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This Movie Will Self-Destruct in Five Seconds: Georgiou’s Mission Impossible Through the Final Frontier in Star Trek: Section 31 (2025)

Writer's picture: Dan BrooksDan Brooks

In Star Trek: Section 31, Emperor Philippa Georgiou joins a secret division of Starfleet tasked with protecting the United Federation of Planets, and must face the sins of her past.




Let’s talk about the brand-spanking-new “Star Trek: Section 31,” shall we? Because if you thought the Star Trek universe was all about shining replicator technology, squeaky-clean uniforms, and Klingons with meticulously groomed ridges, wait ‘til you get a load of this darker, grittier, black-ops twist on our beloved final frontier. It’s as if the Federation’s utopian charm decided to take a vacation, leaving us alone in a suspiciously shadowy corridor, wearing night-vision goggles and listening for footsteps—footsteps that probably belong to someone we thought was on our side.


And at the helm of this hush-hush cloak-and-dagger expedition, we have none other than Emperor Philippa Georgiou, played by the inimitable Michelle Yeoh. Let’s take a second here: Michelle Yeoh is basically an unstoppable force of nature who could teach special forces operatives how to fight in Gucci stilettos, so stepping into a top-secret Starfleet faction is about as challenging for her as hitting Warp 9 with a flick of a switch. Georgiou is the perfect anti-hero for this infiltration-laden dimension of Star Trek. She’s got the swagger, the moral ambiguity, and the dramatic flair that’d make a Shakespearean theater troupe collectively faint. If you’ve been yearning to see a more cutthroat side of the Federation’s peace-and-love shtick, Georgiou’s your ticket—and trust me, it’s a white-knuckle ride.


But let’s not bury the lede: Emperor Georgiou’s big arc here is “facing the sins of her past,” which is basically the nicest way of saying she’s got more baggage than a Kardashian heading on an around-the-world shopping spree. We’re talking about a woman who once reigned over a full-on Terran Empire in that infamous Mirror Universe, so you know she hasn’t just upset a few folks along the way—she’s probably on half the galaxy’s “To Eliminate” list. Heck, even Tribbles might carry a vendetta. So going into Section 31, she’s got to rectify her dark deeds. Think of it like court-ordered therapy, but with photon torpedoes and advanced phasers thrown in for good measure.


What’s New and Who’s Who?

Now, let’s talk supporting cast. Because any clandestine operation worth its weight in latinum is going to have a top-notch crew. First up is Omari Hardwick. If you’ve ever seen him in his previous roles, you know he has that quiet intensity that says, “I can break into your secret base using a paperclip and a single Vulcan hair while blindfolded.” Hardwick’s presence here is akin to having a panther in the shadows: you don’t see him coming, but you feel that vibe of, “Something lethal is about to happen.” He plays a Starfleet operative who’s apparently had enough black-ops missions to fill a War & Peace-length log. Let’s just say if the Federation had their version of Navy SEAL Team 6, Hardwick’s character would be the team leader who writes the manual and does it with a grin you trust and fear in equal measure.


Then there’s Sam Richardson, a comedic actor who always nails that sincere-but-hilarious best friend vibe. Drop him in a Star Trek show that’s heavy on espionage and moral conflict, and you’ve got comedic relief that doesn’t just land—it’s practically doing a high-wire balancing act in a circus ring full of Romulans. Richardson’s character has an almost “How the heck did I end up here?” attitude that is simultaneously endearing and a perfect audience surrogate. He’s the one who glances at a half-crazed Georgiou and says something like, “You know, we could try not to blow up the entire quadrant this time,” while we all laugh and hope she’s momentarily convinced not to press the big red button.


The Plot In a Nutshell (A Spoiler-Freeish One, I Swear)

Set in some timeline that might make your head spin if you haven’t been watching every Star Trek iteration religiously, “Section 31” sees Emperor Georgiou plucked from whatever exile was previously cooking for her. She’s placed in a secret division of Starfleet charged with defending the United Federation of Planets from threats that require a more… shall we say, covert approach. If normal Starfleet is the pretty face you show on a first date, then Section 31 is the basement-level panic room you keep hidden behind a fake bookshelf. You know, just in case your date turns out to be a Jem’Hadar soldier hopped up on ketracel-white.


