and even the increased prominence of guest characters like Paul Wesley’s young Jim Kirk has been balanced by an increasingly prominent role for Melanie Scrofano’s Marie Batel (especially this season, as we’ll get into).
Those female characters have also served to facilitate some of Strange New Worlds‘ standout episodes and arcs thus far as well. Uhura’s initial focus as the new perspective aboard the Enterprise in season one flourished across episodes like “Children of the Comet” or in her mentee relationship with Hemmer. La’an’s history with the Gorn played a significant role in Strange New Worlds‘ characterization of the species (for better or worse), and she was given space to process both that and, in episodes like “Tomorrow and Tomorrow and Tomorrow“, her complicated relationship to Khan and the Augments. Una’s revelation of her Illyrian heritage was made a climactic point in the final moments of the show’s first season, leading to a character-defining turn for actress Rebecca Romijn in the season two episode “Ad Astra Per Aspera“.
But, at times, those female characters were also underserved in those first two seasons—a problem exacerbated by season three, rather than wholly created by it. Nurse Chapel’s arc in the first two seasons largely hinged on her will-they-won’t-they relationship with Spock, fizzling out almost immediately after the two were allowed to get together (shortchanging another great female character in Spock’s Vulcan fiancee, T’Pring, played by guest star Gia Sandhu). Ortegas, meanwhile, was regularly criticized for never really getting her own moment to shine in the show, constantly seeking a storyline outside of a perfunctory exploration of her role as the Enterprise helmsperson (a frustration compounded by the fact that the character, a veteran of Discovery‘s Klingon-Federation war, was only ever allowed to be aggressively distrusting of Klingons or other alien species or simply say things like “I fly the ship”).
Unfortunately, of the various factors that led to Strange New Worlds‘ third season failing to come even close to the mark left by seasons one and two—an experimental breadth of tone and genre leading to more misses than swings, an overreliance on connection to Star Trek‘s past, and an ongoing issue of its episodic format increasingly being in friction with the show’s character work, among other things—one that stood out the most was that these prior issues the show had with underserving some of its female characters suddenly began impacting almost all of them.
