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Jonathan Frakes Confirms Commitment to Direct Two PICARD, Two More STAR TREK: DISCOVERY Episodes

Star Trek: The Next Generation alum Jonathan Frakes has become an integral part of the Star Trek: Discovery directing roster over the past two years — helming three episodes of the series to date — and today he’s confirmed that he’ll be running at least four more hours of upcoming Trek in the future, including the still-untitled Jean-Luc Picard series.

In a new interview with TrekMovie.com, the former Enterprise first officer clarified some statements from earlier this year, where Frakes had intimated his involvement with the upcoming Picard show, now clarifying he’ll be taking on the third and fourth hour of the ten-episode season.

I’ve been booked for they call the “second block,” which is episodes 3 and 4…. There are going to be ten episodes, with five blocks… [Hanelle Culpepper] is about to start shooting, and then I start prepping after she starts shooting for a couple of days.

As Frakes mentions here, he’ll be following Hanelle Culpepper, the previously-announced director of hours one and two of the series, when he joins production in southern California later this month.

Frakes (center) directs Sara Mitich (Nilsson) and Mary Wiseman (Tilly) on the ‘Discovery’ set. (CBS)

The production seems to be following a rather interesting shooting process for the first year, as the director indicated that the ten-episode first season will be shot in five two-episode ‘blocks,’ which may indicate that there may only be five directors working during the first year. Frakes notes that he believe’s it’s due to “amortization” — that is, for a cost savings in the production by spreading each set of episode’s costs across two hours.

In addition to the Picard series, Frakes also confirmed that he’s already back on the schedule for Season 3 of Star Trek: Discovery, which is in pre-production now; according to the TrekMovie.com interview he’ll be helming Episode 303, as well as a later entry in the season yet unspecified.

For more on Frakes’ thoughts on the upcoming Picard series, as well as his thoughts on the progression of Star Trek: Discovery, you can read the full interview here.

STAR TREK: DISCOVERY Review — ‘Such Sweet Sorrow’

Last week’s “Through the Valley of Shadows” gave us a cliffhanger with the Star Trek: Discovery crew preparing to rendezvous with the Enterprise and then destroying Discovery. But that plan didn’t work, and we have yet another cliffhanger to end “Such Sweet Sorrow” promising what appears to be a once-and-for-all, surefire solution to finally get rid of Discovery and the sphere data Control desperately needs.

How many more of these failed plans does the crew have to endure… and how many more do we have to endure as viewers?

Let’s not forgot the plan from just a few weeks ago where Michael Burnham (Sonequa Martin-Green) had to “die” in order to bait her Red Angel mother into capture. That plan was only partly successful as the crew was unable to propel the needed sphere data into the future via the Red Angel suit.

Burnham (Sonequa Martin-Green) and Pike (Anson Mount) brief the crew on the plan. (CBS)

It’s a good thing we’ve made it to the last chapter of the season, because I’m not quite sure how many more of these ideas for destroying Control we can sit through. Let’s hope that next week’s season finale delivers on its epic promise, and actually gets Burnham and the ship into the future — whenever that may be — and give her and the crew a win for a change.

Of course, much of this first part of “Such Sweet Sorrow” is spent on long, heartfelt goodbyes and service appreciations as the crew prepares for Burnham to take a one-way trip to a future-somewhere. Hugh Culber (Wilson Cruz) and Paul Stamets (Anthony Rapp) get a quiet moment together to try and resolve their differences — and say more accepting goodbyes — while Captain Pike (Anson Mount) and Ash Tyler (Shazad Latif) seem finally ready to give themselves fist-pumps for all the good they’ve accomplished.

I admit to being a bit of a sucker for these slower character moments because when Star Trek does the emotions well, it really does them well, especially when they’re well-placed and the performances are spot-on. And many of the bonding moments in this episode nicely expand on the camaraderie effectively, albeit briefly, displayed in last week’s episode.

Sarek (James Frain) and Amanda (Mia Kirshner) pop by for what may be a final time. (CBS)

But a lot of it falls flat here because, again, the show to this point hasn’t really allowed us to get to know the more secondary characters, some of whom get their own farewell-letter scenes. And as well-performed and touching as it was, the scene with Sarek (James Frain) and Amanda (Mia Kirshner) felt needless and overwrought — especially as the pair seemed to appear out of nowhere, travelling from Vulcan to the Discovery in the blink of an eye.

