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REVIEW: Kazon Raider and Attack-Mode Bird of Prey

We’re back with another look at the recent subscriber releases from Eaglemoss’ Official Starships Collection, and today it’s a look at issues #106 and 107, the Kazon Raider warship from Star Trek: Voyager, and the attack-mode, wings-down Klingon Bird of Prey from Star Trek III: The Search for Spock and beyond.

A Kazon raider, as seen in “Alliances.”

The Kazon Raider is, like the recently released Vidiian Warship, vastly overdue – by at least 70 issues. Cleverly spreading those key ships across the range does keep interest and means those waiting for specific ships or collecting from one series are kept on their toes but it does feel like these should have been a lot earlier.

The Raider is actually one of the smaller Kazon ships and shouldn’t be confused with the significantly larger Predator-class ships that the Delta Quadrant baddies also operated (notably seen in “Caretaker” and “Basics, Part I”). This is a much smaller, more manoeuvrable ship and is also one of the most distinctive designs, I think, in Star Trek history.

On first inspection this is one small ship – and it’s also very front heavy with that drooping beak as well as the whole top section being metal. The whole ship bears a brown, sandy, dusty sort of paint job and it screams out for a bit of dirt washing because you know that the Kazon would never have maintained these ships in such pristine condition. In fact the only time it would have looked like this was in dry dock.

While it is instantly recognisable, this is one of those ships that doesn’t “do” it for me from the off and coming to review it I find myself terribly uninspired by it. That’s a shame because of it’s importance to Voyager’s early years for one and secondly because it’s been such a long time coming.

Don’t get me wrong, the actual model is decent enough but there’s no real pizzazz here. You can admire the curves and the lines from the nose to the stern and especially at the business end there’s some lovely layered paneling detail as well as – surprisingly – windows and inset colouring that’s actually in the right place (looking at you, USS Jenolan) and accentuates that base brown.

Those little blips of colour from windows and from the yellow of the engines to the rear are essential to bringing the Raider to life just as much as the pointed, dangerous look of the hull. Even the addition of the Kazon emblem on either side of the hull.

The top of the ship doesn’t really have any really fiddly bits on it — and by that I mean mechanical parts, exposed circuits and the like that we’ve seen on many other craft. It’s a lot more enclosed with more subtle finishing details perhaps only with the recessed bodywork on the sides showing any real “depth” to the ship.

The plastic section here encompasses only the underside and the wing-type appendages to the centre and the rear. If we’re going to talk bland then this is perfect fodder because there is a horrible lack of detail. Of course, this can be blamed directly back to the original model from which Eaglemoss referenced, but there’s just nothing to get excited about when you flip the Raider over.

There are a few winglets on the rear fins, a minor piece of engineering detail to the centre which is recessed back slightly into the hull but that really is it. The problem is that the Kazon Raider looks too perfect. There’s not enough panel lining on here, it’s just too smooth and refined to make it “believable” as a representation of the Kazon craft.

It bugs me to hell because even the drooping proboscis at the front looks sad and lacking in true depth and detail; it feels like a model three-quarters complete. Probably one that will go towards the back of a shelf and I have hopes that the Predator-class Kazon ship will come out a lot better.

The included behind-the-scenes magazine is  full of great reference material that the less-than-stellar Star Trek: Voyager Companion book was lacking. Offering some great coverage of the Raider and it’s operational history under both the Trabe and the Kazon, the magazine does well to tie in the craft’s episodic appearances. There are some excellent insights into the Kazon here, which are well worth adding to your library.

A trio of Klingon Birds of Prey in attack mode, from “Once More Into the Breach.”

I remember back in the day that a lot of people called for the Klingon Bird of Prey to be offered out in its attack and landed formations. I genuinely didn’t think that either would be included in the full run but might have ended up as an online exclusive. I was wrong because as part of the main run, we have the seminal Klingon craft with it’s wings down.

First introduced to the Official Starships Collection all the way back in 2013 in the wings-up flight mode, the Bird of Prey needs no introduction — but I’m finding it very hard to get excited over a ship that has only a change in wing configuration from its earlier version.

As you might have noticed, we seem to be seeing a few more of these altered models or variations on a theme, like the Miranda-class variants Reliant, Saratoga, and the upcoming USS Bozeman, the Bajoran Freighter and Smuggler’s Ship, the “Endgame”-edition Armoured Voyager… but while most of those are different in fairly significant ways, this one really doesn’t give much more than the original.

For all intents and purposes, this model is almost a carbon copy of the ship from 2013, with only a few more raised details on the surface of the bridge module and some mildly cleaned-up areas around the design, which does mean there has been at least a slight update in four years — but not much.

The grime and the paneling continues back along the short neck section to the main body where you do notice the windows have been painted on rather than marked somewhere near to recessed holes as we’ve seen elsewhere. Again, there’s nothing new here. Along to the rear the detail there does feel a little more refined but there’s very little to call between this new version and the issue three original.

Even at the back the gap in the engine block to slot in the stand is identical although I did think the clip fed in a lot more easily this time around.

Underneath the detail continues in line with the first version with all the mechanics you would expect to be in place right there. Their definition does leave a bit to be desired but again there does seem to have been a slight clean-up when it’s come to the finishing touches. On the counter though, there’s still no definition as to the landing leg panels or ramp – the underbelly is horribly still devoid of detail.

Of course the number one difference here is the fact that the wings are down. First seen dropping to pick off the Merchantman in The Search for Spock, it’s an iconic feature of the Klingon ship and, begrudgingly, it’s nice to have it represented. Along with the Enterprise, it’s probably one of the most famous and instantly recognisable vehicles from the franchise.

The wing panel feather detailing is replicated precisely from the first version and you can make out how the two have been constructed. It’s down to the two shoulder sections being different. These are the pieces which move the wings into place and with the Attack Formation version they are, stating the obvious, larger.

The grille system that interlocks and closes to draw the wings up is very clearly cut although the front of the shoulder blocks lacks any kind of definition between the two moving sections rather it’s just a plain and simple grey slab. For all the detail and effort in all the other parts surrounding this wing mechanism it just seems wrong for this, for the second time, to be lacking that finishing touch.

