Today was ViacomCBS’ annual investor presentation, where the studio spent the afternoon touting subscriber growth, streaming viewership increases, and both corporate and production news about their wide range of entertainment business.
Board of Directors chair Sheri Redstone began the event by announcing that ViacomCBS has officially changed their corporate name to Paramount Global — or simply Paramount — as the company moves past the now-settled merger of the Viacom and CBS corporate entities.
Viewers in the UK, South Korea, and the Caribbean are said to get Paramount+ by the end of 2022 Q2 (early summer) through its Sky international partners, with additional expansion into Italy, Germany, France, Switzerland and Austria by the end of this year — and the service is projected to expand into Asia, Africa, and the Middle East in 2023.
How this global expansion will impact our international brethren, still waiting to see Star Trek: Prodigy, Season 4 of Star Trek: Discovery, and the upcoming Star Trek: Strange New Worlds series is yet to be known — but it certainly seems like the ongoing challenges facing fans outside North America will not be ending anytime soon.
Beyond all that company news, Paramount also today made clear that the 2023 Star Trek film in the works will be set in the Kelvin Timeline with intention for their original cast to return, and they also unveiled the first trailer for Star Trek: Strange New Worlds — which we’ll share here at TrekCore as soon as video is released online.
Today on Paramount’s investor day presentation this afternoon, Star Trek Kelvin Timeline executive producer JJ Abrams made it clear that the next Trek film — currently scheduled for December 2023 — is going to be a return to his theatrical universe.
While Abrams’ statement referred to only the “original cast” when describing plans for the movie, which he said would be in production by the end of 2022, The Hollywood Reporter, Variety and Deadlineeach confirmed that the films is to focus on the Kelvin Timeline crew — seen previously in the 2009 Star Trek film, 2013’s Star Trek Into Darkness, and 2016’s Star Trek Beyond.
The Enterprise crew seen in 2016’s STAR TREK BEYOND. (Paramount)
JJ Abrams’ statement:
We are thrilled to say that we are hard at work on a new ‘Star Trek’ film that will be shooting by the end of the year that will be featuring our original cast and some new characters that I think are going to be really fun and exciting and help take ‘Star Trek’ into areas that you’ve just never seen before.
We’re thrilled about this film, we have a bunch of other stories that we’re talking about that we think will be really exciting so can’t wait for you to see what we’re cooking up. But until then, live long and prosper.
Variety’s reportalso added some interesting insight into the move in returning to the Kelvin Timeline; despite the long break since the last film in 2016, market research seems to indicate that there’s enough moviegoer demand for the Abrams cast to make their efforts to reunite those original starts with the effort.
Since then, insiders say the studio has done market research to determine audience interest in the rebooted cast, given the long wait period between “Beyond” — which lost money for Paramount — and a prospective new “Trek” film.
Execs determined that there was still lasting audience enthusiasm for Pine, Quinto and the rest of the cast in their established roles, which allowed the studio to feel comfortable with moving forward with bringing them back.
Of course we’ve heard much of this all before, with an end to the Kelvin Timeline seeming likely after previous financial negotiations with Chris Pine fell apart in 2018 — so while this kind of thing seems like it wouldn’t be so publicly discussed if things weren’t moving back to fruition, we’ll still be waiting for formal news of contract sign-offs.
The untitled 2023 Star Trek film is set to be directed by Matt Shakman, with today’s announcement signaling an intention to bring back Chris Pine as Captain Kirk, Zachary Quinto as Spock, Karl Urban as Dr. McCoy, Zoe Saldana as Uhura, Simon Pegg as Scotty, and John Cho as Sulu.
Star Trek: Discovery’s fourth season continues this week, and we’ve got a new collection of photos from “Rubicon” to share with you today!
After Captain Burnham (Sonequa Martin-Green) failed to bring in Book (David Ajala) and Tarka (Shawn Doyle) after their card-playing showdown last week, the Discovery crew chases after the fugitives thanks to the tracker Burnham placed on the isodysium prize — and fan-favorite Starfleet officer Nhan (Rachael Ancheril) returns to accompany the ship on their mission after leaving the ship last season.
