15 Saddest Moments In The Star Trek Franchise, Ranked

For all the awe and wonder in its sci-fi depiction of the future, the "Star Trek" franchise also can be absolutely heartbreaking at times. Both the numerous "Star Trek" shows and movies have their fair share of tearjerker scenes, with fan-favorite characters often overcome with grief or committing heroic sacrifices. There are entire episodes of "Star Trek" that are full-on meditations on melancholic emotions, guaranteed to make even the most stoic fan misty-eyed. Simply put, "Star Trek" can be just as emotionally fraught as any grounded drama, and that's been true of the franchise since the beginning.

The sad scenes throughout "Star Trek" history are a testament to writing, but also how effectively the actors have brought their beloved characters to life. That helps make these raw, bittersweet sequences all the more resonant, especially given how well-composed "Star Trek" characters usually are. Here are the 15 saddest moments in the "Star Trek" franchise, ranked down to the most utterly heart-rending.

"The City on the Edge of Forever," what is widely regarded as one of the best "Star Trek" episodes of all time. Captain James T. Kirk (William Shatner) and Spock (Leonard Nimoy) travel back in time after Dr. McCoy (DeForest Kelley) accidentally changes history. Arriving in 1930s New York, Kirk learns that he must allow social worker Edith Keeler (Joan Collins) to die in order to restore the timeline. However, not only is Keeler a kind-hearted innocent that happens to hold the fate of history, but Kirk has completely fallen in love with her in their time together.

"The City on the Edge of Forever" is the first tragic episode in the franchise, and a reminder that not every "Star Trek" story has a happy ending. The episode's emotional core is the budding romance between Kirk and Keeler, something both Shatner and Collins present beautifully. Shatner, in particular, plays Kirk's heart-wrenching grief in not only letting Keeler die but preventing McCoy from intervening, to the hilt. Though Kirk was successful in his mission, the ending is no victory, underscored by Kirk's stone-faced reaction as he returns back to his timeline.

"Star Trek: Strange New Worlds" introduced an alternate timeline version of Kirk, played by Paul Wesley, in its first season finale. The second season episode "Tomorrow and Tomorrow and Tomorrow" introduces yet another alternate timeline Kirk variant, in a team-up with La'an Noonien-Singh (Christina Chong). Working in 21st century Toronto to preserve history, La'an and Kirk try to intercept a Romulan time traveler, falling in love in the process. Kirk dies as La'an stops the interloper, returning to her timeline where she contacts her reality's Kirk, only for him to not recognize her.

So much of "Tomorrow and Tomorrow and Tomorrow" falls on Chong and Wesley's able shoulders as the episode's time-displaced couple. Around Kirk, La'an is able to finally open up and relax, only for him to be murderously taken away from her. That the prime timeline Kirk has no idea of what transpired or who La'an is on their subsequent video call just pours salt on the fresh wound. Chong plays that heartbreak wonderfully, with La'an shaken up by her time travel adventure for the remainder of the season.

By the latter half of "Star Trek: Deep Space Nine," the series was dominated by its tense Dominion War storyline deciding the fate of the galaxy. This coincided with longtime series regular Terry Farrell looking to change up her career after starring as Jadzia Dax for six seasons. Things came to a head in the sixth season finale, "Tears of the Prophets," with the mystically empowered Dukat (Marc Alaimo) confronting Jadzia on DS9. Using his newfound powers, Dukat mortally wounds Jadzia, leaving her alive just long enough to bid farewell to her new husband Worf (Michael Dorn).

For as grueling as the Dominion War was on the Federation and its allies, Jadzia's death is the moment when the conflict feels the most real. To make her loss even crueler, Jadzia privately confides to Worf that she's ready to start a family with him at the start of the episode. Jadzia's death shook "DS9" to its core and the show never quite filled the void she left behind. War always has its casualties, but the death of Jadzia Dax felt like the deepest cut.

With its driving premise of a Starfleet vessel being stranded in a hostile land and cut off from support, "Star Trek: Voyager" could go bleaker than previous "Star Trek" shows. A one-off episode that really digs into that potential is "Course: Oblivion," following the adventures of the duplicate Voyager and its crew introduced in the preceding season. As this crew celebrates the marriage of Tom Paris (Robert Duncan McNeill) and B'Elanna Torres (Roxann Dawson), the starship begins to dangerously break down. This is coupled with the cellular makeup of the duplicate crew rapidly deteriorating as they race to a planet to stabilize their condition.

"Course: Oblivion" is essentially an episode that kills off the entire cast of "Voyager" under the auspices that the characters we see are only duplicates of the characters that we love. However, at least initially, both the characters and audience don't know that, making the inciting crisis quite shocking considering how far it goes. That these tragedies occur fresh off a wedding for fan-favorite characters, makes the story all the more grim. And in a parting shot, the wreckage of the duplicate Voyager is briefly witnessed by the real Voyager, who have no idea what horrifying incident just befell their counterparts.