The real star in this episode, again, is Pike. As usual, he may not have had much to do, but Anson Mount continues to sell his performance. Speaking of little to do, Spock (Ethan Peck) was almost MIA in this one, which was perplexing. It seemed like everyone, except him, had something critical to offer to the time-jump proposal, and that includes Jett Reno (Tig Notaro), who finds herself playing a pivotal role at the end of the episode.

It’s fun to see Po (Yadira Guevara-Prip) back, newly confident as queen of Xahea, and working with Sylvia Tilly (Mary Wiseman). Her return, however, was not completely unexpected. After all, this is someone who was introduced in her Short Treks episode as having the expertise to recrystallize dilithium. Do you honestly think she wasn’t going to play some pivotal role in the series, and for that matter Star Trek, with that expertise?

Tilly (Mary Wiseman) and Po (Yadira Guevara-Prip) work in engineering. (CBS)

Let’s talk about what the episode did right, and I want to stress that this episode was certainly not a dud. The bridge of the Enterprise, in its updated form, is stunning, and director Olatunde Osunsanmi effectively heightens the tension during critical scenes there. Composer Jeff Russo also needs to be recognized for his work in this episode as well, especially in goodbye scenes.

There are still have two red signals left to be revealed and the question of when Burnham and Discovery will end up, assuming the plan works in its execution, to be answered. Is it possible she could end up only a week ahead in time with the ship, or a few hours, especially if the time crystal fails to perform as well as hoped.

Since her mother was able to jump to the past as well as the future, is it possible that Burnham finds herself going back in time instead of forward. The implications for the time jump, whenever that is, are intriguing. Let’s just hope the build-up to the finale was worth our patience.

Captain Pike (Anson Mount) prepares for a final stand against Control. (CBS)

Next week wraps up the season for Star Trek: Discovery, with “Such Sweet Sorrow, Part 2” taking the series into an uncertain future, as the long wait for Season 3 is about to begin.

Design Secrets of DISCOVERY’s New USS Enterprise Bridge

Last night’s debut of Star Trek: Discovery’s long-awaited USS Enterprise bridge set has been met with pretty positive feedback from Trek fans — with a few outliers, naturally — and today series production designer Tamara Deverell made the press rounds to detail some of the design secrets that went into updating this classic set for the modern age.

USS Enterprise bridge (aft view)

Speaking with the official Star Trek website, Deverell shared several insights into the year-long development process that went into the new Enterprise bridge.

There was always a strong desire to build the interior. I actually started designing the interior of the Enterprise in season one. There was some thinking that the writers wanted to [use those interiors] earlier, but then we revealed the Enterprise at the end of season one.

Starting the design work way back then… was a good thing because when we came to the end of season two, they actually had concept illustrations and most of the bridge of the ship worked out.

She also shared with IGN that at one point, budget concerns postulated a mostly-greenscreen virtual set — but the final rendition was in fact brand-new construction on a stage adjacent to the USS Discovery sets.

It’s always a bit of a dance and a bit of money game and can we afford this? [But] we felt like we owed it to the world to be on the Enterprise. We went down many roads with this. We did discuss building it [as a] green screen set. Which it wasn’t. Just the front portion, the physical view screen that we normally build around it — we just did the green screen template for that. The rest of it we built.

She elaborated to SyFy Wire:

The Enterprise set was completely new. We got a new stage and away we went. There was not one single element of it that was reused. What you’re seeing was really there.

https://www.instagram.com/p/BwH7iIMHEwz/

In updating the bridge, Deverell and team also wanted to make sure to include as much of the classic Enterprise components for the new Discovery edition, from the captain’s chair to the layout of the circular bridge stations, as she told IGN:

We did the Sulu eye scanner, we did the Spock eye scanner, we did the Uhura [communications] station — we copied that layout of her station.

We did the [motion indicator] light thing in the turbolift. The Enterprise had this funny light that goes up the back of it in the Original Series. Of course, ours was a monitor, but we did that.

The weird handle things in the turbolift? We did a version of those. We were like, what are these? We spent hours looking [at TOS]. They sort of twisted them and we tried to figure out what they were. We did a version of those, although they didn’t really make sense! They still don’t but they’re cool.

The ultra-wide aspect ratio of Star Trek: Discovery also contributed to the shape of the new set, with a second turbolift added to the screen-left side of the bridge, and a short corridor tucked behind the aft stations.