Here are twelve new photos from this week’s episode.
STAR TREK: DISCOVERY — Episode 409: 'Rubicon'
1 of 12
Burnham (Sonequa Martin-Green) and Nhan (Rachael Ancheril) on the bridge. (Paramount+)
Burnham and Nhan on the bridge. (Paramount+)
The Discovery crew pursues Book and Tarka. (Paramount+)
The Discovery crew pursues Book and Tarka. (Paramount+)
Saru (Doug Jones) at his bridge station. (Paramount+)
Rhys (Patrick Kwok-Choon) at his bridge station. (Paramount+)
Captain Burnham on the bridge. (Paramount+)
Captain Burnham on the bridge. (Paramount+)
Saru and Culber (Wilson Cruz) chat in sickbay. (Paramount+)
Tarka (Shawn Doyle) and Book (David Ajala) on the run. (Paramount+)
Tarka (Shawn Doyle) and Book (David Ajala) on the run. (Paramount+)
Tarka (Shawn Doyle) and Book (David Ajala) on the run. (Paramount+)
Ancheril also shared a few photos from her time returning to set on her Twitter feed:
When I got to see these beautiful faces again and had to restrain myself from giving bear hugs (not an easy feat) 😂 Look forward to “seeing” YOU this week ❤️🖖#startrekdiscoverypic.twitter.com/jwPWj0I6ss
And in case you haven’t seen it, here’s a preview clip for “Rubicon” which debuted during last week’s The Ready Room, as well as the official Paramount+ trailer.
RUBICON — Captain Burnham and the U.S.S. Discovery race to stop Book and Ruon Tarka from launching a rogue plan that could inadvertently endanger the galaxy.
Written by Alan McElroy. Directed by Andi Armaganian.
Star Trek: Discovery returns with “Rubicon” on February 17 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 Paramount+ and on Pluto TV in select international locations.
In addition, stick around to listen to Abby’s wish to see Gwyn’s telepathic powers developed further in Star Trek: Prodigy, and a listener submission on the identity of Species 10-C in Star Trek: Discovery — this time drawn straight from the Star Trek novels!
WeeklyTrek is available to subscribe and download each week on Apple Podcasts, Google Podcasts, YouTube, and Spotify— and we’ll be sharing the details of each new episode right here on TrekCore each week if you’re simply just looking to listen in from the web.
Do you have a wish or theory you’d like to share on the show? Tweet to Alex at @WeeklyTrek, or email us with your thoughts about wishes, theories, or anything else about the latest in Star Trek news!
Star Trek: Discovery returns from its winter break with an episode that sets out to do it all. Fun and a little silly, “All In” is as standalone as Discovery gets — while also moving the season’s overarching plot along and allowing Burnham, Book, Tarka, and Owosekun a chance to shine.
Scrambling to develop a plan and deploy a fleet in pursuit of Book (David Ajala) and Tarka (Shawn Doyle), a severely-frustrated President Rillak (Chelah Horsdal) takes a moment to politely but firmly grill Admiral Vance (Oded Fehr) and Captain Burnham (Sonequa Martin-Green) about what the hell has just happened.
Satisfied that neither of them had any idea what Book and Tarka were up to, Rillak divvies up assignments: Vance is to hunt down Book and Tarka — Burnham is too close to the situation — while Burnham and Discovery focus on finding Species 10C. Can’t make first contact with people you can’t find, right?
Discovery has an idea where to start looking: a region of space beyond the galactic barrier with has some unnatural properties. This area of space has never been charted by the Federation, but thankfully Zora (Annabelle Wallis) is able to pull a solution from her vast library of sphere data: the hitherto unknown Silft species charted the area, and those scans are likely to be circulating on the open market.
