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BREAKING: Simon Pegg Co-Writing STAR TREK 3

It’s been a tumultuous few weeks for Star Trek 3 — after Bob Orci was replaced with Fast & Furious director Justin Lin in December, fans began to question if co-writers JD Payne and Patrick McKay would remain on board the Enterprise for the upcoming 2016 film.

News has broken tonight that actor Simon Pegg — who has taken over the role of Chief Engineer Montgomery Scott in the new films — will be taking a stab at the Trek 3 script, alongside Bad Robot-contracted writer Doug Jung, who also created the TNT cable series Dark Blue.

Pegg has written or co-written several big-budget films, including The World’s End, Paul, Hot Fuzz, Shaun of the Dead, and several episodes of the critically-acclaimed British television series Spaced.

.   .   .

We reached out to writers Payne and McKay earlier this week, after rumors began swirling around Pegg’s script involvement, but they declined to comment.

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Source: Deadline Hollywood

 

REVIEW: Deep Space Nine — “The Missing”

The entire sector is waiting to see what the newly reopened Bajoran wormhole will mean for the shifting political landscape in the Alpha Quadrant.

On Deep Space 9, Captain Ro Laren is suddenly drawn into the affairs of the People of the Open Sky, who have come to the station in search of sanctuary. Despite the opposition of the station’s security officer, Jefferson Blackmer, Ro Laren and Deep Space 9’s new CMO, Doctor Beverly Crusher, offer the People aid.

But when Dr. Crusher’s highly secure files are accessed without permission—the same files that hold the secrets of the Shedai, a race whose powerful but half-understood scientific secrets solved the Andorian catastrophe—the People seem the likeliest suspects.

As tensions rise on the station, the science vessel Athene Donald arrives as part of its journey of exploration. The brainchild of Doctor Katherine Pulaski, this ship is crewed by different species from the Khitomer Accords and the Typhon Pact.

Pulaski’s hope is that science will do what diplomacy has not: help the great powers put aside their hostilities and work together. But when the Athene Donald is summarily stopped in her voyage by the powerful vessel of a hitherto unknown species, Pulaski begins to wonder—will this first contact bring her crew together or tear them all apart?

Order The Missing:

“I know,” Pulaski said with a laugh, “that I’m not the kind of person to attract confidences. So I appreciate your trust. I’ve always felt that because of that brief time I spent on the Enterprise that people … I don’t know … put us into competition somehow. Compare and contrast us. But I was always more than chief medical officer on the Enterprise.”

“I know exactly how you feel,” said Crusher.

*   *   *

I have long been a fan of Una McCormack’s Star Trek work. The first of her novels that I read was the outstanding Deep Space Nine novel The Never-Ending Sacrifice. From that moment on, I was hooked. McCormack has a way of getting to the core of what a story is about, with redemption being one of her favorite topics, and The Missing is no exception.

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There are a number of plotlines that make up the story of The Missing. First, the Olympic-class science vessel Athene Donald is embarking on a civilian mission of exploration. Aboard the Athene Donald is Katherine Pulaski, the one-time chief medical officer of the Enterprise-D, as well as one of the “co-conspirators” in devising a cure for the Andorian reproductive crisis. The mission of the vessel is to bring together various species in the spirit of peaceful cooperation in scientific endeavors.

At the same time, a ragtag fleet of starships arrives at Deep Space 9, populated by a group calling themselves the “People of the Open Sky.” Meanwhile, a Cardassian civilian petitions Odo to act on her behalf in repatriating her son, a prisoner of the Romulans since the end of the Dominion War, along with a number of other Cardassian POWs.

Una manages to stitch each of these stories together quite well, creating a “day in the life” feel on this new Deep Space 9, a feeling that has been missing for some time. In many ways, The Missing felt like an actual episode of DS9.

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While I didn’t quite enjoy The Missing to the same extent I liked McCormack’s previous outings — including Hollow Men, The Never-Ending Sacrifice, Brinkmanship, or my favorite Trek novel of 2013, The Crimson Shadow The Missing is still very well-written and engaging. With Una McCormack, I tend to set the bar very high, and even her weakest novel is still miles above most others!

Earlier, I mentioned that Una McCormack likes to deal with redemption in her novels. In The Missing, a highlight for me was the character of Peter Alden, a character that was first introduced in Brinkmanship. His character arc surprised me by being one of the great parts of this novel. His relationship with unwitting Tzenkethi defector Corazame (also from Brinkmanship) was a touchstone of the character work in The Missing.

The contrasting ideas of politics and conflict versus the ideals of exploration and discovery have been a central theme in Star Trek novels lately, and that contrast was played out very literally in the character of Peter Alden.

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Final thoughts:

The Missing brings us back to Deep Space Nine in a way that made the series great. More than any other Star Trek series, the premise of DS9 allowed for “day-in-the-life” vignettes and on-going story arcs, and The Missing showcases those features expertly.

I very much enjoy Una McCormack’s writing, and I love that she feels free to experiment with different styles of narrative. For example, each chapter in The Missing begins with a personal log entry by Captain Picard, discussing various aspects of discovery and exploration. Each log entry set the tone for the chapter, bringing the story together in a fun and interesting way.

For this and many other reasons, The Missing was definitely a joy to read.

EXCLUSIVE: “Sins of the Father” Deleted Scenes!

Back in 2013, we featured several exclusive cuts of deleted footage from episodes of Star Trek: The Next Generation – TrekCore’s features even inspired the research team at CBS to include high definition restorations of lost footage on the last several TNG Blu-ray releases – and now we’re back with a brand-new look into the classic Season 3 episode Sins of the Father!

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This tape of “Sins of the Father” is dated February 5, 1990, and like the other VHS recordings in this series, it contains an early, unfinished copy of the episode, with missing visual effects, music, and voice-over audio.

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In addition to several scenes featuring slightly different camera angles, this “Cut 4” also includes ten additional scenes cut from the broadcast version of the episode! We’ve been provided a copy of the original VHS transfer, and we’re happy to share an exclusive cut-down package highlighting the six most prominent deleted scenes – in proper context with the finished episode – along with a scene-by-scene breakdown!

TEASER, SCENES 03 – 04

Our take: This extended version of Kurn’s arrival to the Enterprise doesn’t add much to the overall plot of the episode, but it does serve to highlight the differences between Starfleet and Klingon command styles.

It also shows us why Kurn was so annoyed at Wesley’s delay to get the ship moving – he actually had to ask the Acting Ensign twice.

ACT TWO, SCENES 14 – 15

Our take: Another short addition to the show – Worf’s uncontrolled outburst towards Picard; Kurn proudly orders Wesley to take the Enterprise to Qo’nos, and the Acting Ensign swiftly complies.

It’s not much, but it’s nice to some emotional extensions to the scenes.

ACT TWO, SCENE 20

Our take: This scene is a very interesting one: it’s the viewer’s first visit to Qo’nos – the Klingon homeworld – and it’s obviously Riker and Picard’s first visit as well.

“There was a time when just being here would’ve meant a death sentence.”

That line, from writer Ronald D. Moore, is one that really calls back to the Klingon Empire of the Original Series – one at war with the Federation. It’s a reference that we would have loved to remain in the episode. It also gives explanation to why Riker beams down, does nothing, and then returns to the ship in the final cut.