When I was showing [Alex Kurtzman] the initial model, he was like, ‘Let’s do a corridor behind the bridge, which never really existed [in the original set]. We built a part of it, and that’s one major thing that he contributed.

We’re designing to [widescreen,] essentially. It stretches things out. Our tendency is to bring down ceilings, so that we can see them more. Fortunately for us, like on the Enterprise bridge, the ceiling was actually adjustable and we were able to tweak it with a chain motor system. So, oh, let’s bring it down a little bit more in this shot so we can see here a bit more.

A short corridor has been squeezed in behind the aft bridge consoles.

The designer also got into detail about the classic console station chairs which the team was able to reproduce for Discovery, and how she slightly modified the iconic Enterprise captain’s chair for the new production.

I think we did a little change in the back, but we really tried to replicate [the classic black-and-blue] chairs.

The same thing with the captain’s chair… we were really looking at that. I think we matched the wood, cause there was wood on Kirk’s chair, Pike’s and Kirk’s chair. But especially Kirk’s chair I was looking at…

We sharpened some of the angles, we did a little bit more wood, but the basic shape and essence of it is the same. The black leather, all of that.”

And more detail shared with StarTrek.com about some of those console stations:

We actually got some reproductions of the original buttons on the console, the same exact size and color, and we used those as the basis of our buttons.

Regarding those classic ‘jellybean’ console buttons implemented around the new Enterprise set, those were actually materials acquired from the upstate-New York Official Star Trek Set Tour team, where owner James Cawley supplied a great deal of material from his Original Series set recreation facility for use in Discovery production.

Lastly, one of the biggest challenges in bringing the Enterprise bridge into the modern age of Trek was importing the bright colors from 1966 into 2018, from the bright orange-red accents to the greys and greens around the rest of the command center.

Speaking with StarTrek.com, Deverell shared her exasperation at trying to take the official ‘Enterprise red’ color from the CBS archives and apply it to the new set in Toronto.

The Enterprise had different colors. They changed it over time. The way it was lit, sometimes it looked really orange and sometimes it looked very red. The orange we’d picked, which was the original orange, was really red.

I actually went to the writers [when reading that Georgiou was going to scoff at ‘orange’ coloring] and said, “I’m uncomfortable with this line.” I did this whole layout of the different oranges and the red we decided we were using, and all of that. We had powder-coated this metal in this red, so there was no going back.

I went on and on and on. Alex Kurtzman wrote back, saying, “This is why we love you, Tamara. It’s okay. We’re gonna say orange. It’s okay, don’t worry.” It was just a funny story. I loved Michelle’s line, but to me, like any production designer would think, it was all about, “Do I have the right color?”

‘Enterprise red’ on railings, consoles, and doors link the new set to the original.

She also got a bit deeper into color with IGN, including how lighting would affect the viewer experience:

“The particular reds and the green, the greeny-grays, which I was really trying to match what they had in the Original Series, that was a big nod for me.

I think that was something I really struggled with and … colors come easy for me and I usually don’t struggle. And I struggled with the colors of the Enterprise bridge to just get that right essence and that right reddy-orange and that right grey tone.

The lighting — not that it was a struggle, but [we] really worked hard to get some of the gobo lighting effect that they had in The Original Series. There’s these grids that form these shadows, so we were playing a lot with that.

It wasn’t a lighting that everybody necessarily liked and I really pushed hard, ‘Let’s put a bit of that in.’”

Classic-style grilled overhead lighting, carried over into 2018.

Additionally, Discovery graphic designer Timothy Peel shared that the Enterprise bridge set features over 250 individually-animated displays, a mix of practical and added-in-post digital elements.

We also learned, courtesy of Discovery digital compositor Charles Collyer, that at least one member of the Enterprise bridge crew is actually a member of the series production team:

https://www.instagram.com/p/BwKJGVJFMh5/

Lastly, this week’s Moments of Discovery interview video lets castmates Rebecca Romijn (Number One) and Anthony Rapp (Paul Stamets) share their wonder at the new set.

We’re sure to see a lot more of the USS Enterprise bridge in next week’s season finale — so stick around as “Such Sweet Sorrow, Part 2” brings Star Trek: Discovery Season 2 to a conclusion on Thursday.

STAR TREK: DISCOVERY Discussion: “Such Sweet Sorrow”

The penultimate episode of Star Trek: Discovery Season 2 — “Such Sweet Sorrow” — has just debuted, and we’re sure you’re ready to dive into a discussion about the story!