Handily, this aligns with Burnham’s wink-and-nod officially-unofficial orders from Admiral Vance: continue to focus on finding the location of Species 10C, of course, but if that just happens to put Book in her path, well…
Turns out it does, because while Burnham needs to locate stellar surveys, Tarka still needs some aptly-named isolynium, a key component to his isolytic weapon for DMA destruction. What luck that the same broker, someone Book and Burnham worked with during their year running cargo together, can provide both. Enter Haz Mazaro (Daniel Kash) and his Karma Barge — a floating casino, fight club, lounge, and all-around cool place to hang out and commit some crime.
Haz is happy to see Book — or “Glow Worm”, as he calls him — and is happy to take his latinum in exchange for the isolynium he seeks… but is even happier to take Book himself to collect a bounty that happens to be on his head. Thinking quickly, Book offers to solve the problem Haz is having with card counters which, he argues, will save the bargemaster more money in the long run than the one-time bounty would bring in. Has agrees.
While Book and Tarka make their way around the casino floor, Tarka waving around a repurposed Devorescanner tricorder that’s presumably set on “detect card counting” mode, Burnham arrives at the planet with Owosekun (Oyin Oladejo) at her side, in one of Discovery’s new 32nd century shuttles.
It’s nice to see a new shuttle, the same design briefly introduced in “All is Possible,” but unfortunately this one looks a lot like a styrofoam bike helmet from the 1980s. It’s a miss for me, but one that is quickly forgotten when the shuttle makes an incredibly cool approach to the casino barge. An enormous — and holographic — sea dragon surfaces from the ocean, swoops up through the air, and captures the shuttle in its gaping maw. Haz has a flair for the dramatic and I for one am not complaining.
Burnham easily gets the star charts she needs, a simple request Haz seems happy to supply, but her plan to buy up Haz’s supply of isolyniam hits a snag when she learns that she’s not the only one after the fuel. With increased interest comes increased prices, as Haz puts it, and Burnham can’t contact Discovery to get more latinum thanks to the Karma Barge’s communication-dead-zone location.
Owosekun sees a solution in the form of the casino’s open fight ring, and this is where “All In” goes, well, all in and really starts to have fun. We’ve seen Owosekun fight — her Mirror Universe counterpart could deliver an especially good ass-kicking — so when at first she has so much trouble with her opponent it’s a bit of a surprise. Sure, the guy is twice Owosekun’s size and can pick her up and throw her around, but have you seen her arms? And her confidence?
Owosekun is — to keep my thirst to a somewhat of a minimum — in fighting shape.
While her lieutenant is in the ring, it’s Burnham’s job to get the crowd excited for, wait for it, Joann “Oh Wow!” Owosekun. Yes this is goofy, but it’s also intentional. But poor “Oh Wow” can’t seem to win a fight (this is also intentional) and by the time her third and final bout comes around the odds are 45-to-1 against. Perfect time to end the hustle.
That no one seems to catch on that this is an obvious ruse is maybe probably not the most realistic, nor is it that Owosekun continues to be allowed to fight, loss after loss, but honestly I didn’t mind. ‘Casino heist’ is not a genre I turn to when I’m looking for realism, and given that “All In” is about as close as we’re likely to get to space James Bond — Julian Bashir, Secret Agent aside — I’m game for just about anything.
“All In” also showcases what I’ve come to think of as Burnham’s ‘strategic obnoxiousness’ — both here promoting the fight, and also later in the episode during the poker game — and articulates why it feels so right to me for the character. On a basic level, Sonequa Martin-Green is just plain fun to watch when she’s playing Burnham as all gummy smiles and dad jokes.
But more than that, the contrast adds breadth to the character. It’s not ditziness, and the strategy doesn’t rely on Burnham presenting herself as less intelligent or capable than she is — it’s just unrestrained enthusiasm and that’s why it’s disarming. And just because this silliness is another tool in her leadership kit alongside standard diplomacy or more traditional displays of command strength, this doesn’t make it false.
Deep down, I think Burnham is kind of a goober, and when you consider her Vulcan upbringing it has to be good for her psyche to let that part of herself see the light of day sometimes. Sure, all that pollyanna carnival barking for Owosekun was a deliberate part of the hustle but I also think she truly meant it, not just the sentiment but also the delivery. She was proud of Owosekun and believed in her.
