Content & Trigger Warnings for Star Trek: Discovery (2017)
22 content warnings identified across 5 seasons for this show.
Quick Summary
Yes, Star Trek: Discovery (2017) contains 22 content warnings : Racial slurs / racism (depicted), Religious persecution, Death of a child, Death of a parent, Grief / bereavement (major focus), Terminal illness, Gaslighting / emotional manipulation, Genocide / ethnic cleansing, Kidnapping / abduction, Natural disasters, War / combat, Wrongful imprisonment, Blood / medical gore, Body horror, Confined spaces (claustrophobia), Drug use (depicted), Child abuse / harm to children, Gore / graphic violence, Gun violence, Self-harm / suicide (depicted), Sexual assault / rape, Torture.
The most severe warnings are for Grief / bereavement (major focus) (severity 4/5), War / combat (severity 4/5), Body horror (severity 4/5), Torture (severity 4/5).
Check the full breakdown below before you watch.
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Does It Get Worse?
4 series-wide warnings apply across all seasons.
| Warning | Season | Severity | Type | Description |
|---|---|---|---|---|
| Identity & Discrimination | ||||
| Racial slurs / racism (depicted) | S1 | 3/5 | Depicted | The Klingon war is partly driven by xenophobic ideology about racial purity; 'Remain Klingon' is a supremacist rallying cry |
| Religious persecution | S2 | 2/5 | Depicted | The Red Angel signals invoke religious interpretation; Pike's Klingon monastery visit explores faith; themes of belief vs. science |
| Mental Health & Emotional | ||||
| Death of a child | S3 | 3/5 | Referenced | The Burn was caused by a traumatized child whose distress resonated through dilithium; the child's suffering and isolation are central to the mystery |
| Death of a parent | S2 | 2/5 | Depicted | Burnham's mother is revealed to be the Red Angel; their separation and reunion involves themes of parental loss and sacrifice |
| Death of a parent | All | 3/5 | Depicted | Parental death is a significant plot element for the main character Michael Burnham |
| Grief / bereavement (major focus) | S1 | 3/5 | Depicted | Burnham grieves her role in starting the Klingon war and the death of Captain Georgiou; survivors process massive wartime losses |
| Grief / bereavement (major focus) | S2 | 3/5 | Depicted | The death of Airiam deeply affects the crew; Burnham grieves her separation from everyone she knows when she travels to the future |
| Grief / bereavement (major focus) | S3 | 4/5 | Depicted | Burnham arrives 930 years in the future to find the Federation collapsed after a catastrophe called the Burn; grief over a lost civilization pervades the season |
| Grief / bereavement (major focus) | S4 | 3/5 | Depicted | Book grieves the destruction of his homeworld Kwejian; his trauma drives him toward extremism and strains his relationship with Burnham |
| Grief / bereavement (major focus) | S5 | 2/5 | Depicted | Burnham and crew face the knowledge that this may be their final mission together; themes of legacy and moving on |
| Terminal illness | S2 | 3/5 | Depicted | Pike sees his own future paralysis and disfigurement from a training accident; he chooses to accept this fate rather than change the timeline |
| Other | ||||
| Gaslighting / emotional manipulation | S1 | 3/5 | Depicted | Ash Tyler/Voq's implanted identity means he unknowingly deceives everyone around him; Lorca manipulates the entire crew for his Mirror Universe agenda |
| Gaslighting / emotional manipulation | S2 | 2/5 | Depicted | Section 31 operates with deception and manipulation; Control disguises its intentions while corrupting Starfleet systems |
| Gaslighting / emotional manipulation | S3 | 2/5 | Depicted | Osyraa and the Emerald Chain use manipulation and false diplomacy to infiltrate the Federation |
| Gaslighting / emotional manipulation | S4 | 2/5 | Depicted | Tarka manipulates Book into supporting his plan to destroy the DMA, exploiting Book's grief for his own selfish ends |
| Gaslighting / emotional manipulation | S5 | 2/5 | Depicted | Moll and L'ak deceive and manipulate others in their pursuit of the Progenitor technology; rival factions compete through deception |
| Genocide / ethnic cleansing | S1 | 3/5 | Referenced | The Federation considers using a weapon to destroy the Klingon homeworld; the moral dilemma of genocide as a war-ending measure is debated |
| Genocide / ethnic cleansing | S4 | 3/5 | Referenced | Book's homeworld Kwejian and its entire population are destroyed by the DMA; the loss of an entire world drives the season's moral questions |
| Kidnapping / abduction | All | 2/5 | Depicted | Characters are captured and held prisoner in multiple storylines |
| Natural disasters | S4 | 3/5 | Depicted | The DMA is a massive gravitational anomaly that destroys planets; its approach creates catastrophic destruction on a planetary scale |
| War / combat | S1 | 4/5 | Depicted | Full-scale war between the Federation and the Klingon Empire; space battles with mass casualties; ground combat with graphic violence |
| War / combat | S2 | 2/5 | Depicted | Less emphasis on war compared to Season 1; conflict with a rogue AI called Control provides the primary threat with some space combat |
| War / combat | S3 | 2/5 | Depicted | Scattered conflict in a fractured future; the Emerald Chain poses a military threat; less large-scale war than Season 1 |