The second part of the scene, where Worf tells Picard to head back to the ship when the proceedings get underway, also serve to explain why he and Riker seem to just disappear when things start heating up.

ACT THREE, SCENE 24

Our take: Picard and Riker beam back up to the ship. Again, this short cut was probably made for time’s sake, but it does fill in some continuity gaps.

ACT THREE, SCENES 36A – C

Our take: Now this footage is something that would have been a GREAT addition to the final episode. We learn that the Enterprise has been denied access to the Klingon planetary internet – on Duras’ orders – so Geordi decides to just hack the system!

It’s a funny bit of dialogue – in a fairly dark episode – and it shows a side of by-the-book La Forge that we almost never get to see. The Klingon “information net” comes into play later in the episode when the crew searches for Kahlest’s address in the First City.

ACT THREE, SCENE 37

Our take: An extension of Duras’ offer of protection to Kurn – promising to keep his relationship to Worf secret and offering up the command of a ship.

We can only imagine that these cuts were made for time – it’s pretty tempting offer, and it shows that Duras was willing to go to great lengths to turn Kurn against Worf.

ACT FOUR, SCENE 47

Our take: In this extension to Picard’s introduction as Cha’DIch, Duras puts out a lot of bluster to block him from assuming the role – until K’mpec shoots him down in front of the rest of the High Council.

He may be ready to fight, but he still respects the authority of the Chancellor.

ACT FIVE, SCENES 57 – 60

Our take: These added sections to Picard’s visit with Kahlest clear up some of the logistical questions about the Khitomer attack – Worf and Kahlest were separated from Mogh and Worf’s mother, so it explains a bit why they survived but Worf’s parents didn’t.

The cut-down section of their post-fight conversation was probably a good edit. Saying that K’mpec wanted to sleep with Kahlest lays his desires on a little thick, where “I caught his eye back then” works as a much more subtle bit of innuendo.

ACT FIVE, SCENES 61 – 63

Our take: This is a BIG cut: Kahlest actually announces Mogh’s innocence right on the floor of the High Council chambers! Instead of K’mpec and Duras just covering up her testimony, as seen in the final cut of the episode, this makes it look like the entire High Council – and observers of the court – work together to completely ignore her claims.

The second half also raises some interesting questions: how would Picard protect Kurn from the wrath of the High Council, should his relationship to Worf become public knowledge?

ACT FIVE, SCENE 64A

Our take: This brief conversation between Kurn and Worf feels like something that was cut to minimize the serialized nature of the Worf-vs-Duras storyline: Kurn predicts that Worf will one day return to beat the charges against him; Worf promises that Kurn will be standing with him on their day of victory.

It’s a lovely moment – and one that would have fit in perfectly with the final version of the episode – but it doesn’t work for a show that was struggling to stay as standalone as possible.

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In the meantime, we’re eager to hear your feedback about this newly-recovered footage cut from “Sins of the Father”, so tell us your thoughts in the comments below!It may have taken us a while, but our TNG workprint project is back in business — and yes, there’s still more to come!

Star Trek TNG S7 Blu-ray: Deleted Scenes, Part II

We’re back with the next round of deleted scenes from TNG Season 7, exclusively available on the new Blu-ray release!

On the Blu-rays, each cut sequence is featured in context with clips from the final episode, and we’ve got a full breakdown and analysis of the first scenes below.

Episode 7.07: “Dark Page”

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Scenes 43 & 44: Deanna and Lwaxana flash back to Kestra’s death.

This brief snippet shows more of an overwhelmed Lwaxana and Ian Troi, bawling with grief. Not much here.

Episode 7.07: “Dark Page”

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Scene 48: Lwaxana tells Deanna about her big sister, Kestra.

In a lovely extension of the final scene in Lwaxana’s quarters, the elder Troi describes how she worked to keep Kestra’s existence a secret, by asking Ian never to speak of their first daughter. Deanna also reports that she spoke to Mr. Homn, who sent a photo of Kestra to the Enterprise for Lwaxana to remember.

This conversation would have been nice to see in the final episode, and was likely removed for the sake of time. Lwaxana’s regret over her efforts to hide Kestra from the world really come through here, and her description of how loving Kestra was with the then-infant Deanna serves to add more depth to a character we barely see on-screen.

Episode 7.10: “Inheritance”

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Scene 3: Juliana Tainer tells Data about his father, Noonien Soong.

Tainer gives Data an idea about how Soong worked to make his android creation as human as possible, describing a failed attempt to program Data with an occasional bought of hiccups.

It’s an amusing anecdote, imagining Data being distracted by hiccups, but the fact that the tale ends with Julianna convincing Soong to “forget it” leaves this as a fairly irrelevant bit of history.

Episode 7.10: “Inheritance”

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Scene B8: Data looks to Counselor Troi for advise.

Data expresses his concern that Juliana’s interest in him seems to be “unlimited,” allowing Deanna to compare her affections to Data’s own attention spent on his deceased ‘daughter,’ Lal.

While it’s largely a duplication of material presented elsewhere in the episode, it does explain why Data tells Julianna he’s going to visit Troi — and then the episode just cuts to Data elsewhere on the ship. One wonders why the reference to visiting Troi was kept in the final cut of the episode.

Episode 7.10: “Inheritance”

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Scene 15: Juliana talks about the powerful effects of guilt.

A minor extraction from their conversation in Ten Foward, Juliana begins to explain how guilty she felt for leaving Data behind on Omicron Theta — but she knows Data can’t understand the emotional impact guilt can have on someone.

It’s a tiny cut, and it really just serves to tighten up the dialogue in Ten Forward.

Episode 7.10: “Inheritance”

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Scene 31: After their recital, Data’s friends congratulate the pair on their performance.

While Picard and Beverly express their praises to Juliana — where they “see where Data gets his musical talents” — Data gets an unexpectedly warm welcome-to-the-family sentiment from Pran Tainer, Juliana’s husband, who has expressed his anti-android preconceptions elsewhere in the episode.

These are some nice bits of character work, but their removal allows Data go right from the end of the performance directly to sickbay, where he tells Crusher of his suspicions about Juliana’s true identity.

 

Episode 7.11: “Parallels”

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Scene 44: The senior staff discuss the implications of Data’s quantum reality theories.

As Data gives some examples of how things could be different in these alternate realities through which Worf has been shifting, Beverly tries to wrap her head around the thought that there are an infinite number of Dr. Crushers which could be having the exact same conversation.

Parallel universes were a relatively new concept to the general viewing audience when “Parallels” aired back in 1993, so it’s understandable why episode writer Brannon Braga wanted to include as much explanation in the script as possible — but the trim made here allows the discussion to move along quickly without “hand-holding” the audience through what’s happening on-screen.

Episode 7.14: “Sub Rosa”

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Scene 1: Beverly eulogizes her beloved, deceased grandmother.

At Felisa Howard’s funeral, Beverly talks about her memories of her grandmother’s cooking, and that she was writing a cookbook when the passed away. She then proceeds to read, out loud, Felisa’s entire gingerbread recipe, which includes descriptions like “a happy oven” and “a welcoming pan.”

This may have been a good idea on paper, but watching Gates McFadden read an entire recipe, including metric measurements for each ingredient, seems to take forever and its removal makes the opening sequence pass by much more smoothly.

Episode 7.14: “Sub Rosa”

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Scene 1: Beverly eulogizes her beloved, deceased grandmother.

