Unveiled today at the Mission Chicago convention, the first teaser trailer for Star Trek: Lower Decks Season 3 is here for your assessment!
The streamer also released the first key art for Season 3, featuring the floating Exocomp ensign Peanut Hamper from Season 2.
While the air date for Season 3 hasn’t been officially announced yet, this look ahead to the next run of animated episodes should hold you over until we have more details on the return of the USS Cerritos and her crew.
Star Trek: Lower Decks airs on Paramount+ in the United States, and on CTV Sci Fi Channel and Crave in Canada. Outside of North America, the series is available on Amazon’s Prime Video service in most international locations.
We’re less than a month away from the launch of Star Trek: Strange New Worlds, and at today’s Mission Chicago Star Trek convention, two classic Trek characters have both been granted first names — for the first time in their canonical lives.
APRIL 9 UPDATE: CBS/Paramount+ reached out to our team this morning to “clarify” that these updated character posters were “inadvertently displayed with Spock and M’Benga’s names that were incorrect.”
The posters were removed from the Mission Chicago Strange New Worlds costume and prop exhibit; the statement continues: “Sometimes when you work at warp speed, mistakes are made. While Spock and M’Benga do indeed have first names, they have yet to be revealed.”
OUR ORIGINAL ARTICLE IS BELOW.
A new poster for Dr. M’Benga, on display at the Mission: Chicago convention. (Photo: TrekCore)A new poster for Dr. M’Benga, on display at the Mission: Chicago convention. (Photo: TrekCore)
Babs Olusanmokun will be officially portraying Dr. Jabilo M’Benga in the upcoming series, granting the two-time Original Series guest character a first name in Strange New Worlds. This of course will be very welcome news for novel readers, as the good doctor served in a primary role in the Star Trek: Vanguard book series — where Harbinger, the first book in that series, is the originating source of “Jabilo” for Strange New Worlds.
A new poster for Lt. Commander Spock, on display at the Mission: Chicago convention. (Photo: TrekCore)A new poster for Lt. Commander Spock, on display at the Mission: Chicago convention. (Photo: TrekCore)
But in what is likely to be a somewhat controversial development for classic Trek fans, Ethan Peck will officially be continuing his time in pointed ears as Lt. Commander S’chn T’Gai Spock, the first time the half-Vulcan’s full name has appeared in on-screen canon.
While Spock told Leila Kalomi that “[She] couldn’t pronounce it” in “This Side of Paradise,” this extended name is not an original creation of the Star Trek: Strange New Worlds writing team.
Will that embrace of classic tie-in sourcing benefit this new addition to on-screen Spock history? We’ll leave it to you to pass that judgment — after all, maybe Spock just didn’t think too highly of Leila Kalomi’s linguistic skills!
Let us know your thoughts in the comments section below!
Star Trek: Strange New Worlds debuts on Thursday, May 5 on Paramount+ in the United States, Australia, Latin America, and the Nordics, as well as on CTV Sci Fi Channel in Canada. Additional international distribution has not yet been announced.
The team at Star Trek Wines has already started to look ahead to one of the next offerings coming down the line, with their Risa Wine poll that launched a few weeks back— but today we have an exclusive first look at their next big project, one that’s been heavily requested since the company first ventured into the final frontier.
That’s right, Star Trek Wines is crossing the Neutral Zone to bring fans a collectable product that’s been in high demand ever since they hit the scene back in 2019: Romulan Ale. Illegal in the Federation, the blue beverage from the Romulan Star Empire was first introduced in Star Trek II: The Wrath of Khan — and seen again most recently in Star Trek: Picard.
Romulan Ale seen in ‘The Wrath of Khan’ and a 24th century bottle seen in ‘Star Trek: Picard.’
Currently under development for release from Star Trek Wines in 2023, the distinctive bottle is the first big challenge the STW team had to tackle. Already in the works for over a year, the bottle design work for the Star Trek Wines edition of Romulan Ale is based directly upon a surviving production-made bottle, originally assembled from multiple pieces of milled acrylic — with some minor-yet-understandable alterations required for translation into glass production, bottling seal needs, and so forth.
As for the bright blue spirits that fill the bottle, that’s a question still to be answered: just what is Romulan Ale for the 21st century? The Star Trek Wines team heard fans’ requests for the Romulan Ale bottle, and now they want that same input to help determine what’ll go inside the ridged bottle when it beams down in 2023.
An original acrylic prop bottle, and prototype Star Trek Wines glass bottles. (Photos: Star Trek Wines)
They’ve opened their mailbox and are asking for your suggestions: head over to this Romulan Ale survey at the Star Trek Wines website to submit your ideas for how they should bring the futuristic beverage down to Earth.
If you’ll be in the Windy City this weekend for the Star Trek: Mission Chicago convention, be sure to head over to the Star Trek Wines booth in the vendors room to see the company’s prototype Romulan Ale bottles in person, and give the team your blue-filling suggestions.
UPDATE: Here’s a good look at the Romulan Ale prototype bottle from the Mission Chicago convention floor, with two different blue-color liquids on display:
Finally, for those of you in areas that can’t have alcohol shipped to your location due to local legal restrictions (something we know the Star Trek Wines team feels your pain about!), the company is working to get empty-bottle stock of some of their offerings up for sale before the end of 2022 — including last year’s Cardassian Kanar bottle.
An empty version of the 2020 Star Trek Wines kanar bottle.
When Romulan Ale finally lands on planet Earth next year, the company is planning to arrange to have glass-only versions of the product available so collectors in alcohol-restricted locations can have a chance at that release as well.
Keep checking back to TrekCore for all the latest Star Trek product news as the Mission Chicago convention kicks off today, as we suspect even more new announcements are on the way!
The second season of Star Trek: Picard is just plain fun. If you haven’t already, it is time to set your preconceived notions aside — especially in light of the more cerebral first season of the show, and just embrace the fact that this 10-episode production is having an absolute blast telling one incredibly detailed time travel story. That’s the show. And it’s great!
In “Two of One,” we see a show that knows what it is. A show completely confident in its storytelling process. A show jumping from one mini-cliffhanger to the next. A show tapping into the tapestry of Trek’s past. And a show that is itself a tapestry with one thread unraveling the next story and the next…
In terms of a review/recap of this episode, suffice it to say, the framework of a “gala” (read: party) requiring high-tech infiltration methods for our undercover team to get inside to keep one character out of trouble is about as simple as it gets. Nothing earthshattering there. In fact, framing this simple “plot” around the trope of seeing the events of the evening unfold as flashbacks from a specific result taking place 34 minutes earlier (or 26 or 14), adds even more familiarity to the episode’s structure.