Here’s your place to take on all the new Trek lore this episode brought us, with no restrictions on spoilers. If you haven’t yet watched the new episode yet, here’s your last warning!

Plus, here’s a good look at our first time aboard the USS Enterprise, with plenty of callbacks to the classic corridor and turbolift designs…

Red grilles echo the classic corridor elements
Turbolift grips.
Conference room with classic TOS-style chairs and tri-screen monitor.

…and of course, our first look at the anticipated bridge of the famous starship, complete with the classic orange-red highlights and circular arrangement. Of note, the Discovery version of this bridge design includes a second turbolift entrance, and a short corridor behind the aft stations.

Here are several new official photos from CBS, along with more screencaps from the episode:

Most of our staff is on holiday this week, so watch for our full review of this week’s episode in the next few days!

Record Store Day: STAR TREK ’09 Soundtrack Vinyl Release

The first film in the Star Trek Kelvin Timeline trilogy turns 10 years old this summer, but it hasn’t been forgotten as longtime Star Trek soundtrack source Varèse Sarabande is set to beam down a special vinyl release of the 2009 film’s score this weekend.

Debuting as a special Record Store Day exclusive release on April 13, composer Michael Giacchino’s epic store to the 2009 Star Trek film is being re-released in a limited-edition LP, with only 2,000 copies produced for the annual event; it is not expected to be widely available in this format after Record Store Day.

Photo via Hi-Voltage Records. (Source)

First released on CD back in May 2009 when the movie hit theaters, the album features 15 tracks from the film, this single-LP set will have the same music included. Along with the score itself, the new release includes a full-color inner sleeve with imagery from the 2009 Trek film and a note from director J.J. Abrams.

The Star Trek ’09 LP release will be sold for $24.99 in stores only — you can find a participating record store near you at the Record Store Day website.

New Photos: DISCOVERY 213 — “Such Sweet Sorrow”

Star Trek: Discovery is heading towards the end of its second season at warp speed as the penultimate episode of the season, “Such Sweet Sorrow,” brings back the first guest star of the year — from all the way back in the first “Short Trek” from October.

Returning from last fall’s “Runaway,” Xahian queen Me Hani Ika Hali Ka Po (Yadira Guevara-Prip) is back aboard Discovery — with ice cream in hand. How this once-fugitive friend of Ensign Tilly factors into the story is yet unclear, but it’s possible her unique dilithium crystal technology may come into play with the time crystal acquired last week by Captain Pike.

Of note this week is a lack of photography of the returning Sarek (James Frain), Number One (Rebecca Romijn), or any of the USS Enterprise sets, as teased in the below trailer for “Such Sweet Sorrow,” but we imagine the studio will be releasing some of those photos after the episode has aired on Thursday.

Of note, it seems Michael Burnham (Sonequa Martin-Green) is wearing the undersuit for the Red Angel technology, first sported by her mother in “Perpetual Infinity.”

And in case you missed it, here’s the video preview for the episode, which features the return of Number One and the USS Enterprise as the starship joins the Discovery in a team-up against Control and its Section 31 assets.

 

SUCH SWEET SORROW — When the U.S.S. Discovery’s crucial mission does not go according to plan, Burnham realizes what must ultimately be done. The crew prepares for the battle of a lifetime as Leland’s Control ships get closer.

The episode features a story Michelle Paradise & Jenny Lumet & Alex Kurtzman, and is directed by Olatunde Osunsanmi, and is billed as the first half of a two-part Star Trek: Discovery Season 2 finale.

*  *   *

In addition to these photos looking ahead to Thursday, we’ve got some new behind-the-scenes photos from last week’s “Through the Valley of Shadows” which some of the Discovery team have shared on social media.

Actor Anson Mount showed off this look at filming the tragic training accident sequence, as well as several looks at his makeup process getting into character as the radiation-afflicted future Captain Pike:

https://twitter.com/ansonmount/status/1115722629732818945
https://twitter.com/ansonmount/status/1115337861702852613
https://twitter.com/ansonmount/status/1115280091314044928
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Prop designer Mario Moreira and creature effects designer Neville Page each shared a number of images of the updated Pike wheelchair:

https://twitter.com/Mario_Moreira72/status/1115423256293588992
https://www.instagram.com/p/BwCvGcqBcZ5/

“Such Sweet Sorrow” debuts this Thursday on CBS All Access and Space, and beams to Netflix around the world on Friday.

