Daystrom Institute

I can’t think of a single VOY episode with mind-melds that didn’t have a character treating it as a super taboo or dangerous telepathic ability.

Is there a reason The Alamo was a heavily discussed historical event during Deep Space Nine’s seventh season? Was there an anniversary of the event? Did it come into popular consciousness in the 90s? Was someone on the writing staff related to Davy Crockett?

I am aware that ENT retcons the change in Klingon physiology as augments Klingons. Is there an accepted theory as to why legacy characters who return after TOS, are shown to have changes? Do people simply retroactively apply the events of “The Augments”?

As said in LD 2x07 Where Pleasant Fountains Lie, Billups is from Hysperia and there is still the technicality that can force him on the throne.

This kind of condition makes me wonder what Hysperia's political status with the Federation is. What stops Billups from e.g claiming asylum with the Federation, especially considering the Hysperians are not a powerful force?

I have three theories:

• Hysperia is a Federation colony, so they are able to apply their throne law on Billups and Billups is unable to claim asylum with a political entity he was already born into.
• Hysperia is not a Federation member, but has a scare resource (like dilithium) that makes Starfleet want to maintain good relations with Hysperia.
• Alternatively, it could be some sort of weird prime directive thing.

In LD 1x08 Veritas, Rutherford is rotating some "EPS Capacitors" (These seem to have little mention outside this episode) to prevent them from overheating.

Before I ask my questions, I first want to establish what makes sense to me here. Although not previously mentioned, like electrical capacitors, EPS Capacitors probably help to "smooth out" plasma flow. As these are high-power systems, I am sure there is risk of overheating in these capacitors that is not as present in current electrical capacitors, which usually don't have a rotating mechanism.

Now, for the questions:

• Why do the capacitors rotate, and what does this do to prevent overheating?
• Why do they have to do this in the 24th century in a post-scarcity society?

For the first: My first theory is these are variable capacitors. Assuming the mechanics work similarly to electrical capacitors, Rutherford could be changing the capacitance of each capacitor to rotate the load. This doesn't feel completely right, though (for instance, how to keep the array within specification).

A better theory is that although its function is analogous to an electrical capacitor, the physical mechanics used behind it are different, and somehow wear in the internal materials is uneven unless rotated, somewhat like tires.

For the second: We practically mastered rotating crap with electricity in THE 20TH CENTURY and have only gotten better since. I don't understand why Starfleet couldn't just give each capacitor a servo motor running off an EPS tap that does the randomization automatically, or at the very least mount them all on a belt. Heck, if heat is the problem, why not a liquid cooling loop? The worst that can happen is an ensign has to go get a mop.

It could be possible that maybe it was kept there as a task to bully ensigns/make officers feel useful, but I feel that kind of thinking wouldn't necessarily exist at the Cali class drawing board. It could be possible that somehow the magnets in the motor interfere with the EPS containment field, but I feel like that would mean a lot more crap would have to be banned on board if the EPS conduits were that vulnerable.

Ultimately, I really can't make full sense of this second point, and would love insights on this and my first question.

In LD 4x06 Parth Ferengi’s Heart Place, Ransom mentions that there are no married officers on board. However, way back in LD 1x02 Envoys, when trying command in the simulation, Rutherford accidentally kills all the ship’s children via destruction of the pre-K and Kindergarten decks. I am thus wondering, are there actually any children on the Cerritos? I do have several theories (some of which could co-exist together), none of which I am certain of:

For No:

• Due to their longer-term mission, Starfleet legally requires schools on the California class in case officers with kids transfer on. These sit empty on the Cerritos.
• Perhaps during Envoys there were some kids, but they transferred off the ship before the Ferenginar visit.
• Alternatively, the training simulation (which seems to represent the Cerritos due to the bridge, LCARS colors, and addition of officers like Ensign Casey) drew upon a generic ops division Cali class configuration for the rest of the ship, thus falsely assuming there were children.

For Yes:

• Birth out of wedlock is common in some Federation cultures, including United Earth.
• It could be possible there are married officers that serve on different ships, with the kid(s) of that couple living on the Cerritos.
• There could be married couples on the Cerritos, but only ONE is an officer (a la O’Brien and Keiko); for instance, Lt. Holly has a husband who is a botanist. The Cerritos cannot allow her husband to do travel guide duty and must assign someone else.
• Similarly, maybe non-commissioned couples exist on the Cerritos, but an officer is required to do the duty.
• Maybe Ransom wasn’t totally literal. Officer couples may just be very rare aboard the Cerritos, and the only ones that are aboard include officers doing a duty so vital they can’t do travel guide duty. Ransom didn’t feel the need to fully explain this and went with the simple version when giving the job to the Beta shifters.

Update (8/23/2024): I was rewatching Lower Decks 2x10 First Contact and the mentions of Captain Freeman probably thinking the Captain Freeman Day decorations were for children implies that at least during season 2, there were children on the ship. I feel that the Archimedes incidents could be impetus for the ship being declared too uncomfortable for a family. I'll see in my rewatch if I come across any other implied children on the Cerritos in later seasons.

Another update (12/27/2024): In 1x07:”Much Ado About Boimler”, there are kids aboard the Rubidoux, which suggests at least some Cali-class vessels have children.

I've often wondered how with the advanced medical science of the Federation how they can, for instance, revive practically dead people, but not create a communication device for Pike (or any of a number of people in the background of Lower Decks) more advanced than a blinking light.

One theory I had recently is that somehow, Pike (and people with similar conditions) received most of the brain damage in Broca's Area, leaving them able to understand speach through Wernicke's Area but unable to produce speech. The chair thus might be a replacement for Broca's Area, but primitive in comparison to the original, biological one. (And further, perhaps the Talosians are able to simulate a human Broca's Area when Pike is left in the illusion on Talos.)

The title was first used in the context of the Progenitors in TNG: “The Chase” when Picard remarked, “[The puzzle] is 4 billion years old. A computer program from a highly advanced civilisation, and it's hidden in the very fabric of life itself.“ In DIS: “Red Directive” the phrase was used in conjunction with saying the Progenitor technology was “used to design life itself.”

Burnham activates her holographic tricorder function from her tricom badge, first introduced in DIS: “Scavengers” as the 32nd Century combination tricorder, communicator and personal transporter. She also materializes a 32nd Century phaser pistol, which can be summoned at will thanks to it being composed of programmable matter.

Window-like gateways allowing instantaneous travel to other worlds was a hallmark of another ancient civilization, the Iconians (TNG: “Contagion”), who used them to control a vast empire which was destroyed over 200,000 years prior, although there were still survivors existing into the 32nd Century (DIS: “The Examples”). Their gateways also survived, with one being the focus of conflict in DS9: “To the Death”.

Tahal’s fleet will arrive in 60 minutes. Primarch Tahal is one of the five remaining Primarchs of the Bree Imperium, and in the past conquered Kellerun, Rayner’s planet. Rayner was the only survivor of his family.

Burnham has indeed seen the future - in DIS: “Face the Strange” she and Rayner were jumped 30 years ahead to see a lifeless Discovery and a Federation HQ devastated by the Breen thanks to them using Progenitor tech.

Rayner refers to the avalanche caused by Moll and L’ak on Q’Mau in order to facilitate their escape (DIS: “Red Directive”).

Culber gives Book a shot to counter radiation sickness. In TOS: “The Deadly Years”, the drug of choice to do that was hyronalin, was which also used during the TNG era in several episodes. Culber has had an existential crisis ever since he became host to the memories and personality of Jinaal on Trill (DIS: “Jinaal”).

Moll put L’ak in her personal pattern buffer in DIS: “Lagrange Point” to keep him safe.