Renée and Jean-Luc Picard make a connection. (Paramount+)
But forget all that — because the beautiful character beats and nuance in the threads of this season is where this episode is at. And the starting point for that is the quiet scene between Jean-Luc Picard (Patrick Stewart) and his young ancestor, Renée (Penelope Mitchell), that serves as a predestination paradox for what we saw in the season opener… when Jean-Luc recalls his mother inspiring him to “look up.”
In this key moment of the season, when Picard successfully convinces Renée to proceed with her mission in the face of her personal challenges with anxiety and depression, he asks her to “look up” as they stand inside a museum of historical ships… and above her is the immaculate OV-165 shuttle from the Star Trek: Enterprise opening credits!
The joy for the viewer in seeing this classic and familiar ship is matched by Renée, who lights up at the sight of a ship she affectionately calls “the Spike.”
With her guard down, Picard — posing as a security guard — helps her in the way we’ve seen him help so many characters in need through the years. It’s a Picard speech for the ages as he reminds her of how much she has accomplished even in the face of her “melancholy,” and that she reminds him of his own mother, who also loved the stars – and who also “struggled.”
The OV-165 shuttle seen in “Enterprise” (top), in “Picard” (lower left) — and the Eaglemoss model.
As many of us are wont to do, she tries to support her self-doubt by saying “sometimes fear is a friendly reminder you aren’t ready for something,” to which Picard reminds her forcefully: “No! Fear is fear… it doesn’t speak in riddles.” He explains that by acknowledging fear is just proof of how smart she is and how she understands the risks. (This is the second time in two seasons that Picard has targeted “fear” in one of his famous speeches, previously telling Rios that “fear is the great destroyer” in “Broken Pieces.”)
The conversation gets deeper and deeper, eventually leading him to tell Renée there is always a light to guide you and find your way, even if sometimes it is only a glimmer. When she says his mother must have been very happy to have you, Jean-Luc is overcome with emotion, and we see another one of the dark flashbacks to his childhood that have permeated the season.
In the end, she is convinced and will proceed with the mission (even joking she wishes she could bring him along to help keep her team calm – little does she know how right she is!). The moment leaves us with little doubt that moving forward, in her personal times of struggle, she will remind herself to “look up” to collect herself or to power through – something that will be passed down through generations of Picard explorers.
In the other very strong character thread running through this episode, it’s time for Agnes v. the Borg Queen, Round 4! (And this just might be the final time we can truly say that, as the friendly foes get closer and closer to becoming “Two of One.”)
Agnes Jurati wows the crowd. (Paramount+)
Their complex entwinement begins immediately when Agnes (Alison Pill), handcuffed to a chair, realizes she has the strength of the Borg Queen (Annie Wersching) to literally and figuratively break the chains to get Picard and crew into the party. Once the pair are out of confinement, signified by Agnes taking her hand to say she is ready to work as a team – “50/50,” the Queen begins exuding her influence at every corner (kissing Rios, ignoring hails from Picard, pushing Agnes to understand “good things happen when you lose control,” and providing … a distraction).
And what a distraction it is. In another spine-tingling moment from Terry Matalas and his crew, shot beautifully in a stark, black silhouette, queen Agnes takes the stage at the party to belt out a postmodern jukebox version of “Shadows of the Night.” And it’s official: Pat Benatar is now canon! (And should be in the Rock and Roll Hall of Fame. I mean, come on people. Look up her oeuvre.)
The performance from Alison Pill is a wonder — remember when we said how much fun this season is? — and the two actors on stage together in their dueling décolleté necklines is a gloriously dramatic image. Overjoyed from the rush and the applause, Agnes takes a bow and is joined by the Queen who reveals she was doing a little more than helping her provide a distraction, she needed those endorphins from the performance to gather enough strength to assume full control of the pairing.
Pill’s face goes from nervous to comfort in the span of a few seconds as her eyes go dark for an instant and she relinquishes any semblance of the control she once thought she had. But the truth is Jurati was never in control in her battle of wits with the Borg Queen, who told her as much two episodes prior in “Watcher.”
During that particular battle, the Queen flaunted her own confidence in saying, “it’s how you get the army to follow you… it’s how you teach the choir to sing.” And now two episodes later, Jurati is literally on stage signing at the behest of the Queen.
It’s the Queen’s time to reign. (Paramount+)
That singing distraction was needed to allow Picard a little extra time from the wrath of Adam Soong (Brent Spiner), who we now know is paying off his debt to Q by buying his way onto the Board of the Europa Mission so that he could adversely affect Picard’s ability to get to Renée. (Just go with it. It’s fun!) The quick meeting between Stewart and Spiner — back again after their emotional swan song for Data last season — was an impressive tête-à-tête between the two Trek powerhouse actors.
We’ll see Soong two more times in the episode, when he runs down Picard in a car, after the admiral pushes Renée out of harm’s way, setting up next week’s continuation with Picard in a coma, and then again with his daughter who the experimental geneticist has been working his whole life to save. (At least, that is how he would like people to see him.)
In reality, the “mad scientist label” that Soong has earned seems to be pretty accurate when Kore finds a stash of files on his computer that indicate he has been creating and losing daughters (that all look like her) at an alarming rate throughout his life. He is clearly a bad guy, capable of anything.
At this point, the Soong reveal is mildly interesting, but it seems like a good bet that this writers’ room is going somewhere with this that will connect to Trek in some interesting ways.
Adam Soong won’t let Picard get in his way. (Paramount+)
Throughout this season, there have been hints of some parallel storytelling, as the story structure heavily resembles Season 1’s mileposts: a reveal of a Borg ship in Episode 1 (“Remembrance” vs “The Star Gazer”), undercover party crashing in Episode 5 (“Stardust City Rag” vs “Fly Me to the Moon”), now it seems clear that many of these similarities must be by design.
In “The Impossible Box” (Season 1, Episode 6) Agnes is under an alien influence hiding her true motives and decisions from her shipmates, and here in “Two of One” (Season 2, Episode 6) she is again under alien influence and keeping a secret from her crew — this time, however, she’s a much larger threat as she harbors the Borg Queen’s consciousness (and nanoprobes, it seems)… calling her decision to lie to everyone an “impossible choice.”