The story arcs revolve around Georgiou’s attempts to prove her loyalty—or at least prove she’s not going to incinerate an entire planet without filling out the correct paperwork. However, her past sins lurk around every corner. Former enemies, old alliances, and a series of questionable moral decisions are basically queued up like an all-you-can-watch drama buffet. Will she do the right thing or revert to her Terran ways? Will the Federation trust her enough to let her lead a mission? And do we ever really get to see her have a casual day off, sipping Raktajino in pajamas? Spoiler: That last part does not seem likely. She’s too busy saving the galaxy in the most morally gray manner possible.


What I Liked

It’s Trying to Be Darker

Let’s call a spade a spade: Star Trek historically has that polished, idealistic sheen. Sure, we’ve had some stumbles into the darker corners, but “Section 31” is practically building a summer home in those corners, complete with a hot tub. This shift is reminiscent of “Deep Space Nine” during its war years, when suddenly moral clarity got replaced by the harsh realities of conflict and some questionable alliances. I love that. I want to see how the Federation maintains its squeaky-clean prime directive while employing an organization that plays fast and loose with the rule book. It’s like rooting for the teacher’s pet who secretly knows how to cheat on the final exam without getting caught.


Loads of Throwbacks to All the Star Trek Species

One minute, I’m seeing a Vulcan eyebrow raise; the next, I’m pretty sure that’s a random Andorian in the back, checking the temperature. Then, oh, is that a Bajoran cameo? Maybe even a Trill with some new, fancy spots? These little winks to the broader Star Trek universe are like scattered Easter eggs that keep fans like me giddy with recognition. And beyond that, they introduce a boatload of new species—some of which look like they crawled straight out of a half-remembered acid trip. I’m the sort of person who rewatches old episodes just to catch the cameo of a Gorn blinking in the corner of Quark’s bar, so all these references had me squealing like a tribble that just found the mother lode of quadrotriticale.


Sci-Fi Is Always Good, Even When It’s Not

Let’s be honest: Even subpar sci-fi gets me excited. I’d watch a low-budget time-travel flick starring hand puppets and a single lighting rig. So when you give me the Star Trek brand, no matter how many questionable decisions it might make, you’ve got me hooked. “Section 31” might not be the pinnacle of Roddenberry’s utopian dream, but it’s still Star Trek. You’ve still got warp drives, exoplanet civilizations, futuristic moral dilemmas, and enough technobabble to scramble your brain like an over-easy egg. Sign me up. I’m in.


What I Disliked

The Mission Impossible-Style Intro

Is it just me, or did that swirling montage of Georgiou receiving a top-secret mission briefing feel a bit… corny? Maybe it’s the voice-over. Maybe it’s the moody lighting. Or maybe it’s the fact that Lalo Schifrin’s “Mission: Impossible” theme was practically playing in my head the entire time. Don’t get me wrong—I love a good spy thriller. But the vibe was less “quietly menacing black-ops team” and more “Tom Cruise is about to hang off a Klingon Bird-of-Prey while wearing a harness.” It just felt off-brand for Star Trek, which usually goes for either the proud Starfleet summary or a cryptic teaser. This was a little too on the nose, a little too campy.


The Fifth Element Rip-Off for Music

Okay, maybe it’s not a direct rip-off. But I swear there are moments in “Section 31” where the background music has that futuristic techno-choir vibe that makes me think of Milla Jovovich watching an otherworldly opera in “The Fifth Element.” Don’t get me wrong—I love that movie. But if I wanted to hear The Diva Dance, I’d boot up that film, not queue up a Star Trek spin-off. I can practically see the composer’s references pinned on the mood board: “Exotic, futuristic, big-sounding.” Sure, that’s all well and good, but let’s not make it so reminiscent of other sci-fi classics that I get confused and expect Bruce Willis to crash-land in a taxi. It’s distracting, folks.