Talking of that lack of completion, which seems to be a running theme this round, what about the underside of the Bird of Prey? Well, it is absolutely identical when it comes to paint scheme even down to the asymmetrical reddish tinted sections on the inside edges of the wings – they are 100% the same which confirms that only the shoulder sections here are significantly different across the two variants.

Luckily the magazine is a completely fresh wedge of material. Initially the overview covers the differences between not just the K’Vort and B’rel types but also the variations internally that were evident between every single Klingon Bird of Prey.

It also goes as far as exploring the times in which the different versions were in use (including the rarely mentioned D12) and what outward changes there were to be spotted – and there were a few due to circumstances! An excellent choice here to do rather than the standard plan views is the inclusion of a list of notable Birds of Prey from The Search for Spock right through to Martok’s IKS Rotarran in Deep Space Nine.

Covering not just their onscreen stories, this section does, in part, make note of some of the changes that were made due to difficulties with models and the significance of the chosen craft in the franchise. There are some cool new CG pics and a few sketches are a welcome site, like a set of images from Star Trek VI’s storyboards.

The next pair of subscriber ships I’ll be checking out is the Cheyenne-class USS Ahwahnee which fought at the Battle of Wolf 359, and the Borg Queen’s diamond-shaped vessel, as seen in “Dark Frontier.”

Watch for my review of these two ships soon!

Clive Burrell is lead editor at Some Kind of Star Trek.

FanSets Reveals New STAR TREK Pins for Spring 2018

Our friends at FanSets, the pin design company who has been releasing Star Trek character and ship pins for the last few years — including a popular series of Star Trek: Discovery pins — has revealed a few upcoming new designs coming over the next two months, including one teased since last fall.

First up is a new Original Series design coming February 15, familiar to anyone who grew up watching classic Star Trek over the air, long before the days of Netflix or Blu-rays.

At the end of February, the company finally makes its first foray into the Star Trek Kelvin Timeline with their long-awaited Jaylah character pin, first teased all the way back in September.

In March, the Delta Quadrant’s favorite Talaxian joins the FanSets Star Trek: Voyager roster, as their first Neelix pin goes up for sale on March 15.

Later in March, the company will also be debuting the first official Star Trek: Deep Space Nine 25th Anniversary pin, which will be officially unveiled in the next few weeks. They also produced last year’s TNG 30 badge.

We expect it to be based upon the DS9 25 logo, rendered here as a flat graphic:

Looking ahead to the rest of the year, FanSets has already teased on social media that ship pins based upon the USS Franklin from Star Trek Beyond, the Constitution-class Enterprise from Star Trek (2009), and the refit USS Enterprise from Star Trek: The Motion Picture will be coming:

No word yet on availability plans for the Star Trek Beyond Jim Kirk pin teased last fall, but the company has also confirmed that pin designs based on Deep Space Nine’s Vorta villain Weyoun, Voyager pilot Tom Paris, Enterprise‘s Denobulan doctor Phlox, and the Kelvin Timeline Pavel Chekov (based upon Anton Yelchin) are all on the way as well.

Regarding additional Discovery characters, plans are already in motion for renders of Admiral Cornwell, Emperor Georgiou, and the Mirror Universe versions of Danby Connor and Sylvia Tilly (aka “Captain Killy”).

If any of your favorite Trek regulars are still missing from the FanSets lineup, the company vowed on Twitter last week that all main characters from the Trek shows will be produced before the Trek line concludes.

Overall, FanSets has plans for at least 20+ characters from the pre-Discovery films and television shows, along with three more waves of Discovery pins in their plans, according to a January 1 tweet — along with their remaining Discovery “episode pins” — so for you collectors, your Star Trek pin sets are only going to keep growing!

Keep checking back here at TrekCore for all the latest in Star Trek collectible news and reviews!

Trek Comics Review: NEW VISIONS #20

The very act of isolating a subject allows the observer to focus on its unique features. It’s an experimental process and one very familiar to scientists, researchers and, dare I say, artists?

John Byrne shares this examination of the crew of the Enterprise with us in the latest issue of Star Trek: New Visions, appropriately titled “Isolation”.

It’s a real homage in demonstrating Byrne’s knowledge of the Enterprise, its crew and even the very fabric of the television show that has captured the imagination of generations of believers and viewers for the past fifty years. For me, it’s a time-travelling moment whenever I pick this book up and I settle in for an isolated moment of my own to relive watching a continuing episode of my favourite science-fiction story of all time.

The story so far – the regular operations of the Enterprise are interrupted by an unexpected activation of the ship’s emergency systems. The ship is operating fine, yet the loss of control over the ship’s most basic functions is clearly something that has alarmed both captain and crew.

Upon further investigation, an unknown phenomenon occurs in which the crew, one by one, disappear from each others’ views and each of the bridge officers are seemingly isolated on the Enterprise. Of course, the aim is to understand who – or what – is behind the odd occurrence, and the story continues.

As the crew are individually isolated in their own private perspectives, what I noticed about this aspect of the story was the way Byrne managed to accurately craft the dialogue, behaviour and relationships amongst the bridge officers into what loyal fans of the original series would instantly recognize and expect. Byrne fully understands this.

For example, when Kirk is separated from the others, the first thing he does is ask for Spock and accesses the computer to check the status and integrity of his ship and crew. It’s a perfect Kirk response to a situation like this and what I would expect my childhood hero to do.

The appearance of two familiar faces – one, Edith Keeler, as evidenced by the cover – are also stimuli that would prod the most Kirk-ian of character responses that will not only delight but satisfy even the most casual fan. Of course, for me, any chance to re-visit the lovely Joan Collins in her role as Kirk’s most poignant love is a trip most worthy of travelling down memory lane.

In Spock’s case, he instantly doubts his situation, applying his systematic and logical of responses to the new environment in which he finds himself. Spock, the consummate rationalizer, is the one who ekes out insight for the benefit of the readers. It’s a true representation of the half-Vulcan science officer we have known and loved, though illogical as that response may be.

Scotty’s die-hard reliance on the engineering basis of his existence; Sulu’s intrepid daring, Uhura’s compassion and Chekov’s quick-wittedness are all traits that fans have readily assigned as hallmarks of these characters and Byrne’s dialogue and painstaking image research have all served him well as he accurately and lovingly represented these characters to an audience he knows will appreciate them.

