Watch Spock Try Gum In Deleted Scene From ‘Star Trek: Strange New Worlds’ Season 2 DVD/Blu-ray, Out Today

The second season of Star Trek: Strange New Worlds was a hit for Paramount+ and with the critics. Now you can bring it home with today’s release on physical media. We have details and some clips from the set.

Today Paramount Home Entertainment released Star Trek: Strange New Worlds Season 2 on DVD, Blu-ray, and 4K UHD. Limited Edition Blu-ray and 4K UHD Steelbooks are also available featuring exclusive collectible items. Season 2 has a 97% on Rotten Tomatoes and featured some franchise firsts including a musical episode and a crossover episode with the animated series Star Trek: Lower Decks. The home release includes more than 2 hours of special features, including behind-the-scenes featurettes and never-before-seen deleted, extended, and alternate scenes.

Deleted scene and featurette clip

TrekMovie has a couple of clips from the featurettes to share including this deleted scene from the episode “Charades” where Spock (Ethan Peck) briefly became human and Number One (Rebecca Romijn) introduced him to chewing gum, which didn’t go so well for the former Vulcan.

The second video clip we have comes from a feature on creating aliens for season 2. Prosthetic designer J. Alan Scott explains the use of “half masks” on the show.

In addition to all 10 episodes, the release includes over 2 hours of special features. These include the following behind-the-scenes featurettes:

• Producing Props
• The Costumes Closet
• The Gorn
• Singing in Space
• Exploring New Worlds

The home media release also features exclusive deleted, extended, and alternate scenes (including an alternate take of the Klingon song from “Subspace Rhapsody”).

Out today

There are three regular home media collections for Strange New Worlds season 2: 4-disc DVD, 4-disc Blu-ray and 3-disc 4K UHD. You can pick up a set at Amazon: DVD for $29.95, Blu-ray for $34.95. and 4K UHD Blu-ray for $56.99.

You can also get one of two limited edition Steelbook editions: Blu-ray Steelbook for $39.95 and  4K UHD Steelbook for $49.95.  Both Steelbook releases include a “Subspace Rhapsody” poster.

Blu-ray Steelbook with extra

The 4K UHD also includes a set of four exclusive character magnets that will let fans customize the packaging (because it’s made of steel) with their favorite character.

4K UHD Steelbook with extra

Keep up with all the home video and streaming news, reviews, and analysis at

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That deleted scene is hilarious and should have been kept!

Yeah, I thought that was better than some of the stuff they chose to keep. But how it may have affected the flow of the episode is just as important a consideration as the quality of the scene.

Very true. We just rewatched all of TWIN PEAKS (and I mean ALL, even THE MISSING PIECES cut of deleted FIRE WALK WITH ME footage) and there was a comedy scene at the sherriff’s station with Lucy and Andy that was really cute, but it would have gone in on the night Laura Palmer gets murdered, apparently right after some other horrific stuff. Would have been as welcome as a fart in a bathysphere at that point.

On that note: I have read THE AUTOBIOGRAPHY OF FBI SPECIAL AGENT DALE COOPER at least 50 times (it’s quite short, so it doesn’t take much of a commitment), and have to say, would love to see somebody do a limited series dramatizing it, as it takes Cooper from being around age 10 or so right up to when he leaves for Washington to investigate Laura’s murder. It’s loaded with terrific comedy — the young detective tests all kinds of food to figure out which make his pee smell like asparagus, sends a fan letter to J. Edgar and gets to hang with the guy (who tells him not to worry about getting caught taping people, because the FBI doesn’t worry about that either) and at one point he tries going without sleep for a couple of days and turns into a serious psycho — and an awful lot of serious weirdness that didn’t get mined during the show’s run (either run), but I can’t imagine Lynch wanting to go all YOUNG LEONARD on things.

I weirdly believe the outtakes from Firewalk With Me are almost better than the film. Criterion Channel had it listed a film on its own. I think Lynch learned his lesson, and was able to distribute humor in Twin Peaks: The Return much more effectively and was able to fold the humor right into the story.

I never got around to watching TMP. Thank you two for reminding me – I have added it to my list, Priority Tier 2A.

The Return was perfection. Basically a surreal Lynch movie for every episode and I loved it.

It was addictive!

My copy arrives tomorrow. Can’t wait!

Wonder if maybe next season Spock will learn how to spit tobacco from the chief engineer.