At Felisa Howard’s funeral, Beverly talks about her memories of her grandmother’s cooking, and that she was writing a cookbook when the passed away. She then proceeds to read, out loud, Felisa’s entire gingerbread recipe, which includes descriptions like “a happy oven” and “a welcoming pan.”

This may have been a good idea on paper, but watching Gates McFadden read an entire recipe, including metric measurements for each ingredient, seems to take forever and its removal makes the opening sequence pass by much more smoothly.

Episode 7.14: “Sub Rosa”

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Scene 19: Ned Quint tries to warn Beverly about the strange happenings on Caldos II.

Ned Quint, Felisa’s groundskeeper, warns Beverly about her childhood home being haunted by ghosts, and all the unexplainable things he’s seen around the colony.

This one’s a little much, and it’s hard not to roll our eyes at the actor who leans a little bit too deeply into a stereotypical spooky Scottish role, approaching Groundskeeper Willie territory. This one was cut for good reason.

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There’s plenty more to come, as we’ve still got eight more episodes worth of deleted scenes in Season 7 — stay tuned!

TOS Remastered Syndication Episode Trailers Online!

We’ve scoured the Internet, and with some help from some of our readers (including Simon of The Engage Podcast), we now have 52 of 80 syndication episode trailers for the remastered edition of Star Trek: The Original Series online at our YouTube channel!

https://www.youtube.com/watch?list=PL5zwq76EsRxpKgfFzNjXHn_OBSOFLgAe9&v=M3BwPvjTSxQ

https://www.youtube.com/watch?list=PL5zwq76EsRxp_jiCccVNAh71YeDrSzhja&v=l8jr8Nvz3sI

https://www.youtube.com/watch?list=PL5zwq76EsRxoJbp5jzBJ-83L7StGwyzI8&v=DqEwQ3ZBl3E

But there’s still 28 trailers missing, and we’re asking YOU to help us complete the series!

1×03 – “Mudd’s Women”
1×04 – “The Enemy Within”
1×14 – “Court Martial”
1×29 – “Operation: Annihilate!”

2×04 – “Who Mourns for Adonais?”
2×08 – “The Changeling”
2×09 – “The Apple”
2×16 – “A Private Little War”
2×18 – “Obsession”
2×21 – “By Any Other Name”
2×24 – “The Ultimate Computer”
2×26 – “Assignment: Earth”

3×01 – “Spectre of the Gun”
3×02 – “Elaan of Troyius”
3×04 – “The Enterprise Incident”
3×07 – “Is There in Truth No Beauty?”
3×08 – “The Empath”
3×11 – “Day of the Dove”
3×14 – “That Which Survives”
3×15 – “Let That Be Your Last Battlefield”
3×16 – “Whom Gods Destroy”
3×17 – “The Mark of Gideon”
3×18 – “The Lights of Zetar”
3×19 – “The Cloud Minders”
3×20 – “The Way to Eden”
3×21 – “Requiem for Methuselah”
3×22 – “The Savage Curtain”
3×24 – “Turnabout Intruder”

These trailers aired in syndication with the remastered episodes from 2006 to 2009, and also appeared on iTunes as part of the official StarTrek.com podcast feed — but they were not included in either the 2007 HD-DVD release of TOS Season 1, or the 2009 Blu-ray release of the full series.

If you have any of the episode trailers listed below, please comment and let us know!

Trek Comics Review: “The Primate Directive #1”

Our Trek Comics editor Patrick Hayes is back with a review of this month’s issue of IDW Publishing’s new Star Trek crossover comic series: the first chapter of “The Primate Directive,” where the Enterprise crew finds the Planet of the Apes!

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Order The Primate Directive #1

There are a whopping eight covers for you to hunt down! Good luck, humans!

  • The A cover is illustrated by interior artist and colorist Rachael Stott and Charlie Kirchoff. It’s a close-up of General Marius smiling as he holds up a shredded Starfleet captain’s tunic. This image was used a lot in promoting this book and deservedly so. A simple idea executed perfectly to show these two franchises have collided. Excellent detail in his face and love the contrasting orange background with the captain’s yellows.
  • Juan Ortiz, following up his excellent cover run on the recently completed Star Trek: Harlan Ellison’s The City on the Edge of Forever has created this cover featuring the classic image of the buried Statue of Liberty with a tiny Kirk beaming down before it. The lettering is set off by the grey, black, and white imagery. Excellent! I’m hoping that Ortiz does more covers for this series.
  • The subscription cover has an absolute insane amount of detail from George Perez’s pencils and Len O’Grady’s coloring. The Enterprise crew and Charlton Heston’s Taylor are cornered in a cave by an army of Klingons and apes. Kor is aiming his phaser at Taylor who’s responding in kind with his rifle. Naturally Kirk is fighting hand-to-hand with Marius. Gorgeous art and coloring.
  • Next up is the sketch cover. Rather than just the typical white space and title, this contains an image of the Enterprise firing upon a Klingon cruiser. I’m becoming a big fan of these sketch covers and love the extra bit under the title. I can’t give a blank cover a high grade, because it’s empty, but this is the cover I picked up.
  • Retailer incentive cover A is the same as the subscription cover, but without O’Grady’s contributions. This is a great way to see George Perez’s artwork in its original state. I’m glad IDW and BOOM! did this variant.
  • Shown as a teaser at this year’s San Diego Comic-Con is retailer incentive cover B, featuring art by Tone Rodriguez with colors by Kirchoff. This has Marius wearing a captain’s uniform while sitting in the captain’s chair. He snarls at readers, holding his wooden club. His bulk is too big for the uniform as it’s torn at his upper right arm. The coloring is good with the ship lit red for its status, making the yellow of the tunic pop.
  • The first retailer exclusive cover can be found at ThinkGeek.com. The art by John Midgley has the Starfleet delta rendered in a red outline on a black field. Within it is Marius glaring. Another simple idea made perfectly.
  • Stott provides the art and Kirchoff the colors on the second retailer Eexclusive, this one for NerdBlock.com. Kirk and Spock are on patrol in a forest, their phasers drawn for anything they encounter. If only they had looked up. Five gorilla soldiers are in the process of jumping down on them. I don’t like the coloring on the apes. The two closest look as though they’re white, while those in the far back are grey. Using blue as a background makes the apes and tree blob up against it.

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Scott Tipton and David Tipton’s story begins in a ape structure, as a Klingon in shadows show General Marius a better rifle than “those wood-carved stone-throwers you’re used to firing.” The gorilla approves of the weapon but doesn’t know if he should trust the alien. “Why shouldn’t you? As long as you have the means to take control, does it matter from where the means come?” After firing a few test shots at the wall, Marius agrees. The Klingon raises his fist in joy. “With my help,” he says, “you’ll have this entire planet writhing beneath your heel. It’ll be glorious…”

Meanwhile at a Klingon communications post, Sulu and Uhura have been tasked with infiltration to see if the Federation’s foes have begun aggressive new conflicts. It was nice to see two supporting characters get some action off the Enterprise.

Back on their ship, the intel is revealed and the Enterprise is off to a new location. This new setting was interesting. However, there are four pages of discussion before proceeding further. This drawn out conversation is fine on film, but really seemed to drag. The final three pages have the crew going to the primary location of the mini-series. The ending is abrupt, closing only with visual contact of the inhabitants.

