“Subspace Rhapsody” is the highly anticipated musical episode of Strange New Worlds, the latest addition to the Star Trek franchise. This trend of genre shows incorporating a musical episode can be traced back to the ’90s, with shows like Xena, Ally McBeal, Buffy, Psych, Grey’s Anatomy, Scrubs, Supernatural, Once Upon a Time, 7th Heaven, Supergirl, and The Flash all having done one. Now, it’s Strange New Worlds’ turn to showcase its characters bursting into song, adding a unique and creative twist to the series.
Strange New Worlds has proven to have a wide range, seamlessly transitioning from goofy comedy to serious contemplations on empathy and redemption. This ability to embrace both ends of the spectrum makes it a perfect fit for a musical episode. Surprisingly, “Subspace Rhapsody” is only the nineteenth episode of the series, and it is already taking risks and experimental approaches to storytelling.
Musical episodes serve multiple purposes. They allow the cast to showcase their hidden talents and give the production crew the opportunity to indulge in their love for musical theater. Additionally, musical episodes often act as a narrative crucible, pushing characters to reveal their deepest secrets and desires. By juxtaposing the vibrant colors and lively tunes of a musical number with darker and more emotional moments, the episode effectively captivates and surprises the audience.
The episode begins with the Enterprise crew discovering a large subspace fissure, a phenomenon that could potentially revolutionize long-distance communication. However, they struggle to harness its power until a crew member suggests testing it using music. They send the classic tune “Anything Goes” into the fissure, triggering a subspace wave that causes everyone on the ship to spontaneously break out into song.
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As the musical phenomenon unfolds, various subplots are introduced, adding depth and complexity to the episode. Captain Pike and Batel find themselves arguing over holiday destinations, while Chapel receives news of a prestigious career opportunity. Meanwhile, James T. Kirk returns to the Enterprise to shadow Una in preparation for his own promotion. These storylines, along with others, intertwine as the characters continue singing and dancing their way through the episode.
Strange New Worlds’ confidence is evident in its execution of the musical episode. Not only does the show break its format, but it also alters its opening credits for the second time in three weeks. This level of experimentation shows that the series is aware of its audience’s patience and willingness to embrace new storytelling techniques.
Driven by Captain Pike, who embodies a sense of weariness with the situation, the crew finds themselves trapped in a state of quantum uncertainty. They realize that the universe they are in follows the rules of a musical, meaning that heightened emotions lead to characters bursting into song. This revelation becomes particularly challenging for La’an, who struggles to contain her emotions due to a complicated relationship with someone from an alternate history.
In the midst of this chaos, the episode explores various characters’ emotional journeys. La’an confronts her emotional detachment from the rest of the crew while Una encourages open communication. Spock, who has abandoned logic for love in the past, reflects on his past mistakes through a powerful solo in engineering.
Ultimately, the crew realizes that in order to escape the uncertainty field, they must come together to perform a grand finale. Everyone, including the dancing redshirts and stars themselves, participates in the showstopper climax, concluding with a blast of the iconic Original Series’ theme song. This victory is bittersweet as Batel must cancel her holiday plans with Pike and is sent on a top-secret mission. Spock is left grappling with his emotions, and La’an must navigate the aftermath of her unrequited love.
“Subspace Rhapsody” successfully integrates the musical universe concept into the episode without excessive setup. The direction by Demott Downs flawlessly blends the closed nature of the standing sets with the expansive scope required for a musical. The songs, composed by Kay Hanley and Tom Polce of Letters to Cleo, perfectly complement the episode, even if they may not find their way into everyone’s regular Spotify rotation.
The cast members, particularly Christina Chong, Jess Bush, Rebecca Romijn, Ethan Peck, and Celia Rose Gooding, showcase their impressive vocal talents through show-stopping numbers. It is worth noting that even those who rely on limited singing abilities receive support from autotune, as singing and dancing can be challenging even for experienced performers.
As the musical episode draws to a close, the audience is left eagerly anticipating the finale. While the episode ends on a seemingly happy note, trouble looms on the horizon for the characters. Batel’s secret mission, Spock’s emotional turmoil, and La’an’s unrequited love all foreshadow future conflicts and challenges.
“Subspace Rhapsody” is a testament to Strange New Worlds’ willingness to take risks and explore new storytelling methods. By delivering a well-executed musical episode, the series continues to captivate its audience and prove its commitment to pushing boundaries. As we eagerly await the finale, the musical episode stands out as a memorable and innovative addition to the Star Trek universe.