New Trailer for WHAT WE LEFT BEHIND Documentary Features New High-Def STAR TREK DS9 Footage

We’re only weeks away now from the long-awaited arrival of What We Left Behind, the fan-funded Star Trek: Deep Space Nine retrospective documentary, and today the first trailer for the film has beamed down — with a ton of brand-new high-definition DS9 footage!

Debuting through IGN today, the trailer for What We Left Behind is loaded with never-before-seen remastered Deep Space Nine episodic footage, including looks at moments from Emissary, The Siege of AR-558, Change of Heart, Shadows and Symbols, The Wire, Wrongs Darker than Death or Night, and more — and interviews with the cast and crew (including archival contributions from Avery Brooks, who declined to participate the film).

The documentary’s being distributed via digital streaming to campaign backers on April 25, the product team announced yesterday, ahead of the May 13 theatrical screenings — and details on DVD and Blu-ray release are set to come next month after the Fathom Events showing.

We also get our first glimpse of the upcoming “Season 8” animated episode concept, developed by some of the original writers of the series — which looks to include older versions of our favorite DS9 characters (including Starfleet officer Molly O’Brien?) and a shrine to the Bajoran Orbs right on the station Promenade.

The aged Deep Space 9 station crew.
The Bajoran orbs, on display for the public, held by statues of the Emissary — Benjamin Sisko.

While we’ll be bringing you some video comparisons of this new footage soon enough, here’s a look at some of the upgraded picture from the old Deep Space Nine DVDs.

Terok Nor orbits Bajor in “Wrongs Darker than Death or Night.”
Quark and Kira spar in “Emissary.”
Kira on the Promenade in “Emissary.”
Odo fights to maintain his form in “Broken Link.”
Worf laughs with Jadzia Dax in “Change of Heart.”
Miles O’Brien leaves his quarters in “Accession.”
Ezri Dax arrives on the station in “Shadows and Symbols.”
O’Brien and Bashir say goodbye in “What You Leave Behind.”

Interestingly, the trailer also contains a few snippets of footage which appear to NOT be from the as-broadcast cuts of certain episodes, including an alternate angle on the crew in Vic’s Lounge from the “The Way You Look Tonight” performance at the end of “What You Leave Behind,” an unused take of Kira in Quark’s from “Rapture,” and more.

A reverse-angle on the crew, to feature more of the cast in one shot.
An alternate take of Kira’s time in Quark’s in “Rapture.”
Bashir’s smile comes from a trimmed moment in the opening scene of “Explorers.”
Jake Sisko wearing his “What You Leave Behind” costume.

Stay tuned for lots more coverage on the What We Left Behind documentary in the coming days — and share your thoughts at this first look at Deep Space Nine in HD in the comments below!

STAR TREK: DS9 Documentary Hits Theaters on May 13

The long-brewing Star Trek: Deep Space Nine documentary What We Left Behind, which fans have been waiting to see for several years now, is finally headed to theaters for a nationwide screening in the United States this spring.

Revealed this weekend by Fathom Events — the same company who distributed the three  Star Trek: The Next Generation Blu-ray remastering screenings in 2012 and 2013 — is hosting What We Left Behind: Looking Back at Star Trek DS9 in theaters across the country just five weeks from now, for one night only, on May 13.

A new poster image featuring DS9 showrunner – and documentary producer – Ira Behr.

The limited information we can glean from the Fathom Events page indicates that attendees will receive both a limited-edition 11×17-inch poster, as well as get a chance to watch a roundtable discussion about the making of the documentary — the listed runtime of the documentary, expected to be complete with fully remastered, full-HD clips from Deep Space Nine, is set at 2 hours, 10 minutes.

As far as plans for international availability goes, that’s just one of many details yet to be available about the project — the documentary team noted on social media today that this theatrical announcement rolled out to the public ahead of their preferred schedule, so details on worldwide viewing opportunities (including digital and Blu-ray releases to fundraiser backers) is likely to follow sometime soon.

UPDATE: The documentary team has announced that Indiegogo backers will have access to a digital stream of What We Left Behind on April 25.

 

In the meantime, if you’re in the United States, tickets seem to be available for some venues now for the May 13 screening — you can find pre-sale tickets for showtimes near you at both Fandango.com and AMC Theatres’ website.