Similarly, Kore (Isa Briones) is coming to grips with her unorthodox origins and asking the question, “What am I?” At the same point in Season 1, Soji was asking an identical question — resulting in her understanding that she’s a scientifically-created life form, much like how this episode seems to present Kore as a genetically-engineered creation of Adam Soong.
Ultimately, what these parallels might mean in the scope of the entire storyline for Picard remains a mystery.
Kore learns of her father’s dark secrets. (Paramount+)
Elsewhere in this episode we also get further developments between Picard and Tallinn (Orla Brady) — who he keeps calling Laris — and obviously has feelings for, asking the watcher, “Who is watching over you?” Her silent response speaks volumes. Additionally, Raffi (Michelle Hurd) has yet another mirage glimpse of Elnor (Evan Evagora) while at the party, and we see a happy and energized Rios (Santiago Cabrera) bouncing around the gala.
Rios loves the 21st century — especially the food and the honking! And it’s through Rios that Picard ends up in the urgent care facility run by Dr. Teresa Ramirez (Sol Rodriguez) after being hit by Soong. (“He’s had some transplants.” “How many?” “All of them.”)
Ramirez spends her time in the episode channeling her best Rain Robinson impersonation — this is a compliment of the highest order — and immediately knows something is off with her patient, even before she blows up her defibrillator while trying to jumpstart Picard’s heart.
Lots of references here. (Paramount+)
OBSERVATION LOUNGE
As noted by Tuskin38 in the comments below, the failed ID scan displayed when Rios first attempts to access the party is “Karl Leonard Kelley” — named for DeForest Kelley and Karl Urban, the two actors who’ve played Leonard McCoy — from El Paso, Texas, birthplace of Gene Roddenberry.
The birth date listed on the badge (March 11, 1964) is the date of the famous “Star Trek is…” pitch letter, and the issue date of January 23, 2020 signifies Star Trek: Picard’s series premiere.
Rios’ alias, Villalobos Xavier Vicente, shares a birthday with actor Santiago Cabrera: May 5, 1978.
Renée Picard nicknames the OV-165 shuttle “Spike” based on its unique aerospike engine design. In perhaps a sly double-meaning, “Spike” was also the original name for the character we later knew as Charles “Trip” Tucker.
As we first showed you on Monday,a pre-sentient model and display of the Nomad space probe is on display in the ‘history of spaceflight’ exhibit; the probe was of course first seen in the Original Series episode “The Changeling.”
Besides his lack of Irumodic Syndrome, the explosive feedback given off by his defibrillator shock is the first physical alternation we’ve seen from Picard’s synthetic new body.
Rios tells Dr. Ramirez that “We’re the good guys,” in the same way Tom Paris once told Rain Robinson, “Look, we saved your life. Isn’t it obvious we’re on your side?”
In a very rare instance for Star Trek, at least mid-season, the music during the opening credits has mysteriously changed for this episode. The differences are subtle but also clear, especially in the opening notes. It must mean something, but your guess is as good as ours.
Look out, world! (Paramount+)
It’s Tallinn, though, who sets the stage for the storyline’s continuation in the next episode, as she recommends a “jury-rigged mind meld” to burrow into Picard’s psyche and help him break out of his mentally active — yet comatose — state. This set-up is another classic Star Trek trope, this one along the lines of “Dark Page” and “Extreme Measures,” and should go a long way in revealing some of the internal demons that Picard has been battling.
The procedure is not without risk, but at this point even exasperated Raffi must ask herself, “How much worse can it get?” as the camera cuts to a Borg-Queen-controlled Agnes Jurati walking the streets of Los Angeles in her stunning red dress, carrying her shoes. It’s the ultimate stride of pride for a character who has struggled to find her footing throughout the series’ first two seasons, and it is accompanied by an audible undercurrent of voices from the collective.
Powerful stuff — and probably not a great thing for the citizens of 2024.
Star Trek: Picard returns for its next episode April 14 on Paramount+ in the United States, and on CTV Sci Fi Channel and Crave in Canada. Outside of North America, the series is available on Amazon’s Prime Video service in most international locations.
After years of releases and too many tracks of Star Trek score to count, our friends over at La-La Land Records announced today their final planned legacy Star Trek television collection — what they’re dubbing The Final Frontier.
Available now as a First Contact Day release, the new four-disc collection covers score from all four Berman-era Star Trek television shows — plus a few “lost” cues from Jerry Goldsmith’s epic Star Trek: The Motion Picture soundtrack, included here for the first time.
La-La Land Records and CBS present our final collection of music from the STAR TREK television universe, STAR TREK COLLECTION – THE FINAL FRONTIER, a thrilling four-CD presentation with a bounty of previously unreleased music from STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, STAR TREK: VOYAGER and STAR TREK: ENTERPRISE. Travel at warp through some of your favorite musical moments in the STAR TREK television saga!
Produced by Ford A. Thaxton, James Nelson, Mark Banning and Lukas Kendall, and mastered by James Nelson, this special 4-CD collection contains a 44-page booklet with exclusive liner notes by writer Randall Larson and stellar art design by Mark Banning. This deluxe release of musical gems from four of the most celebrated sci-fi television series of all time has a total running time of more than five full hours and is limited to 3000 units.
The complete box set totals over five hours of Star Trek music, including material from Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, and Star Trek: Enterprise — with some long-awaited tracks finally coming to fans and collectors, such as the frequently-demanded “End Game” music from “Azati Prime” on Disc 4.
Here’s the full breakdown on the new collection, available today.
DISC ONE includes, for the very first time anywhere, “lost cues” by Jerry Goldsmith written, but never recorded, for STAR TREK THE MOTION PICTURE, performed here by renowned composer Joe Kraemer.
The rest of Disc One features cues from STAR TREK: THE NEXT GENERATION by composers Dennis McCarthy and Jay Chattaway, including music from such episodes as “The Dauphin,” “Time’s Arrow Part 2,” “Lower Decks,” and more.
* * *
STAR TREK: THE MOTION PICTURE
Music Composed by Jerry Goldsmith; Performed by Joe Kraemer.
Orchestrations (tracks 2–4) by Arthur Morton.
