“Hegemony, Part II”

Star Trek: Strange New Worlds returns for a third season, beginning with the resolution to the Gorn attack and the kidnapping of several members of the crew.

It has been two years since audiences last saw Star Trek: Strange New Worlds. There is a lingering question that extends far beyond this show: do cliffhangers still work in the streaming era, where long gaps risk eroding suspense instead of stoking anticipation? “Hegemony, Part II” compounds that problem, attempting to resolve a weak cliffhanger that bordered on character assassination rather than peak suspense. The first ends with Pike frozen in indecision as the Gorn attack escalated; this episode begins with him asking his crew for input while the assault continues. Impressive visuals aside, it’s a flat opening and an underwhelming resolution to a limp cliffhanger.

Pike’s decision to temporarily leave his crew behind lacks emotional weight or urgency. The pieces were there for a bleak, no-win scenario dripping with tension, but both episodes squandered that potential. Instead, the resolution is  mechanical and the stakes feel distant.

The episode cuts between three situations; the bridge crew working on stopping the inevitable Gorn invasion, Chapel and Spock working to prevent Gorn hatchlings erupting from Batel’s body and killing the crew and the captives on the Gorn ship trying to escape. Although all three address the same threat, they don’t inform one another in any meaningful way. Their lack of narrative interplay reduces the overall stakes. It would’ve taken little effort to connect them: the captives could’ve discovered a clue that aided Spock and Chapel’s efforts or provided intel to help the bridge crew strategise. Without such synergy, they play like three isolated stories that just happen to feature the Gorn.

Individually, the threads falter. Spock and Chapel working to save Batel underwhelms on a couple of levels. Mid-crisis, they pause to dissect their relationship. It’s a complete tonal misfire. Had it occurred in a quiet moment post-climax, it might’ve worked. Instead, it breaks the urgency. Their solution to Batel’s condition isn’t character-driven either. Rather than building on their medical or scientific expertise, it’s a process of running simulations until something sticks. There’s a flicker of Trek ethos in the realization that viewing Batel’s condition as an infection to be eradicated was the wrong approach. Opting to nourish the hatchlings so they don’t erupt in search of food, and focusing on keeping Batel alive until her body reabsorbs them, offers a refreshing angle. But while it represents out-of-the-box thinking, it neither advances understanding of the Gorn nor feels emotionally grounded in the characters.

It’s arguably impossible to gain a deeper understanding of the Gorn because they are such shallow antagonists. In every encounter, they are savage, instinct driven monsters. No attempt is made to examine the intelligence necessary for interstellar travel or consider the possibility of communication. The show never engages with the possibility of a higher-order mind behind their instinctive behaviour. Instead, it leans into Alien homages.

Canon purists might argue that exploring the Gorn in this detail undermines Kirk’s first-contact moment in “Arena,” but the show has already waved away continuity constraints such as delaying the Eugenics Wars in the timeline. If canon’s already broken, it might as well be broken meaningfully.

The escape arc on the Gorn ship brims with lost potential for psychological depth and moral complexity. La’an, revisiting the trauma of her childhood on a Gorn ship, is perfectly placed for a compelling reckoning. Yet beyond surface-level nods such as encouraging words from M’Benga and a defiant vow to save everyone, the episode avoids deeper exploration. She copes too easily.

Likewise, Ortegas suffers acid damage to her hands and faces a possibly lethal piloting task, but both crises are immediately hand-waved: M’Benga assures her everything will be fine which dissipates any tension.

The Gorn ship’s interior is visually striking; an eerie, alien environment loaded with implied threat but the writing doesn’t support the mood. Their escape is far too easy. Weapons are easily found; navigation isn’t a problem and stealing a ship to fly back to the Enterprise is frictionless. Any potential problems impeding their progress are immediately solved and everyone approaches the situation in an unrealistically level headed way.

Even the climactic solution of triggering a stellar event to force the Gorn into hibernation lacks grounding. Uhura and Una happen to correlate Gorn behavior with cosmic events, but this epiphany emerges from nowhere. It masquerades as insight, but amounts to a technobabble shortcut, echoing Berman-era narrative habits of science fiction nonsense combined with flashy visuals resulting in an empty conclusion. There’s a lot of dramatic delivery of increasing numbers that are also represented by graphics indicating how close to death they are but Pike simply orders them to stop doing it and everyone is saved.

The solution is likely designed to close the door on the Gorn until Kirk faces them in “Arena”. This is supported by dialogue in the episode that comes across as foreshadowing while confirming this will be the final appearance of the Gorn in this show. Once again, the solution does suggest some level of greater understanding of their foe and they find a way to deal with them that isn’t hostile but it doesn’t further the Federation’s relationship with the Gorn.

Pike’s conversation with April gestures towards a moral dilemma. He orders Pike to stand down because the Gorn aren’t encroaching on Federation space at this time so it isn’t their problem. Pike disagrees with this as he has witnessed first-hand the savagery committed against the colonists and refuses to stand idly by while innocent people are killed.  Pike argues the moral absurdity of ignoring genocide just because the victims aren’t Federation citizens. April backs down instantly. The moment lacks teeth.

Once again, the Enterprise goes rogue with the unofficial blessing of Admiral April, and once again there are no consequences just like everything else the episode features. Ortegas’ injuries are fixable, Batel’s illegal Illyrian blood treatment won’t even be noted and Pike’s insubordination is unlikely to ever be addressed. April’s willingness to quietly support Pike tracks with their relationship but ignoring orders that came from above him should have ramifications.

It is possible there will be a future episode where Pike is made to answer for taking the Enterprise into Gorn territory against orders that explores whether the favourable outcome justifies him doing so or if the chain of command is something to be respected regardless of what a Captain thinks about their orders and what they manage to achieve by disobeying them. It’s more likely this will be forgotten.

One thing that works in this episode is Martin Quinn’s Montgomery Scott aka Scotty. He’s charismatic, sharp, and delightfully chaotic with a number of strong moments throughout the episode that solidify him as a welcome addition to the cast. His difficulty replicating his success with the device that blinded his shuttle to the Gorn until he believes death is imminent was a great touch that characterises him as at his best under pressure. He’s a gifted engineer that isn’t one for taking notes of his success and delights in finding unconventional ways of doing things. His presence always enhances a scene and dialogue suggests personal hangups he has to overcome in order to reach his full potential. He is definitely one to watch over the course of the season.

Pike’s scene with Batel also stands out. It’s a strong showcase of their relationship and furthers Pike’s recent admission that he wants more than the casual connection they previously shared. Anson Mount’s performance as Pike being vulnerable and sincere is excellent. It takes full advantage of the rare opportunity for Pike to interact with someone fully on his level. In this moment he’s Christopher Pike; a man who cares deeply for Marie Batel and has no problems admitting it. He was faced with the prospect of losing her and processing it brings all the loss he has experienced to the surface. This is the first opportunity he’s had to do this as he had to be focused on being in command but now, he gets to be a person. Breaking down and beginning to pray is a big moment as he’s so desperate to not lose Batel that he will invoke a higher power. It’s a great showcase of Anson Mount’s ability as a performer and the Pike character is well represented in the episode as a Captain -the cliffhanger resolution excepted- and a human being.

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Verdict

A weak start to the season that is visually impressive but narratively disjointed and squanders obvious potential at every turn while actively avoiding consequences.

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