The first few seasons of Discovery spent a lot of time on Burnham learning to be comfortable with not just feeling but also expressing deep fondness for her friends and crewmembers, and now we’re seeing her widen that repertoire to contain something between the extremes of Vulcan stoicism and intense heart-to-hearts.
This is subtle development of her character that feels appropriately long in coming, and I’m pleased for Burnham — and for us — that she’s finally gotten here.
It’s right at the same moment that Burnham and Owosekun collect their winnings from comically unenthusiastic casino employee that Book and Tarka identify and capture the card counter: a Changeling complete with ‘Odo face’ but sadly lacking the goo-factor of the transformations seen on Deep Space Nine. Haz’s plan has resulted in a draw, but fear not because this is a casino and that means there’s always room for a poker showdown!
Haz brings in two additional players to compete for the isolynium, people Book and Burnham immediately recognize as Emerald Chain holdouts — precisely the type you don’t want getting their hands on one of the most dangerous substances in the galaxy (never mind that Book himself is planning to build a bomb with it…). Burnham convinces Book to work with her to get the two new players out of the game, and off they go.
While the poker game plays out, Owosekun and Tarka talk. This moment between the two of them emphasizes something I’ve appreciated about the direction Discovery has gone with Tarka especially, but also Book. The two men are without question adversaries for our heroes, but they’re not presented as villains. And, most importantly, this isn’t because the show is trying to ‘both sides’ the issue.
Instead, it’s because they’ve created complex characters who are driven by complex motives. Both of them are motivated entirely by grief and loss, not power or greed or ego, and while both of them feel that their actions are alienating them from the people in their lives. There’s no anger at the people who have parted from them, just sadness at the parting.
It’s truly deft writing and has me more hopeful that Book and Tarka will stop themselves than that they’ll be stopped by Burnham. For their own sakes, it’s more important to me that these characters choose to be good than it is that they’re stopped from doing bad.
In the end though, Book and Tarka remain on their chosen path. In the single hand played between just Book and Burnham, both go all in and though they both have great hands it’s Book who walks away victorious.
(On a side note, I would love to see a poker showdown storyline that ends on a super dramatic final round in which one of the players has an absolute garbage hand and it’s not even close. Funny how these things always come down to everyone having an amazing hand…)
Back aboard Discovery, Stamets (Anthony Rapp) begins examining the star charts and makes an astounding discovery. Species 10C is in the area of space he’d suspected, but they still don’t know what the star system looks like because — as the charts show — it’s been completely shielded by an immense doing field of some sort.
Only one thing could possibly generate enough energy to power such a thing — an ultra-rare element called boranite which Voyager fans may remember as a potential catalyst for the Omega molecule — and suddenly the DMA’s true purpose comes into view. The DMA is harvesting boranite. It’s not a weapon, it’s mining equipment.
The revelations about Species 10C — not just about the DMA but also that 10C appears to be unimaginably advanced — yet again raises the issue of intent. Does 10C simply not care that their energy source causes death and destruction on a galactic scale? Or are they so advanced that the lesser beings whose existence they disrupt aren’t even recognized as consequential? Are they greedy opportunists, or are they farmers simply turning over an anthill while tilling a field?
Either way, a peaceful first contact is even more critical now that the DMA’s purpose as a civilization-sustaining tool is clear, and finding Book and Tarka before they can deploy their weapon is going to be critical. Thankfully, Burnham slipped a tracking device on the isolynium before it left Haz’s possession, so Starfleet has a trail to follow.
OBSERVATION LOUNGE
After its debut last season, the Eisenberg-class starship design gets an in-dialogue mention from Admiral Vance — finally canonizing the tribute to the late Deep Space Nine actor Aron Eisenberg.
Burnham’s nickname from her cargo running days is “Right Hook” because it turns out she’s got a mean one.
Burnham has a grey away-mission bag with a nice big Starfleet label on it, and hello merchandising department, I would like one for my own personal everyday use please and thank you!