This is a foundation issue, introducing the reason why the two franchises can meet, but outside of the first three pages there’s no ape action. This is a Star Trek adventure only, so far. Next issue I’m wanting some ape interaction.

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The visuals by Rachael Stott are very good. The second page focused on Marius and she’s done a really good job on his face and uniform. The action the general is doing in the third panel seems lifted right out of the films and his emotion in the fourth is excellent. I was very happy to see the Klingons of this book be the original series’ versions — no forehead bumps — hooray!

Also neat was the subtle augmentations done to Uhura and Sulu to walk among the Klingons. It was very reminiscent of Kirk in “The Enterprise Incident.” Stott is also adept at having the characters strike familiar poses, including Spock on Pages 9, 14, 15, and 19; Kirk on 11, 14, and 19; and McCoy on 15.

Her bridge is masterfully drawn. Her ships are also well done (Pages 8, 10, 12, 13, and 17), and the devices first shown on 10 outstanding. Based on what’s presented in this premiere issue, Stott is going to make this series look great.

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Charlie Kirchoff also does good work on this issue. The meeting that occurs on the very first page happens in a darkened room, but Kirchoff smartly uses a pale violet (which is an excellent color to backlight the general’s dark colors) to denote the dark interior. The scenes in the Klingon base’s interiors are red to make them more tense, with the exteriors being cool blues and greens to calm readers into complicity.

The Enterprise has all the traditional colors one would expect, but the things it encounters in space are cinematically bright to suit their epic scale (Pages 10 – 13 and 17 – 18). Sound effects are also bright (Pages 7, 8, 11, and 12) making them strong.

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Dialogue, sounds, scene settings, whispers, captain’s log, Klingon translations, a yell, and next issue’s tease come from Tom B. Long. I’m glad he created a specific font for Kirk’s log and I look forward to what how he’s going to present the apes’ cries.

Taking the Helm: Directing STAR TREK for the Big Screen

By Rob Heyman

When I was in my mid teens – and I’ll place the year at about 1987 – it was nothing for my best friend and I to tear apart the latest Star Trek: The Next Generation episode, scene by scene, and assign a final grade based not only on the writing and acting, but also, more importantly, on its directing.

Of course, we felt we were the only two people in the universe at the time doing this type of criticism. Trying to get my parents or sister to watch Star Trek and talk about it was like asking them to watch ice melt. As two guys subsisting almost daily on a diet of Trek, Blake’s 7, Red Dwarf, and Doctor Who, it was easy to think we were pretty alone in the world at the time. Outside of a couple online BBS’s, there weren’t really easy ways to connect with others like us.

offspringFrakes directs Hallie Todd in “The Offspring.” (via Trek 365)

If you’re a young, sci-fi fan today, connecting isn’t much of a problem, relatively speaking, thanks to social media. And I must admit, despite the enormous age gulf now between me and them, I’m finding it pretty easy to spark spontaneous and sometimes accidental friendships with teens and early-20-somethings who are just as obsessive about directors and film composers as I once was, and still am. True armchair quarterbacks in the realm of cinema criticism – and shamelessly so.

I’m certainly not complaining about these welcome connections now but I often wonder if we’ve gotten to the point where we’re prejudging the prospects of a movie a little too much based solely on the choice of director. Of course those of us raised on Star Trek have good evidence for a solid defense of this obsession.

The choice of director has always been major point of discussion whenever a new Star Trek movie was announced. This is probably because Star Trek always allowed for a certain unorthodox transparency when it came to how it was put together. From The Next Generation’s open script submission policy to the voluminous production troves and behind-the-scenes dirt exposed for all to see in pre-Internet publications like Cinefantastique and others, Star Trek truly was an open-book.

meyer-shatnerWilliam Shatner and Nick Meyer on the set of Star Trek VI: The Undiscovered Country.

My fixation was The Next Generation, and in the early 1990’s Cinefantastique magazine would put out a year-end edition looking back at the previous year’s episodes and production in a frightfully honest way. Where Starlog only scratched the surface, Cinefantastique drove the blade in deep. Writer Mark Altman’s episode reviews were frank and often harsh. You learned why certain writers, directors, and composers were chosen for certain episodes, and why some were asked never to come back.

So when a guy like David Carson was selected to direct the first Next Generation movie, production fans could understand why: he directed “Yesterday’s Enterprise,” one of the series’ finest episodes. The choice of Jonathan Frakes to direct the next two movies wasn’t altogether surprising either, given his success directing several episodes of the show (and producer Rick Berman’s proclivity for giving actors a shot at the Big Chair). These were comfort choices: fans knew their names and what they would bring to the table – similar to what Nicholas Meyer promised when he was brought back to direct The Undiscovered Country – the promise of a good movie.

The choice of Stuart Baird, a longtime Hollywood editor, to direct the tenth movie, Nemesis, was an interesting one. I wasn’t surprised that Berman and company went outside the box, but there was very little evidence to predict how well it would do in his hands. What I knew of Baird comes mostly from audio commentaries he did with director Richard Donner for The Omen and Superman, both of which he edited.

stewart-bairdPatrick Stewart and Stuart Baird on the set of Star Trek: Nemesis.

My immediate impressions of Baird: he’s funny, articulate, and absolutely in love with filmmaking and film composing (his adoration for Jerry Goldsmith in The Omen is evident). Based on this, I was cautiously optimistic for Nemesis. Others no doubt felt alienated by this unfamiliar choice, and when the movie fizzled at the box office, it was easy to place blame somewhere.

Getting back to Nicholas Meyer: it comes as no surprise that his name had popped up again for the next Star Trek movie (along with Jonathan Frakes). Now largely separated from Star Trek, J.J. Abrams is leading his own herd of skeptics who have been watching his every move with the new Star Wars movie. As of writing this column, Fast and Furious director Justin Lin has been tapped to steer the next Star Trek movie, slated for release in 2016.

Perhaps there is some justification for banking on directors. Given the high cost of going to a movie and growing pressure from online streaming services, some kind of marquee name who can provide an assurance of quality is needed to bring people to the theaters, and actors and actresses just don’t seem to do it like they used to.

Bringing Bryan Singer back to helm the most recent X-Men movie no doubt put a lot of fans at ease when the news was announced. Singer, after all, launched the successful franchise in 2000. To be honest, the choice of Justin Lin has me scratching my head. On the surface, it seems to show more concern with maintaining its new-found mainstream popularity, which Abrams helped solidify, rather than a sign of respect for the history and integrity of franchise.

lin-vinVin Diesel and director Justin Lin on the set of Fast & Furious 6.

My point for this column is that we should keep an open mind when it comes to a left-field choice of director, but that’s certainly hard to do when it comes to Star Trek, which every fan feels he or she has some stock in. And that’s not just among us seasoned viewers.

Even young fans seem to have been christened at birth with a heightened cinematic awareness and understanding of what works and what doesn’t when it come to producing a genre movie. One wonders if any movie produced today can ever meet these inevitable lofty, collective expectations facing it.

EXCLUSIVE INTERVIEW: Heading Into 2015 with the Smithsonian’s USS Enterprise Conservation Project

Back in September, we spoke with Dr. Margaret Weitekamp, the lead curator heading up the Enterprise preservation project at the Smithsonian’s National Air & Space Museum.

As we close out the year, we wanted to check in and see what progress has been made so far in the three months since the Enterprise left Washington — and who’s been brought on board to assist with the preservation.