The most elegiac "Star Trek" movie is 1984's "Star Trek III: The Search for Spock," exploring the fallout of the death of Spock in the preceding film. As Kirk launches an unsanctioned mission to recover Spock's body from the Genesis planet and give his departed friend peace, the Klingons arrive before them. Capturing the resurrected Spock, along with Saavik (Robin Curtis) and Kirk's son David Marcus (Merritt Butrick), the Klingons contemplate which prisoner to execute. As Kirk listens from a comms channel, David attacks his captors, getting stabbed to death, but saving Saavik and Spock's lives.

The death of Kirk's only child is heartbreaking enough, but that Kirk overhears a muffled version of the scuffle is all the more cruel. Shatner plays Kirk's reaction perfectly, as Kirk crumples to the ground rather than sit in his usual captain's chair, unable to believe what just happened. For once, the usual self-assured Starfleet officer is at a loss for words, taking a moment to recollect himself from the tragedy. David's death haunts Kirk for the rest of his life, most notably in "Star Trek VI: The Undiscovered Country," giving Kirk the one loss he couldn't bounce back from.

Captain Jean-Luc Picard (Patrick Stewart) has an unexpected intimacy with Spock's family, as revealed in "Star Trek: The Next Generation." Shortly prior to the passing of Spock's father Sarek (Mark Lenard), Picard allows Sarek to mind-meld with him, gaining his memories. This interaction comes into play in the later episode "Unification," with Picard working alongside Spock on Romulus. Before parting ways, Picard lets Spock mind-meld with him, so Spock can glimpse into Sarek's experiences and insight.

"The Original Series" had revealed that Spock and Sarek's relationship was deeply estranged, though gradually on the mend. This estrangement apparently continues into the "TNG" era, with Spock not being present for Sarek's final years. Seeing Spock get to understand his father like never before through Picard is an intensely bittersweet moment for the character. Nimoy silently weeping as Spock experiences Sarek's thoughts in the episode's coda is one of his best moments playing Spock.

Though Spock doesn't live in misery, he also doesn't live in happiness, given his purely logic-driven outlook as a Vulcan. Spock's apparent lack of joy is explored in the "Original Series" episode "This Side of Paradise" as the Enterprise visits a remote colony. This planet is filled with spores that infect people, making them docile and able to enjoy themselves, with Spock the first crew member infected. Spock ditches the Enterprise to enjoy a romance with one of the colonists, Leila (Jill Ireland), with Kirk forced to provoke him to free from spores' influence.

All those scenes throughout this episode seeing Spock laughing and kissing Leila affectionately are tempered with the knowledge that this development is fleeting. In the name of duty, Spock has to sacrifice his temporary happiness, or have Kirk forcibly sacrifice it for him. Highlighting the more melancholic aspects of this decision is Spock's closing observation, remarking that for the first time in his life, he was happy. Spock may have deserved better, but Starfleet and the Enterprise deserved his selfless service far more.

In one of the most pivotal "Star Trek" moments ever, Picard is assimilated into the Borg Collective during "The Next Generation." After the Enterprise crew rescues him, he is physically restored and recuperates at his family vineyard in the episode "Family." This reunites Picard with his estranged brother Robert (Jeremy Kemp), who always resented his overachieving, seemingly perfect sibling. As the two brothers finally duke it out in the mud, Picard breaks down, upset at what the Borg took from his humanity.

As Robert insinuates, Picard is the most calm and collected "Star Trek" in most scenarios, just utterly unflappable. To see that façade crack, especially coming off such a horrific trauma, is a raw moment for the character. Picard is a wounded figure for the rest of his time in the franchise, with "Family" marking his recognition of this. Stewart's performance during Picard's breakdown is highly effective, making "Family" one of Jean-Luc Picard's best episodes.

Broadly speaking, Seven of Nine (Jeri Ryan) is one of the most tragic figures in the entire "Star Trek" franchise. Assimilated into the Borg as a child, Seven doesn't even have a human name to reclaim after she is liberated from the collective. The seventh season episode "Imperfection" explores Seven's humanity gradually resurfacing, particularly through her adoptive son and fellow liberated Borg drone Icheb (Manu Intiraymi). As Seven faces her imminent death on a mission, Icheb nearly sacrifices himself to save her, with Seven's instinctual reaction to this reminding her that her humanity isn't completely lost.

The sadness in "Imperfection" is mixed with a bittersweet joy, both relating to Seven's sense of self-identity. On the one hand, we get reminded of how much Seven has truly lost from her assimilation at an early age. On the other hand, we're crying along with her as she reflexively realizes that it's okay to emote and allow herself to be vulnerable. "Imperfection" exposes the level of damage done to Seven, and yet, how accepting the Voyager crew is of her in spite of it.

Sometimes a story doesn't have to be an overt tearjerker to be profoundly melancholy in its own existential way. The fifth season "Next Generation" episode "The Inner Light" highlights as Picard telepathically interfaces with a strange alien probe. In a span of 25 minutes, Picard experiences 40 years of life as Kamin, an unassuming farmer from a dying civilization. This implanted life stays with Picard as he quietly and privately recovers from the telepathic ordeal.