We get a brief-check in with Culber (Wilson Cruz), stress-cleaning his quarters over his perceived ‘failure’ to successfully counsel Book. It’s a nice moment, allowing Stamets to talk him down and bring a little peace to the good doctor — though I don’t know if I was supposed to find him snapping at the misbehaving DOT as funny as I did! The way he snatched the item out of its hand and yelled “NO!” will be with me for a while.
I understand that the order and format of credits listings involves labyrinthine negotiations between all parties so I’m sure there’s an explanation for it, but that doesn’t prevent me from being surprised and even disappointed to see Oyin Oladejo get such low billing.
Owosekun is a central character in this episode but not only is Oladejo not listed in the opening credits, she’s not even one of the five post-episode players to get their own solo card. Instead she’s listed on the co-star page with people who didn’t even have lines.
The face cards in those cool, just-alien-enough playing cards used on the Karma Barge include a Cardassian king, an Arcadianqueen (shout-out to Jörg Hillebrand for ID’ing that one!), and second queen designed like Natalia from Star Trek Beyond.
Haz refers to aliens seen in other past Star Trek shows, warning his card players to not “act like an Armus” at his table, and “scurr[ing] like a spider cow” when Burnham arrived at his front door.
One of the dusty items on Haz’s relic shelves is a bank drive-up canister commonly used in North America.
While there were quite likely COVID-related mitigation factors involved in keeping the population of the Karma Barge low, the Owosekun fight sequence was full of cheering crowds and audience applause — all from off camera — which in a probably-not-intended way called to mind the goofy audio edit of Voyager’s “Alliances” which made its way onto various streaming services several years ago.
Did you know that in VOYAGER's earlier days on streaming services, Season 2's "Alliances" included a bizarre audio edit adding horns and applause from an unseen audience?
Were the events of “All In” particularly realistic? I’ve never run a casino or played high-stakes poker or jumped into the ring, but I’m going to say no, probably not. But it was fun, and that’s something I cherish on this show because quite frankly, it doesn’t happen very often.
Let’s hope the energy in “All In” follows the crew of Discovery as they pursue their quarry.
Star Trek: Discovery returns for its next episode Thursday, February 17 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 Paramount+ and on Pluto TV in select international locations.
Brian Volk-Weiss, the documentarian responsible for the lively Netflix documentaries The Toys That Made Us and The Movies That Made Us returned to the Star Trek franchise last fall with The Center Seat: 55 Years of Star Trek — and now that all 10 episodes are available to stream online, and the series is now set to arrive to fans in the UK, we thought it was time to share our thoughts on the project.
The 10 part documentary series — which aired its first four episodes on The History Channel in November (available to stream here) and released the subsequent six episodes on History’s paid streaming service, History Vault (available to stream here with a subscription) — covers the history of the Star Trek franchise from its creation all the way through the cancelation of Star Trek: Enterprise in 2005.
Each episode of the series follows a section of the franchise’s history. The first episode follows The Original Series, for example, while the second episode covers The Animated Series. There are also two additional thematic episodes, one focusing on the starships of the franchise, and the other on the many guest actors who have appeared in Trek.
The Center Seat is an entertaining documentary series. It features the same lively documentary filmmaking that has become Volk-Weiss’s signature if you’ve watched either of his Netflix shows, and as a result it’s a very watchable production. Volk-Weiss — who we spoke to last fall about this series — knows how to make documentaries fun, and The Center Seat significantly improves on his previous Star Trek complete history project, the 50 Years of Star Trek released in 2016.
Director Nick Meyer, VFX supervisor Ken Ralston, and producer Bob Sallin interviewed for the series. (‘The Center Seat’)
Part of what makes The Center Seat enjoyable is that the 10-episode length gives it room to explore under-developed parts of the Star Trek story in previous documentaries. The Animated Series gets an episode to itself, as do each of the Rick Berman-era Star Trek shows including Star Trek: Enterprise. A highlight of the series is the Star Trek: The Motion Picture episode and the discussion of the difficult writing process for the script and the personality clashes between Gene Roddenberry and Harold Livingston.
