Section 31 Will Shake Up Star Trek’s Status Quo, and That’s Exactly What The Franchise Needs

When Star Trek: Discovery debuted in 2017 on Paramount’s streaming service (then called CBS All Access), the legendary Michelle Yeoh played a key role. A year later, news broke that Paramount wanted her character, Philippa Georgiou, for a spinoff series. Star Trek: Section 31 is the result of that effort, but in the six years since it was first imagined, much has changed.

Michelle Yeoh became an Oscar winner for Everything, Everywhere All At Once. Discovery continued for four more seasons, ending its five-year mission in 2024. Numerous other series, from the animated Lower Decks (also now ended) to Discovery spinoff Strange New Worlds and the forthcoming Starfleet Academy joined the ranks. The biggest change, however, is it’s no longer a series, but rather a standalone film. The only thing that remains unchanged, however, is that Section 31 was to be unlike any Star Trek before it.

Star Trek: Discovery Faced Backlash from Fans for Its Differences

This Is Not Unique to the Series, but Social Media Amplified It

Despite critical praise, Discovery immediately faced backlash from Star Trek fans upon its release. This should not have been a surprise, since such a reaction fits a long-time pattern dating back to the 1970s. What was unique, however, was the advent of social media, YouTube and a cottage industry of content creators who stoke bad faith critique and a sense of entitlement felt by long-time fans of these generational universes.

Star Trek’s Third-Wave Series
Series Title	Seasons	Episodes	Debut Date	Finale Date
Discovery	5	65	September 24, 2017	May 30, 2024
Short Treks	2	10	October 4, 2018	January 9, 2020
Picard	3	30	January 23, 2020	April 20, 2023
Lower Decks	5	50	August 6, 2020	December 19, 2024
Prodigy	2	40	October 28, 2021	Unknown
Strange New Worlds	2	20	May 5, 2022	Unknown
Starfleet Academy	1	10	Unknown	Unknown

Ironically, Star Trek: Discovery emulated Gene Roddenberry’s approach to creating the first live-action sequel, Star Trek: The Next Generation. He realized for The Next Generation to work, it needed to look and feel drastically different from Star Trek: The Original Series. This meant everything from production design to the way stories were told had to feel unique. Even the ethos and tone of the show changed, becoming more evolved and “perfect” in the next century. Yet, the show still needed to have the “DNA” as its predecessor. Discovery did this, too, though as a prequel to The Original Series, the characters and tone were less perfect than The Next Generation’s.

While there remains plenty of bad-faith hate aimed at the series, many long-time fans had legitimate complaints. From the war with the Klingons to the behavior of Jason Isaac’s Captain Lorca, things felt “off.” It wasn’t until the connection to the Mirror Universe was revealed that it all began to make sense. The popular alternate timeline also brought Yeoh back as Empress Philippa Georgiou, the cruel tyrant who ruled Star Trek‘s evil universe. This is the character who appears in Section 31.

Section 31 Will Not Be a Traditional Star Trek Story, Nor Should It Be

In Its Sixth Decade, Gene Roddenberry’s Universe Must Evolve to Continue

Georgiou’s past as a xenophobic despot is not the main reason the film is even more of a departure from traditional Star Trek. After all, over three seasons on Discovery, her character evolved, softening in some ways and retaining hard edges in others. Fans’ first look at Section 31 in the official trailer sent a clear signal that this film was going places the universe never traversed before. In fact, it’s a corner of the galaxy where the beloved Federation isn’t present at all.

“I’m terrified of how it’s going to be received because it’s not the Trek people want. The Trek that people want, the Trek that we all want, is just 1,000 more episodes of TNG.” — Robert Kazinsky in an interview.

Introduced in Star Trek: Deep Space Nine and expanded upon in Star Trek: Enterprise, Section 31 is a black ops division of Starfleet. Their mandate is to protect the Federation and the galaxy, which feels like a very traditional Star Trek idea. However, the way they go about it is not, with the clandestine organization often behaving more like villains than idyllic heroes. The genesis of this story came from Michelle Yeoh herself, and the project “fell apart” more than once.