The tragedy of what happens to Kamin's race isn't necessarily what makes "The Inner Light" such a sad episode. As Kamin, Picard gets to have the family and domestic life he could never have otherwise, enjoying the everyday beauty of marriage and fatherhood, something he abruptly loses. The fleeting harmony of life in the face of impending doom makes for the existential sorrow in the episode. Patrick Stewart was similarly moved by the experience of making the episode, naming "The Inner Light" as his personal favorite.

Throughout "The Next Generation," the android Data (Brent Spiner) experiments with different elements of the human condition to become more human himself. Data's most heart-rending lesson on humanity is an unintentional one on familial grief in the third season episode "The Offspring." Data creates and programs an android daughter, Lal (Hallie Todd), in an effort to experience parenthood for himself. As Starfleet Command orders Data to remand Lal into their custody, she suffers a malfunction and dies to everyone's visible shock.

One of the things that makes "The Offspring" so fascinating is that it's an exploration of grief with the ones primarily involved in the loss being outwardly emotionless androids. It's the human characters in the episode that are visibly affected and conventionally mourn the death of Lal. That doesn't diminish Data losing his daughter and Spiner captures the subtle nuances of Data enduring and processing this expertly. Data's understanding of the human condition is primarily defined by more positive experiences, but a loss like Lal casts a large shadow over his entire grand experiment.

The prequel series "Star Trek: Enterprise" tends to be under-appreciated compared to the series that preceded it in the '80s and '90s. The show delivered some of the franchise's greatest episodes, including its penultimate episode "Terra Prime." The xenophobic extremist John Paxton (Peter Weller) uses DNA from T'Pol (Jolene Blalock) and Trip Tucker (Connor Trinneer) to clone a baby in an effort to rally anti-extraterrestrial sentiment. The baby doesn't have the intended effect, though imperfections from the cloning process causes her to die as Trip and T'Pol watch.

Seeing T'Pol and Trip react to losing the baby they will never know is the most gut-wrenching moment in "Enterprise." This loss is underscored by its futility –- "Terra Prime" was the show's de facto ending given how its maligned series finale plays out. Trip and T'Pol could've kept the child and it wouldn't have affected their arcs moving forward, because their story was largely at its end. Somehow this sense of pointlessness to the death makes it all the more sad and painful as "Enterprise" comes to a close.

After the franchise's transition to movies started off shakily, 1982's "Star Trek II: The Wrath of Khan" completely revived it. In a rematch with his old enemy Khan Noonien Singh (Ricardo Montalbán), Kirk battles Khan in a starship duel in space. Though triumphant, the Enterprise's warp core is damaged, with Spock sacrificing himself to fix the radioactive core before the ship is engulfed in a massive explosion. Spock lives long enough to bid Kirk farewell after his friend assures him the Enterprise is no longer in danger.

Spock's death and subsequent funeral are among the most memorable and saddest moments in the entire franchise. Though Spock would be resurrected by the next movie, the scene still works, because the characters and actors involved obviously don't know that at the time. The reboot movie "Star Trek Into Darkness" would try their own inverted take on the scene, to the annoyance of "Wrath of Khan" director Nicholas Meyer. Sequel resurrections and weak reboots aside, Spock's death remains a standout sad scene for "Star Trek." Accept no substitutes.

Just like Data in "The Next Generation," the Doctor (Robert Picardo) in "Voyager" tries his hand at better understanding humanity through providing himself with an attempt at fatherhood. In the third season episode "Real Life," the Doctor creates an advanced holodeck program where he has a wife and two children living in domestic bliss. However, the Doctor's daughter Belle (Lindsey Haun) is mortally injured in a freak accident within the program. Though the Doctor initially avoids revisiting his simulation, he realizes he needs to accept grief as part of his burgeoning humanity and joins Belle as she dies.

Like "The Offspring," "Real Life" is an episode that is all about the nature of grief, specifically within a familial context. The key difference is that the Doctor has much more of a visibly emotional personality than Data, making his processing of the loss more heartbreaking. A meditation on the death of a child, being overtly sad was always the point for "Real Life."

While "Deep Space Nine" didn't have the spacefaring scope of its counterparts, it took the time to go deeper with its characters. One character dynamic explored beautifully was the father-son relationship between Benjamin Sisko (Avery Brooks) and his son Jake (Cirroc Lofton). The fourth season episode "The Visitor" features an alternate timeline version of Jake who witnesses his father periodically resurface in his life after being caught in a subspace anomaly. An older Jake (Tony Todd) has his personal life fall into ruins as he obsessively searches for a way to rescue Benjamin from the anomaly.

"DS9" always had great one-off episodes largely separated from the show's larger story arcs, and "The Visitor" stands as the best. Seeing how profoundly Jake is affected by losing his father and single-mindedly determined to save him is soul-crushingly sad. A large part of that is Tony Todd's life-changing performance as the older Jake, especially in his final scene with Benjamin as he reveals how he saved him. By the ending, you'll be as shocked and emotionally drained as Benjamin Sisko, reeling from seeing how far Jake would go to save his dad.