1. Preludium (alternate, arr. and orch. Fred Steiner) (1:36)
2. Total Logic (early version) (3:01)
3. Pre-Launch Countdown (early version) (0:42)
4. Body Meld (early version) (3:16)
STAR TREK: THE NEXT GENERATION
5. Star Trek: The Next Generation Main Title (Season 2) (1:40)
Music Composed by Alexander Courage and Jerry Goldsmith
Arr./Cond. Dennis McCarthy; Music by Dennis McCarthy
JUSTICE
6. New Planet*/First Hugs/Dance Break (2:39)
– Contains “Theme From Star Trek (TV Series)” by Alexander Courage
7. God (1:55)
THE DAUPHIN
8. A Taste (1:27)
THE ENSIGNS OF COMMAND
9. Aqueduct (2:47)
Recorded September 8, 1989, at 20th Century Fox
THE MOST TOYS
10. Zapped/Requiem (3:37)
11. El Yucko (3:00)
REDEMPTION, PART I
15. Battle Royale (4:08)
16. Worf’s Goodbye (2:41)
TIME’S ARROW, PART II
17. Nicks of Time* (3:52)
PHANTASMS
18. Data’s Dream (1:39)
19. Salvadore Data (2:53)
ATTACHED
20. Still Friends (1:57)
FORCE OF NATURE
21. Kablooie/Don’t Touch That Warp (3:16)
GENESIS
22. Jurassic Worf (3:58)
Music by Jay Chattaway
HERO WORSHIP
23. Android Bonding (2:03)
24. Androids to the Rescue (3:38)
LOWER DECKS
25. Waiting for Sito/Sito’s Wake (3:59)
FIRSTBORN
26. Klingon Opera (instrumental) (4:04) – Dennis McCarthy
27. Star Trek: The Next Generation End Credits
(Season 3, short version) (0:48) – Music Composed by Jerry Goldsmith, Arr./Cond. Dennis McCarthy
Total Disc Time: 78:33
DISC TWO showcases music from STAR TREK: DEEP SPACE NINE by composers Dennis McCarthy, Jay Chattaaway, David Bell and Paul Baillargeon and features tracks from various episodes including “Blood Oath,” “Take Me Out To The Holosuite,” “Rocks And Shoals,” and more!
* * *
STAR TREK: DEEP SPACE NINE
1. Star Trek: Deep Space Nine Main Title (Seasons 4–7, alternate mix) (1:55)
Music Composed and Conducted by Dennis McCarthy
SANCTUARY
2. Sleepy Space Flute** (2:31)
BLOOD OATH
3. The Fortress/Battle Prep/ To the Death/Pariah (8:06) – Dennis McCarthy
THE WAY OF THE WARRIOR
4. Hammered (4:13) – Dennis McCarthy
ARMAGEDDON GAME
5. Runabout Switch/Coffee Break (5:34) – Jay Chattaway
DEFIANT
6. Run Noisy, Get Caught/Officer or Terrorist (9:38) – Jay Chattaway
THE BEGOTTEN
7. Birth and Rebirth (3:59) – Jay Chattaway
CHRYSALIS
8. Chrysalis Song (0:53) – Jay Chattaway
9. Love Lost (3:31) – Jay Chattaway
VALIANT
10. Rough Start/Meet Red Squad (4:43) – Paul Baillargeon
11. Squad Montage (2:34) – Paul Baillargeon
12. Giant Hunters/Abandon Ship**/Decide for Themselves (8:27) – Paul Baillargeon
**Contains “Theme From Star Trek: Deep Space Nine” by Dennis McCarthy
TAKE ME OUT TO THE HOLOSUITE
13. Federation National Anthem (1:00) – David Bell
ROCKS AND SHOALS
14. Plummeting Into Planet (2:19) – David Bell
15. Laughing at Trouble (1:20) – David Bell
16. Parley With Doomed Patrol/Not My Life to Give Up (4:17) – David Bell
SACRIFICE OF ANGELS
17. Opened a Hole in Their Lines? (1:56) – David Bell
18. Kira in Corridor Combat (1:57) – David Bell
19. Prelude to White Flash/White Flash Prophets (4:25) – David Bell
20. Welcome Back Captain/Garek & Kira in Infirmary (2:40) – David Bell
21. Star Trek: Deep Space Nine End Credits
Seasons 4–7, alternate mix) (1:04)
Music Composed and Conducted by Dennis McCarthy
Total Disc Time: 78:11
DISC THREE highlights tracks from STAR TREK: VOYAGER by composers Jay Chattaway, Paul Baillargeon and David Bell, including music from the episodes “The Darkling,” “Flashback,” “Real Life” and others!
* * *
STAR TREK: VOYAGER
1. Star Trek: Voyager Main Title (1:55)
Music Composed and Conducted by Jerry Goldsmith
DISPLACED
2. Nyrians Take Over/Chakotay Sabotages (6:27) – Jay Chattaway
ONE
3. Seven’s Daily Routine/All by Myself/Sleepwalking (1:52) – Jay Chattaway
4. 17 Hours to Safety/Beating the Loneliness (5:54) – Jay Chattaway
COUNTERPOINT
5. Kashyk’s Departure (2:12) – Jay Chattaway
THE DARKLING
6. Doc’s Soliloquy (0:40) – Paul Baillargeon
MELD
7. Tuvok Slams Cart (3:29) – David Bell
8. Tuvok Attempts to Execute Suder/No More Mind Melds (3:20) – David Bell
FLASHBACK
9. Tuvok’s First Hallucination (1:53) – David Bell
10. Klingons Other Side of Galaxy/Tuvok and Janeway Meld/First Flashback/Energy Wave
Hits Excelsior (3:48) – David Bell
11. Sulu: Intruder Alert/Our Last Chance—Concentrate!/Be Nostalgic for Both (5:19) – David Bell
UNITY
12. Chakotay Attaches Power Conduit/Chakotay Phases Tuvok (5:06) – David Bell
FLESH AND BLOOD, PART I
13. Doc Snatched (2:44) – David Bell
EYE OF THE NEEDLE
14. Possible Way Home (1:50) – Dennis McCarthy
DEADLOCK
15. Inexorable/Surprise, Surprise! (6:33) – Dennis McCarthy
INFINITE REGRESS
16. Naomi the Detective (0:56) – Dennis McCarthy
SURVIVAL INSTINCT
17. The Outpost/Realizations (4:13) – Dennis McCarthy
18. Rebellion/With Family (4:42) – Dennis McCarthy
REAL LIFE
19. Ugly to the Max(Klingon teenager source) (2:34) – Dennis McCarthy
20. Dad School/Where’d He Go? (2:17) – Dennis McCarthy
21. Tom Dooley/El Plan-O/Hangin’ On (3:23) – Dennis McCarthy
22. Belle’s Death (3:59) – Dennis McCarthy
23. Star Trek: Voyager End Title (1:19)
Music Composed and Conducted by Jerry Goldsmith
Total Disc Time: 77:47
DISC FOUR features selections from STAR TREK: ENTERPRISE by composers Dennis McCarthy, Kevin Kiner, Paul Baillargeon, David Bell and Velton Ray Bunch, including tracks from the episodes “Silent Enemy,” “Marauders,” “Cold Front” and more!