Using plasma to take out multiple hostiles was a tactic used by Worf’s brother Kurn, who went to warp near the surface of a star, setting off a flare which destroyed his pursuers (TNG: “Redemption II”). In TNG: “Descent, Part II”, the Enterprise-D under Beverly Crusher’s command fired a particle beam into a star to make it erupt and destroy a Borg ship.

Culber tells Book to adjust the tractor beam to subspace resonance frequency 5.1732, then uses the classic “I’m a doctor, not a…” trope associated most with McCoy from TOS (my personal favorite is from TOS: “The Devil in the Dark”, where he complains about treating the silicon-based Horta with, “I’m a doctor, not a bricklayer!”).

Ferengi rummy is presumably a card game. Rummy is the name given to a group of Earth card games, with the most common variant being Gin Rummy. It is claimed that the name comes from using rum as betting stakes.

The Progenitor that greets Burnham is in an updated version of the original Progenitor makeup from TNG: “The Chase” (played then by Salome Jens, who went on to play the female Founder in DS9).

The Galactic Barrier is an energy field that surrounds the Milky Way, penetrated by the USS Enterprise in TOS: “Where No Man Has Gone Before” and then again in TOS: “By Any Other Name”. The Barrier also featured in DIS Season 4, with Species 10-C living beyond it in extragalactic space. The origins of the Barrier have never been explained on screen, although beta canon has offered some possibilities, one of which was the Progenitors (William Shatner and Judith and Garfield Reeves-Stevens’ Captain’s Glory).

The Progenitors were not the creators of the technology but think that it was made by their creators. So, basically, it’s Progenitors all the way down. And while they effectively could recreate a live body from a dead one, it would basically be a clone without any of the previous body’s memories or personality.

The Betazoid scientist Dr Marina Derex was one of those that discovered the Progenitor tech 800 years prior. Her clue was in the manuscript of her book, Labyrinths of the Mind (DIS: “Labyrinths”).

This is the first time Discovery has shown the ability to separate its saucer from its secondary hull. Saucer separation was mentioned as being possible in TOS behind the scenes documents but it was not until TNG: “Encounter at Farpoint” that separation (and rejoining) became a fact on screen.

“Infinite Diversity in Infinite Combinations” is a tenet of Vulcan philosophy, first mentioned in TOS: “Is There in Truth No Beauty?”, also known as IDIC. In-universe, it dates back to at least Surak’s time, c.300 CE (ENT: “The Forge”).

When Kovich tells her that all information regarding the Progenitor tech will be classified, Burnham quips she knows how those things work. When Discovery jumped to the 32nd Century at the end of Season 2 to prevent misuse of the Sphere Data, all knowledge of the spore drive was classified and scrubbed from 23rd century records, and even as far as the 32nd century was concerned the original Discovery was destroyed back then.

The device Burnham holds gives her access to the Infinity Room, a highly secure conference space, first seen in DIS: “Red Directive”.

Kovich cryptically says he’s “lived many years and many lives”. Given the scope of the Star Trek universe, this could very well be more than metaphorical. On the shelf behind him we see a bottle of Château Picard, Geordi LaForge’s VISOR and Benjamin Sisko’s baseball.

Agent Daniels first appeared in ENT: “Cold Front” as Crewman Daniels of the NX-01 Enterprise (which technically didn’t have a USS prefix until its refit). He was revealed to be a Time Agent, a temporal operative from the 31st Century fighting in the Temporal Cold War. He last appeared in ENT: “Storm Front, Part II”, informing Archer that due to his actions, the Temporal War was coming to an end.

Talaxians, of course, are Neelix’s race (VOY), last referenced in a reading list that included A Comprehensive Guide to Talaxian Hair Styles. The Eternal Archive also gave Book a cutting from the World Root, a tree system that extended across his now-destroyed planet Kwejian (DIS: “Labyrinths”). He planted it on Sanctuary Four, a planet used as a wildlife sanctuary for trance worms, one of which, nicknamed Molly was delivered there by Book in DIS: “That Hope is You, Part 1”.

The box on the table across from Admiral Burnham’s bed is the one made of Tulí wood, that contained the World Root cuttings, given to Book by the Eternal Archive. The color of the vegetation outside the window identifies the planet as Sanctuary Four.

Crepuscula was the very first planet we saw in the series, back in the first scene of DIS: “The Vulcan Hello”. Burnham and Philippa Georgiou performed a covert mission to restore the Crepusulans’ water supply, as the species was subject to General Order 1.

The age of Burnham’s son (and his Captain’s rank) implies that at least thirty-odd years have passed since Saru’s wedding.

Technically speaking, one “aye” means “I understand,” in response to information while “aye aye” means “I understand and will comply,” in response to an order.

Burnham’s shuttle bears the designation “UFP 47”, with 47 being a number which appears frequently in Star Trek, an in-joke started by TNG writer Joe Menosky, who was part of the 47 Society at California’s Pomona College. In the lake we see trance worms swimming. The warp streaks as the shuttle travels are consistent with what we saw of the pathway drive.

Burnham and Book’s son is named Leto, after Book’s nephew who died when Kwejian was destroyed (DIS: “Kobayashi Maru”).

The ending finally brings continuity in line with ST: “Calypso”, where Craft came across a deserted Discovery, empty save for Zora, adrift for a thousand years in deep space. For the longest time we were wondering how it would work since the starship was shown without its “A” suffix, which she obtained when refitted in the 32nd Century to hide her origins in the 23rd Century. The removal of the “A” by DOTs as Burnham’s shuttle flies in, the reattchment of the ship's nacelles and Burnham's use of the term “Red Directive” implies that this is due to Kovich/Daniels’ instructions, and the restoration of the original ship is to bring it in line with history due to timey-wimey reasons.

As stated in DIS: “Mirrors”, an erigah is a Breen blood bounty.

The ship holding Moll and L’ak’s shuttle in a tractor beam is the USS Locherer (NCC-325062), a Merian-class starship first seen in DIS: “Jinaal” and named after the late J.P. Locherer, who was a cinematographer on the show.

Burnham identifies subspace frequency Epsilon 19 as a courier channel and that “special offer” is a courier distress code. With her is Commander Nhan, a Barzan who journeyed with Discovery from the 23rd Century but subsequently transferred to Federation Security in the 32nd. She was last seen in DIS: “Rubicon”.

Nhan refers to what happened between her and Book at their last encounter, when she argued for destroying his ship to prevent him using the isolytic weapon she mentioned. So there’s a bit of awkward history there.

A sa-te kru cat is a Vulcan species, a large predator similar to the le-matya. It was mentioned in the novel Vulcan’s Forge, but this is its first on-screen mention.

Given the Breen first appeared in DS9, there are plenty of back references to the series.

Culber says that there’s some evidence Breen are capable of “somatic cell” regeneration in extreme cold. This tracks with reports that the Breen homeworld had a freezing climate (DS9: “Til Death Do Us Part”) and that they wore refrigeration suits (DS9: “The Changing Face of Evil”). I’m not sure why Culber needs to distinguish “somatic cell”, since that is really any other cell in the body aside from sperm and egg cells, but I guess it sounds medically cool.

Breen Dreadnoughts (Rezeth Destroyers) are ships from Star Trek Online. As we see later, the 32nd Century version is much bigger.

The Breen used to be a Confederacy in the 24th Century (DS9: “Strange Bedfellows”) but somewhere along the way it’s become an Imperium. There are six primarchs vying for the throne in the wake of the emperor’s death.