| War / combat | S4 | 2/5 | Depicted | Species 10-C poses an existential threat through the DMA (Dark Matter Anomaly); diplomatic tension rather than conventional war dominates |
| War / combat | S5 | 2/5 | Depicted | The Breen emerge as a threat seeking the Progenitor technology; space combat and military confrontations in the final episodes |
| Wrongful imprisonment | S1 | 3/5 | Depicted | Burnham is convicted of mutiny and sentenced to life in prison; Lorca is held prisoner by Klingons; Mirror Universe features brutal imprisonment |
| Phobias & Sensory | ||||
| Blood / medical gore | S1 | 3/5 | Depicted | Blood visible in combat sequences and Klingon rituals; the show does not shy away from the physical reality of war wounds |
| Blood / medical gore | S2 | 2/5 | Depicted | Some blood in combat and aftermath scenes; less pervasive than Season 1 |
| Body horror | S1 | 4/5 | Depicted | Voq is surgically transformed into a human in a horrific procedure; the spore drive interface requires painful biological integration; Klingon corpse ship is grotesque |
| Body horror | S2 | 3/5 | Depicted | Control takes over human bodies using nanobots in disturbing Borg-like assimilation scenes; Airiam's cybernetic corruption is unsettling |
| Confined spaces (claustrophobia) | S3 | 2/5 | Depicted | Su'Kal has been trapped alone on a dilithium planet for over a century; the isolation and confinement are psychologically harrowing |
| Confined spaces (claustrophobia) | S4 | 2/5 | Depicted | Approaching Species 10-C's hyperfield creates claustrophobic tension; the diplomatic vessel enters an enclosed alien structure |
| Confined spaces (claustrophobia) | S5 | 2/5 | Depicted | Several clue locations involve tight spaces and underground environments; puzzle-solving in enclosed areas |
| Substance Use | ||||
| Drug use (depicted) | S3 | 3/5 | Depicted | Dilithium scarcity creates an allegory for resource addiction; the Emerald Chain operates as essentially drug dealers controlling a scarce resource |
| Violence & Physical Harm | ||||
| Child abuse / harm to children | All | 2/5 | Referenced | References to childhood trauma and abuse experienced by characters in their backstories |
| Gore / graphic violence | S1 | 3/5 | Depicted | Klingon combat is bloody and visceral; bodies are mutilated in battle; T'Kuvma's followers collect the dead and decorate their ship with corpses |
| Gore / graphic violence | S2 | 3/5 | Depicted | Control assimilates and kills people in disturbing ways; nanobots consume bodies; some graphic violence in combat sequences |
| Gore / graphic violence | S3 | 2/5 | Depicted | Some combat violence and aftermath; less graphic than earlier seasons as the tone shifts toward rebuilding |
| Gore / graphic violence | S4 | 2/5 | Depicted | Moderate violence in action sequences; the season focuses more on diplomacy than combat |
| Gore / graphic violence | S5 | 2/5 | Depicted | Action sequences with moderate violence; the treasure hunt format keeps the tone lighter than earlier seasons |
| Gun violence | S1 | 3/5 | Depicted | Phaser and disruptor combat throughout; characters are shot and killed in both space and ground battles |
| Gun violence | S2 | 2/5 | Depicted | Phaser combat in several episodes; less frequent than Season 1 but still present in action sequences |
| Gun violence | S3 | 2/5 | Depicted | Phaser combat in action sequences; the 32nd century weapons are more advanced but violence remains moderate |
| Gun violence | S4 | 2/5 | Depicted | Some phaser combat in confrontation scenes; the season's conflict is primarily ideological rather than physical |
| Gun violence | S5 | 2/5 | Depicted | Phaser combat during confrontations with Moll and L'ak; action-adventure level violence throughout the treasure hunt |
| Self-harm / suicide (depicted) | All | 2/5 | Depicted | A character sacrifices themselves and themes of self-sacrifice appear throughout the series |
| Sexual assault / rape | S1 | 3/5 | Referenced | It is strongly implied that Ash Tyler was sexually assaulted by the Klingon L'Rell during his captivity; the trauma significantly affects him |
| Torture | S1 | 4/5 | Depicted | Captain Lorca is captured and tortured by Klingons; Voq undergoes an agonizing surgical transformation; the spore drive causes Stamets physical suffering |
| Torture | S3 | 2/5 | Depicted | Book's planet was destroyed and he carries deep trauma; the Emerald Chain uses coercion and captivity against its enemies |
Identity & Discrimination
The Klingon war is partly driven by xenophobic ideology about racial purity; 'Remain Klingon' is a supremacist rallying cry
The Red Angel signals invoke religious interpretation; Pike's Klingon monastery visit explores faith; themes of belief vs. science
Mental Health & Emotional
The Burn was caused by a traumatized child whose distress resonated through dilithium; the child's suffering and isolation are central to the mystery
Burnham's mother is revealed to be the Red Angel; their separation and reunion involves themes of parental loss and sacrifice
Parental death is a significant plot element for the main character Michael Burnham
Burnham grieves her role in starting the Klingon war and the death of Captain Georgiou; survivors process massive wartime losses