* * *
STAR TREK: ENTERPRISE
1. Archer’s Theme (Unused Main Title) (1:24)
Music Composed and Conducted by Dennis McCarthy
DAMAGE
2. Hijackers/No Choice (5:30) – Dennis McCarthy & Kevin Kiner
BORDERLAND
3. Slaves Are Loose (2:34) – Dennis McCarthy & Kevin Kiner
ROGUE PLANET
4. Alien Hunters (3:07) – Paul Baillargeon
MINEFIELD
5. Damage Report (3:14) – David Bell
SILENT ENEMY
6. Aliens Return/Aliens on Board/Cannon Fire (7:18) – Velton Ray Bunch
MARAUDERS
7. Klingon Defense/Deserted Colony (5:09) – Velton Ray Bunch
8. Hand to Hand/Klingon Trap/Ring of Fire (5:26) – Velton Ray Bunch
JUDGMENT
9. Duras Tells His Story/Archer Tells His Side (5:23) – Velton Ray Bunch
HARBINGER
10. Recap/Red Cloud (5:02) – Velton Ray Bunch
11. Jealous Fighter/Alien Attack (2:56) – Velton Ray Bunch
THE COUNCIL
12. Recap/Into the Chamber (5:19) – Velton Ray Bunch
HOME
13. Vulcan Wedding (1:32) – Velton Ray Bunch
UNITED
14. Recap/Rigellian Attack (2:23) – Jay Chattaway
COLD FRONT
15. Searching for Silik/Conduit Brawl/Space Diver (6:21) – Jay Chattaway
THE SEVENTH
16. T’Pol Gets Her Man (2:44) – Jay Chattaway
VANISHING POINT
17. Bombs (3:01) – Jay Chattaway
ANOMALY
18. Osaarian Showdown (4:19) – Jay Chattaway
The new Star Trek Collection — The Final Frontier legacy score collection is available now at La-La Land Records’ website for a retail price of $59.98;early purchasers will receive copies signed by composers Dennis McCarthy and Kevin Kiner at no additional charge (while supplies last; autographs not guaranteed).
The crew of Captain Pike’s Enterprise beams down just one month from today — and following Sunday’s trailer release and cast poster debut, Paramount+ today unveiled a series of individual character posters for the show’s main cast.
Included are individual posters for Captain Pike (Anson Mount), Number One (Rebecca Romijn), Lt. Commander Spock (Ethan Peck), Chief Engineer Hemmer (Bruce Horak), Lt. Ortegas (Melissa Navia), Dr. M’Benga (Babs Olusanmokun), Nurse Chapel (Jess Bush), Lt. La’an Noonien-Singh (Christina Chong), and Cadet Nyota Uhura (Celia Rose Gooding).
STAR TREK: STRANGE NEW WORLDS — Character Posters
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Anson Mount as Captain Christopher Pike
Rebecca Romijn as Commander Una "Number One" Chin-Riley
Ethan Peck as Lt. Commander Spock
Celia Rose Gooding as Cadet Nyota Uhura
Babs Olusanmokun as Dr. M'Benga
Jess Bush as Nurse Christine Chapel
Bruce Horak as Chief Engineer Hemmer
Melissa Navia as Lt. Erica Ortega
Christina Chong as Lt. La'an Noonien-Singh
Star Trek: Strange New Worlds debuts on Thursday, May 5 on Paramount+ in the United States, Australia, Latin America, and the Nordics, as well as on CTV Sci Fi Channel in Canada. Additional international distribution has not yet been announced.
This year’s First Contact Day is warping way past Zefram Cochrane and anything else you might have been expecting, because Paramount+ just rocked the Star Trek universe in a way that no one could have predicted.
While fans have been hoping for cameo appearances from his former castmates and Enterprise crew members, today the streamer has announced that all six of Captain Picard’s senior staff will be joining Patrick Stewart for Star Trek: Picard Season 3.
Not only Jonathan Frakes, Marina Sirtis, and Brent Spiner, who have already appeared on the series, but Michael Dorn, LeVar Burton, and Gates McFadden will also be back for the “concluding chapter” in the Star Trek: Picard tale.
In a teaser video for the still-in-post-production third season, brand-new dialogue from the Star Trek: The Next Generation cast plays over a pensive-looking Jean-Luc Picard (Patrick Stewart) — including dialogue from Dr. Beverly Crusher (Gates McFadden), Worf (Michael Dorn), Geordi La Forge (LeVar Burton), Deanna Troi (Marina Sirtis), and likely Arik Soong (Brent Spiner) — followed by Picard and Will Riker (Jonathan Frakes) holding phasers at the ready.
PICARD: “I am not a man who needs a legacy.”
LA FORGE: “I think back on those days on the Enterprise, all that danger we rushed into…”
PICARD: “Those were the days.”
SOONG: “Evolution is not an act of preservation, it’s addition!”
WORF: “It is clear… sacrifice is required again.”
CRUSHER: “Jean-Luc, when the galaxy comes calling, you love it!”
RIKER: “Aren’t we a little overdue for a good old fashioned road trip?”
TROI: “I promise, you will not be alone.”
