The author of Project Hail Mary is firing a photon torpedo at Paramount+’s Star Trek efforts.
Bestselling writer Andy Weir criticized modern Trek shows while on the Critical Drinker podcast last week, and even revealed he pitched a Trek show that was shot down by Paramount.
The topic began with the podcast’s host, Will Jordan, saying how refreshing the box office hit Project Hail Mary has been, especially for audiences who grew up on Star Trek and now suffer from “a lack of” such sci-fi efforts nowadays.
Related Stories
“Yeah, I saw a … I forgot who it was — I wish I could remember who it was who said it, some analyst — he said something like: ‘All modern science fiction TV shows and movies have been heavily influenced by the original Star Trek — except for the current batch of Star Trek shows,'” Weir said.
Marsden replied, “Yes!” and they both laughed.
At first, Weir left that comment open to interpretation, but then added, “I’m Gen X, so my sci-fi was like original series Star Trek reruns and Lost in Space reruns. And there wasn’t really much in the way of [new] sci-fi that was airing — where people are off in space doing cool things — until we got to [Star Trek: The Next Generation].”
Later, Marsden brought up the divisive Star Trek: Starfleet Academy, which Paramount+ recently confirmed will end after its already-shot second season.
“I think we can probably safely never talk about it again,” Marsden quipped.
“It’s gone baby!” Weir cheerfully agreed. “It’s all gone.”
Marsden said his advice to Paramount is to de-canonize everything Star Trek from Enterprise onward.
“Okay, you’re a little more severe than I am,” Weir said. “I’ll give you my opinion and I’m just a consumer. I like Strange New Worlds. I think it’s pretty good. I didn’t hate Enterprise. I thought it was kind of weird. Lower Decks I thought was entertaining and fun. All the others, they can go. And here’s another thing: I pitched a Star Trek show to Paramount and I was in Zoom with the showrunners with all the shows and spent a lot of time talking to [executive producer Alex Kurtzman]. I don’t like a lot of the new Trek. He, as a person, is a really nice guy. But at the same time, those shows are shit. He is a nice guy. But they didn’t accept my pitch so, you know, fuck ’em.”
The Hollywood Reporter has reached out to Paramount for comment.
Paramount+’s Star Trek efforts are seemingly taking a break in Spacedock. For the first time in many years, there are no current Trek projects in production, though there are two more years of Strange New Worlds left and another season of Starfleet Academy left to air.
There is also speculation surrounding Alex Kurtzman’s future with the franchise, who has lead Paramount’s Star Trek TV revival. His deal with CBS Studios goes through the end of 2026; Paramount+ is currently in talks with Kurtzman and his Secret Hideout production company about renewing or extending his deal.
When news of Star Trek: Starfleet Academy’s cancellation broke, Kurtzman, alongside EPs Noga Landau and Gaia Violo, released an open letter that addressed some of the criticism surrounding the show.
The letter reads, “Whether you’re working on Star Trek or part of the marvel that is Star Trek fandom — its very heart, soul, and conscience — the joy comes from adventuring across boundaries of time, space, and the humanly possible in service to [Gene] Roddenberry’s transformative vision of the future. That incomparable vision was fueled by an inexhaustible optimism. Star Trek places its bet on the best in human nature. It dares to imagine a society of ‘infinite diversity in infinite combinations,’ free of war, hate, poverty, disease, and repression, and dedicated to the spirit of scientific inquiry and respect for all life, whether carbon or silicon-based, green-skinned or blue.”
“But make no mistake: Gene Roddenberry wasn’t some starry-eyed dreamer. He was a decorated Army bomber pilot in the Pacific Theater. He had seen first-hand the grim consequences of the worst of human nature. And his vision of the future wasn’t just a promise of hope. It was also a warning. In a fraught, frightening time of intolerance and violence, Star Trek said: Look! We made it! But just barely. First, we had to put all those ancient scourges behind us. It said that what makes us glorious as a species, and gives us hope for the future and the galaxy is inextricably linked to what makes us dangerous to each other, to this one world we presently inhabit, and to ourselves. That dual message — of hope and of warning — isn’t just a pretty dream but a call to action, to think about who we are in a different way,” the letter continued.
THR Newsletters
Sign up for THR news straight to your inbox every day
Facts Only
Andy Weir, author of *Project Hail Mary*, criticized modern *Star Trek* shows on the *Critical Drinker* podcast.