But while The Center Seat is certainly entertaining, this is a documentary series better suited for fans who are looking for an entrée point to learning about the history of the Star Trek franchise — rather than fans already very familiar with the story of the franchise and looking for something new.
The Center Seat does not provide much information that has not already been covered elsewhere, and there has been some controversy over certain historical details as presented in the show, and over inclusion of at least one Star Trek writer/historian whose previous works have been called into question for factual inaccuracies.
But while The Center Seat itself doesn’t get too deeply into parts of Star Trek that have not previously been covered, I strongly suggest checking out companion podcast The Center Seat Aftershow, hosted by Volk-Weiss and frequent convention guests and Star Trek historians John and Maria Jose Tenuto.
These podcast episodes, which are longer form interviews, allow for the interview subjects to dive much deeper – though in Volk-Weiss’s excitement to interview his subjects the discussion often strays too often into non-Star Trek projects and the Tenutos get too little opportunity to speak and ask questions. I wouldn’t mind a few more episodes of that show even though there aren’t new television episodes to pair them with.
VOYAGER co-creator Jeri Taylor discussing the series. (‘The Center Seat’)
The Center Seat’s televised episodes also makes some unusual choices about which elements of the series to explore in more detail than others, sometimes to the series’ benefit and sometimes to its detriment. For example, The Center Seat dives into both the challenges working with Jennifer Lien — which led to the actress’ departure from the series — as well as the tension on set between Kate Mulgrew and Jeri Ryan, and Ryan’s mid-series relationship with producer/showrunner Brannon Braga, which most other Voyager projects have avoided.
This is a delicate, yet important part of the Voyager story — and while the rift is seemingly healed today, it’s one that gets tiptoed around too often. The Center Seat takes it head on, which is one of the more in-depth examination of the tensions on set that’s been conducted since Jeri Ryan first publicly revealed them.
But then in the Enterprise episode has a diversion that focuses on Jolene Blalock’s acting, with interview segments discussing the former model’s need for an on-set acting coach during the show’s first season, troubles with ratings and Paramount management, and the show’s cancellation… but very little about the content of the series itself.
There’s lots of other interesting angles the Enterprise episode could have pursued in more detail.
ENTERPRISE actor Dominic Keating. (‘The Center Seat’)
Sometimes, it feels like Volk-Weiss’s own tastes about the various Star Trek productions shine through a little too clearly, especially when you match the tone of each episode with his comments about the series on the aftershow podcast. That detracts a bit from the overall project, particularly for the later Berman-era shows that are undergoing a revival in the fandom (namely Voyager and Enterprise) which no longer quite match the “everyone thinks the show is bad” framing the documentary occasionally posits.
The way that the series was released by The History Channel was also deeply frustrating. While the first four episodes, covering through the end of the TOS movie era, aired on The History Channel, the remaining six episodes were reserved for History’s streaming service, History Vault. This is an objectionable ploy by History Channel executives to encourage sign ups for their streamer — and The Center Seat suffers from it because many fans are not likely to hop over to a streaming service that offers them little else besides the remaining six episodes of this Star Trek documentary.
(They do have a free seven-day trial period at least, which gave me plenty of time to watch all the episodes and cancel the service without needing to pay for it.)
Four of the many guest actors interviewed for the series. (‘The Center Seat’)
The most enjoyable episode of The Center Seat for me was actually the episode on guest stars, because we heard from some Star Trek guest stars who do not often appear at Star Trek conventions. If The Center Seat continues, which Volk-Weiss has indicated in interviews is a possibility, I hope they continue on the path of cutting together thematic episodes rather than the linear approach to the history of the franchise.
Though given nobody has yet done much by way of a documentary on the Kelvin Timeline movies or the ever-expanding Paramount+ era, that could explore some interesting ground that nobody has yet documented.
Overall, The Center Seat does not quite balance its enjoyable storytelling with giving long-time fans a new experience, which the Star Trek episode of The Toys that Made Us absolutely succeeded at. But if you are newer to the franchise or have some free time and episode re-runs aren’t catching your eye, The Center Seat is going to deliver you a very watchable ten hours of television.