The death of Airiam deeply affects the crew; Burnham grieves her separation from everyone she knows when she travels to the future
Burnham arrives 930 years in the future to find the Federation collapsed after a catastrophe called the Burn; grief over a lost civilization pervades the season
Book grieves the destruction of his homeworld Kwejian; his trauma drives him toward extremism and strains his relationship with Burnham
Burnham and crew face the knowledge that this may be their final mission together; themes of legacy and moving on
Pike sees his own future paralysis and disfigurement from a training accident; he chooses to accept this fate rather than change the timeline
Other
Ash Tyler/Voq's implanted identity means he unknowingly deceives everyone around him; Lorca manipulates the entire crew for his Mirror Universe agenda
Section 31 operates with deception and manipulation; Control disguises its intentions while corrupting Starfleet systems
Osyraa and the Emerald Chain use manipulation and false diplomacy to infiltrate the Federation
Tarka manipulates Book into supporting his plan to destroy the DMA, exploiting Book's grief for his own selfish ends
Moll and L'ak deceive and manipulate others in their pursuit of the Progenitor technology; rival factions compete through deception
The Federation considers using a weapon to destroy the Klingon homeworld; the moral dilemma of genocide as a war-ending measure is debated
Book's homeworld Kwejian and its entire population are destroyed by the DMA; the loss of an entire world drives the season's moral questions
Characters are captured and held prisoner in multiple storylines
The DMA is a massive gravitational anomaly that destroys planets; its approach creates catastrophic destruction on a planetary scale
Full-scale war between the Federation and the Klingon Empire; space battles with mass casualties; ground combat with graphic violence
Less emphasis on war compared to Season 1; conflict with a rogue AI called Control provides the primary threat with some space combat
Scattered conflict in a fractured future; the Emerald Chain poses a military threat; less large-scale war than Season 1
Species 10-C poses an existential threat through the DMA (Dark Matter Anomaly); diplomatic tension rather than conventional war dominates
The Breen emerge as a threat seeking the Progenitor technology; space combat and military confrontations in the final episodes
Burnham is convicted of mutiny and sentenced to life in prison; Lorca is held prisoner by Klingons; Mirror Universe features brutal imprisonment
Phobias & Sensory
Blood visible in combat sequences and Klingon rituals; the show does not shy away from the physical reality of war wounds
Some blood in combat and aftermath scenes; less pervasive than Season 1
Voq is surgically transformed into a human in a horrific procedure; the spore drive interface requires painful biological integration; Klingon corpse ship is grotesque
Control takes over human bodies using nanobots in disturbing Borg-like assimilation scenes; Airiam's cybernetic corruption is unsettling
Su'Kal has been trapped alone on a dilithium planet for over a century; the isolation and confinement are psychologically harrowing
Approaching Species 10-C's hyperfield creates claustrophobic tension; the diplomatic vessel enters an enclosed alien structure
Several clue locations involve tight spaces and underground environments; puzzle-solving in enclosed areas
Substance Use
Dilithium scarcity creates an allegory for resource addiction; the Emerald Chain operates as essentially drug dealers controlling a scarce resource
Violence & Physical Harm
References to childhood trauma and abuse experienced by characters in their backstories
Klingon combat is bloody and visceral; bodies are mutilated in battle; T'Kuvma's followers collect the dead and decorate their ship with corpses
Control assimilates and kills people in disturbing ways; nanobots consume bodies; some graphic violence in combat sequences
Some combat violence and aftermath; less graphic than earlier seasons as the tone shifts toward rebuilding
Moderate violence in action sequences; the season focuses more on diplomacy than combat
Action sequences with moderate violence; the treasure hunt format keeps the tone lighter than earlier seasons
Phaser and disruptor combat throughout; characters are shot and killed in both space and ground battles
Phaser combat in several episodes; less frequent than Season 1 but still present in action sequences
Phaser combat in action sequences; the 32nd century weapons are more advanced but violence remains moderate
Some phaser combat in confrontation scenes; the season's conflict is primarily ideological rather than physical
Phaser combat during confrontations with Moll and L'ak; action-adventure level violence throughout the treasure hunt
A character sacrifices themselves and themes of self-sacrifice appear throughout the series
It is strongly implied that Ash Tyler was sexually assaulted by the Klingon L'Rell during his captivity; the trauma significantly affects him
Captain Lorca is captured and tortured by Klingons; Voq undergoes an agonizing surgical transformation; the spore drive causes Stamets physical suffering
Book's planet was destroyed and he carries deep trauma; the Emerald Chain uses coercion and captivity against its enemies