Picard signs his name to a note. (Paramount+)Finding his old TNG-era commbadge. (Paramount+)Picard’s badge and old uniform pulled from storage. (Paramount+)Will Riker stands at the ready. (Paramount+)Picard is ready for one last ride. (Paramount+)Yep, it’s happening. (Paramount+)
The formal announcement from Paramount+ reads as follows:
“STAR TREK: PICARD” WELCOMES “STAR TREK: THE NEXT GENERATION” CAST MEMBERS ABOARD SEASON THREE
LeVar Burton, Michael Dorn, Jonathan Frakes, Gates McFadden, Marina Sirtis and Brent Spiner Are Set to Star Alongside Patrick Stewart in the Third and Final Season of the Hit Paramount+ Original Series
April 5, 2022 – Make it so! In honor of First Contact Day, Paramount+ today revealed that Patrick Stewart’s “Star Trek: The Next Generation” co-stars LeVar Burton, Michael Dorn, Jonathan Frakes, Gates McFadden, Marina Sirtis and Brent Spiner will star alongside Stewart in season three of the service’s hit original series STAR TREK: PICARD. Season three is the concluding chapter in the STAR TREK: PICARD saga.
“I remember watching the premiere of ‘Star Trek: The Next Generation’ almost 34 years ago with my father like it was yesterday. It was the spark that ignited my love for science fiction,” said Terry Matalas, season three showrunner and executive producer. “So, it’s most fitting that the story of Jean-Luc Picard ends honoring the beginning, with his dearest and most loyal friends from the U.S.S. Enterprise. It would be an understatement to say that giving these characters a proper send-off is an honor. The entire STAR TREK: PICARD team and I can’t wait for fans to experience this final, high-stakes, starship-bound adventure in season three!”
STAR TREK: PICARD features Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on “Star Trek: The Next Generation,” and follows this iconic character into the next chapter of his life. The series is produced by CBS Studios in association with Secret Hideout and Roddenberry Entertainment.
For season three, Alex Kurtzman, Akiva Goldsman, Terry Matalas, Patrick Stewart, Heather Kadin, Aaron Baiers, Rod Roddenberry, Trevor Roth, Doug Aarniokoski and Dylan Massin serve as executive producers. Terry Matalas serves as showrunner for season three.
Star Trek: Picard returns April 7 with “Two of One” on Paramount+ in the United States, and on CTV Sci Fi Channel and Crave in Canada. Outside of North America, the series is available on Amazon’s Prime Video service in most international locations.
The long-awaited 4K remaster of Star Trek: The Motion Picture — The Director’s Edition is the ultimate presentation of acclaimed Hollywood director Robert Wise’s movie — and after 20 years, the newly-upgraded edition of this movie is available on Paramount+.
Whether you consider The Motion Picture to be one of Star Trek’s greatest (or worst!) movies, you owe it to yourself to revisit Wise’s final cut of the first Trek film in its glorious new presentation… or see the director-preferred edition of The Motion Picture for the very first time.
As many may know, Star Trek: The Motion Picture had a troubled production history. Beset by script problems and special effects challenges, acclaimed Hollywood director Robert Wise and the production crew raced to complete the movie in time for the contractually-obligated premiere date of December 6, 1979.
As a result of the compressed time for post-production, Wise always considered the movie to be unfinished — and was wholly dissatisfied with the version of the film that broadcast to theater audiences around the world.
An updated approach to Starfleet Command. +)
Fast forward to the turn of the century when Wise was given the opportunity by Paramount’s Home Entertainment division to revisit the movie and — joined by producers David C. Fein, Mike Matessino, and Daren Dochterman — complete the post-production process the way he intended for DVD release in 2001. Armed with the burgeoning world of CG effects, as well as the time necessary to revisit the movie’s editing, the 2001 edition of The Director’s Edition was released on DVD to great acclaim.
But that DVD release was 21 years ago, and saw the movie released only in the standard definition presentation of the time. During that period, the theatrical edition of The Motion Picture received several re-releases, including on Blu-ray and most recently in September 2021’s remastered 4K UHD box set.
Meanwhile, fans of The Motion Picture Director’s Edition have had only ever had access to the original DVD release (or up-rezzed editions of that DVD picture through some streaming services). Until now!
The Director’s Edition of Star Trek: The Motion Picture is a superior film to the theatrical edition many of our readers are probably familiar with. And while a lot of the attention naturally falls on some of the movie’s sequences that have been significantly altered from the theatrical edition – Starfleet Headquarters has been improved, Vulcan’s moons have disappeared and the planet looks much more like it does in other appearances in the franchise, and we actually get to see the giant V’Ger vessel at the heart of the cloud – the Director’s Edition does more than just update the effects in a few places.
An enhanced digital matte painting for the docking station.
The whole movie has been upgraded, not just in its look and feel, but in how it runs, too. Robert Wise was an Oscar-winning movie editor before he moved to directing, and used the 2000-era opportunity to revisit the film to adjust a significant number of edits to the movie’s flow.
A lot of these changes aren’t major alterations – the movie is fundamentally the same – but through a series of targeted cuts and edits the movie flows better, and most importantly for fans who found the theatrical edition to be turgid, it feels like a brisker movie as well.
Drew Stewart of the Star Trek: The Motion Picture Visual Comparisons project has meticulously documented the ways in which the Director’s Edition of the movie is different from the 1979 theatrical edition, and will be updating his project in the coming weeks with additional changes made in the 2022 version of the Director’s Edition. The new presentation of the movie is unlikely to fundamentally reshape your opinion of it — given that it’s still the same story and the same script — but you are very likely to enjoy it more than the theatrical edition that has been most prevalent for viewers.
And if you prefer the theatrical edition? Well the good news is, it’s available for you in the same 4K Ultra HD presentation thanks to last year’s movie box set. Fans now have the ability to choose which version of The Motion Picture they want to watch, and Paramount+ is to be commended for making that available to them… as another major science fiction franchise whose original versions have been vaulted for thirty years might take note?
Earth is now rightfully-present as the Enterprise leaves Spacedock.
Personally, I see no reason to watch the theatrical edition of The Motion Picture ever again. I’ve loved the Director’s Edition since the original 2001 release, and the 2022 4K remaster does the movie all the justice in the world. The picture is crisp, the colors more vibrant, the sound is incredible, and Jerry Goldsmith’s outstanding score has never sounded better.
The new effects are definitely not egregious additions for the sake of it; they help tell the story of the movie better for the viewer. It never made sense in the theatrical edition that on Vulcan Spock shields his eyes… from the night’s sky. And during the Enterprise’s approach to and journey inside of V’Ger, good luck being able to figure out where anything is or where the Enterprise is in relation to V’Ger as a whole.