…perhaps bowling and ping pong will be in store for him as well.

I hear pickleball is the thing these days.

But can Spock Pickleback some Romulan Ale? Does that break cannon or was there always a black market?

I remember reading that there was supposed to be a pingpong table on the Discovery in 2001, but I’m damned if I can see where they put it, unless it was part of the area where Gary Lockwood gets his UV treatments.

Ping pong? Surely you jest.

It will be beer pong in a three way contest with T’Pring and Leila Kalomi.

I really loved this episode! Human Spock is very wacky. 😀

It was my second favorite after TOS and actually felt like a live action version of Lower Decks. It doesn’t get a higher complement than that for me!

Very funny – should’ve stayed in!

I wish they weren’t using Spock as comic relief. I mostly adore SNW, but I don’t like how they’re using Spock.

Yep. He seems to the butt of every joke and seems to always come off looking foolish. From the smartest officer in Starfleet to this… sigh.

It’s foolish for the writers to squander such an amazing Star Trek resource!

I know I’ve said this before, but fingers crossed that Season 3 sees Spock start to shift more toward the character we know in TOS. He has to get there eventually, so I hope it’s done in a deliberate, yet organic way.

I honestly would prefer they just put him there next season with no explanation, just boom.. he’s the Spock we know, and the Spock that makes sense he would be, given the original incarnation by Leonard Nimoy… because the way he is written now, he is not.

Me too.

This was all done to “explain” why Spock grinned and yelled “The Cage” and (less obviously) grinned again in “Where No Man Has Gone Before.” So now he walks around with a dopey grin etched on to his visage.

These are both things that definitely needed explanation, just like the switch from TOS Klingon makeup to modern makeup in TNG/the TOS films, or like why Worf was a tenor rather than a baritone in “Encounter at Farpoint.”

These people just don’t do deft writing, and if they were going to explain it, they needed to do so…deftly. At least the augment virus episode of ENT featured a good performance by Phlox.

(If you *must* explain “The Cage”: wasn’t that about seven years before “Amok Time,” and thus pon farr season?)

13 or 14 years, but that still works.

I’m hoping he gets there right away! The Spock I saw in TOS seemed unlikely to investigate his human side; he was far too proud of his Vulcan side and far too ashamed of his human side to do the things we’ve seen SNW do with him.

It’s a measure of how wonderful SNW is that I still like the show, even though they’re ruining Spock…

I do feel like where the space to explore lies, is his desire to integrate into, and be an effective structural part of, a crew that has not abandoned emotion. His access point is one of understanding, not one of his own intellectual curiosity about human culture. It’s a necessity he needs to understand so he can be an effective officer in the Federation. I love your point, but pride and shame are not emotions that he would be concerned about. I never thought that he was consciously ashamed of his human side, just that he believed that his path was a Vulcan one, and he needed to suppress his human traits for no other reason than he had chose the Vulcan path. Also important to remember it’s not that Vulcan’s don’t have emotions.. it’s that the choose to suppress them. Another reason I found this episode so ridiculous in its conceit.. how is emotional suppression built into his Vulcan DNA? I never thought it was. It’s learned and achieved through discipline.

He was ashamed because his crush got a fellowship and he had to sing about it.

Like Dave Barry says, I am not making this s*** up.

100%. I hate it.

Me, too. Why ruin such an important Trek icon? Why would the writers even want to DO that?

I think many of them just don’t understand Trek and the mythology.

Season 2 had both Spock and Pike character changes which are seemingly “retcons” if you have to look at it that way. Pike decides to face the future in a positive way, and Spock is exploring his human side, but not in a private way. While that’s not what I wanted, nothing was embarrassing or really erases what we already know. Simply the weird world we are in was caused by DSC Season 2 – and time crystals.

‘Polyfaceted chronosium’ sounds SO much better than time crystals. And I only took four seconds to make up that alternate.


“Please, Captain, not in front of the Klingons.”

But that was a Spock post-V’Ger and post-fal-tor-pan. And even that Spock showed to be quietly integrating his human half. He wasn’t arrogantly disobeyeing direct admiral’s order as a junior officer and otherwise acting as if he were a guest star on the Lucille Ball
Comedy Hour.

He did disobey direct orders and mutinied when he kidnapped Pike and stole the Enterprise. He also lied and disobeyed orders in TUC.

He did disobey direct orders and mutinied when he kidnapped Pike and stole the Enterprise.