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TREKCORE: What can you tell us about how things have progressed on the Enterprise project since we spoke back in September?

DR. MARGARET WEITEKAMP: Well, as you know, we were able to take the model off display and have moved it to the Steven F. Udvar-Hazy Center where we have our Emil Buehler Conservation Laboratory.

marg-photoThat has really given our chief curator time to really get a very close look at the model and has allowed us to really narrow in on issues of paint, issues of structure, and to start planning in which directions our conservation efforts are going to go.

We really are thinking of this as conservation of – as of this week – a fifty-year old object. December 29th was fiftieth anniversary of its delivery to Desilu back in 1964, and it’s a particularly opportune moment to come back to the physical model and to think about it very specifically.

The museum has been doing its own work and evaluation which has included using UV light to analyze the paint, and to figure out where we have clearly repainted areas and where we have areas that seem to be more uniform in their paint. The top of the saucer section, for example, leads us to believe that it is original paint – it all fluoresces in the same way.

So we’ve been doing our internal work on that, which has also included some X-rays done in cooperation with the National Zoological Park. They were kind enough to send two of their veterinary radiography technicians over to the Museum and we were able to do X-rays of the saucer section – but we’re still waiting on getting those files from the zoo.

We’re hoping that the X-ray team might be able to come back in January and take a look at the rest of the Enterprise model’s structure. It turns out that it takes quite a long time to very carefully set up each of those X-ray shots, so getting complete X-rays of the saucer took the better part of the time they were with us.

enterprise-UV
Ultraviolet photography of the top of the Enterprise saucer; the original paint has started to show signs of “traction cracking” caused by shrinkage due to the age of the model. Courtesy of the Smithsonian’s National Air & Space Museum.

TREKCORE: Did you call them in because of the size of the model required specialized equipment, or was just because of their expertise?

WEITEKAMP: We used them because they are also part of the Smithsonian. We’re taking advantage of our internal resources, because their X-ray equipment is not a device that the National Air & Space Museum normally has on hand – but it’s something one of our conservators knew our colleagues had and would be able to use.

The Enterprise has been X-rayed before, but that was done by sending it out for analysis. This is an opportunity – since the Zoological Park team had a portable radiography unit – to bring the equipment in house and save us the trouble of having to move the model an additional time.

It was really interesting. You can get a good sense of the interior; all of the little penny nails and things like that. I’m excited to get some of that imagery back. It comes in very large files that are specific to the scanning system that they have; they are in the process of converting them to a more standardized image file that we can use when working with the model.

One of our photographers is excited to be able to knit those X-rays together to give us some large-scale swaths of the structure all in one view. That’s something that’s pending and that we’ll have available to us down the road.

TREKCORE: Have you been able to pull in members of the Star Trek production team, or other consultants to assist with the project? Last time we spoke you were still in the early stages of contacting people to help.

WEITEKAMP: We’ve pulled together a volunteer special advisory committee of what are basically Enterprise experts. They’re a group of people from all across the industry – we’ve been able to have a significant email correspondence, as well as a giant video conference where we could all talk about what some of the issues are with the model based on their experience.

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The Smithsonian’s “Enterprise experts” include such Trek mainstays as Andy Probert, Rick Sternbach, Mike and Denise Okuda, and Doug Drexler.

The Museum is trying to assemble as much information as we can to really create a detailed list of issues that we want to address in terms of structural stabilization, cleaning, paint issues, display concerns, decal artwork, and things like that.

We’re really trying to create a comprehensive list before we do any actual work so we’re able to plan as much as we can ahead of time.

TREKCORE: Do you have any plans for that team to be involved with the actual preservation work, or do you expect them to serve more in an advisory capacity only?

WEITEKAMP: Well, we are still making plan on how that’s going to work. John Goodson from ILM was in the area over the holidays, so I was able to take him to see the model and we had a very good discussion standing next to it.

My hope is, in the spring, that I’ll be able to bring the advisory committee to the Museum to have an in-person meeting allow them a chance to look at the model closely. That will allow them to advise the Museum on how we should plan out the actual work that needs to be done.

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The consulting team also includes John Van Citters, Vice President for Product Development at CBS Consumer Products, ILM modelmaker and digital artist John Goodson, Star Trek studio model collector Adam Schneider, and Enterprise model expert Gary Kerr.

We have not made final decisions of exactly how all that is going to work,  but I’m really delighted that these folks were willing to lend their expertise to this project, because as much as we have deep information about the model, these professionals have a lot of practical, hands-on knowledge this type of models.

It’s such a wonderful resource and we’re very grateful for their willingness and their enthusiasm.

TREKCORE: When we spoke in September, you had mentioned a concern with not just the paint, but the structural sagging affecting parts of the model. Was there anything specific that has jumped out as an immediate concern for your to-do list?

WEITEKAMP: Well, before the model came off display, we could see the two nacelles were starting to sag and spread apart slightly.

From talking with the advisory committee, I heard from a few of them that issue is a common problem with the Enterprise design. They’ve seen the sagging in other studio models, in commercial model kits, in consumer products created in the Enterprise design…

The charm of the Enterprise design is that it instantly looks like it wouldn’t well in gravity. It looks like something that needs to float in a weightless environment. The trick, then, is having a model built of wood, plastic, and little bits of metal, exist in fifty years of Earth gravity!

We’re hopeful that if we can get a good look at how the nacelle pieces are joined to the main body of the ship, we may be able to stabilize them without having to add external supports to the display. It’s been nice that the model has been able to be displayed in a very similar form to the way it was used initially; for a long time, the Museum hung it from a central point.

From the year 2000, it had been displayed on a stand at the central part of the hull, giving it that same kind of ‘floating’ look – but we’re going to have to make some decisions about the best ways to support the model, now that it’s fifty years old.

Again, we still haven’t made a decision about exactly how we’re going do to that. I want to get a better look at the joints that hold the nacelles on and think about the long-term health of the model in terms of a display plan.

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X-ray photography from a prior Enterprise preservation project. Courtesy of the Smithsonian’s National Air & Space Museum.

TREKCORE:  And the secondary X-ray passes are going to help with some of that decision-making process?

WEITEKAMP: I think it will, yes. I know that those joints are something that members of the advisory committee – when I asked them to recommend a spot on the model where they wanted to see X-rays – they were adamant to see the two joints where the nacelles go into the main hull of the ship, and how that whole area is constructed.

TREKCORE: We’ve seen some of the old X-ray photos from an earlier analysis, and they could definitely use an upgrade.

WEITEKAMP: The technology has really improved in the last fifteen years or so since those X-rays were done. The X-rays that we’re getting now are so sensitive that in some shots, we can actually see the grain in the wood!

TREKCORE: Oh, wow!

WEITEKAMP: Yeah, it’s a much more detailed and granular look at the construction, and I think that it will really help a lot. We want to be minimally invasive as we possibly can when we work with the model.

TREKCORE: Well, from what you’ve said, that’s probably as much as you’re able to share, being so early in the process…

WEITEKAMP: It really is, and it’s going to be some time before show the public these new X-rays; I’m just as eager to see the images myself!

We were very gratified that to have such support from the National Zoological Park. The folks who were doing the scans lent us not just the technology, but also a lot of expertise on the best way to set things up to get the best images.

