Break it up you two!
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I like your ideas. Let me add another to the mix:
Star Trek: Federation’s End
Not like the premise that Elizabeth Bonesteel came up with, but the Federation preparing to make the jump to a next level of evolution. The stories follow one of the last ships left going between the member worlds, working to figure out the issues such as which technology to leave behind for when the more primitive races reach to the stars, cleaning up loose ends, solving those riddles that might derail the whole thing. Think of Iain M. Banks’ Hydrogen Sonata.
The Trading Post idea is an even better economics idea than Star Trek: Accounts Receivable that Charles Yu came up with. By the 23rd and 24th centuries, shipboard logistics are easily managed by AI, but your idea of post-monetary trading is intriguing because it does explore how different systems and cultures would interact.
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Thank goodness some time-traveling hero saved us from that incredibly dorky timeline. If only they could have taken the rest of that godawful movie with it.
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That video is the gift that keeps on giving. 
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Disappointed: nobody offers a Klingon family sit-com.
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I would like to see the other side of the Federation. normal people living normal lives in the 24th century. I know it is cool to see a group of bold people travelling accross the galaxy in a fast starship. But It would be interesting to see a show about how mankind has learned to deal with aliens, and how the humanity gave up (or did not stop at all) the prejudice and now has to live with several strangers in its own backyard
I remember an episode of Voyager about the Holographic Doctor creating a artificial family for him. In one particular scene, his false teen son started to listen to Klingon Opera loud and pretended he was a Klingon warrior.
They could create a band of Klingons rockstars, famous and popular among teenagers on Earth, but displaced on their home planet.
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Or a sitcom with the Doctor, Seven of Nine, Data, Tuvok and Worf sharing the same quarters. They were living in this colony, trying very hard to understand the human mind. It could be called “AI Friends” ou “Big Bang Hypothesis” .
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All I want to see is Trek making contact with New Melmac, where Gordon Shumway endlessly reminiscences about the human family he lived with and uses the chance to serve as cultural attache with Captain Tanner on the USS Los Angeles.
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Actually an intriguing idea: a first contact team is inserted into a pre-interstellar civ, and then is cut off. No communication to the Federation. What happened? Over the ten episodes, the team tries to figure it out, hoping it doesn’t mean something terrible has happened, and at the same time the “primitive” culture serves as a parable setting to discuss our own failings in best Star Trek manner, the First Contact team wryly commenting it in Greek Chorus fashion and also debating whether they should interfere or not. At the end of the series, the team is picked up (the cause of Comms blackout revealed) and a door open for a second series dealing with negotiating full contact.
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So a whole season kind of like this episode?
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Breakfast Club in space
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These days, The Orville is doing Star Trek far better than CBS.
It hasn’t jumped the shark the way Star Wars has, but the whole franchise feels pretty threadbare. Can science fiction fans live with ourselves if there isn’t new Star Trek being produced? Someday-maybe in the 23rd century- humanity may find out.
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The poor reviews have put me off the Orville, maybe I’ll take a look. IMO SW jumped the shark with E6, but then I’m a curmudgeon who was in college by then, and too old to be enchanted by the Fuzzies stolen from Piper.
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More quoting myself from the past:
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…which was a poorly-considered ending–and missed opportunity–for Wesley, especially given his vocal disillusionment with Starfleet and the Federation! Instead of the Traveler, the story arc of Journey’s End was the perfect opportunity to expand the storyline of the Maquis–Gul Evec even referenced them in sickbay! Negotiations break down, the Maquis attack, (ex-Ensign) Ro Laren makes an appearance, Wesley joins the Maquis, and there’s your new show: Star Trek: The Rebellion Begins.
Hey, Paramount? Get at me. I’m in the phone book.
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It is remarkable how little quality space opera has ever been produced, or quality SF for that matter. A lot of the suggestions in this thread echo something I’ve been saying for years: SF isn’t a genre, but a genre modifier. You can have every different type of literature or TV modified to be SF. Mystery, sitcom, noir, psychodrama, procedural. The problem is most idiot Hollywood executives who clawed their way to the top by infighting and know little about SF (or any literature) think Sf=action/adventure. Period.
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It’s been a real mixed bag so far. The joke element makes me expect Galaxy quest, but it’s not trying nearly so hard to be funny.
Episodes 4 and 7 deserve to be considered among the best that Star Trek has to offer, despite not being Star Trek.
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It’s gotten a lot better just in the last few weeks. There is still some awkward humor, but not much more than you’d see on TNG back in the day anyway.
And MacFarlane seems to have enough self-awareness to know that he’s the weakest visual performer on the show, and his character has been evolving toward “offscreen boss” rather than “action hero protagonist.”
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