The new quick effects shots help the viewer better understand the Enterprise’s journey, and provide more effective visual reference for how large V’Ger is… and what the ship actually looks like! The theatrical edition of the movie never even shows you a wide shot of the V’Ger spacecraft at the heart of the cloud. The Director’s Edition corrects this oversight, not for the sake of it, but because it really helps tell the story better.
The history of Star Trek: The Motion Picture — The Director’s Edition is not one of making changes to the movie just to sell a new product for fans, but of honoring the legacy of the movie’s director and giving him the chance to finish it so that fans could see it in the way it was intended.
Replacing 2001-era CG work with a new version of the walkway to V’Ger.
Even though Robert Wise passed away in 2005, he lived long enough to work with the Director’s Edition team through the original project that was released in 2001, and that same team has picked up the baton to remaster the movie for a 4K presentation today based upon his guidance during the first project.
The voyage of the Star Trek: The Motion Picture — The Director’s Edition may be at an end, but the Human Adventure is Just Beginning, and you’d be wise to give this movie a chance using the biggest screen and the best sound system you have access to.
I know the Director’s Edition has significantly improved my opinion of the movie as a whole, and I hope it does the same for you.
The newly remastered Star Trek: The Motion Picture — The Director’s Edition arrives in 4K UHD format April 5, exclusively on Paramount+. The new edition of the film will be screened in theaters in the United States in May, followed by a 4K Blu-ray physical release this September.
The long-awaited remastered, 4K UHD edition of Star Trek: The Motion Picture — The Director’s Edition beams down to Paramount+ on April 5 after 20+ long years of fan desire.
Ahead of the arrival of this sorely-needed update, we had the opportunity to speak to producer David C. Fein, the man spearheading this 2022 return to Robert Wise’s final cut of the first Star Trek film.
TREKCORE: How did the 4K remaster for The Motion Picture Director’s Edition come about, 20 years after the original release on DVD? Was this something you had been hoping for originally?
DAVID C. FEIN: We did the film back then [in 2000] with [the original director] Bob [Wise]. It was wonderful that we were able to do it. We did it for standard definition, because that’s what the studio needed at the time. DVDs were what was successful for studios, but I made sure that the effects team at the time knew that our goal was film, and that our goal was always going to be for film.
I said, “Whenever you do work on anything on the film, you put it in the back of your mind that we’re going to do it eventually on film. If you have a corner you need to shave off, that’s okay — but know that if it’s something that we need to be seen on the big screen, don’t do it.”
We were prepared for this new version. The original idea was that the Directors Edition from 2000 would be our work print to show the studio and say, “Now you have this — let’s finish the film and put in on the big screen.” But it was probably a miscalculation of mine, in that I hadn’t realized that a big screen presentation didn’t make as much money as home entertainment at that time.
So when it released on DVD they said, “Thank you. We have what we want, but we’ll keep you in mind for the future.”
The DVD cover for 2001’s original standard-definition release of The Director’s Edition.
Then high-def came out, and of course, we wanted to try high-def and some talks happened, but it wasn’t cost-effective, because the amount of work that had to be done just to bring it to the next level wasn’t cost-effective, and also because the DVD was still around for many years.
Bob [Wise] was so thrilled with the 2000 version of the movie. He was so touched and thrilled, because even though as I said, it was the closest thing we could get we to what the goal was, the Director’s Edition on DVD was still so much more and worked so much better than the theatrical.
The Motion Picture was the film that got away from Bob. It was the film that he never had the time to properly finish, and even the moral and the purpose of the story was left out. Then on top of it, there was the TV version that came in, that had extra scenes he never wanted included in the movie. He didn’t ever want to have the theatrical and the TV versions of The Motion Picture be his legacy, without the Director’s Edition.
Robert Wise directing William Shatner during the final sequence of the film.
He sat me down one day, in the kitchen at his house, which we were on a nice little table we used to talk all the time. He said, “I have a serious conversation that I want to have with you.” I said, “Okay.” He said, “I need you to promise me, that no matter what, from now to eternity, you’re going to get this thing done.” He said, “I may not be here.” I said, “I need you to promise me.”
The hairs in the back of my neck were standing up! “Promise me that you’d make it happen, no matter what you had to do, because I can’t live with this being my legacy.”
It was so amazingly beautiful and refreshing when we finished the movie in 2000, and he smiled. There was something about that smile that stood for me as telling me that he was proud of the film. It was so precious for me. When he asked that, I said, “Of course,” I said, “I’ll forever do this.” Then we sat down and had a long talk about where the movie was, and where it could go. He said, “Even with the evolution of technology, always focus on the story. It doesn’t matter how we got there, make the story work.” We talked about many different aspects of it.
And that’s where we are today. Even though technology can do so much more, Bob’s request to focus on the story meant that as we approached this new remaster we were not working on polishing the film, but we were focused instead on storytelling and using every tool available to now make the movie as compelling, cohesive and engaging as it possibly can be.
We have a brand new 2022 movie, and the movie is exciting and there’s so much subtlety that you’ve never even known about, that there’s so much going on behind the scenes now.
TREKCORE: There have been a few changes to effect shots between the DVD version of the movie and this new remaster version — for example, some of the buildings around Starfleet Headquarters have been redesigned.
What philosophy did you bring to the task of making additional changes to this movie as you revisited it for this remaster?
FEIN: There’s a lot of questions that I’ve had about, “Did you just up-rez the previous effects?” If you had never seen a full-size car, but you had only a little Hot Wheels car, and I asked you go take that and reproduce it to the size of a car… it wouldn’t look very nice. It would look like a giant Matchbox car but it would lack all of the detail that’d make a beautiful car.
That’s what we had to come back and look at with the special effects from 2000 when we were doing this the first time. We had to look at what information is there, because instead of projecting on a standard definition sized postage stamp, we’re doing it at full-screen! That’s where returning to everything, we needed all of that extra detail and all of that extra information, to really satisfy the visual splendor of what we’re looking at.
Then, there was a lot of great benefits to things that just showed up on our doorstep like magic. The scene of Spock going to the Vulcan elders — in the 2001 version in the wide shot, they were all CG. This time we found a plate, and the elders and Spock, the actual elders standing there from the original plate that was shot in the tank back in 1978.