However, it’s Leonard McCoy’s irascible manner that earns MVP status in this story. Not only is McCoy’s defiant common sense proudly displayed, but it proves to be the factor that wins the day. Completely in synch with the nature of the show, it’s a reminder of how well Byrne knows the characters in this fandom.

But the other thing that stands out in this book is the scenery. I think that was the aspect of this book that I thoroughly appreciated. It was a real opportunity to see Byrne’s collection of scenic photographs as we go on a near-virtual tour of the Enterprise.

On the first page, we are treated to a beautiful expansive shot of the bridge. Instead of the cramped, close-up camera perspective we usually see in the television series, Byrne is able to widen the angle to treat us to a larger area in which to enjoy the bridge. Of course, the absence of some chairs may inadvertently emphasize the effect. However, it’s a subtle thing, but still one to be enjoyed and appreciated and something that can only be possible with the freedom of photo-play.

One by one, the bridge officers disappear and Byrne is then able to follow their individual attempts to uncover for the reason for their isolation. The added bonus to this part of the story is that we are then given a tour of the Enterprise’s hallways, crew quarters, engineering, crawlspaces and other areas not normally seen in the show.

I also particularly enjoyed the creation of the computer maintenance tunnel that Spock accesses in order to make more sense out of the situation. In short, getting to see more of the Enterprise is always a good thing and Byrne combines existing footage of the television sets with ones of his own creation in a near-seamless manner that pays real respect to the franchise while giving fans more of what they love.

Maybe it’s just the geek in me, but I especially loved the service hatch behind the Enterprise bridge plaque. That was a cool touch and I want one in my office now.

That’s always been an added value to comics, whether they are drawn or in this case, photo-imaged. The flexibility of the medium has always allowed for exploration into seldom-visited parts of a franchise that contribute to its greater enjoyment and, at times, even canon.

Star Trek: New Visions #20 is a real treat. Byrne’s photo work is in itself an experiment that has successfully been conducted for the last twenty issues. We’ve had a run of great stories in this fabulous format that fully capture the essence of this fifty-year old franchise and is a must-have for any loyal Trek or comics fan.

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In other Trek comics news, IDW comics editor Sarah Gaydos shared some small previews of the upcoming Star Trek: Discovery Annual extended-length comic that’s due out in March, which tells the tale of Stamets and Culber’s first meeting and their journey to Discovery.

Watch for our review next month!

Producer and Cast Delve into Georgiou, Tyler Characters as DISCOVERY’s First Season Concludes

We’re heading into Star Trek: Discovery finale weekend, and today the cast and producing team hit the media circuit with a number of interviews about the season to date, and what we may be looking forward to in the future.

Executive producer Aaron Harberts and actor Michelle Yeoh spoke several outlets including the New York Post, IndieWire, and SyFy about the challenges the Discovery crew faced this season, including the death and returnn of two versions of Philippa Georgiou and the journey of Ash Tyler.

Harberts addressed concerns over killing characters, saying that it has all been part of the season plan, to the New York Post:

I think audiences often feel when you kill a character it’s because you’re either out of ideas or you’re bored.

Before we start writing, we know what the ending’s going to be. We have those major twists ready to go. We know how they’re going to fall in terms of pushing the story forward.

Yeoh made it clear, however, that she wouldn’t sign up for the series if her character was just going to be killed off after the pilot episode, but found the plan for her return as a Terran leader appealing.

To IndieWire:

“I said [to the producers], ‘If you’re gonna kill me off, I don’t want to be in it. I don’t want to just die and disappear.'”

Fortunately, showrunners Aaron Herberts and Gretchen Berg assured her that she’d be coming back — which made Yeoh happy, but led to months of secrecy. “The fans, they’ve been so sweet. They stop me on the street to say, ‘Why did you get killed off? Why did they let them kill you off? Come back.’ So, I am glad I am back,” she said.

“But it’s been very difficult trying to keep the secret from everyone. It’s been the hardest thing to do, I think, in recent years, how to not spill the beans.”

What’s interesting to Yeoh is the way in which people have been reacting to this new version of Georgiou. “People are actually loving this new character. They don’t go, ‘Oh, she’s evil. Why would you want to play an evil character?’

You know, your hero is only as good as your antagonist, and sometimes you need someone to, you know, rough up things a little. What I love about this character is she will help you, as long as she helps herself as well,” she said.

“I really, really am so grateful for this chance to be part of the ‘Star Trek’ family because there’s so much love and passion that goes into it, the details, everything,” Yeoh said.

“From the stories, the costumes, the special effects. I mean, isn’t it just amazing when the mycelium is reborn again? I mean, it’s like poetry in motion. So, I’m really very grateful for this opportunity.”

Yeoh spoke about how her role on Discovery has been special, as female leader of two universes, to SyFy:

I think that’s the thing about Star Trek; it talks about present day issues, but in the sci-fi setting, you know? And I think it inspires us to reach for something better and I think that’s important because it’s the empowerment of women.

That’s what we’re striving for today. It’s one of the sustainable development goals that we’re working so hard for: gender equality. And then, when you have in Star Trek, where you have the number one, the admiral, the science medical officer, the captains, and they’re all women, it’s very empowering for little girls or young girls to watch.

And also, of all the different races, that we are one race in the future. That you can be of any color. It doesn’t matter. And it’s very, very inspiring for little girls across the world.

She also shared her difficulty in keeping the secret of Georgiou’s return for so many months:

I couldn’t bring myself to go to any of the Comic Cons, because I would get stopped by fans and they would say, “Why did you let them kill you off? Why did you let them kill Captain Philippa Georgiou?” And you’re like, “Um, well.”

Then I would have to say, “Please be patient.” And then they go, “Are you coming back?” And I’m going, oh my god. “Are you doing flashbacks?” Because I mean, Captain Philippa Georgiou was really killed, right? And there was just no way around – and knowing that I’m still filming and not be able to say anything, that was the most difficult part.

Because everybody loved that character so much. But it was necessary. It was necessary for the journey of Michael Burnham, for Saru, for how it evolved, how the war started. But then I was like, how do I tell them, “Be patient. I am coming back and I will scare the hell out of you when I come back.”

I can’t go to the Comic Cons because after two questions, I will have to sit there and go, “Um, I can’t tell you.” And it would be so revealing. It would be a spoiler alert on its own.