Rayner talks about the last time the Breen entered Federation space. With Vance saying that Starfleet was caught flat-footed, this is probably referring to the Breen sneak attack on Earth during the Dominion War which heavily damaged Starfleet Headquarters and San Francisco (“The Changing Face of Evil”). Tilly’s later remark about the Breen “destroying an entire city” may also refer to this.

Using thoron emitters and duranium shadows to fool enemy sensors is a reference to DS9: “Emissary”, when the station used such a tactic to block sensors and make themselves appear better armed than they were. In DS9: “The Way of the Warrior”, the Changeling Martok believed the station was pulling the same trick, but that time he proved to be wrong. The Romulan saying “Never turn your back on a Breen” is from DS9: “By Inferno’s Light”.

The yellow alert symbols are the same design as the “Alert: Condition Red” indicators dating back to ST II, albeit in yellow. The USS Mitchell (NCC-325027), another Merian-class starship, is named after the late Kenneth Mitchell, who played Kol, Kol-sha and Aurellio in DIS. She was last mentioned in DIS: “Coming Home”.

L’ak is Primarch Ruhn’s nephew and carries within him the genetic code of the Yod-Thot, “they who rule”. He is also a direct descendant of the emperor and Ruhn cannot claim the throne without him.

One of Reno’s former jobs was as a bartender - the closed captioning says “Ashalon IV”, but it might be a misspelling of “ Aschelan IV”. Aschelan V was a planet which housed a Cardassian fuel depot (DS9: “Dreadnought”). She refers to a cocktail named “Seven of Limes”, which is an obvious pun on Seven of Nine, although Reno may not know the name’s provenance given that she left for the future about a century before Annika Hansen was assimilated.

A “Code One Alpha” is probably related to or the same as the 23rd-24th Century “Code One Alpha Zero” which is an emergency condition ordered when there is an attack (ST 2009) or a distress call (TNG: “Relics”).

Kellerun was, for a time, used as a Breen forward base by Primarch Tahal. Since Rayner was there, it must have been relatively recent, although to be fair we don’t know how long Kellerun live.

Reno remarks that the hunt “sounds like something out of a holodeck adventure for the littles.” She may be referring to The Littles, a series of children’s adventure novels featuring a family of tiny humanoids with mice-like faces and tails that were written between 1967 and 2003 by John Peterson. There was also an animated series that ran for 3 seasons between 1983 and 1985. Or I’m overthinking and she’s just talking about kids in general.

Rayner says Tahal named her ship the Tau Ceti after a lethal viper with a slow acting venom. Tau Ceti, is of course, the name of a star 12 light years away from Earth and has been mentioned many times in Star Trek.

Bopak III was an uninhabited planet (at least in 2372) in the Gamma Quadrant and the location for the events of DS9: “Hippocratic Oath”.

Tricordrazine is a stimulant apparently derived from cordrazine (TOS: “The City on the Edge of Forever”) and appeared in several TNG episodes, including TNG: “Ethics” and “Shades of Grey”.

The Badlands is an area of space in proximity to Cardassia and Bajor (and DS9), known for its violent plasma storms (DS9: “The Maquis”). Both the Bajoran Resistance and the Maquis used it as a staging area to hide from enemy patrols during their respective conflicts. In 2371, while pursuing a Maquis ship there, the USS Voyager was hurled across the galaxy to the Delta Quadrant by an alien force (VOY: “Caretaker”).

The title comes from the David Bowie song “Changes” from the 1971 album Hunky Dory. The song also has the lyric “Time may change me, but I can’t trace Time.” Given the theme of this episode, it seems appropriate.

The latinum bars are soaked in fop’yano poison (first mention). Latinum, a Ferengi currency, is a metallic liquid which is encased in gold (considered by Ferengi to be worthless), and persists as a currency in the 32nd Century (last seen in DIS: “All In”). The dead weapons dealer is Annari, a Delta Quadrant species which first appeared in VOY: “Nightingale”.

Deuterium manifolds were mentioned in dialogue in VOY: “Course: Oblivion” and VOY: “Renaissance Man”, with deuterium being the fuel used in fusion reactors on Federation starships. A manifold distributes fluids and gas from one pipe to many and vice versa. In internal combustion engines, an intake manifold distributes the fuel-air mixture to the cylinders and an exhaust manifold distributes exhaust from multiple sources to a single pipe for venting.

Polarons are particles that can be used in weaponry (DS9: “The Jem’Hadar”) or for scanning for vessels (VOY: “State of Flux”), among other things. Polaron radiation is fatal to humanoids (DS9: “Apocalypse Rising”).

The Red Angel is indeed Michael, forming a major part of the plot for DIS Season 2. Michael and Rayner appear to have been transported to the end of Season 2, when Michael pulled Discovery along with her to the 32nd Century (between DIS: “Such Sweet Sorrow, Part 2” and “Far From Home”).

Michael identifies the second jump as being in drydock in San Francisco when Discovery was first being built. The original dedication plaque for the NCC-1701 says “San Francisco, Calif.”, so that tracks. The dedication plaques for Discovery, Shenzhou and Franklin also indicate they were launched from the San Francisco Fleet Yards. That being said, the assumption was always that the fleet yards were in orbit, the scene in ST 2009 showing the Enterprise being constructed on Earth notwithstanding.

The next jump is to Stardate 1051.8, the climax of Season 2 of DIS (“Such Sweet Sorrow, Part 2”), the Battle near Xahea with Control, just before the time of the first jump.

Rayner identifies the culprit: a Krenim chronophage or a “time bug”, left over from the Temporal War. The Krenim were Krenim were a Delta Quadrant species with the technology to manipulate time (VOY: “Year of Hell”). A chronophagey a “time eater”. The Temporal Cold War was a feature of ENT’s stories, which became a hot war around the time of the 31st Century (ENT: “Storm Front”), although the nature of a time war means that it was fought across different time periods. Eventually, as a result of the War, time travel was outlawed.

The time jumping into the past of the ship is very similar to the events of VOY: “Shattered”, as many have pointed out. In the VOY novel A Pocket Full of Lies by Kristen Beyer, it is revealed that the shattering of Voyager into 37 time frames was due to the detonation of a chroniton torpedo launched by the Krenim Beyer was hired as a staff writer for DIS and was an executive producer on PIC and SNW.

Stamets’ consciousness exists outside of the normal flow of time (DIS: “Magic to Make the Sanest Man Go Mad”) because of his tardigrade DNA, which he spliced into himself so he can function as the navigator required to use the Spore Drive (DIS: “Choose Your Pain”).

The fourth jump takes them to Osyraa’s hijack of Discovery in Season 3 (DIS: “Su’Kal”). The Black Alert was Tilly trying to jump away, but Stamets was interrupted before the jump could be executed by an Emerald Chain boarding party. Reno is dressed in Discovery’s 23rd Century uniforms, since this is before the crew changed to 32nd Century uniforms at the end of Season 3.

A Vesper martini is a cocktail invented by Ivar Bryce, a friend of writer Ian Fleming’s, who used it in Casino Royale, the first James Bond novel. It consists of gin, vodka and lillet.

The fifth jump takes them to 3218, 27 years in the future. Zora says that Michael and the crew died “decades ago” when the Progenitor tech fell into the wrong hands.

The Breen (DS9: “Strange Bedfellows”) are an antagonistic alien race usually hidden behind their masked suits. They were originally referred to as a Confederacy but in the 32nd Century are an Imperium. They have been mentioned previously as being in a state of infighting.

Michael refers to the first time she boarded Discovery while still serving her sentence for the mutiny she attempted on the Shenzhou in DIS: “The Vulcan Hello” that (debatably) set off the Klingon War.

The diagram that Zora flashes up is a light cone, used in physics as a way to visualize a path through spacetime, converging on the event where the past and future cones meet.