Despite setbacks, Yeoh remained “completely committed” and her Oscar win likely saved the project. Already a legend, her Academy Award clout even further strengthened the willingness to take a risk with the film. Instead of seeing familiar heroic archetypes on a Starfleet vessel, Section 31 will introduce a group of galactic creeps in a brand-new region of the galaxy. Still, no matter how different the film will be, they band together as a crew to save lives and protect the Federation. It doesn’t get more “Star Trek” than that.

Star Trek Always Ages Well as Controversial Entries Become Classics

Tonal Shifts and Design Changes Eventually Feel Like They’ve Always Been There

In the 1970s, Trekkies actually picketed the network that canceled The Original Series for more episodes. When NBC ordered Star Trek: The Animated Series, these same fans revolted and picketed to have them cancel it. Yet, the Filmation series remains the only Star Trek show to win an Emmy for the substance of its storytelling and not visual effects or makeup. Similarly, The Next Generation was derided in fanzines and at conventions, but at least the fans showed up to make the sequel a ratings hit for every network that picked up the show.

Star Trek Phases and Fan Reaction in History

• After picketing NBC for more Star Trek, fans campaigned for The Animated Series to be canceled before it premiered.
• Star Trek: The Motion Picture was heavily criticized for not being enough like The Original Series.
• The Next Generation was criticized by fans for being too different, then Deep Space Nine, Voyager and Enterprise were criticized for not being enough like TNG.
• Star Trek: Discovery was criticized for its tonal and design changes, and Star Trek: Picard was criticized for being too dour.

After Roddenberry’s death, Star Trek: Deep Space Nine was created, and the cycle began again. Fans complained about the design of the Cardassian space station, the dubious morality of the characters and the dark tone of its stories. Star Trek: Voyager was also criticized, and Star Trek: Enterprise after it. However, once Paramount canceled Star Trek in 2005, fans realized how good they had it. In syndication and, later, streaming, new and old viewers fell in love with these now-classic series.

The smart gold-pressed latinum says that, eventually, Discovery will get credit for saving Star Trek as time goes on. Critical fans may soften their opinions, especially since shows like Star Trek: Strange New Worlds and Star Trek: Prodigy feel more traditional. Yet, these series bring in a new generation of fans for whom The Next Generation era and the third wave were “always Star Trek.” That cycle ensures Roddenberry’s universe lasts another 60 years. Stories like Section 31 are necessary.

Despite Its Differences, Section 31 Will Still Fit Into the Larger Saga

Risk Is Star Trek’s Business, and Section 31 Will Take Big Ones

The 21st Century has made the universe stronger than ever before. In fact, the old Paramount regime couldn’t afford to keep up with the demand for new Star Trek series. While Yeoh may be even more in-demand as an actor, Section 31 more likely became a movie because it’s all the beleaguered studio could afford. It’s a blessing in disguise. Section 31 will need to tell a tight story, meaning it will get to the hopeful, aspirational part of the narrative sooner than Discovery did. Rather than being forced to sustain tension for ten episodes, it could leave fans wanting more.

Paramount studios was in dire financial straits, specifically because of major box office losses and is in the process of being “sold” to SkyDance Media.

Section 31 director Olatunde Osunsami seems to agree, wanting more Star Trek movies like this. It’s also good for business, since rather than investing in an entire season, Paramount can allow filmmakers to take risks, develop new characters and introduce new parts of the galaxy. Similarly, those not already fans of the universe are more likely to commit to a single film rather than invest in a full series right away.

Left wanting more, they will turn to Discovery and then other shows and films until they’ve been assimilated as a full-on Star Trek fan. Beyond further building out the universe, Section 31 challenges fans’ assumptions about what kind of stories this universe can and should tell. It can definitely take a group of scoundrels and turn them into heroes, as Deep Space Nine already proved. There will be an outcry from fans shocked at how different Section 31 is from what they already know. Yet, that’s the magic trick this universe constantly pulls.

Star Trek: Section 31 will debut on Paramount+ on January 24, 2025, and Strange New Worlds Season 3 is expected to debut sometime in 2025.