In addition, Voq-turned-Ash Tyler actor Shazad Latif spoke to The Verge about the year of secrets behind his dual-role casting, playing romance in the 23rd Century, and where things can go next for the former Starfleet security officer.

On being emotional in the role as Tyler, with Burnham (Sonequa Martin-Green):

There were takes of some scenes where [Sonequa and I] were crying our eyes out, and we’d get notes like, ‘Less emotion, guys. Less, less. Chill out.’

It probably made sense in the end, but we always wanted to push for that, and just make sure it was okay that we could cry like that. You know, that a man can cry. We wanted to make sure that, in those intimate scenes, that balance was there. Like in the sex scene, I’m initially on top, but then we flip around, or when I’m nestled in her chest, looking up to her.

L’Rell, too — Tyler keeps being cradled by these women! Those little things were really important for us.

I just wanted to do something that, one, wasn’t boring, and two, that’s progressive and of its time. With all this going on right now, especially, any character who adheres to the classic male action hero just seems outdated.

It needs to be deeper than that. Otherwise, it’s just going to fall by the wayside when you’re watching it, and I just become another boring male character running around shooting stuff.

I know they definitely started liking that softer side [of Tyler’s character] because it seemed more of those scenes [were being written] in. You’re always afraid you’re just going to be fighting for a lot of the time. [As] the security officer, you’re just like, ‘Ah, okay, he’s just going to punch someone, and then the episode’s just going to be that.’

That was a big fear of mine. So I was very happy when more and more softer scenes came in, just talking scenes. I prefer those, just two people communicating.”

Latif also finally shed some light on the behind-the-scenes stress about keeping the Voq/Tyler switcheroo story point a secret (despite fan theories sussing out the situation along the way).

“Our publicity team was panicking for a year,” Latif says about the CBS lockdown, which was so strict that the studio initially barred his own mother from visiting the set.

“They’d say, ‘Just say this,’ but in my head, none of [the explanations they told me to use] made sense. So I tried my best, but knowing that people know, when people are like, ‘Come on!’ makes it harder to [hide] it.”

Aaron Harberts spoke to both The Verge and IndieWire about what the future holds for the now Voq-less Tyler as the first season ends and the second season begins to take shape in the writers room, indicating that the actor and character will be sticking around through at least next year.

To IndieWire:

Tyler makes a pretty big choice during the finale that makes sense for where he’s at. This was a show about war and has been a dark, dark tunnel and you have to go through the darkness to get to the light.

‘Star Trek’ ultimately is a show about hope, optimism, peace … It’s that spirit that we will be taking into Season 2.

To The Verge:

Ash Tyler is still caught between two worlds. He’s had to put a lot of that aside, because there was a war to win. He’s going to have a lot to unpack when this conflict is over.

As writers, we find his story super-compelling, and it would be a shame, just when we’re getting started, to stop now.

Star Trek: Discovery concludes its first season this Sunday — and to hold you over, here’s a great behind-the-scenes video of Jason Isaacs and Michelle Yeoh practicing for their big “The Past is Prologue” showdown.

New “Will You Take My Hand?” DISCOVERY Finale Photos

It’s almost here: the final episode of Star Trek: Discovery’s first season arrives this Sunday, and now CBS has seen fit to release a set of new publicity photos from “Will You Take My Hand?,” which concludes 2018’s Star Trek adventure.

Directed by Akiva Goldsman, who also helmed “Context is for Kings” earlier this season, the finale is sure to pay off the culminating story arcs involving the Klingon Empire, the Mirror Universe, and the fate of the USS Discovery crew.

CBS also revealed this tantalizing shot of Sonequa Martin-Green on set, filming this episode in an image taken October 5, 2017:

In addition to the new episodic photos, we’ve also now got a look at one of the covers for Star Trek: Discovery — Succession, the Mirror Universe-centric miniseries coming from IDW Publishing in April.

Den of Geek today revealed an Emperor Georgiou variant cover for Succession #2, due in May 2018, from artist Elizabeth Beals.

Star Trek: Discovery concludes its first season with “Will You Take My Hand?” this Sunday on CBS All Access and Space, and closes out the year Monday on Netflix around the world.

Novel #4:
"The Way to the Stars"


Novel #5:
"The Enterprise War"


Novel #6:
"Dead Endless"


STAR TREK: DISCOVERY’s Canon Connections: 113 & 114

Star Trek: Discovery is hurtling towards its conclusion this Sunday, following two more episodes bursting with plot and character development.

Captain Gabriel Lorca met his end in “What’s Past Is Prologue,” wrapping up Discovery’s visit to the Mirror Universe, and “The War Without, The War Within” did not let up as the crew returned to the Prime Universe nine months after it left, only to find a Federation suffering massive losses against the Klingons.

Let’s take a look at the references to previous Star Trek canon in these two episodes!

Mirror, Mirror

Early in “What’s Past Is Prologue,” Mirror Lorca catches Mirror Landry up with how he survived the destruction of the ISS Buran. While being pursued by the Charon, the Buran drifted into an ion storm as Mirror Lorca was beamed back to the ship, causing a transporter accident that beamed him into the Prime Universe.

This is the same way Kirk, Scott, McCoy, and Uhura accidentally traveled into the Mirror Universe in The Original Series episode “Mirror, Mirror.” Presumably, just like their Mirror counterparts crossed into the Prime Universe, Prime Lorca was transported to the Mirror Universe. His fate is currently unknown.

The No-Win Scenario

In “What’s Past Is Prologue,” while rousing the crew into action to attack the ISS Charon and destroy its mycelial reactor that has the ability to destroy the known Universe, Saru says that they will not accept a “no-win scenario.”

The no-win scenario refers to the Kobyashi Maru, the no-win test that Starfleet Academy cadets are forced to undertake in order to confront their own mortality. A later famous captain – James T. Kirk – was also not fond of the no-win scenario.

Warp Bubble

In order to both destroy the Charon’s mycelial reactor and travel back to their own Universe in “What’s Past Is Prologue,” the Discovery uses the warp bubble created around the ship when it engages its warp drive to protect the ship as it travels back to the Prime Universe.

Warp bubbles have been frequently referred to throughout Star Trek, including one time when Dr. Beverly Crusher became trapped in one in The Next Generation episode “Remember Me.”