DISCOVERY Review — ‘Through the Valley of Shadows’

If anything, “Through the Valley of Shadows” gets the award for best one-liner in Star Trek: Discovery to date when a Control-corrupted Kamran Gant (Ali Momen) dismisses Spock’s attack on him: “A Vulcan nerve pinch would be effective if I still had nerve endings.”

Aside from being refreshingly funny for Discovery, and a worthy follow-up to Spock’s “I like science” from last week’s “Perpetual Infinity,” the line speaks to the growing alignment of the show with not only canonical elements of Trek but also its spirit and sense of humor. Discovery is starting to feel like Trek to me, and “Shadows” is a breath of fresh, familiar air in what has been a largely grim, relentless, and overstuffed serving of episodes to this point.

To be fair, this season has had its share of good break-away episodes which stand on their own — like the early-season “New Eden” — and still continue to serve the larger arc of solving the mystery of the cosmic signals. But Discovery as a show has continued to struggle with taking its foot off the gas and giving the characters a chance to just be themselves in a context that doesn’t involve crisis.

While it does serve the greater story arc, “Shadows,” thankfully, is a much more measured and character-focused episode. Even the directing, which I have not been a fan of as a whole, is better paced and the editing less jarring this week.

After being a bit woefully under-served these past few episodes, Captain Pike (Anson Mount)  finally gets some important screen time when he assigns himself to acquire a raw time crystal on the Klingon planet Boreth to aid in Discovery’s mission to defeat Control. The crystals are being protected by Klingons who have been tasked with guarding the powerful minerals.

In the meantime, Michael Burnham (Sonequa Martin-Green) and Spock (Ethan Peck) investigate a Section 31 ship that has deviated from its reporting protocol. The two find the crew of that ship dead except Lt. Gant, who previously served with Burnham on the USS Shenzhou. Burnham and Spock soon discover that Gant has been assimilated — er, I mean “turned” — by Control.

The fight scene with Gant is a vast improvement on last week’s laughably-long confrontation with Leland. It’s also hard not to ignore the possibility that, yes, this could all be a big set up for the Borg – but I’m withholding my full opinion at this time, mostly because it’s just to easy to go there. It becomes a little too hard to swallow that everything consequential in the great Trek master plan would begin and end with this crew and this character, Burnham, and that goes for the Borg.

I don’t mind an origin story, possibly, but having it all begin with Section 31 is just a little too convenient.

Nevertheless, Ali Momen’s return as Gant is chillingly effective in the corrupted role — and kudos too to Sonequa Martin-Green and Ethan Peck. It’s so nice to see their characters’ sibling relationship continue to strengthen, and credit needs to be given to the writers and producers for finding quiet moments this late in the season for the two to talk and reflect.

On the subject of quiet moments, some ink needs to given to that oddly-superfluous lunch scene featuring some the bridge crew, as well as Paul Stamets (Anthony Rapp) and Jett Reno (Tig Notaro, back after many weeks away). It works so well that it makes you wonder why more of these types of scenes haven’t existed in the show up to now, especially when their placement earlier in the year could have helped the character build-up of Airiam (Hannah Cheesman) before her departure in “Project Daedalus.”

It’s also such a joy to see Tig Notaro as Reno again, especially as she shows some less-acerbic humanity in her conversation with Hugh Culber (Wilson Cruz) where she shares some of her personal history with relationships and loss. It would be great to see her in a larger role next season, but let’s not make her too nice too soon.

When Ensign Ro exclaimed “I was wrong” in the fifth season Star Trek The Next Generation episode “Disaster,” you knew her days as a defiant and tortured character were over far too early. Let’s not have that repeated here, even if her compassion is well placed on helping to nudge Culber back towards Stamets.

It’s tempting to pick apart that part of the episode that deals with Pike and Tenavik (Kenneth Mitchell) and Pike’s acquisition of the time crystal. Star Trek has always taken liberties with time, and there have been more than a few characters over the years who’ve have aged quickly or de-aged in the convenient service of a 40-minute story.

But I can’t help wonder about the implications for Tenavik in terms of his longevity if the crystals are able to speed up his age.

What are the implications for Discovery in this regard now that they are the new “protectors” of a crystal. The implications for Pike are more obvious: he should now have renewed resolve and confidence with his immediate mission since he knows, based on his vision, that he will make it through and not be killed… but he will find himself trapped in the eventual fate we’ve known is in his future, disfigured and powerless after barely surviving the onslaught of delta radiation.

