TheStar Trekfranchise has over 900 episodes stretched across almost 50 series. While most fans tend to mark their favorites, their least-favorite entries sit in a messy collection with those they may skip on a rewatch.Star Trek: Voyagerhas a legendarily unhinged, widely-despised outing in its second season. Though most disliked “Threshold,” its bizarre narrative and complete abandonment of a solid premise are worth examination.
Star Trek: Voyagertends to be fans' fourth or fifth favorite series in the franchise. It’ll never be as iconicasThe Original SeriesorThe Next Generation, but it earns some praise among its later cohorts.Voyagercontains a few fascinating mistakes that taint its legacy. Though the show regularly misstepped, its flaws should offer lessons to the ongoing series.
Air Date
Aug 02, 2025
Voyagerseason two, episode fifteen, “Threshold,” starts with a compelling and unique premise it unfortunately abandons. Lieutenant Tom Paris sets out to break the seeminglyimpenetrable “transwarp barrier"to make his mark on history. Transwarp has several definitions in theStar Trekcanon, but it generally refers to speeds that exceed warp factor 10, a velocity thought to be infinite. The show follows theVoyagerand her crew as they endure a seemingly endless journey across light years to return to Earth. Paris believes he can cut years off their travel time by reaching transwarp speeds. The crew finds a rare form of dilithium, prompting Paris to run countless simulations. Each attempt ends in disaster, but a conversation with Neelix leads Paris to devise a new strategy. The Doctor notes a rare medical condition in Paris that could cause fatal side effects after breaching the transwarp barrier. Paris ignores the risk, begging Captain Janeway to let him achieve his dream. She lets him fly the shuttle, theCochrane, and he breaks the transwarp barrier.
TheCochranedisappears briefly before reemerging. Paris is unconscious behind the wheel. He explains that by surpassing infinite speeds, he’s experienced every extant point in space simultaneously. He suffers bizarre medical complications, forcing the Doctor to quarantine Paris in the sick bay. Paris seems to mutate, developing allergies to clean air and water. He develops orange scales and new eyes. His personality also shifts, flitting between his usual tone and unhinged aggression.The Doctor suspectsParis might be evolving into a new life form, experiencing the potential genetic path humans might find hundreds of years in the future. Before the Doctor can treat Paris, the altered being kidnaps Janeway and steals theCochrane. It’s up to theVoyagercrew to save Paris and Janeway before they become something new.
How Does “Threshold” End?
Having thoroughly abandoned the “daredevil pilot with a dream” narrative they started, The Doctor hunts down Janeway and Paris. TheVoyagercrew finds theCochraneona swamp-laden planet. After searching the land, they find two large salamander-like creatures. The crew scans them, finding traces of Janeway and Paris' DNA. They also find three infants of the same species. Paris and Janeway transformed into cat-sized salamanders, mated, and spawned three children. The Doctor brings Paris and Janeway back to theVoyagerand treats them, returning them to their human forms. They leave their kids to fend for themselves on their ostensible home planet. Janeway and Paris have some awkward banter after having morphed into animals, had sex, and raised children together. Everyone seemingly agrees never tospeak of these events againas the credits roll.
The Episode’s Impact OnStar Trek
“Threshold” has appeared on several lists ofStar Trek’s worst episodes. Several professionals involved in the production have spoken out against it.Robert Duncan McNeill struggledto understand the script and later called it “bizarre.” LongtimeStar Trekscreenwriter Jeri Taylor acknowledged the terrible reception. When the second season ofVoyagercame to DVD, it launched with optional commentary tracks from the writer. In that context, the episode’s writer, Brannon Braga, called it a “royal, steaming stinker.” Though fans, critics, and the episode’s creators hated “Threshold,” it did earn one accolade. Celebrated makeup artist Michael Westmore earned a Primetime Emmy for his work onVoyager, and while the award didn’t cite “Threshold” specifically,his mutated Paris creationwas impressive. Westmore deserves his flowers, though that award wouldn’t rank among his highest achievements.
“Threshold” goes off the rails in a way that feels like a gag at its own expense. The first act, depicting Tom Paris' genuine desperate urge to cement himself next to the Wright Brothersor Zephram Cochrane, is genuinely excellent sci-fi material. If the rest of the episode had followed its example, this would likely be one ofVoyager’s most loved outings. As it is, “Threshold” feels like three or four episode concepts mashed together into a bizarre ride. If any fans are looking for aStar Trekexperience that will deeply confuse their friends, look no further than “Threshold.”