The tone of this future jump is similar to the Short Treks episode “Calypso”, where a future Discovery is seen devoid of life except for Zora, who has been alone for a thousand years. However, that version of the ship does not bear the NCC-1031-A number of the refit (as the episode was made before the Discovery’s time jump at the end of Season 2) and how “Calypso” can fit in with continuity as it stands now is a matter of debate.

Chronitons are Trek particles with temporal properties and associated with time travel. World lines are curves in spacetime describing the path an object takes through spacetime, and therefore its corresponding history. Scaravelli’s Constant is not a real thing as far as I can tell. Mark Rothko was an abstract painter known for his color field paintings.

Just as a note - the reason why Michael and Rayner are in their 32nd Century uniforms and Stamets is not is because the first two are physically jumping through time thanks to being in mid-transport when the jumps started. Stamets remembers only because his consciousness is the one that retains its memory despite the time jumps, as he did in “Magic to Make the Sanest Man Turn Mad”.

Book pronounces raktajino in its usual form, so Reno’s pronunciation of it as “raktachino” last episode must be idiosyncratic in nature.

The warp bubble does indeed insulate whatever’s within from the effects of Special Relativity - it has to, or else faster than light travel would be impossible. This is true whether or not you subscribe to the Alcubierre model for the warp drive (which I do not), the TNG Tech Manual version where the warp bubble lowers inertial mass (which I do), or some other method.

Rayner expresses concern that breaking the warp bubble would rip Discovery (and them) apart and Stamets says inertial dampeners will take care of that - which to me discounts Alcubierre once again because there are no inertial forces acting on the ship in such a model.

Airiam was Discovery’s cyborg spore drive ops officer who was taken over by Control and had to be killed (DIS: “Project Daedelus”).

Michael (and Michael) is presumably using Suus Mahna in the fight, a Vulcan martial art that T’Pol was also proficient in (ENT: “Marauders”). She finishes herself off with a Vulcan nerve pinch. Non-Vulcans have been known to use the nerve pinch, and Michael herself used it in “The Vulcan Hello” to disable Georgiou.

It is Stardate 866274.3, which places it, by TNG reckoning, in 3189. However, as I’ve noted before, this is an impossibility, since Burnham arrived in the 32nd Century in 3188, then spent a year before reuniting with Discovery (3189), then months passed between Seasons 3 and 4, and also between Seasons 4 and 5 so at a minimum it should be 3190. So stardates have to be working differently now.

The image Burnham is looking at is of the Progenitor hologram from TNG: “The Chase”, played by Salome Jens, who also played the recurring role of the Female Changeling in DS9.

The unwritten Starfleet code of conduct is apparently “Don’t snitch.” Rayner has been in Starfleet for 30 years, during which time the Federation was apparently at war (but no longer), and he’s fought side-by-side with Vance. The Breen are infighting over a new leader (they are now an imperium instead of a confederacy), and the Orions are regrouping, presumably after the splintering of the Emerald Chain at the end of Season 3 (DIS: “That Hope is You, Part 2”).

Book imitates Saru’s threat ganglia, which started as a response to sensing danger, but following his vahar’ai (DIS: “An Obol for Charon”), were replaced organs which could shoot spines.

The Promellians fought a long war against the Menthars which ended in the extinction of both species in the 14th Century. The Enterprise-D encountered a Promellian battle cruiser caught by a Menthar booby trap and nearly fell victim to the same trap in TNG: “Booby Trap” (2366). A necropolis is basically a very large graveyard or tomb, hence Burnham’s concerns about it being a sacred space.

Zareh was a courier who encountered Saru and Discovery when they first arrived in the 32nd Century (DIS: “Far From Home”), attempting to extort dilithium from them. He allied himself with Osyraa during her commandeering of Discovery and eventually died in the ship’s turbolift systems while fighting Book (DIS: “That Hope is You, Part 2”).

The Promellians’ use of Lang-cycle fusion engines was first mentioned in TNG: “Booby Trap”. I do wonder, however, what the statue was supposed to represent, since Promellians as seen in TNG only had two eyes, not four.

Being able to generate new phasers with just a metaphorical flick of the wrist is really handy.

Booker says that Moll and L’ak are Sui, couriers who take the most dangerous jobs fpr the action and latinum (from suicide, perhaps?).

The inscription starts with “Jolan tru, zarbalgon…” which Burnham translates as “Hello, wanderer”. Jolan tru is a traditional Romulan greeting which was used as both “hello” and “goodbye” (TNG: “Unification I”). Where Burnham learned Romulan is unexplained, but likely from her mother, a member of the Qowat Milat or on Ni’Var (DIS: “Unification III”). At the time she left the 23rd Century, the Romulans were still safely ensconced behind the Neutral Zone.

Burnham identifies the inscription as a Romulan revlav, which from context must be a poetic form, consisting of five verses or lines. “Hello, wanderer. Many worlds have you traveled. Opaline waters call to you. Thoughts are shared.” Saru says that seems to point to Betazed, but the fifth verse is missing.

Saru and Burnham have really been boning up on Romulans. The shaiqouin, the false front door of Romulan houses, was first mentioned in PIC: “The End is the Beginning”, but there was called a shaipouin. The last verse reads, “A world like no other, where two souls entwine, joined as one.” Adira deduces that the whole poem in context points to Trill.

Booker reminds us that his name is an alias, passed down from courier to courier (DIS: “That Hope is You, Part 2”, “Species Ten-C”).

Saru packs his knife, a gardening tool given to him by his sister on the night he left Kaminar to join Starfleet (ST: “The Brightest Star”).

Saru talks about giving oneself over “to the journey”, which reminds me of the toast that Barclay gave in the alternate future’s tenth anniversary of Voyager’s return (VOY: “Endgame”). Saru first warned Tilly about not touching the swamp kelp in bloom in DIS: “Choose to Live”.

Vance’s daughter previously appeared in DIS: “Kobayashi Maru”, but this is the first time we learn her name is Charlie (named after him, presumably).

Other receipients of the Grankite Order of Tactics (first mentioned in TOS: “Court Martial”) include James Kirk, Jean-Luc Picard (PIC: “Remembrance”) and Liam Shaw (PIC: “The Next Generation”). The latter three also received its Class of Excellence.

Many times Star Trek has taken us to the future only to reset the status quo at the end of the story arc. Tapestry (but in reverse?), that time Voyager crashed in the ice, and all that.

How likely is it that Discovery went to a mutable future, just one of many, especially with the Temporal Cold War, Carl, Q, Trelane, Janeway, the HMS Bounty, and any number of other temporally active agents out there in time? How locked in is the 32nd Century?

Let's imagine that there is an Earth from an alternate timeline where the planet received alien interference in the late 20th century that makes humanity certain of alien life and warp drive (note: not warp-capable), with the early 21st century on technological par with the prime timeline's 21st century. In this early 21st century, a person accidentally make both a universe and temporal crossing into Earth in the prime timeline and the late 24th century.

Starfleet quickly locates this highly confused person. How would Starfleet handle the situation while abiding by the (Temporal) Prime Directive?

Personally, I would think given the exceptional circumstances, that Starfleet might given the person limited mobility on Earth and only Earth, and eventually allow them to live permanently in the prime timeline if they have exhausted the list of possible ways to return the person to their timeline. This is especially considering that the alternate Earth has already been interfered with, and Starfleet has no way to know the natural development of neither the alternate timeline nor its native earth.

It has occurred to me that Vulcan must have some form of sex industry to handle those going through Pon Farr who aren't currently married or otherwise involved. Otherwise, they'd have constant issues with violence from those suffering the "blood fever" whose spouse was far away, or had died, or for some other reason had no one to mate with.