Guest Quarters

After arriving aboard the USS Discovery in “The War Without, The War Within,” Emperor Georgiou is assigned to guest quarters, the traditional starship accommodations throughout Star Trek history for Admirals, diplomats, and now deposed imperial leaders from parallel dimensions.

Montgomery Scott famously found himself amazed when first seeing his guest quarters aboard the Enterprise-D, after being accustomed to the more spartan staterooms found aboard Constitution-class ships. (“Relics”)

Auxiliary Power

Due to its travel between universes, the Discovery is operating on auxiliary power at the beginning of “The War Without, The War Within.”

Auxiliary power is a common system across starships throughout the Star Trek canon designed to be used in emergency situations to supplement or replace main power when it goes offline.

Starfleet Intelligence

Ash Tyler reveals to Saru early in “The War Without, The War Within” that the Klingon House Mokai performed a “species reassignment” procedure on Voq, a procedure developed to infiltrate Starfleet Intelligence.

Starfleet Intelligence is the intelligence agency for the Federation and has been mentioned multiple times throughout Star Trek, including The Next Generation episode “The Pegasus,” and Deep Space Nine episode “Inquisition.”

Command Codes

When Admiral Cornwell, Sarek, and a security team beam aboard the Discovery in “The War Without, The War Within,” Cornwell takes command of the ship using her command code – Pi-Beta-6.

Many other command codes in Star Trek are also a combination of Greek letters and Arabic numbers – Janeway’s was Pi-1-1-0 in multiple episodes, and Picard’s in Star Trek: First Contact was 4-7-Alpha-Tango. Data also used an extremely lengthy command code to freeze his hold over the Enterprise-D in “Brothers.”

Casualties of War

In “The War Without, The War Within,” Cornwell is catching the crew of the Discovery up on the events of the last nine months. She describes how the USS Saratoga and Starbase 12 were destroyed in Klingon attacks.

Three other ships bearing the name Saratoga have been seen or referenced previously; in Star Trek IV: The Voyage Home and the Deep Space Nine pilot “Emissary” the Saratoga is a Miranda-class starship, and there was also a 22nd Century Saratoga in the United Earth Fleet.

Starbase 12 is mentioned in five episodes of The Original Series and The Next Generation.

Terraforming

In “The War Without, The War Within,” Stamets implants a moon in the Delta system with technology to allow it to quickly grow spores and replenish the Discovery’s supply. The process is referred to as terraforming, the means by which a planet is transformed and (as commonly understood) made habitable.

The most famous case of terraforming was conducted by the Genesis Device in Star Trek II: The Wrath of Khan. Perhaps some of the technology used in Stamets’s experiment was a precursor to Carol and David Marcus’s research that led to the Genesis Device.

“Home Soil,” part of TNG’s first season, was set on a planet during the early stages of human terraforming efforts.

Federation Council

In “The War Without, The War Within,” Sarek tells Admiral Cornwell that the Federation Council has approved Emperor Georgiou’s proposed plan for drastic measures to win the war against the Klingons.

The Federation Council has been referenced many times in Star Trek history, and seen most prominently in Star Trek IV: The Voyage Home.

It’s been a long road…

“No human has set foot on the Klingon homeworld since Captain Jonathan Archer and the crew of the Enterprise NX-01 a hundred years ago.” The plot of “Broken Bow” – this one sort of speaks for itself!

And the most blatant call out to previous Star Trek thus far in Discovery, I think. I, for one, am not complaining.

[td_smart_list_end]

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In discussing a plan to travel to the Klingon homeworld and take the fight to the enemy, the senior staff of Discovery review a holographic representation of Qo’Nos that has a number of geographical features referenced in previous Star Trek canon.

I couldn’t quite read them all, but here are the ones I could see:

First City (TNG: “Sins of the Father”)
Central Plains (TNG: “Hollow Pursuits”)
Lake of Lusor (TNG: “Rightful Heir”)
Kang’s Summit (DS9: “In Purgatory’s Shadow”)
Ketha Province (DS9: “Once More Unto the Breach”, “Star Trek Into Darkness”)
Caves of No’Mat (TNG: “Rightful Heir”)
Caves of Kahless (VGR: “Day of Honor”)
Skral River (DS9: “The Way of the Warrior”)
Mekro’vak Region (DS9: “Looking for par’Mach In All The Wrong Places”)

One episode left to go this season — we’ll see what familiar and fantastical Canon Connections Discovery brings us in “Will You Take My Hand?” this weekend!

DISCOVERY Review — ‘The War Without, The War Within’

Star Trek: Discovery’s first season was initially slated to have 13 episodes, but shortly before the series premiered CBS announced it had extended the season to contain two additional installments.

Last week’s “What’s Past is Prologue” was initially intended to be a season finale, with the cliffhanger that while the USS Discovery had returned to the right universe it had returned to the wrong time. Between an estimated 2019 return for Season Two and just how good “The War Without, The War Within” is, all I can do is thank the Great Bird of the Galaxy for the extended season.

In fact, given that this week’s episode dealt specifically with tying together the story arcs of the two ‘chapters’ that make up Discovery’s first season, I have a hard time imagining how the season could seem complete without it.

The events of “The War Without, The War Within” follow immediately on those that ended last week’s “What’s Past is Prologue.” Captain Saru greets Burnham in the transporter room and is surprised to see her accompanied by Emperor Georgiou.

For her part, Georgiou is also surprised and not a little irritated that a Kelpien “slave” such as Saru dares stand in her presence. Quickly set straight by Burnham about Saru’s freedom and rank, Georgiou snaps back with a reminder that “yesterday we dined on the entrails of [Saru’s] brethren.” A visibly disturbed Saru hastily beams Georgiou out of the room and into her quarters, a trick I think we all wish we could do during an awkward conversation.

Though he doesn’t ask Burnham to elaborate on Georgiou’s remark, once the immediate situation regarding the Klingon-Federation war has been resolved I imagine Saru will want to sit down with Burnham and have a chat about that detail.

As Saru and Burnham catch each other up about the events of the past few days, Saru mentions that Ash Tyler is alive and relatively well. Tyler/Voq’s survival has been unclear since we last saw him in “Vaulting Ambition,” but “The War Without, The War Within” picks up his story.