The Dialog… Ouch

Look, I’m not expecting the Bard to write Star Trek. Well, maybe I do after Patrick Stewart’s illustrious command of iambic pentameter. But there’s something about the lines in “Section 31” that occasionally makes me cringe like a Vulcan forced to listen to Shatner’s spoken-word album. I don’t know if it’s the writing or the actors are still finding their groove, but some of the exchanges land with the subtlety of a photon torpedo. You can just about see the stage direction: “Now be menacing… but with a wry grin!” And then they deliver lines that might have been rejected from a B-movie. Now, maybe this will improve if there’s a second movie, but right now, it’s like they’re reading off of 3x5 cue cards in a windy parking lot.


Phase Weapons That Make No Sense

Look, I’m no theoretical physicist, but Star Trek weaponry usually has some logic, at least in the pseudo-scientific sense. The new “phase machines” introduced here feel a bit like the writers tried to outdo the old technology but forgot to consult the Star Trek Tech Bible that explains how subspace distortions, warp fields, and dynamic focusing arrays actually work. Are we supposed to believe this new technology can phase in and out of… something? I’m not entirely sure. They sure look cool, like a horror movie shimmy, but I’d love it if someone spent an extra 15 seconds giving us an explanation that doesn’t just rely on “Uh, it’s super advanced. Next question?” Why do things phase through them but they don't phase through the floor? LAME!!!


Paramount’s Obligatory ‘Wokeness’

Look, Star Trek has always been about inclusion, diversity, and exploring moral issues, from the moment Kirk and Uhura locked lips in that scandalous first interracial kiss on television. That’s in Star Trek’s DNA. But Paramount sometimes seems determined to wave neon signs reading “Look how progressive we are!” in ways that feel a little forced. I’m all for progressive storytelling—heck, that’s the bedrock of Star Trek—but it doesn’t have to come off like a forced cameo. Let it flow naturally. Let the story be the story. When the message is hammered too hard, it ceases to be a message and starts feeling like a marketing bullet point.


Darker Vibes, DS9-Style

Now, let’s get into how this show is basically the spiritual successor to “Deep Space Nine,” at times, especially the war-torn arcs that saw Starfleet’s veneer crack under the relentless strain of the Dominion conflict. “Section 31” tries to emulate that sense of moral ambiguity and tension, with sometimes questionable results. DS9 soared in late seasons because it introduced a polyglot of cultures forced to cohabitate on an old Cardassian station, with a looming existential threat. The show let its characters grapple with the moral murkiness over the course of multiple seasons. The last few seasons showing the darker side of the Federation.


In “Section 31,” we’re tossed into that moral fog a bit more forcefully. Georgiou’s entire resume is basically a study in moral compromise. And, ironically, it’s that discomfort that keeps you watching. You want to see if she’ll find redemption or revert to the all-powerful tyrant we’ve glimpsed before. Will she sacrifice innocent lives for the mission? Will the Federation have to put a shock collar on her to keep her in line? This tension is one of the reasons DS9 fans might enjoy “Section 31,” even if it tries a little too hard to be edgy.


Final Thoughts Before the Warp Core Shutdown

“Star Trek: Section 31” is a mixed bag. On one hand, Michelle Yeoh is magnetic, the premise is fresh enough to keep me engaged, and we get that deliciously dark DS9 vibe. On the other hand, some of the stylistic choices feel off-brand, the dialogue needs an overhaul, and the new tech makes me scratch my head more than once. Yet, as any Trekkie will tell you, even flawed Star Trek is still Star Trek. We watch because we love the universe, the moral conundrums, and yes, the occasional cringe moment.


So, do I recommend it? If you’ve got a phaser set to “Always Watch Star Trek Regardless,” then absolutely. You’re going to watch it anyway, might as well enjoy the spectacle. If you’re on the fence, maybe check out a few episodes of Discovery to gauge your tolerance for bizarre spy montages and questionable brand synergy. As for me, I’ll be planted on my couch, raising an eyebrow Spock-style, and waiting to see how Georgiou navigates the next big moral landmine. Because hey, if she can do a spinning kick while uttering a scathing one-liner, I’m in.


The Ranking

Taking it all into account—the good, the bad, the ugly, and the flat-out weird—I’m giving “Star Trek: Section 31” a 6.5 out of 10. It’s not warp-core breach level disastrous, but it could definitely use some rebalancing of the inertial dampeners. Here’s hoping future installments find a more seamless blend of espionage, moral intrigue, and that classic Star Trek wonder.


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