Given Vulcan attitudes towards sex, it's probably kept out of sight, and is only "officially" available to those experiencing their "Seven Year Itch," but it has to exist, right?

I have an issue in general with scifi totally ignoring the existence of bicycles, but star trek is particularly fun to think about since in so many situations beaming down in an away team with electric mountain bicycles would be incredibly useful in a basic utilitarian sense. Like shuttles, bicycles could be treated as disposable if needed, you can always replicate more right?

You also don't need to build up any infrastructure on a planet for bicycles to function as transit system for huge amounts of people. A starship could arrive into a humanitarian aid situation, quickly adjust a bicycle blueprint for whatever bipedal humanoid lived on the planet, replicate a metric sh*&ton of alien bicycles and beam them down to the planet on mass. It wouldn't require longterm maintenance, lengthy training of local aliens on how to use, or return visits to resupply complex parts. A starship could drop bicycles, spare parts and maintenance gear and then leave and the citizens of that planet would be able to benefit from that for... decades? Even more? I am sure the instruction manuals would get super long with all the alien languages though....

Even if bicycles weren't being used as tools or transportation in a far future like star trek, there is no reason humans would stop wanting to bicycle recreationally or for exercise. Also you could go on crazy mountain biking rides on the holodeck right? I can't see how people wouldn't be doing that all the time along with skiing, surfing and other sports that are scary but exhilarating. Further, I think it is likely most bipedal aliens would have discovered bicycles at some point along the development into advanced technological civilizations. It would be really weird if only humans discovered them.

TNG in particular is egregious for not having bicycles since the NCC-1701 is so cavernous that unless you always used the turbolifts you probably are going to need a bicycle to get anywhere quickly...

What do yall think? Should star trek have more bicycles?

Annotations for Star Trek: Lower Decks 4x06: “Parth Ferengi’s Heart Place”:

The title is a pun on the 2004 British horror parody television series Garth Merenghi’s Darkplace.

The Ferengi starship appears to be a variant of that owned by the Ferengi merchant Ulis in 2151 (ENT: “Acquisition”).

Rom became the Grand Nagus in DS9: “The Dogs of War”, Zek appointing Rom as his successor to carry on his reforms to create a kinder, gentler Ferenginar.

The Genesis Device is of course the central McGuffin of ST II. The one that blew up and created the Genesis Planet was thought to be the only one, but we’ve seen another model stored in Daystrom Station (PIC: “The Bounty”).

“He thinks Rom is the next Lonz.” A deep cut, Lonz was the most famous nose flute player in Ferengi history, also known as “Old Golden Nostril” (DS9 book: Legends of the Ferengi).

Rule of Acquisition No. 62: “The riskier the road, the greater the profit”, was first mentioned in DS9: “Rules of Acquisition”, among other episodes.

The Stardate is 58901.5. The Ferengi Alliance wanting to join the Federation is a huge deal. Although Nog was the first Ferengi in Starfleet (DS9: “Heart of Stone”), by 2400, there will be more Ferengi cadets in Starfleet Academy (PIC: “The Star Gazer”, a Ferengi flag is being flown during commencement among other flags showing the composition of the graduating class), and by the 32nd Century, Ferengi officers are seen frequently, even a Captain (DIS: “Anomaly”).

The foods being served on board the Parliament-class (LD: “Cupid’s Errant Arrow”) USS Toronto (NCC-70494) include a bowl of Ferengi tube grubs (DS9: “Homefront”), cheese cut out in Starfleet delta shapes and a wooden serving board in the shape of a Galaxy-class cruiser.

The bald Admiral is Vassery, who commanded Douglas Station and was the one Mariner mocked for his pronunciation of “sen-soar” (LD: “Moist Vessel”). He also appeared in Mariner’s holoprogram (LD: “Crisis Point”).

Moab IV is the location of the Genome Colony, a self-contained domed enclosing a genetically and socially-engineered society (TNG: “The Masterpiece Society”). The environment outside the dome was uninhabitable at the time the Enterprise-D visited, so Vassery’s joke might mean that has changed. Or is just a bad joke.

The 10th Rule of Acquisition is “Greed is eternal” (DS9: “Prophet Motive”); Freeman trying to quote this expresses her skepticism about Ferenginar’s application.

Leeta’s title as “First Clerk” is the title of the Nagus’ personal financial assistant (DS9: “Ferengi Love Songs”). Rom and her are accompanied by what seems to be a female Hupyrian. The species is known to be favorites of the Grand Naguses as servants, bodyguards and food tasters due to their devotion to their masters and their vows of silence to anyone other than their master. Zek’s male servant was Maihar’du (DS9: “The Nagus”).

I got to admit, the Ceremonial Invoice and the “Friends and Family Discount” made me spit out my soda. God, I’ve missed the Ferengi - the DS9 development of them, specifically. Yes, Quark made an appearance in DS9: “Hear All, Trust Nothing”, but still.

Self-sealing stem bolts are a component that nobody is quite sure what they do or what they’re for, except that they’re self-sealing. And are stem bolts (DS9: “Progress”).

For the record, “Lieutenants junior grade” is the grammatically correct usage. Much like it’s “Attorneys-General” and not “Attorney-Generals”.

There have been two travel guides published in the real world for Star Trek under the Hidden Universe Travel Guides banner: one for the Klingon Empire and the other for Vulcan. I also love the fact that the Cerritos is statistically the horniest and least committed crew in Starfleet because that tracks so much.

Finishing each other’s diophantine equations (polynomial equations where only integer solutions are allowed) could be a reference to a classic gag from Arrested Development where Michael says about Nellie, that they finish each other’s… and Lindsay chimes in with “Sandwiches?” to Michael’s bewilderment. The same joke coincidentally shows up in That 70s Show and as part of the song “Love is an Open Door” in Frozen.

Honus is the ship’s bartender (LD: “Mugato, Gumato”) and Nurse Westlake (LD: “Second Contact”) is named for Chris Westlake, the composer for LD.

We see a Ferengi shuttle (DS9: “Little Green Men”) flying by as we approach Ferenginar, on which it is always raining (DS9: “Family Business”). The Ferengi language has 178 words for rain (and none for “crisp”), rather like the hundreds of words Inuits use to describe various types of snow (DS9: “Let He Who is Without Sin”). The tall building dominating the skyline is the Ferengi Tower of Commerce, the capital building of the government (“Prophet Motive”).

Signs advertise All You Can @#S%!, Slug-O-Cola (DS9: “Profit and Lace”), Uncle Quark’s Youth Casino, Maxium Oo-Mox Rub Dungeon, Acquire Pour Homme, Lobe’s Lodge, Slug-Nasium. A marquee says “Now Playing: Latinum Lost!!!” which may be a reference to the Litverse novella Lust’s Latinum Lost (and Found), which centers around the erotic holonovel of the same title.

The things on Boimler’s to-do list are:

• Drop off Bags
• Hotel Room Inspection: Mini Bar, Toilet, Pay Wall
• View Screen Inspected
• Museum of Bribery
• Ferengi Center for Forged Arts
• Ferengi Hall of Fame Gift Shop (Hall of Fame Coming Soon)

The size of Ferengi lobes is a symbol of virility and business acumen, which is what the Slug-O-Cola commercial plays on.

Quimp appeared in LD: “Envoys”, meeting Mariner on Tulgana IV, staging a fake attack to boost Boimler’s confidence.

Oberth-classes (like the USS Grissom from ST III) take a lot of flak. T’Ana once screamed that she didn’t spend 7 years on one just to get reassigned to a station (LD: “The Stars at Night”).