But he was under the influence of the Talosians when he did that; indeed, there’s a strong implication that the whole episode was orchestrated by the Talosians, down to Commodore Mendez’ original orders. Mendez never convened the court martial; he was back on starbase the whole time and rescinded the order once he received the Talosians’ broadcast.

He also lied and disobeyed orders in TUC.

Which may not have been great writing — but it was still a relatively minor infraction (“return to port” versus “don’t take the ship on a foolhardy mission that’s likely to provoke a war we can’t win”). Moreover, by that point Spock was a very senior officer, and acting as a de facto Federation ambassador at the same time, with a politically connected father also involved in the diplomatic push. And the admiral giving the orders turned out to be a conspirator. You can see how the whole episode might have been quietly forgotten.

In the awful SNW opener, he was a junior officer, not that far out of the Academy. Vastly different scenario. Freshly-minted ensigns don’t disobey direct orders from admirals about where ships go, and we all know it.

The broader point is that you can get away with this kind of story *once* for dramatic reasons, if you tee it up properly. Show it happening every week and you trivialize the gravity of the plot and lose credibility.

Late response, but I entirely disagree. There’s nothing in “The Menagerie” to suggest that Spock was acting “under the influence” of the Talosians other than apparently working out the plan with them to abduct Pike from Starbase 11, and staging an elaborate court martial to keep Kirk distracted. So far as we saw onscreen, it was entirely of his own free will.

Nimoy played the comedy route in TVH. I had no problem with that either.

Playing for comedy is fine.. making the character act like an idiot just for the sake of the joke is the problem. They really make him look like he’s never been around humans. They make him act like he has no understanding of them, despite having a human mother. They make him act like he is not smart enough to figure it out. The whole ‘losing his Vulcan DNA’ has no organic value for the development of the character, or telling a story. It was done for no other reason than so they could have a “comedy” episode.. same as they had to have a musical episode. I really would prefer they approach the material seriously, and write accordingly, as opposed to shoe horning in their desires to tell different kinds of stories just for the sake of their own desires as writers.

Yes, but
1) The whole movie was a comedy, so ALL of the characters were in humorous mode.
2) Spock had only just had his soul shoved into a new body, and he didn’t have all his memories back yet.

Actually Kirk was in sullen TMP mode for a lot of TVH, especially the beginning. He seems so grouchy later on he pretty much tells Spock off with that ‘haven’t you got any goddamn feelings about that?’ line later on. I think when Shat turns on the comedy charm it is often spectacular, but clearly he was being directed to go certain ways at certain times.

I was thinking of “Double dumb*ss on you” and “Welcome to Wonderland, Alice,” among others.

Oh yeah, he does some wonderful work (I only work in space) there, and I mean even though Shat is sometimes overplaying the humor hand in TFF, he still has on-point subtler moments (you can debate Sha Kah Ree till you’re green in the face [beat] … )

But I remember watching TVH opening day and thinking, ‘they’re starting out pretty dark and grim’ with this (literally dark, as the SARATOGA scenes are liking watching a movie at a drive-in even before the power goes out), and with Kirk almost wholly off his game tonally. Maybe Nimoy intended the open to be more like the serious stuff in SOME LIKE IT HOT that grounds the classic in a very believable and frightening situation, so you have a switch that is practically like a different movie once you get into the meat of things (Monroe, the train, and in trek’s case the 20th century.) I don’t recall this issue arising on the commentary though.

It’s a credit to the singularity of Nimoy Spock that the subsequent Spocks have just about nothing to do with his character. And this show seems to sometimes confuse Spock with Data. It’s OK. Roger Moore looked bad trying to emulate Sean Connery, so they put him in a clown suit and had him chase eggs. And for that he was knighted by the queen or whatnot.

The clown suit bit, crazy as it sounds, was the only scene in Moore’s career (outside of forcing the bad guy to eat heroin in THE WILD GEESE and his cameo as Inspector Clouseau in a terrible PINK PANTHER movie) where I found him really effective and credible. He is okay in FFOLKES (aka NORTH SEA HIJACK, aka ESTHER RUTH & JENNIFER), but even in the movie poster, it just seems like it should be Robert Shaw in the role, not him. Am guessing Shaw died before this got made.

Now, as to how Bond had time to get into the clown suit and makeup and save the day when there were only a couple minutes left till Germany nuked itself after he broke into the base and found the clown truck, THAT I canna explain

I loved the Roger Moore Bonds as a kid. Now I cannot even sit through one.