Weir praised *Strange New Worlds* and *Lower Decks* but called other recent *Trek* shows "shit."
He revealed he pitched a *Star Trek* show to Paramount, which was rejected after meetings with executive producer Alex Kurtzman.
Weir described Kurtzman as a "really nice guy" but criticized the quality of the shows under his leadership.
The podcast hosts discussed the cancellation of *Star Trek: Starfleet Academy*, which will end after its second season.
Paramount+ currently has no *Star Trek* projects in active production.
*Strange New Worlds* has two more seasons planned, and *Starfleet Academy* has one more season to air.
Alex Kurtzman’s deal with CBS Studios runs through 2026; negotiations for renewal are underway.
Kurtzman, along with other producers, released a statement defending *Starfleet Academy* and Gene Roddenberry’s vision.
The Hollywood Reporter reached out to Paramount for comment but received no response.
Executive Summary
Andy Weir, author of *Project Hail Mary*, criticized modern *Star Trek* shows during an appearance on the *Critical Drinker* podcast, calling many of them "shit" while praising *Strange New Worlds* and *Lower Decks*. He revealed he pitched a *Star Trek* show to Paramount, which was rejected after discussions with executive producer Alex Kurtzman. Weir described Kurtzman as personally likable but criticized the creative direction of recent *Trek* series. The conversation also touched on the cancellation of *Star Trek: Starfleet Academy*, which will end after its second season. Paramount+ currently has no *Star Trek* projects in active production, though *Strange New Worlds* has two more seasons planned. Kurtzman’s production deal with CBS Studios expires in 2026, and negotiations for renewal are ongoing. In response to criticism of *Starfleet Academy*, Kurtzman and other producers released a statement defending the show’s alignment with Gene Roddenberry’s vision of optimism and social progress.
The discussion reflects broader debates among *Star Trek* fans about the franchise’s evolution, with some longing for the tone of earlier iterations while others embrace modern storytelling approaches. Weir’s comments highlight tensions between creative vision and corporate decision-making in franchise management.
Full Take
The strongest version of this narrative frames Andy Weir’s criticism as a legitimate critique from a respected sci-fi author, reflecting broader fan dissatisfaction with modern *Star Trek*. His praise for *Strange New Worlds* and *Lower Decks* suggests nuance, while his rejection by Paramount underscores tensions between creative vision and corporate gatekeeping. The cancellation of *Starfleet Academy* and the pause in production signal potential uncertainty about the franchise’s direction. Kurtzman’s statement, invoking Roddenberry’s legacy, attempts to reframe criticism as a misunderstanding of the show’s thematic goals.
Pattern scan: The discussion leans into emotional exploitation (ARC-0012) by framing modern *Trek* as a betrayal of its roots, which can provoke nostalgia-driven outrage. There’s also a hint of false framing (ARC-0024) in the binary presentation of "old *Trek* good, new *Trek* bad," though Weir does acknowledge exceptions. The podcast’s tone risks weaponized anger (ARC-0008) by amplifying frustration without deeper analysis of why these creative choices were made.
Root cause: The narrative taps into a recurring tension in franchise management—balancing legacy appeal with modern storytelling. The assumption that *Star Trek* must adhere to a specific tonal or ideological template ignores the franchise’s history of evolution. The pattern echoes past fan backlashes (e.g., *Star Wars* sequels, *Doctor Who* regenerations), where nostalgia clashes with innovation.
Implications: For human agency, this debate highlights how creative control is centralized in media franchises, limiting diverse voices. Fans bear the cost of polarization, while corporations benefit from engagement-driven controversy. Second-order consequences may include Paramount re-evaluating its *Trek* strategy, potentially leading to more conservative creative choices or further alienation of newer audiences.
Bridge questions: How much should franchises prioritize legacy fans over new audiences? What metrics should define *Star Trek*’s success—critical acclaim, fan satisfaction, or commercial performance? Would a more decentralized creative model (e.g., anthology series) better serve the franchise?
Counterstrike scan: A coordinated influence campaign would amplify divisive rhetoric, framing modern *Trek* as "woke" or "corporate sellout" to manufacture outrage. The actual content here includes critique but stops short of systematic demonization, focusing more on creative differences than ideological warfare. No structural alignment with a bad-faith playbook is detected.
Sentinel — Human
While the article shows signs of human authorship, it is still possible that some parts may have been slightly paraphrased or summarized for brevity.