The “dagger of the mind” drink probably refers to TOS: “Dagger of the Mind” where a neural neutralizer empties a mind and makes it susceptible to suggestion.

Rom was on Sisko’s baseball team, the Niners, in DS9: “Take Me Out to the Holosuite” and scored the only run for the team in that game.

The unicorn dog in the Ferengi landlord cop show is of the species from Alfa 177 (TOS: “The Enemy Within”). We last saw one of them in the menagerie in LD: “I Have No Bones Yet I Must Flee”.

As Boimler laughs about product placement he is sitting in front of the Paramount logo. The screen also resembles the CBS eye logo.

Parth is using a holographic imager, but oddly enough closer to the Starfleet design (last seen in SNW: “Those Old Scientists”) rather than a Ferengi one (DS9: “Meridian”).

Mariner and Quimp play dabo (DS9: “Babel”) at the Ferenginar Historical Library.

Quark’s Federation Experience Bar & Grill (referring to the late lamented Las Vegas Star Trek: The Experience), has models of the Voyager and Enterprise-D hanging from the ceiling as the TNG theme tune plays. Among the decor are signs that say Engineering, Ten Forward, Where No Gift Has Gone Before, Jeffries Tube Entrance, Red Shirts and Holodeck Arcade.

Patrons enter the place between two TOS-style nacelles and are greeted by a Ferengi with a Vulcan hairstyle and eyebrows in a blue science division uniform. In a blink-and-you’ll-miss it moment, there is a naked female Ferengi (head and shoulders visible) at one of the tables as we initially pan towards Tendi and Rutherford. Ferengi females were traditionally not allowed to wear clothes, but this began to change with Zek’s reforms, helped along by Quark and Rom’s mother Ishka.

On display are a Mugato (TOS: “A Private Little War”), the Guardian of Forever (TOS: “The City on the Edge of Forever”), a Vulcan gong in the arena from TOS: “Amok Time” and a Taurean ape-man with a spear from TOS: “The Galileo Seven”.

Tendi and Rutherford are seated at a table whose wall panels have a TOS-style red trim and chairs from that era. The Red Alert sound has of course been standard since TOS. The Ferengi bouncers are dressed in TNG-era security uniforms.

Tendi’s comment about the velour uniforms catching fire is similar to Boimler talking about exploding tricorders in LD: “Those Old Scientists”.

Sitting weird in chairs is a stereotype for bisexuals, of which Mariner is one. Naturally, the Ferengi Dominion War Memorial remembers the profits lost during that conflict.

The blind box is modeled on a TOS-era shuttle. We see a rocky backdrop for one of the tables that might be Sarpeidon from TOS: “All Our Yesterdays”.

The 8th Rule of Acquisition, “Small print leads to large risk” is from the beta canon book The Ferengi Rules of Acquisition.

The Ferengi dragging Boimler out of his room is using a Ferengi energy whip (TNG: “The Last Outpost).

Time travel in Star Trek is a tricky business. As much as we try to make sense of it, and to be fair the way it works and the way historical changes affect the timeline is for the most part consistent, it still is “only for the most part”. For every instantaneous change to history shown in TOS: “The City on the Edge of Forever”, there’s a kind of delayed effect as exhibited in DS9: “Past Tense”. For every reset of the timeline in VOY: “Year of Hell”, there’s the lasting effects implied in SNW: “Tomorrow and Tomorrow and Tomorrow”.

One conundrum is TAS: “Yesteryear”, probably the most memorable episode of TAS. The set up is that Kirk and Spock are returning from a trip to Orion’s past via the Guardian of Forever. When they emerge from the temporal donut, they are startled to discover that the McCoy and the party of welcoming scientists do not recognize Spock.

(As a side note, why don’t they remember Spock? As we saw in “The City on the Edge of Forever”, being in close proximity to the Guardian protects you from the changes in time - when McCoy goes through and changes history, the Enterprise vanishes from orbit but Kirk and the landing party still retain their existence and memories. One possibility is that McCoy took the scientists up to the Enterprise briefly while Kirk and Spock were in the past, whereupon they were subsumed into the changed timeline, but then we also know from “City” that the trip into the past and back takes only an instant, no matter how long you stay in the past. It’s a problem, and I’m not sure I’ve got a good solution for it. But see below.)

Returning to the Enterprise, Spock discovers that he has never been First Officer (replaced by an Andorian) and in fact died as a child on Vulcan during the kahs-wan ritual. But yet, Spock recalls that during the ritual he was saved by a distant cousin named Selek. Realizing that Selek was Spock himself, Kirk surmises that history was changed because Spock followed Kirk to Orion and so didn’t go back in time to Vulcan. Spock realizes that he must go back in time and save his past self.

But this raises a slight problem - what was the original timeline to start with? If Spock originally died, then how did he grow up to go back to save himself? Is this a bootstrap paradox at work? But then it’s not a perfect loop because the events of “Yesteryear” only occur because the loop breaks, creating a new timeline in the middle of it.

(Also, given the very nature of time travel, Kirk’s theory that history changed because Spock went back to Orion’s past and he couldn’t be in two places at once makes no sense because it’s time travel. Spock’s journey into the past doesn’t have to occur at a specific time for it to work.)

So what gives here? The only way this makes sense is if, in the original timeline, the change in history and the paradox were meant to happen.

In the original timeline, Young Spock nearly dies in the Vulcan desert, but is saved by Future Spock. But this leaves the question unanswered as to why Future Spock is there to begin with - the impetus for him to go back in the first place. The only reason Spock goes back is because he discovers that if he doesn’t, Young Spock dies. And the only way he discovers this is because of the existence of the paradox of the new timeline.

So it wasn’t because Spock went back to Orion that caused the paradox, as if it was a choice that started the dominoes falling. Spock had to go back to Orion so that he would find out that history had changed when he returned, which would then lead him to go back in time to change history “back”. The alteration in the timeline and the subsequent repair job was always part of the original history.

And perhaps that provides a solution to why McCoy and the scientists were affected by the timeline changes. Perhaps to impress upon Spock the necessity for him to go back in time, it had to be clear from the get-go that history had changed rather than for him to find out when he returned to the Enterprise.

And the entity that would be aware of this, and presumably have the capability to withdraw its protection from others, would be the Guardian itself. Well aware of how events are supposed to unfold and to protect the integrity of the timeline and Spock’s place in it, the Guardian allows the timeline to be changed. It then makes sure that Spock figures out what he must do to revert the changes, the Guardian’s own temporal directives preventing him from telling Spock outright. The best the Guardian could do was protect Kirk and Spock’s memories, so that Spock would recall what was supposed to happen and Kirk to give him the support he needed to go back in time.

But then the question becomes why the timeline had this snarl in it to begin with? Was there a previous timeline before that where Young Spock did survive without intervention but temporal shenanigans took place to alter that original, leaving this as a patch job? Therein lies another discussion, perhaps, or a fanfic.

This is the Daystrom Institute Episode Analysis thread for Lower Decks 4x01 Twovix and 4x02 I Have No Bones Yet I Must Flee.

Now that we’ve had a few days to digest the content of the latest episode, this thread is a place to dig a little deeper.

In TNG, Picard says that the Federation has evolved past a need for money. Indeed, we never see any.

In DS9 though, Quark talks a lot about bar tabs and costs. Surely O'Brien and Bashir don't get free drinks, so how do they pay? I'd assume that any Ferengi worth his lobes won't accept anything that can be replicated, so do Federation officers get a stipend of tradeable "value" when interacting with cultures that still expect payment?

I think there's also a reference to Quark paying rent to Sisko for running the bar. Presumably that's denominated in latinum. I wonder where it goes? Maybe the secret "Garak black ops" fund.