I still love The Spy Who Loved Me. First Bond movie I saw in theaters.

I haven’t seen the episode or most of SNW (or LD for that matter) for one simple reason: it’s what I’ve taken to call in my head “Silly Trek.” That’s how I see what the writers have done to Star Trek: they’ve tried to turn it into a slapstick farce. It is no longer a serious show, even though it pretends to take itself seriously at times. It can’t be taken seriously because the stories don’t make logical sense within their own rules. You can’t have a starship run by buffoons – but that’s what they’ve turned the crew of the Enterprise into, a bunch of jokers. It’s silly, it lacks internal consistency, it’s impossible to take seriously even when it wants to be. Original Star Trek established itself as a source of serious storytelling – and then proceeded to push the boundaries of the format by doing some comedy that worked within the stories it told. In contrast, modern Trek feels the need to be funny for the sake of comedy, but Star Trek isn’t a comedy. It can be funny, but it shouldn’t be silly. I can’t watch new Trek because it makes me cringe and facepalm 🤦

You are mouthing off without really knowing what you are talking about re: SNW. They have captured the episodic magic of TOS by telling a range of stories. Some are serious drama. Some are horror-based. Some are humorous. If you watched season one’s first five episodes it would show you that it is not a “silly” show as you posit.

“Episodic magic”? Where we learn in one episode that Kirk is a genocide survivor, and yet it never affects him again? Or where, in another, he suffers a highly traumatic experience — his significant other getting hit by a car, and he can’t do a damn thing to stop the accident, because it will change history — and it never affects him again?

TOS was excellent for its time, but none of this would remotely fly today. Even lighthearted fluff like NCIS has character arcs.

You would be in a minority critiquing the classic nature of TOS episodes, but to each their own. TOS told classic stories that had much more character development than most of the other shows of its time. All of what came after is built on those stories and characters.

I’m not particularly concerned about being in a minority — but setting that aside, I’m unpersuaded that is true. Among Star Trek fans, the enduring popularity of the heavily serialized DS9 suggests it’s untrue. Among sci-fi fans, the same is true of Babylon 5.

Among the broader viewing public, of course, nearly every hit “must see TV” show I can think of this century has been heavily, heavily serialized (at least among dramas): The Sopranos, Breaking Bad/Better Call Saul, The Americans, The Crown, Succession, etc. That’s also true in the sci-fi world, what with shows like For All Mankind and the excellent Brazilian series THE 3%.

The only critically-acclaimed modern episodic modern drama I can think of is LAW AND ORDER, and I think that’s because of how deeply it goes into the weeds in the legal minutae, and the “ripped from the headlines” nature of many episodes. Even there, the spinoffs have been a bit more serialized than the original. (Some network shows remain mostly episodic: things like the awful revival of MacGyver or Hawaii Five-0. They’re middling at best, all shadows of the original.)

Now, don’t get me wrong: of course TOS was seminal, both to the Trek shows that followed and to American pop culture, and it broke new ground for serious science fiction. In terms of its episodic nature, though, it was very much a product of its time. (It was also a product of its time in terms of its star-centered cast. Ensemble casts were just not a thing, something Takei seems embittered about to this day.) The TOS movies abandoned these 1960s norms; what character development Kirk & Co. saw was virtually all thanks to the movies.

Another great example was Hawaii Five-O classic. It was groundbreaking in terms of its tropical setting, diverse cast, and the famous music, but it was virtually the quintessential episodic, star-centered show. By the 1980s, shows like Knight Rider, with its parade of divorcees and mustache-twirlers, showed how stale this model had become.

None of this would fly with modern audiences, who are much more sophisticated than those before the mid-1990s.

Even SNW is more serialized, in however a hamfisted way, than Secret Hideout wants to admit. A true 1960s-style show wouldn’t have its star hiding for half the season, even for paternity leave.

Not a fan of the scene just because it has so much of that sitcom logic I didn’t really care for from this episode. Such as the peculiarity of having a snack bowl of chewing gum in the first place. Still, it’s fun.

Why do the writers want to humiliate this iconic character?

Honestly, there is a trend here for making Spock look silly in favor of new characters that will go down as a footnote in Star Trek history. On the other hand, Spock is Star Trek. I just don’t get the disrespect towards the character