In both body and mind, Tyler survived. Voq’s memories remain, but it appears that he no longer has any agency, and Tyler now presents entirely as human. Convinced that Culber’s murder and Burnham’s assault were perpetrated by a persona which no longer poses a threat, and sensitive to Tyler’s obvious remorse, Saru allows Tyler to roam the ship, albeit with limited privileges.

This may seem like a dangerously lenient course of action, but “The War Without, The War Within” is an episode that deliberately plays with the contrasts between the Federation and the Terran and Klingon empires.

It’s appropriate within the themes of the episode that Tyler would be given the opportunity for rehabilitation, regardless of the danger or difficulty. Don’t forget, Captain Picard was back to work within days of being rescued from the Borg in “The Best of Both Worlds, Part II,” and no one knew what the long term effects of his experience might be. Voyager’s Seven of Nine was also allowed to roam the ship shortly after her separation from the Borg collective.

To a contemporary audience these decisions might seem so unlikely as to be unrealistic, but I think to some extent that’s the point. In the utopian future of the Federation, the realistic course of action involves trusting that someone will do the right thing instead of fearing that they’ll do the wrong.

Of course, this doesn’t mean that Discovery’s crew – especially those who have been personally affected by his actions – will necessarily embrace Tyler with open arms. A brief but highly charged encounter between Tyler and Lt. Stamets underscores just how difficult the road ahead will be. In an episode full of great performances, Anthony Rapp’s work in this short scene stands out as a highlight.

Later, Tyler finds himself eating alone in the mess hall until a compassionate Cadet Tilly makes a point to take a seat at Tyler’s table. Shortly thereafter, several other crewmembers follow Tilly’s example. It’s appropriate that Tilly would be the first to openly forgive Tyler given that she enthusiastically befriended Burnham back when most thought of Burnham as “The Mutineer”, but the bevvy of other happy, smiling crewmembers seems a little hasty.

Then again, I don’t live in the utopian Federation future so what do I know?

Meanwhile, Burnham has been understandably avoiding Tyler. First Saru, then Tilly encourage Burnham to meet with Tyler, neither seeming to think of the emotional and mental toll that such a meeting will have on her. Instead, their focus is on how beneficial the meeting might be for Tyler.

While Saru and Tilly have good intentions, they place an enormous burden on Burnham, essentially asking her to put aside her own trauma in order to help Tyler heal. Personally, I found Burnham’s reaction to Tyler’s pleas for help to be refreshing.

It’s a common trope in fiction that a troubled man can only be saved by the love and understanding of his (usually female) love interest. When pressed by Tyler that Burnham is somehow duty-bound to comfort him, she presses back. Not only is she unwilling to compromise her own feelings in order to satisfy Tyler’s needs, Burnham knows from her own experience that personal forgiveness can only come from within.

Not long after Discovery’s return to the Prime Universe, the ship is suddenly boarded by a party consisting of Admiral Cornwell, Sarek, and contingent of security officers.

From Starfleet’s perspective, Discovery was destroyed nine months ago in a battle with Klingon forces, and the sudden reappearance of the ship is suspicious to say the least. Cornwell and Sarek quickly learn what happened, Sarek confirming the story via a mindmeld with Saru. (Unfortunately this sequence seems to confirm that the “real” ISS Discovery — and the “real” Captain Killy — were destroyed by Klingons while our Discovery was away.)

Given her romantic history with Prime Lorca, Cornwell feels particularly betrayed by Mirror Lorca’s deception. In a fun moment, Cornwell takes out her frustration on Mirror Lorca’s omnipresent bowl of fortune cookies by wordlessly vaporizing it with her phaser.

Once everyone’s up to speed, it’s time to make contact with Starfleet. Because of its position deep in Federation space, Starbase 1 is the surest bet, but when Discovery arrives it finds the base in Klingon hands, the 80,000 people stationed there almost certainly dead.

Shaken by the tremendous loss of life and the knowledge that Earth is in the Klingon crosshairs, Cornwall engages L’Rell in a frank conversation about the state of the war. L’Rell is quietly proud to hear that the Klingons are winning the war, but also disturbed to learn that the calls to unification preached by T’Kuvma have been thrown aside.

This isn’t a conversation framed around surrender or an attempt to convert L’Rell into an ally, it’s a chance for Cornwell to confirm that her upcoming course of action is appropriate. As Sarek so stoically articulates, conventional Federation tactics aren’t working, but it’s the principles underlying those tactics that Cornwell has sworn to uphold.

Cornwell doesn’t take lightly the prospect of bending those principles by enlisting the assistance of a genocidal tyrant, and L’Rell’s “help” in this regard is critical.

And just what will these bent principles get the Federation? A plan to save Earth built on the back of ill-gotten knowledge about how the Klingons in the Mirror Universe were defeated.

Burnham and Georgiou devise a plan to bring the fight not just to the Klingon homeworld, but into it. In what will be Starfleet’s first trip to Qo’noS since Jonathan Archer and the Enterprise NX-01 crew visited in the 2150s — calling out the plot of 2001’s “Broken Bow” — and Discovery will use its spore drive to jump into one of the many large caverns within the planet.

Once inside, it will secretly map the planet’s orbital defense grid and surface military installations, then use this information to launch a surprise attack on these strategic locations. According to Georgiou, the attacks will draw the attention of the Klingon war effort away from Earth and back toward home.

But before Discovery can jump to Qo’noS, it needs to replenish its supply of mycelial spores. No longer able to cultivate any spores aboard the ship, Stamets pulls a rather large deus ex machina out of his pocket in the form of an experimental terraforming plan. Using his one remaining mycelial sample and whole bunch of specialized terraforming equipment that was apparently aboard the ship the whole time, Stamets is able to grow enough spores to make the jump.

Given how quickly the terraforming takes place, this technology must be a precursor to the Genesis program developed by Dr. Carol Marcus in The Wrath of Khan.

As the final piece of the plan to get Discovery to Qo’noS, Admiral Cornwell introduces the ship’s new captain: Philippa Georgiou. Her uniform may have changed, but that smirk tells all; this woman is a Terran through and through.