Captain Pike’s Enterprise is getting ready to warp into action this May, and we now know who will be providing the musical accompaniment to Star Trek: Strange New Worlds.
Announced during a live interview on the Strange New Pod podcast,Star Trek: Prodigy composer Nami Melumad revealed that she’s expanding her franchise responsibilities to the new live-action Star Trek series for its May 5 debut on Paramount+.
The first female composer to ever write music for a Star Trek production, Melumad — who we spoke to back in November — is a long-time Star Trek fan who began her musical association with the franchise scoring 2019’s Spock and Number One-centric Short Trek “Q & A” and has since won over fans with her delightful Prodigy music.
“Today I am coming on as the composer of Strange New Worlds,” the composer said in her Strange New Pod interview. “I’m super, super excited; I can’t wait for the show to come out. This is the Star Trek show that will make a lot of people happy — and will make me very happy! I’m just delighted, everything is top-notch… I can’t wait for you guys to see it!”
Like the arrangement on Star Trek: Prodigy — where that show’s main title was composed by Michael Giaccino — Melumad will be handling the episodic music for the series, but Film Music Reporter revealed yesterday that Star Trek: Discovery and Picard composer Jeff Russo will be responsible for the Strange New Worlds main title theme.
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 newest episode of Star Trek: Discovery — “All In” — has just debuted, and we’re sure you’re ready to dive into a discussion about the story!
Here’s your place to take on all the new Trek lore this episode brought us, with no restrictions on spoilers. If you haven’t yet watched the new episode yet, here’s your last warning!
After we spent an illuminating hour chatting with Star Trek: Prodigy’s Aaron Watlke last month for our fascinating two-part interview about “Kobayashi,” checked back in with the writer/producer to talk about last week’s winter finale, the surprise ending, and some familiar Trek imagery returning after two decades.
This interview has been condensed and edited for clarity.
Rok-Tahk (Rylee Alazraqui) eats alone during her time separated across time. (Paramount+)
TREKCORE: Before we even dive into “A Moral Star,” my kids are anxious to know if you’ll share just how long poor Rok-Tahk was on her own during “Time Amok.”
AARON J. WALTKE: Too long!
TREKCORE: I knew that was going to be your answer! Rok’s experience really got to them — not just on a metaphysical level of loving Rok as a person, but on a theoretical level of how that time anomaly worked. They’ve been talking about it nonstop!
WALTKE: That’s really gratifying to hear. That is the kind of stuff that had me staying up late under my covers as a kid, thinking about the latest TNG episode. I would just think long into the night about these conundrums like how “Yesterday’s Enterprise” and “Redemption” worked with Tasha Yar’s timeline.
It was delightful for me, so maybe I’ve created a monster in your own kids!
TREKCORE: You have! But let’s talk about the big new reveal of the finale. What’s Vice Admiral Janeway’s time in Starfleet been like since we last saw her — and when and where is her flight on the Dauntless taking place?
WALTKE: Hologram Janeway mentions the stardate in her closing log entry, so as I promised on Twitter recently, that’s an accurate stardate to reference — so that puts the series officially in the early stages of 2384.
As for Vice Admiral Janeway, the last time we saw her, of course, was in Star Trek: Nemesis where she was behind a desk giving orders to Picard to go check out that strange dealings going on over at Romulus. She continued to rise to the ranks at Starfleet, until Chakotay was lost aboard the USS Protostar.
Admiral Janeway (Kate Mulgrew), last seen in live-action in ‘Star Trek: Nemesis.’ (Paramount Pictures)
Clearly, she pulled some rank, and got one of the top-five fastest ships that Starfleet has begun to build using the technology Voyager brought home — including all of that delightfully game-changing FTL technology like quantum slipstream and Borg transwarp drives,coaxial warp drive,enhanced warp drive, and more.
Clearly, the events of Voyager’s “Endgame” were not forgotten in our show. We knew that Star Trek: Picard wouldn’t really be touching any of that Voyager story, so where better to explore some of that than our show? In many ways, our two versions of Janeway are inextricably tied to the foundation of our story.