At one point, we could see them looking the model over and thinking hard, and we asked them what they were doing. They said, “Well, we’re trying to figure out the relative density of the saucer of this model, compared to what we know about the density of animal flesh!”

They were doing some mental calculations to set up the equipment properly, and they really nailed it! We got very sharp pictures of the model, and I’m excited. It’s going to help us quite a bit, but it will be a few months before we get that processed for our use.

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The Enterprise model in its former home in the underground gift shop. Courtesy of the Smithsonian’s National Air & Space Museum.

TREKCORE: It’s really very interesting, all the work you and your team are going. We know that the fans are glad that this review of the model seems to be above and beyond the prior projects, though perhaps it’s just the technology that’s improved so much since the last time around.

WEITEKAMP: The technology has improved, and I get to stand on the shoulders of giants. I get to base what I’m doing on what my colleagues have done on the previous versions of this project.

With new technology, new expertise, and new thoughts about what the conservation techniques can be, I expect that the next curator to take on the Enterprise will do even better than I do today, because the technology will continue to improve.

Hopefully they will be able to base whatever they may do for the Enterprise in twenty years on what we do today. It’s not so much that we are ‘better’ than the folks that have come before, but it’s having the additional resources available to us, and the ability to lean on our predecessors’ work as a starting point.

TREKCORE: Well, if this project works out well, the Enterprise won’t need to be revisited again for at least a few more curators!

WEITEKAMP: [Laughs] I sure hope so, that’s my goal!

Dr. Margaret A. Weitekamp curates the Air and Space Museum’s social and cultural dimensions of spaceflight collection, more than 4,000 artifacts that include space memorabilia and space science fiction objects.

These everyday mementos of the space age – which include toys and games, clothing and stamps, medals and awards, buttons and pins, as well as comics and trading cards – complete the story about spaceflight told by the Museum’s collection of space hardware and technologies.

You can read more about the Enterprise model at the Smithsonian’s AIRSPACE blog.

If you’re in the Virginia area on January 24, Dr. Weitekamp and the Enterprise model will be participating in an open house event at the Udvar-Hazy Center, open to the general public.

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Build a Custom STAR TREK: TNG Borg Blu-ray Box (Pt. 2)

Last week we previewed an amazing custom case designed to hold the complete run of Star Trek: The Next Generation on Blu-ray, and Justin Olson is back today to teach you how to build your own!

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Printing the Artwork

Links to the artwork can be found below. They are in PDF format, already converted to CMYK color and suitable for home printing, with embedded text layers and vectorized logos wherever possible.

printoutThe box set artwork must be laser printed on five sheets of “tabloid” sized, 11 x 17 inch paper (32-lb weight).

Make sure to print the designs at 100% size. Absolutely no scaling — the artwork needs to perfectly fit the paper mâché boxes.

The booklet artwork is designed for five sheets of 8.5 x 11-inch paper and must be printed double-sided in the correct orientation and in the appropriate order, folded correctly, and then stapled and trimmed to the indicated size using the provided marks.

The booklet pages can be laser-printed or inkjet printed on double sided photo paper.

To help yourself with the folding, stapling, and cutting, I recommend using five sheets of blank paper. Fold each in half, combine them into a booklet, and write page numbers on them. Then, take it all apart to give you an example of how to fold, combine, and assemble the real booklet.

Download TNG Cube Box Artwork (86mb)
Download TNG Cube Booket Artwork (95mb)

.   .   .

Buying the Paper Mâché Boxes

The key item here you’ll need is a product made by Darice (Item # 2849-15). You can’t attempt this project without it, I’m afraid. It is a set of seven variously-sized paper mâché boxes with lids. Six of the seven boxes are nested within each other inside the largest box, so it just looks like a single shrink wrapped 9″ box with lid. This largest box is what will become the outside of the Borg cube and its base.

Inside that box is a smaller one that will hold the Blu-rays.

boxes-closed9″ and 8″ boxes.

I found the seven-piece box package at Michael’s — the largest chain of arts & crafts chain of stores in North America — for around $20. If you don’t have a Michael’s near you, it’s also available online at Consumer Crafts. Most of the other items you’ll need are in the $1 to $5 dollar range. The single most expensive item I bought was the water-based spray finish at it was $13.

Disclaimer

While the following project can be accomplished by just about anyone over a certain age, it helps if you’ve successfully completed arts & crafts projects before and are familiar with the tools and supplies listed below. If not, you might consider asking someone you know who has done things like this before to help you.

I know that might seem ridiculously obvious to point out, but I figure it’s worth mentioning anyway as a potential warning for those who might buy these supplies and all of a sudden find themselves a bit overwhelmed when it comes to putting it all together. Just use common sense.

Also, if you happen to come across this tutorial, the downloadable images provided, or a completed version of this DIY packaging for sale for any price anywhere else on the Internet, please report it to our site administrators.

This project is in no way licensed, sanctioned, or endorsed by CBS or Paramount.

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SUPPLIES NEEDED

  • suppliesPaper mâché box set
  • 3/8” square wood dowel
  • Hobby knife
  • Brush
  • Ruler
  • Right-angle triangle or square
  • 2 Spring clamps
  • Wood glue
  • 16-20 Clothespins
  • Black acrylic paint
  • Decoupage glue/sealer
  • Laser printed artwork
  • Water-based spray finish

STEP 1

Take the two largest boxes and their lids from the paper mâché box set (one measures 8 and 5/8″ wide on each side, the other 7 and 5/8″). The larger box will become the Borg cube top, and its lid will become the base everything sits on. The smaller box will hold the Blu-rays and be glued on top of the large lid, while the small lid will be glued underneath to both reinforce and add a bottom to the base.

boxes-openThe paper mâché boxes, arranged properly.

But before you glue the base together, you must first cut the two boxes to the right size.

STEP 2

Unfortunately, the larger box is not perfectly square — at least mine wasn’t. It was approximately 1/4″ too tall, so you need to trim this amount from the open end of the box (or whatever amount is required to make your box square).

Measure 1/4″ in from the box’s open ends on each side and draw a pencil line all the way around the box. Place your metal ruler on the line and secure it firmly in place with two spring clamps. Using your hobby knife, carefully score along the ruler between the clamps.

line-to-cut portion-cut-from-larger-box
Left: 1/4” line drawn around the outside of the larger box.
Right: Portion cut from the larger box.

Don’t try to cut all the way through the paper mâché material in one go, just keep scoring carefully with a fresh, sharp blade until you make it through. Do this on all four sides of the box. When you’re done, use the knife to carefully cut the remaining corners free using a sawing motion.

Your large box should now be perfectly square, measuring approximately 8 and 5/8″ on every side and in all directions.

STEP 3

Now for the smaller box — it needs to be cut down more dramatically, roughly in half. The Blu-rays fit just fine as is, but they’re very difficult to remove otherwise.

blu-rays-in-box-before-cuttingBlu-rays inside the smaller box before cutting it.

 

I cut 4 and 1/2″ from the open end of the box, leaving the box approximately 3 and 3/8″ in depth. To do this, use the same technique described above in Step 2.

NOTE: The larger the portion you decide to cut away from this box, the larger the clamps you will need to hold your ruler in place (because the ruler will be further away from the open end of the box).

smaller-box-too-big portion-cut-from-smaller-box
Left: 4 and 1/2” line drawn around the outside of the smaller box.
Right: 4 and 1/2” portion cut from the smaller box.