With two episodes left this season, we are keenly aware that Pike’s involvement with Discovery is coming to an end, and that’s unfortunate. He has been a welcome addition to the season as Lorca’s replacement. “Shadows” at the very least lets us know that everyone, including Pike, have had a part to play in the overall mission, no matter how small that part may have been.

That’s it for “Through the Valley of Shadows,” now it’s time for your take on this week’s episode! Share your thoughts in the comments below, and then watch for more updates on “Such Sweet Sorrow,” the next episode of Star Trek: Discovery, as we approach next Thursday.

Anson Mount Discusses Pike’s Big DISCOVERY Decision

In last night’s episode of Star Trek: Discovery, Christopher Pike’s ill-fated future finally caught up with his character’s present mission in a moment decades in the making — and today, actor Anson Mount shared some insight into how that all came together in “Through the Valley of Shadows.”

During Captain Pike’s visit to the time crystal vault on the Klingon world of Boreth, the officer gets a shocking vision of the cadet training mission disaster first described back in “The Menagerie,” and Mount found himself recreating the scarred, mutilated version of Pike first portrayed by actor Sean Kenney back in 1967.

 
On this week’s The Ready Room, Mount talked about how he viewed Pike’s choice to accept his horrible fate:

Having a good handle on canon myself, I think, I was very appreciative on how the writers handled it. It was so smart, primarily because I think it turns Pike’s third act [in “The Menagerie”] more of a triumph then a tragedy by making it an active choice on his part.

The one thing I knew about Pike is that he probably had good parents and he definely had good mentors. He’s emotionally intelligent enough and idealistic enough to know that when you say you’re going to do something, you do that thing. You live up to your word.

To be presented with a situation where you can escape a horrible fate if he turns his back on the ideals he has pledged to uphold… it’s not really a choice. Because if you don’t live up to your word, what are you? As they say, ‘If you gain the world but lose yourself, in so doing, then you are nothing.’

He saw pretty clearly what he had to do, and I came out of that loving the character even more.

And before you think that the delta radiation-scarred version of Captain Pike was played by some unnamed stand-in, the actor went into detail about his experience being turned into a melted, wheelchair-bound invalid.

[The makeup] gave me an even greater appreciation for Doug Jones and all of our creature actors. It was an interesting process — I’d done some prosthetics before, but more for wounds and stuff like that, never something that covers the entire body, or at least torso-up.

It was a process I was very happy to go through, [but] I’ve done that now and never want to do it again! [laughs] It’s not that bad. It beats digging ditches! But the hours of sitting there do require a sense of inner calm, and patience. For me, doing it the first time, I was able to sit back and watch these incredible craftsmen and artists use me as their canvas. So it was enjoyable from that angle, but I’m sure after several months of it that would get old!

It’s a labor-intensive, many-stage process, and when you go through it, you do see why it takes so many hours. And it’s not just like [once it’s on] you’re good for the day, there’s a maintenance that goes on througout the shooting day when you’re not rolling camera. There’s people wanting to glue this, paint that, adjust this, take out your contacts, put your contacts back in… it’s a tough job.

“Through the Valley of Shadows” co-writer Erika Lippoldt also shared this photo of Mount rehearsing the Pike-meets-Pike sequence with a dummy (alongside director Doug Aarniokoski) on the Discovery sets in preparation for the episode, noting that the updated take Pike’s chair was designed by series creature creator Neville Page.

Finally, Mount also shared a few notes about the shooting schedule for the visit to Boreth — a combination of on-stage filming and location shooting at Knox College at the University of Toronto.

We shot [the time crystal sequence] on many different days, for many different things. Me being in the Klingon monestary with the time crystals was shot on one day, the hallway [scene] between my older and younger self was shot on another day in another location, and then certain aspects of the present-day Pike was shot in the same location but a week or two later than that. You have to figure out what’s necessary for each of those pieces, and how to get yourself back to that [emotional] place.

[The monestary] was part of the University of Toronto — gorgious, gorgeous architechture in there. And of course, a lot of elements that are added either through set construction physically or additions made with CG later on.

In the full interview, Mount also discusses his love of the original Star Trek series (a show he’s watched in full more than three times), working with Klingon guest star Kenneth Mitchell, his first encounter with Star Trek fans at last year’s Creation convention in Las Vegas and more.’

Star Trek: Discovery returns next week with the penultimate episode of the season, “Such Sweet Sorrow.”