In music, repetition legitimizes; in Star Trek, Spock legitimizes.

(Full disclosure, I've watched many Adam Neely videos but haven't actually watched the one above.)

Spock has been deployed again and again when Star Trek has "pushed the envelope". When JJ Abrams wanted to launch a new Star Trek film franchise, he brought in Leonard Nimoy to have Spock pass the torch. When Alex Kurtzman wanted to launch a new serialized streaming Star Trek series, he wrote it about Spock's sister (with Spock's father appearing from the first episode), and brought in Spock himself in the second season.

And when they needed to make the big swing for the fences and literally do a Star Trek episode where everyone is singing as if in a musical, who is the very first character to sing? Yes, of course, it's Spock.

The first Very Short Trek episode, "Skin A Cat", continues this trend. In this, Paramount's first officially non-canon official production (and debatably their silliest slice of Star Trek yet), the only character voiced by their "normal" actor is -- yes, you guessed it -- Mr. Spock.

Whenever the in-universe era permits, Spock is consistently invoked whenever Star Trek breaks new ground.

We can even extend this analysis retroactively all the way back to the beginning: when Star Trek was "rebooted" for the very first time -- after "The Cage" was rejected, and the premise reworked into "Where No Man Has Gone Before" -- only Mr. Spock and the Starship Enterprise herself were carried through into the new version, creating a lineage that indelibly legitimizes "The Cage" as Star Trek, even in spite of massive changes otherwise.

(And indeed, the Starships Enterprise play a similar legitimizing role across the franchise -- if an Enterprise appears, it's Star Trek.)

So, here is the question for us: why does Spock enjoy this particular ability to reify something into being Star Trek? Why is it he -- not Kirk, not McCoy -- that gets called on when the showrunners want to "bulk up" on their Star Trek bona fides? Why is it that, if Spock does it, it's Star Trek?

To be clear, I'm not looking to debate whether this is the best Trek film. Rather, I'm asking why so many people see it as such.

I enjoy TWoK well enough, and certainly it is a good film overall. But consider: it is much more militaristic than any Trek before and more than most Trek since, and relatively violent compared to TOS; there is no exploration of strange new worlds; tonally, it is quite different from most Trek stories. (To be clear, I'm not suggesting that these qualities are required for a "good" Trek film -- I'm just noting a few obvious ways that TWoK is unusual.)

In terms of TOS episodes, TWoK is probably most like a combination of "The City On The Edge Of Forever" and "Balance of Terror" -- which, to be fair, are beloved classic episodes, in part because they are somewhat exceptional compared to the rest of the series. So perhaps that gives us some clue as to why the film is so beloved.

In general, TWoK is ultimately about mortality. For all that the film professes to be about Khan, he really is just an Act of God (in the natural disaster sense), creating an unstoppable force that Kirk must humble himself against. The film is really about Kirk learning to confront death -- heightened by the contrast of the new life of Genesis and in his newly-rediscovered son. And that is something that the film did which was new: able to plumb the depths of Kirk's emotional journey at greater length thanks to the larger screen and the longer format.

But, again... it's a great film, but I don't know that it's obvious to me that Kirk learning to deal with the no-win scenario particularly epitomizes what "Star Trek" is (whatever the hell Star Trek actually "is"). In that respect, The Voyage Home seems like the most obvious candidate -- whatever Star Trek "is", to me TVH "feels" more like it than does The Wrath of Khan.

So, why has TWoK earned such a place of acclaim?

(PS: I could write a similar post about First Contact, whose popularity also confuses me.)

Like basically every current Star Trek fan, I love the character of Captain Pike as Anson Mount portrays him. I wonder, though, to what extent he is actually the same guy from "The Cage." If we had only that episode to work from (which the Discovery and SNW writers initially did), we would know that he is broody, that he struggles with the responsibility he bears for the lives of others, and that he is remarkably able to conjure up emotions like anger and hate on command. Does any of that fit with Pike as we know him now?

One way to answer this question would be to imagine a very literal remake of the original pilot recast with the current actors. Everyone else would basically make sense, but I think seeing the current Pike act out his scenes would be jarring and even a little upsetting.

I'm sure we can come up with in-universe explanations -- he was having a particularly bad day, he's grown as a person, etc., etc. -- but it does seem like the current-day writers are departing pretty abruptly from the ostensible basis for the character. What do you think?

In Voyager's transporter room, there is an alcove on the side, and embedded in the wall is what appears to be a small transporter pad. I don't believe anyone is ever shown interacting with this, so there's no definitive explanation for what it is. Assuming it is what it appears to be, what would be the purpose of a very small transporter like this?

(originally posted here)

Very often I see people confidently think or claim that the Star Trek warp drive works like the warp "drive" first proposed by physicist Miguel Alcubierre in 1994. Unfortunately, this is in error (I put "drive" in quotes because Alcubierre apparently dislikes calling it a drive, preferring to call it a "warp bubble"). As Alcubierre himself says, it was Star Trek that gave him the inspiration for his metric, not the other away around.

Why there is this conflation may be because people desperately want to think that Star Trek is based on hard scientific principles, or that the same principles in Star Trek are actively being worked on in real life. I don't propose to speculate further. There are also several fan ideas and beta canon ideas in licensed fiction about warp drive (notably in the excellent novel Federation by Judith and Garfield Reeves-Stevens) but for the sake of brevity, I'm limiting my discussion to what we see on-screen and related behind-the-scenes documents.

Background

The basic obstacle to superluminal or faster-than-light travel is Einstein's Theory of Special Relativity. Special Relativity says that as the velocity of an object with mass accelerates towards the speed of light (c), the mass of that object increases, requiring more and more energy to accelerate it, until at c, that object has infinite mass, requiring infinite energy to push it past c. In fact, Special Relativity says that nothing with mass can reach c - photons are massless and can only travel at c. From there, it follows that theoretical objects with negative mass can only travel above c, hence given the name tachyons, from the Greek tachys, or “fast”.

Alcubierre wondered: if you can't move the object/ship without running into relativistic issues, why not move space instead? Alcubierre's idea was to warp space in two ways - contract space in front of the ship and expand space behind it, an effect he compares to a person on a travelator. So while the ship itself remains stationary in a flat area of spacetime between the two areas of warped space (the whole thing being the "warp bubble"), that flat area gets moved along like a surfboard on the wave of warped space. Of course, warping spacetime in this manner involves incredible amounts of negative energy, but that's another discussion.

So this is how the Alcubierre metric circumvents relativistic issues. Because the ship itself remains essentially motionless, there is no acceleration or velocity and thus no increase in inertial mass.

But that's not how Star Trek’s warp drive works, and has never been.

Warp Drive pre-TNG

There is no description on how Star Trek warp drive works on screen in TOS except perhaps for a vague pronouncement that the "time barrier's been broken" in TOS: "The Cage" (in the episode Spock also calls it a "hyperdrive" and refers to "time warp factors").

During the production of Star Trek: The Motion Picture (1979), science consultant Jesco von Puttkamer, at the time an aerospace engineer working at a senior position in NASA, wrote in a memo to Gene Roddenberry dated 10 April 1978 (The Making of Star Trek: The Motion Picture by Susan Sackett and Gene Roddenberry, 1980, pp153-154) his proposal for how warp drive was supposed to work, in a way eeriely similar to Alcubierre's metric:

When going “into Warp Drive,” the warp engines in the two propulsion pods create an intense field which surrounds the entire vessel, forming a “subspace”, i.e. a space curvature closed upon itself through a Warp, a new but small universe within the normal Universe (or “outside” it). The field is nonsymmetrical with respect to fore-and-aft, in accordance with the outside geometry of the Enterprise, but it can be strengthened and weakened at localized areas to control the ship’s direction and apparent speed.