It was another wonderful experience with that, but every time we went back, we had to say, “What was the focus? What was the goal? What were things supposed to look like in the larger scale?” There are places in the film now where you would not have been able to see story detail, and it’s all subtle.
That’s the point — it ain’t beautiful effects shots, and it goes for sound and everything else on this film. If you don’t notice it’s different, it’s working. There’s a place in the film where V’Ger opens its orifice and the Enterprise starts going in, and finally when you get in, there are stars. For a moment, you stop and go, “Did they leave?” You still have the hot, bright north star, but it’s that space that just gives you a little bit more. But that would not have even been visible, the star levels on the standard version.
There’s so much more to today’s presentation of the movie versus the original Director’s Edition, and using it to evolve the storytelling was the goal, not just polishing it, which would be a restoration.
TREKCORE: You talked about your commitment to Robert Wise around finishing the movie — obviously that was much easier for the 2001 version because he was still with us.
How did you approach honoring his wishes for this new edition of the film without being able to consult with him directly?
FEIN: I stayed with him for many years after the original Director’s Edition project was finished, and we had many conversations about this to begin with. The thing that wasn’t really established back then — but was a fact was that one of the greatest things about Bob and any great filmmaker knows this, is that if you want the best story, you have to have the best team.
Film is a collaborative medium. Bob didn’t do the Director’s Edition in a vacuum. He collaborated with me and my team. We brought to him the ideas that we wanted to bring into the story, because I did grow up on Star Trek. I do know the characters, and I know great storytelling because I love to be told a great story, so I love telling a great story.
That’s one of the things that he and I connected with was, how wonderful it is to find cool different ways to subtly go there. We discussed things that only now are showing up in the film. There’s a lot of subtlety; V’Ger is its own little world in this film. It’s not on screen, but you’ll get it if you listen and pay attention.
Bob was my mentor, and I helped him with the story. He’d helped me learn more about my skill. I had a great team that we picked together, and we worked with. For this version, we were repeating everything we had done before for the 2001 Director’s Edition, but now I focused on how to improve it, to amplify the story, and to finish the things we couldn’t finish. There were so many rushed aspects to the production of the original film in 1979 to begin with.
The thing that people don’t know is how rushed the color grading on the ’79 film was — it’s the thing that we didn’t talk about, because it was hard to finish until now. You see everybody who loves the film in the way that it looks in the theatrical edition, loved something that was done in four days.
All the color grading for the theatrical was done in four days, which is not a lot of time! We were able to bring a little bit closer to what it should be when we did the original director’s edition. This time around, though, the goal from the start was to create a new digital negative and a new digital theatrical Dolby Atmos mix.
Any other film has the ability of going to any format in the future and not have that same problem. The color grading in this new edition of the movie is specific, and is different than what everybody has seen for all those years because it wasn’t finished at the time. I understand people’s love and appreciation for how it looked, and the theatrical edition is available for anyone to watch in the highest presentation possible.
This was the time to revisit that, though, through the talks I had with Bob — but also the sensibilities of what I was going for. We’ve improved the color grading of the Klingons, which are now in a dark and grungy space, because their ships are different from what everybody else’s ships are.
And for the Federation, which is clean and new, we found and brought as much color to bring into it as we could. Plus with HDR, being able to get those darkness levels and the color levels and really elevate the story to a level that nobody else would do.
Most people, if they had a film from 43 years ago, would say it can only be “this.” That’s not the point. I was always encouraged — and in my heart I always knew — this was a new opportunity to make it be the best film it can be now because when I’m sitting in the theater, I want to float away into the story. I want to feel compelled.
I want to feel drawn in, in a state where I am, and just go into it and just experience that and through the sound, which is absolutely encompassing with the new audio mix. You can now feel the wormhole. You feel the probe on the bridge!
TREKCORE: You and the team must have been excited to finally get your chance to revisit this project after so many years!
FEIN: It’s wonderful. I’m thrilled. We had the chance, and it’s so much more now. It really is. We have to make sure everybody sees this film now — it’s a new film, a great new experience, more than before.
The newly remastered Star Trek: The Motion Picture — The Director’s Edition arrives in 4K UHD format April 5, exclusively on Paramount+. The new edition of the film will be screened in theaters in the United States in May, followed by a 4K Blu-ray physical release this September.
Star Trek: Picard’s second season continues this week, and we’ve got a new collection of photos from “Two of One” to share with you today!
After Q’s plan to target Renee Picard was revealed to Admiral Picard last week, it’s up to the La Sirena gang to keep the nervous astronaut on mission to fulfill her destiny — all while the Borg Queen has secretly found a new home within Agnes Jurati’s mind.
Here are nineteen new photos from this week’s episode:
STAR TREK: PICARD— Episode 206: 'Two of One'
1 of 19
Renee Picard (Penelope Mitchell) at the party. (Paramount+)
Tallinn (Orla Brady) and Rios (Santiago Cabrera) arrive to the party. (Paramount+)
Rios enters the Europa Mission gala. (Paramount+)
Picard (Patrick Stewart) and Tallinn watch Renee. (Paramount+)
Picard (Patrick Stewart) and Tallinn watch Renee. (Paramount+)
Seven (Jeri Ryan) and Raffi (Michelle Hurd) make a scene. (Paramount+)
Jurati (Alison Pill) has her own secret. (Paramount+)
Jurati (Alison Pill) has her own secret. (Paramount+)
Jurati (Alison Pill) has her own secret. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Renee and Jean-Luc speak. (Paramount+)
Of note is a display in the ‘history of spaceflight’ gallery focused on the Nomad probe from “The Changeling,” the second reference to that space probe in two weeks (following the shout-out to Jackson Roykirk in “Watcher”).
And in case you haven’t seen it, here’s a preview clip from “Two of One” released during last week’s episode of The Ready Room, and the official Paramount+ trailer.
TWO OF ONE — With the help of Tallinn, Picard and the crew infiltrate a gala on the eve of a joint space mission, to protect one of the astronauts they believe to be integral to the restoration of the timeline – Renee Picard. Kore makes a startling discovery about her father’s work.
Written by Cindy Appel & Jane Maggs. Directed by Jonathan Frakes.
Star Trek: Picard returns April 7 with “Two of One” on Paramount+ in the United States, and on CTV Sci Fi Channel and Crave in Canada. Outside of North America, the series is available on Amazon’s Prime Video service in most international locations.