Instead of using larger clamps, you could also preemptively cut away most of the open end first (with scissors, for instance) which would then allow your smaller clamps to grip the ruler on the line you drew. Alternatively, you could simply use a much wider piece of flat plastic or metal with a straight edge instead of the ruler.

I chose the latter method and managed to cut the box once.

STEP 4

You’ll probably notice that when you place the larger box down on top of its lid, the bottom sides of the box “cube” appear slightly bent outward and rounded next to the straighter sides of the lid. In order to fix this and provide a snug fit around the smaller inner box, you have to construct an interior wood frame.

Take the 36″ x 3/8″ square wood dowel and cut it into four 8 and 1/8″ lengths, preferably using a powered miter saw or, if necessary, a manual saw with a miter box to make precise square cuts. If you don’t have any of these tools, see if they’ll cut the dowel for you at your local hardware store.

wood-dowels3/8” wood dowel, cut into four pieces.

Arrange these wood pieces around the base of the smaller box you cut in half, overlapping them edge to face to see what it looks like and to check the fit. This square frame should be approximately 8 and 1/2″ wide on the outside and there should be a very small amount of extra room between the wood frame and the box.

Now, you should test how it fits inside the larger box. Take the wood pieces and fit them just inside the open end of the box, again overlapping them edge to face (if you have trouble keeping them in place, temporarily tape the pieces together).

Do they fit? They should all fit in snugly (but not excessively so — you don’t want to damage the box), each overlapping the other, forcing the open end of the larger box into a more perfect square.

I found that I had to slightly shorten the pieces individually to make them fit just right; you’ll probably have to do the same. When you get them fitting the best you possibly can, try to carefully slide this larger box with the wood frame still inside it over the smaller inner box you cut in half. Does it fit snugly over it? If so, then you’re ready to glue the frame together.

wood-frame-around-smaller-box wood-frame-in-larger-box
Left: Wood dowels placed around the smaller box to check fit.
Right: Wood dowels inside the larger box.

Mark the wood pieces with numbers (1, 2, 3, 4) and put those numbers on the outside of the box as well to remind you which piece fits where. You can also mark the wood pieces where they meet to indicate how each piece should fit together.

NOTE: You may find that the smaller box is slightly warped out of shape such that you need to push in a side with your fingers every time you try to fit the wood frame over it.

This is normal. As long as you get it to slide over, you’re good to go.

STEP 5

Using your right-angle triangle or square as a guide, bring the first two wood pieces together edge to face with a small amount of wood glue brushed onto one of the ends. Put a hefty book on top of the pieces to hold them in place and let them dry.

Do the same with the last two pieces, making sure each corner is as close to 90 degrees as possible. Then glue these two separate L-shaped halves of the square together.

wood-frameWood frame assembled and glued.

NOTE: Rather than a triangle or square, I used an aluminum corner clamp to hold the pieces precisely together at 90 degrees while glued and also drilled tiny pilot holes in which I then hammered tiny nails to provide further support.

You don’t have to take these extra steps, I only did it to speed up the process and because I had these items on hand.

STEP 6

Once the square wood frame has completely dried, it’s time to glue it in place inside the larger box. Put a small bead of wood glue around the inner surface of the open end of the box (you can use a brush to even the glue out) and carefully fit the frame into place, making it flush with the open edge of the box.

Use clothespins to clamp it securely in place. I used five clothespins on each side. Wipe off any excess glue with a damp cloth or paper towel. Let it sit until dry.

wood-frame-glued-in-boxWood frame glued inside larger box.

NOTE: To avoid possibly denting the paper mâché with the clothespins, you can protect it with folded up sheets of paper on the outside of the box. Take four sheets of paper, fold each three times; first in half, then again, and again.

Place the folded sheets underneath the clothespins on each side of the box. After the glue dries, the clothespins and paper can be removed.

STEP 7

The smaller box can now be glued to the top of the large lid. Place it there and center it. There should be roughly 5/8″ of the base visible around all four sides of the smaller box.

If you put your Blu-rays inside the smaller box to weigh it down and slide the larger box with your wood frame inside over it, you can check the fit and alignment of the cube relative to the base. There should be approximately 1/8″ of the base visible around all four sides of the cube.

base-with-blu-raysWe’re getting there!

Make note of which numbered side you prefer as the front. Take this moment to mark the lid/base with the same numbers on all four sides. Slide the larger box off and double check your measurements. If there is still 5/8″ around all four sides of the smaller box, go ahead and draw a line around it. Before you remove it, mark the smaller box with the corresponding numbers you put on the lid/base.

Apply glue onto the lid/base inside the area you just outlined. Brush the glue on thinly and evenly, then set the smaller box in place. Put a heavy book or two on top of the smaller box to hold it firmly in place while it dries. When the assembled base is dry, turn it over and copy the numbers on the base onto the underside of the lid.

STEP 8

Time for painting!

You’ll notice that I’ve already started to paint mine several steps back — which you can do too — but I decided to keep things as easy to follow as possible by saving that step until now (so you could still read your numbers).

For the outside of the larger box you need only paint the corners and edges black because the artwork will cover all five sides of the cube almost perfectly. It is up to you whether you would like to paint the inside of the cube (I opted to as you can see in the photo for Step 6). You will, however, need to at least paint the wood frame to make it look nice.

For the assembled base, you need to paint all of it black, including part of the underside. To know how much to paint underneath, take the smaller box’s lid and place it into the underside of the larger lid. There should be an approximately 1/2″ gap on all four sides between them. Trace around the smaller lid with a pencil to indicate how far you need to paint.

underside-of-base-unpaintedSmaller lid placed into the underside of the base.

Take this opportunity to transfer the numbers on the sides of the base onto the top of the smaller lid. The smaller lid needs to be painted black along the outward facing sides, but you can leave the top of the lid unpainted for now as well as the interior of the lid. When the paint is dry, put a bead of glue along the edge of the smaller box’s lid and place it into the larger lid. Allow it to dry.

NOTE: Use the black paint sparingly, the paper mâché has a tendency to warp very easily when wet. Even so, it will still warp slightly no matter how little paint you use. Don’t panic. As the box dries, it should largely return to its proper shape.

STEP 9

You’re now ready to cut out the artwork. Use your ruler and hobby knife to carefully cut out the designs from the printouts. Do this on a proper cutting surface.

NOTE: After cutting out the designs, I used a black permanent broad-tip marker to blacken the edge of the paper. Just hold the artwork up and run the marker along the edges, turning the artwork as you do. I took this extra step because the paper I opted to print on is 32lb weight and when glued against the black painted box the white edge of the paper would’ve been too obvious.

STEP 10

Now, organize your artwork. Decide what goes where based on the numbers you chose to mark on the box. Write those numbers on the back of your artwork and pay particular attention to the artwork representing the four outward facing sides of the Borg cube.

Make sure they are right side up according to how I designed them — I made sure to flip and rotate the images a certain way on each page so when the sides meet in three dimensions on the cube you don’t have the same pattern side by side.

cube-artwork-cut-out base-artwork-cutouts
Left: Artwork for the cube.
Right: Artwork for the base.

Using your brush, apply a thin layer of decoupage glue (I used matte finish Mod Podge) to the back side of the base where the Blu-ray specifications artwork should go (that’s the one with all the corporate logos and copyright information). Follow the numbers you wrote on the bottom of the base to guide you.