Because of the its non-symmetry about the lateral axis, the subspace becomes directional. The curvature of its hypersurface varies at different points about the starship. This causes a “sliding” effect, almost as a surf-board or a porpoise riding before the crest of a wave. The subspace “belly-surfs” in front of a directionally propagating “fold” in the spacetime structure, the Warp - a progressive, partial collapse of spacetime caused by the creation of the subspace volume (similar to but not the same as a Black Hole).

But there's no evidence that Roddenberry actually used this concept. In fact, Puttkamer said further in the memo that at warp, Enterprise would have "little or no momentum", which we will see is not how it's portrayed. Puttkamer was even against the now famous rainbow effect of going into warp:

The effect should not be firework-type lights but a more dimensional, geometric warping and twisting, an almost stomach-turning wrenching of the entire camera field-of-view.

So while an interesting document, there's no evidence that Puttkamer's ideas made it into any on screen incarnation of Star Trek.

Warp Drive in TNG and beyond

In TNG, the first publicly available description of how warp drive is supposed to work came from the licensed Star Trek: The Next Generation Technical Manual (1991). At page 65:

WARP PROPULSION

The propulsive effect is achieved by a number of factors working in concert. First, the field formation is controllable in a fore-to-aft direction. As the plasma injectors fire sequentially, the warp field layers build according to the pulse frequency in the plasma, and press upon each other as previously discussed. The cumulative field layer forces reduce the apparent mass of the vehicle and impart the required velocities. The critical transition point occurs when the spacecraft appears to an outside observer to be travelling faster than c. As the warp field energy reaches 1000 millicochranes, the ship appears driven across the c boundary in less than Planck time, 1.3 x 10^-43 sec, warp physics insuring that the ship will never be precisely at c. The three forward coils of each nacelle operate with a slight frequency offset to reinforce the field ahead of the Bussard ramscoop and envelop the Saucer Module. This helps create the field asymmetry required to drive the ship forward.

As described here, Star Trek warp drive gets around Special Relativity by using the warp field to distort space around and lower the inertial mass of the ship so that the shaping of the warp fields and layers around the ship can push and accelerate the ship itself towards c with reasonable energy requirements. The stronger the field (measured in units of millicochranes), the lower the inertial mass gets and it becomes easier to accelerate. When the field hits a strength of 1000 millicochranes, the ship pushes past the c barrier. Presumably at this stage it's in subspace, where Relativity no longer applies, and can accelerate even faster to each level of warp until the next limit at Warp 10 (TNG scale), or infinite speed. I'm not getting into how warp factors are defined (but see here for a discussion on the change between TOS and TNG warp scales, which also goes into the definition of warp factors, if interested).

The Technical Manual was written by Rick Sternbach and Michael Okuda, who were both technical consultants behind the scenes, and evolved from a document prepared by them in 1989 (3rd Season) to aid writers on the show in writing the technobabble in their script. (See also the history here.)

Here’s what the first, 3rd Season edition says about the way warp works, which is simply that the drive “warps space, enabling the ship to travel faster than light,” and that the ship is “‘suspended in a bubble’ of ‘subspace’, which allows the ship to travel faster than light”. This description also shows up in the 4th Season edition, and the Star Trek: Voyager Technical Guide (1st Season edition) in identical form.

While the actual text of the manual never made it on screen, there are several pieces of on-screen evidence that tell us Sternbach and Okuda's description of warp drive is followed: warp fields lower inertial mass, and the ship experiences acceleration and inertial forces during warp.

Evidence of warp fields lowering inertial mass

In TNG: "Deja Q" (1990), Enterprise-D uses a warp field to change the inertial mass of a moon:

LAFORGE: You know, this might work. We can't change the gravitational constant of the universe, but if we wrap a low level warp field around that moon, we could reduce its gravitational constant. Make it lighter so we can push it.

Later in that episode, we see the effect the warp field has on the moon:

DATA: Inertial mass of the moon is decreasing to approximately 2.5 million metric tonnes.

At the time "Deja Q" was broadcast, all that was said about warp drive in the technical guide was that warp drive "warps space" and the ship is in a subspace bubble with no mention of lowering inertial mass. Yet "Deja Q" shows warp fields doing exactly that, which tells us that either the writer gave Sternbach and Okuda that idea or they already had their ideas in place behind the scenes. The latter is more likely, given that the Technical Manual was published the following year.

In DS9: "Emissary" (1993), O'Brien and Dax use a warp field to lower the mass of the station so they can use thrusters to "fly" the station to where the wormhole is.

DAX: Couldn't you modify the subspace field output of the deflector generators just enough to create a low-level field around the station?

O'BRIEN: So we could lower the inertial mass?

DAX: If you can make the station lighter, those six thrusters will be all the power we'd need.

Evidence of inertia during warp

We've known from TOS on that during warp speed, inertia still exists. If it didn't, then there wouldn't be the bridge crew being subjected to inertial forces when maneuvering at warp speeds and being tossed around the bridge (TOS: "Tomorrow is Yesterday", when Enterprise slingshots around the sun at warp - with the last reported speed being Warp 8 on the TOS scale).

In TMP (1979), we see Enterprise accelerating to warp speed before the engine imbalance creates a wormhole.

KIRK: Warp drive, Mr Scott. Ahead, Warp 1, Mr Sulu.

SULU: Accelerating to Warp 1, sir. Warp point 7… point 8… Warp 1, sir.

As noted, a ship using the Alcubierre metric doesn't need to accelerate, because it's space that's moving, not the ship. Additionally there'd be no need for an inertial dampening field (as we see in TNG and beyond) that is supposed to protect the crew when accelerating to superluminal speeds. From VOY: "Tattoo" (1995):

KIM: Could we go to warp under these conditions?

PARIS: The ship might make it without inertial dampers, but we'd all just be stains on the back wall.

In the 2009 Star Trek movie, Enterprise was unable to go to warp unless the external inertial dampeners were disengaged.

SULU: Uh, very much so, sir. I'm, uh, not sure what's wrong.

PIKE: Is the parking brake on?

SULU: Uh, no. I'll figure it out, I'm just, uh...

SPOCK: Have you disengaged the external inertial dampener?

(Sulu presses a couple buttons)

SULU: Ready for warp, sir.

PIKE: Let's punch it.

If there's no acceleration or inertia, there's no reason why them being on would impede warp drive operation.

Closing Remarks

Taking all these pieces into account, I hope I've shown convincingly that the way the show treats Star Trek warp drive is consistent with a drive system that involves acceleration and inertial forces, and with warp fields that lower inertial mass - just like Sternbach and Okuda describe in the Technical Manual, and definitely not consistent with way the Alcubierre metric is supposed to work.

For those who want a deep dive into Star Trek warp physics, some canon and some speculative, I heartily recommend Ex Astris Scientia's series of articles on warp propulsion. I also recommend Jason W. Hinson's series on "Relativity and FTL Travel". Hinson was a regular participant in rec.arts.startrek.tech in the 90s and educated us on how Relativity worked and how it applied to Star Trek.

Back in the day on TrekBBS (alas, I cannot find the original post), someone pointed out that Odo shapeshifts less and less often as the series goes on. It was never a super frequent thing, but it occurred more often in the earlier seasons, but, even accounting for his time as a solid in Season 5, he seems to shapeshift less and less in later seasons.

What reasons (in-universe and real-world) might there be for this? Was it just a budget thing? Were the writers using it as a "trick" (writing crutch) earlier on? Are we supposed to believe that Odo is trying to assimilate, or reject his Changeling heritage?