Because all information on the Mirror Universe has been deemed classified, Cornwell announces that the Georgiou sitting in the captain’s chair is in fact the same woman who was thought killed at the Battle of the Binary Stars. I have to assume the crew of Discovery isn’t fooled by the story — but with the look of shock on Detmer’s face, the only bridge officer besides Burnham and Saru to serve on the Shenzhou, it’s difficult to tell know where she stands.

That Emperor Georgiou was beamed aboard the ship is known only by a few crewmembers, but surely the existence and proximity of Emperor Georgiou was widely known. It doesn’t take much to put two and two together.

With that in mind, Cornwell’s announcement seems to have more value as a statement for the official record than it does as a cover story for those aboard Discovery during the mission.

Given how nicely “The War Without, The War Within” tied together all the major story elements of the season, I can only expect that next week’s finale, “Will You Take My Hand?,” provides satisfying conclusions.

Based on the preview, it looks like the finale is going to be a sleek, exciting ride. We may have lost Leather Lorca, but the way she struts around in that black trench coat, it appears that Leather Georgiou will be a worthy replacement.

Review: La-La Land’s DEEP SPACE NINE, Vol. 2 Soundtrack

As we’ve come to expect from every La-La Land Records release, their latest massive Star Trek music compilation is not just an amazing collection of Star Trek music for fans, but a catalog of its history. Star Trek: Deep Space Nine Collection — Volume 2 features an impressive array of music from episodes throughout the series’ seven-year run and is a perfect companion (and an even deeper dive) to the original Volume One release.

The four-disc collection includes a comprehensive 40-page booklet with interviews from each of the sets composers that not only breaks down how they approached their work in the Star Trek universe, but also provides specific track-by-track references so you can easily identify where the music from each selection was heard and in what context.

Overall the well-packaged collection features 105 tracks, with music ranging from the normal moody scene sets lying underneath character-building dialogue to big brassy space battles that punch up the action. As they usually do, the La-La Land curators have also included several rarities and alternate tracks that work with varying degrees of success.

The bulk of the music in this release comes from Dennis McCarthy (the man responsible for the superb DS9 score that can be heard supporting the original music of dozens of tracks included here) and Jay Chattaway, who were the series’ dominant composers. Also featured in the release are David Bell, Paul Baillargeon and Gregory Smith, who all make strong contributions.

Obviously, for a release like this, fans are coming for the music, but reading the comprehensive linear notes is a thoroughly enjoyable education in scoring Star Trek on television.

“In order to cut through all the sound effects that Star Trek used all the time, you had to have a lot of brass energy, so we had a huge brass section,” said Chattaway, refencing the 50-piece live orchestra so notably used (at no small expense) throughout the 1990s on televised Trek.

“(French horns) were very much the voice of space in the Star Trek universe,” said Smith, whose standout inclusion in this set is his “Honor Among Thieves” suite. “Those horns blend with strings and other things and can play quietly as well as being big and splashy when you’re in that external space shot and they join in with trumpets and trombones.”

In the booklet, all five composers eloquently described the challenges of scoring for Star Trek, which usually required staying underneath the dialogue and characters, and then quickly adding emotional heft to the brief special effects shots in space.

“I think if I was ever going to write a book about scoring, I would call it Six Seconds in Space, because those are the only times we got a chance to let the music really soar,” noted Chattaway. “Since many of the Star Trek shows were character driven, there was a lot of dialogue; when we got to the end of the dialogue scene they’d cut out to space and then we’re either scoring a ship battle or a fly-by or something active and that’s where we could really exploit the orchestra.”

Added Bell, “In general, I found that doing less is more. When there were moments of deep emotion I would try and stay out of the actor’s way and not spoon-feed the viewer what I thought they should be feeling.”

Disc One of the set includes music exclusively from Dennis McCarthy, while Disc Two is all Jay Chattaway. The complimentary contrast between the two iconic Trek musicians is notable to any serious fan of Star Trek composers.

McCarthy scored 256 episodes of Star Trek in his career, as well Star Trek: Generations, and his work here is distinctively his, especially in the back-to-back suites from “For the Uniform” and “Blaze of Glory,” where five unique tracks highlight the conclusion of the Eddington Arc. His work is expertly showcased in the sweeping “No Javert, Me” and then the action-packed “The Mighty Bong,” in consecutive tracks.

Chattaway’s contributions include the comprehensive seven-track suite from the renowned season-six episode “Tears of the Prophets,” in which the action of full-out space battles is countered by the heart and emotion of Jadzia’s death. “Let the Battles Begin” from this suite is one of the best and most powerful anthems in the collection and is Chattaway to the core (with big thumping brass that is reminiscent of his work on Voyager).

“If you try to step out too much – if it becomes too much about you and your music – that’s not really what the job entails. It’s about being supportive to what’s on the screen,” said Chattaway about his work on DS9.

Disc Three features work from David Bell, Paul Baillargeon and Gregory Smith, with the standout suite coming in the form of Bell’s three tracks from the massively underrated episode, “Treachery, Faith and the Great River.” Listen to this suite and you will be transported to the cockpit of a runabout navigating an icy asteroid field.

Disc Four of the collection is a mixed bag of selections labeled as “The Dark Side, Holo-Fantasies & Odds and Ends.” Without question, the highlight of this final disc is the inclusion of nine tracks from Chattaway’s work on “Badda-Bing, Badda-Bang,” which is laced with a fun, casino-era vibe from the 1960s. (The odds and ends from this selection, however, featuring a handful of extra alternate takes from the episode are basically just filler.)

With vast array of music covering every nook and cranny of seven seasons of Star Trek: Deep Space Nine, this latest soundtrack compilation from La-La Land Records is an unequivocal success.

Star Trek: Deep Space Nine Collection — Volume 2 soundtrack is available now at the La-La Land online store for $59.98.

BOOK REVIEW: Discovery — “Drastic Measures”

It is 2246, ten years prior to the Battle at the Binary Stars, and an aggressive contagion is ravaging the food supplies of the remote Federation colony Tarsus IV and the eight thousand people who call it home.

Distress signals have been sent, but any meaningful assistance is weeks away. Lieutenant Commander Gabriel Lorca and a small team assigned to a Starfleet monitoring outpost are caught up in the escalating crisis, and bear witness as the colony’s governor, Adrian Kodos, employs an unimaginable solution in order to prevent mass starvation.