Carefully place the artwork on the box. Try to keep it as straight as possible. If it goes on wrong, you can carefully peel it off and try again.

Use your finger to gently push down on the artwork and carefully smooth out any wrinkles (you can also do this with a soft rubber brayer or roller if you have it). Do this from the center of the artwork outward to push any bubbles of air that become trapped underneath.

decoupage-glue-on-baseApply glue to one side of the base.

The surfaces of the box and lid are not perfectly smooth, so you will probably see imperfections and bumps through the artwork; that’s normal, just do the best you can — and don’t go overboard with smoothing things out either, you can actually cause the artwork to bunch up and wrinkle if you tinker with it too much. Use a damp cloth, a paper towel, or even your finger to wipe away any excess glue that might squeeze out. Do this for the three remaining sides of the lid/base with the artwork of the series logo.

Use this same technique with the artwork for the cube. Start with the back artwork and move your way around the box. Do the top last. Because these areas are larger, when you brush the glue on you must do it fairly quickly as the small amount of glue you use might begin to dry out by the time you are ready to place the artwork. If that happens, it’s okay to apply a little more glue to ensure there will be a good bond with the paper.

box-set-openBoth pieces fully painted and with artwork.

Because you are covering a rather large area with wet glue, the paper mâché box may start to warp. Mine tended to swell outward. Once you get the artwork placed properly, put a flat object (like a piece of plywood or a shelf from a bookcase) on top of it and weigh it down with some heavy objects (glass cookware, bowls, etc.). Let it sit like this for at least 20 minutes before moving to the next side of the box.

NOTE: If the edges of the artwork haven’t adhered to the box in certain areas, try to carefully lift the paper up with a toothpick and apply a small quantity of glue (preferably with a small brush) underneath the paper and press it down again for several seconds.

box-set-finishedFinished! Well, almost…

STEP 11

At this point you’re nearly done. If you notice that some of the sides of the box have warped or bent outward too noticeably after gluing the artwork, you can fix this by applying the following technique.

Place the cube top on a table with the side you’re interested in flattening face down. Using a spray bottle filled with water, lightly spritz inside the box on the reverse side and use your brush to spread the water around evenly so the whole area is uniformly dampened. Then place something heavy (like a heavy glass bowl) inside.

Let it sit like this for 20 minutes and then check it to see if that side of the box has been flattened back into shape. If it didn’t work as well as you’d like, repeat the process again.

STEP 12

You can now finish painting the very bottom of your project black.

underside-of-baseSmaller lid glued in place, and painted black.

STEP 13

It’s now recommended that you seal the project with a water-based finish. While this step is entirely optional, it will help to protect the set from general wear and tear.

Even though you can use the decoupage glue as a sealer, I found with my test swatches that brushing it on top of the artwork left undesirable grooves from the brush bristles on the surface, so I opted to use a spray sealer. I encourage you to test these different techniques yourself with the test swatches included on the artwork and some of your discarded paper mâché pieces. That way you’ll have a better idea of what different sealing techniques on the paper will look like.

NOTE: I used Polycrylic water-based spray with a satin finish. When using an aerosol spray can, it’s important to get a plastic spray grip accessory that converts it into a spray gun. Otherwise, the tip of your finger might inadvertently get in the way of the spray stream and you will end up with ugly dots of sealer splattered on your project.

Follow the directions on the can for proper spraying distance, number of coats, drying time, etc. Use a mask and protect your work area with newspaper. When the sealer dries, you’re done!

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If you’ve made it this far, congratulations! Enjoy your custom made Star Trek: The Next Generation: The Complete Series Blu-ray Box Set!

box-set-finished-open

If anyone has any questions about completing the build, please feel free to post a comment below and we’ll try to answer them and help you out as quickly and as best we can!

Trek Comics Review #39: “The Q Gambit, Part 5”

Our Trek Comics editor Patrick Hayes is back with a review of this month’s issue of IDW Publishing’s Star Trek comic series: the fifth chapter of “The Q Gambit,” an ongoing six-part saga.

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Order Star Trek #59

  • Interior artist Tony Shasteen created the regular cover with Sisko and Kirk before Q. Kirk has his fists clenched, ready for action, while Sisko is just behind him with arms folded, wondering if this legend is strong enough to assist him. The gigantic Q behind the pair looks hauntingly beyond the men, colored a ghostly blue with a starfield filling in the dark portions of his body. Excellent cover that hints at things without spoiling.
  • The photo cover is a standard shot of Deep Space 9 with the wormhole opening behind it. I would have liked to have seen the rebooted Enterprise or the Defiant in the same shot, but this is fine.

39-story

This penultimate chapter of “The Q Gambit” moves along at a really quick clip. The Defiant, piloted by Keiko O’Brien, arrives at resistance outpost Paradise only to find it smoldering from a Dominion attack. Kirk, Sisko, Odo, and Keiko beam down and are greeted by the bodies of the dead.

Thankfully, Sisko’s son Jake and Jadzia Dax are alive. They share information and the story then moves to Terok Nor where a Pah-wraith has possessed Gul Dukat before Kira, Spock, and McCoy. A moment of hope on Page 7 is destroyed on 8, leading to a not so unexpected turn on 11.

Writer Mike Johnson, manages to keep surprises popping up on every page starting on 13, as someone is going somewhere, 14’s death, 15’s reuniting, 16’s escape–I could go on. Page 22 has Q’s second appearance in this issue and he reveals whey Kirk and his crew have been sent tumbling into the future. This was a sensational justification for this epic and is completely reasonable.

Q always has a reason for needing humans’ help, and this is no exception. I’m sure the crew will come out of this just fine, but I’m dying to see what becomes of the surviving future Trek characters. It’s going to be a long 30 days.

39-art

The visuals are again provided by Tony Shasteen, but they don’t seem to be as photo referenced as they have been in previous issues. Does the art suffer because of this? Not at all!

The beam down scene on 3 looks great with a destroyed structure and the Defiant behind our heroes. Sisko’s expression at the bottom of that page carries a lot of emotional weight as he turns. Gul Dukat looks tremendous on Page 6, with Kira looking rightfully terrified. The action on Page 8 is superb and the last panel is downright demonic. Sisko again gets the spotlight, this time on 11, looking pained.

Minor glitches do occur — McCoy on 8 and 9 (What is it with Karl Urban’s likeness that proves to be troublesome for so many artists?) and Q on 10 and 22. The other 99% of this book looks great, but when everything looks so good these moments do stick out.

39-colors

Beautiful coloring on this book from Davide Mastrolonardo. His lighting effects are really accomplished well, such as in the first panel on Page 1, the beaming effect on 3, and the energy effects on two key individuals. These same two characters are illustrated without pupils to allow the colors to denote their new existence, and Mastrolonardo makes both equally powerful.

Rather than resort to the dark overpowering browns and blues of the this dystopian future, Mastronolonardo mixes in some bright colors for backgrounds to break up the page, which he does exceptionally well on Page 17.

39-letters

Scene setting and dialogue (the same font) and a few key sounds are provided by Neil Uyetake. The sound effects are very inconsistent on this issue; for example, a phaser shot is seen and heard on Page 20, but when a shoot out follows the battle is oddly silent.

There was more than enough space on Page 21 to include the phaser blasts, but the scene is sadly mute. What gives?