While awaiting transfer to her next assignment, Commander Philippa Georgiou is tasked with leading to Tarsus IV a small, hastily assembled group of first responders.

It’s hoped this advance party can help stabilize the situation until more aid arrives, but Georgiou and her team discover that they‘re too late—Governor Kodos has already implemented his heinous strategy for extending the colony’s besieged food stores and safeguarding the community’s long-term survival.

In the midst of their rescue mission, Georgiou and Lorca must now hunt for the architect of this horrific tragedy and the man whom history will one day brand “Kodos the Executioner”….

Star Trek: Discovery’s novel line continues this Tuesday with Drastic Measures by Dayton Ward, which dives into the characters of Gabriel Lorca and Phillipa Georgiou and gives us the full history of the Massacre of Tarsus IV, referenced in The Original Series episode “The Conscience of the King.”

If you are a fan of Discovery these novels should be considered indispensable, as they provide additional character depth, exploration of the themes of the show – and even hint at an answer to one of the show’s biggest questions! Despite being set ten years before the events of the show, this book is a timely companion to some of the ideas that Discovery has explored in recent weeks.

Unfortunately, it’s impossible to talk about this book without spoilers, and so here is your warning – if you don’t want to know what happens in Drastic Measures or how it ties into the show, stop now, go and read the book, and then come back!

WARNING: SPOILERS BELOW!

The big question everyone is asking about this book following the revelation in recent weeks that the Gabriel Lorca we have been seeing in Discovery has actually been the Lorca from the Mirror Universe has been – which Lorca is in this book? And I’ll give you the answer – he’s 100% Grade A Prime Lorca.

As we know from “What’s Past is Prologue,” Mirror Lorca entered the Prime Universe about two years prior to the events of the episode, and with Drastic Measures set 10 years before “The Battle of the Binary Stars,” we’re introduced for the first time to Lorca’s Prime counterpart.

Ward does a stellar job of introducing the character, making Prime Lorca feel familiar and yet different, and providing lots of directions for the character to be interpreted differently should be re-appear at any point in Discovery’s future.

One of the most interesting elements of the Mirror Universe, which is explored in Discovery as Burnham grapples in “The Wolf Inside” with blending in with the universe around her, is how different we really are from our darker reflections. Ward takes this idea and, without using the Mirror Universe, applies it to Prime Lorca in this novel.

Lorca’s behavior and motivations in the book have a number of similarities with Mirror Lorca, but they are driven by the trauma and rage he experiences when his partner is murdered as part of Kodos’s plan to reduce the colony’s population to extend its food supplies. Ward poses the same questions as the earlier arc of Discovery did for the character before we knew his origins – during a time of strife, how much morally questionable behavior is acceptable?

It’s a question that Lorca grapples with throughout the novel, but ultimately, he does not submit to the darker excesses of his Mirror counterpart. While there may be similarities between the characters as Lorca works through his rage and grief at the loss of his partner, he chooses not to cross the lines that his Mirror counterpart doesn’t think twice about.

The book’s release is also particularly timely because it allows us to compare the Empress Georgiou we have spent time getting to know over the past few weeks on Discovery, and Prime Georgiou, who makes a welcome return in this book.

Despite only being a Commander in this novel, Georgiou has all the commanding hallmarks of the character we met in the pilot episodes of Discovery. She stands in stark contrast to the Empress of the Mirror Universe, who is driven by the conquest and rules by fear.

The Prime Georgiou of this novel is ultimately a humanitarian, driven by a need to serve and do good that pushes her to her limits as the crisis on Tarsus IV unfolds. This is a Georgiou who cares about everyone, including a little girl that she develops a relationship with that goes on to make a nice framing story for the novel.

In addition to the character work for Lorca and Georgiou, we get the full story of the Massacre at Tarsus IV, of which a young James T Kirk (who makes a brief cameo appearance) is one of the survivors. “The Conscience of the King” is a heady, suspenseful episode of the Original Series, but its description for the events on Tarsus IV never really made a ton of sense given the later depictions of how well-connected the Federation is.

Ward does a great job taking what little we know from canon about the massacre and spinning the story out from there, reconciling the early season one episode with the wider Star Trek canon that has since developed. Kodos is an interesting figure who gets some attention in the book, though Ward appears to hesitate in pushing farther with the idea that Kodos is driven by additional motives that go beyond making a difficult choice to avoid a disaster.

Finally, that coda! Reminiscent of Marvel movies’ inclusion of a short after-credits scene to tease the next movie, this book has a short scene right at the end that creates a lot of exciting possibilities for Discovery. Whether it’s something that play out on television or in tie-in media — such as the next novel, “Fear Itself,” coming in June from author James Swallow — will have to remain to be seen, but you will not want to miss it.

Ultimately, Ward does a smashing job with Drastic Measures and justifies his position as one of the top Star Trek authors, presenting an exciting Star Trek story that deep dives into fan favorite Discovery characters, and providing additional world-building that continues to build upon the Star Trek universe.

What more could you possibly hope for?

*   *   *

If you liked Drastic Measures, you should check out:

  • Desperate Hours by David Mack – The first Star Trek: Discovery novel is set one year before “The Vulcan Hello” and dives deeper into the Burnham-Spock relationship, with plot threads for Georgiou, Saru, and an appearance by Captain Christopher Pike’s USS Enterprise!
     
  • Headlong Flight by Dayton Ward – A fun standalone Star Trek: The Next Generation novel, Headlong Flight continues the story of Captain Picard and the Enterprise-E as they find themselves caught up in cross-dimensional capers.
     
  • From History’s Shadow by Dayton Ward – A fun, irreverent novel with a pulpy mid-century sci-fi vibe that weaves together many of the known encounters between 20th century Earth and aliens from the Star Trek universe.

Novel #4:
"The Way to the Stars"


Novel #5:
"The Enterprise War"


Novel #6:
"Dead Endless"


Spoiler Discussion: “The War Without, The War Within”

The newest episode of Star Trek: Discovery — “The War Without, The War Within” — has just debuted, and we’re sure you’re ready to dive into a discussion on all the events that just took place.

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 episode, that’s your last warning!

This thread will remain open until our episode review is posted, later this week.

Novel #4:
"The Way to the Stars"


Novel #5:
"The Enterprise War"


Novel #6:
"Dead Endless"