That was by design and intention — because I think for a lot of fans, even when you’re tracking the storylines of our main cast and crew, Voyager was for a long time the last we heard from most of the 24th century characters, outside of just the isolated Nemesis story.
But the Federation and the galaxy is very big, and we wanted to see what’s going on elsewhere in the Alpha Quadrant.
TREKCORE: So Admiral Janeway went back ‘into the field’ specifically go lead the hunt for Chakotay?
WALTKE: Yes — admirals don’t typically command starships unless they pull rank, and Janeway was like, “I’m doing this one myself.”
TREKCORE: That said, when did Chakotay set out from the Alpha Quadrant in the Protostar?
WALTKE: Some time after the events of “Endgame” and Voyager, but before the Prodigy pilot episode “Lost and Found.”
TREKCORE: The “All Good Things” Starfleet combadge, also used in “Endgame,” is an iconic one — typically showing an alternate future from Star Trek’s ‘present’ time period. Why use it here?
Aaron Waltke: If you recall in “Endgame,” that combadge came into the prime timeline for the first time when the older Admiral Janeway went back in time from her alternate 2404, bringing Voyager a bunch of future tech.
But more important than the technology, I think, was the game-changing future-altering event that was “Endgame” itself. Voyager arriving home 16 years early — wearing all of that game-changing technology — changed the direction of the Federation, because the Federation itself is built on exploration. If you come back and give them a bunch of technology that lets them explore further and faster, it’s going to speed up the timeline a little bit.
It’s also in some ways answering a question that was opened by Star Trek: Picard — because the 2399-era combadges used in that series have a style that looks like it evolved from this one. I think a lot of people saw Picard and were like, “Well, what about the ‘All Good Things’ combadge?” They wanted to see that design!
Basically, this is a prototype combadge that is going to start slowly being phased into Starfleet use by the early 2390s and then presumably we’ll see the successor — the Picard combadge — arrive by the the late 2390s. That’s the thinking behind it; it’s all the aftermath of Voyager’s early arrival home.
Admiral Janeway’s trip back into the ‘present’ brought that combadge design, too. (Paramount+)
TREKCORE: Is the badge attached to a specific Starfleet division?
Aaron Waltke: Yes. Essentially, the idea is that we’ve always seen coexisting uniforms on Star Trek. On Deep Space Nine, you see characters arrive to the station in their TNG-style uniforms, then change to the DS9 designs; you have the test pilot uniforms on Voyager, and there are other examples.
Now, Lower Decks has basically codified that by the 2380s, there are coexisting uniforms and badge designs based upon where officers are assigned. Whether that’s a new policy in Starfleet or a return to form like what you saw in early seasons of TNG, it’s up to you.
Even on TNG, you saw different combadges used at the same time, whereas these all silver combadge worn by Wesley Crusher, the black-rimmed combadge and so on. This is an era of experimentation, and that includes fashion. In this case, certain divisions are still using trusty 2370s-style uniform — and others, like the teams managing the Romulan evacuation are using the uniform seen in the Picard Season 1 flashbacks.
When we get closer to 2385, you will see that Picard flashback uniform starting to show up and roll out other places in the Federation. That’s our thinking.
TREKCORE: And then there’s the Dauntless. It’s clearly inspired by the original Dauntless from “Hope and Fear,” but it seems like it has some of Rick Sternbach’s original Voyager design in there.
WALTKE: I think that Rick Sternbach himself said he puts a lot of thought into this. Specifically with the arrowhead design and the variable nacelles and stuff in terms of faster and faster ships; he felt like the actual shape of the ship mattered when you were trying to breach some of those upper limits of speed.
It made sense to us that the shape of the original Dauntless was the reason why it didn’t constantly go off track while in slipstream, the way Voyager did when they were trying to use that technology on their own it in episodes like “Timeless.”
We also wanted to acknowledge this wasn’t just an exact copy of Arturis’s Dauntless; that maybe Starfleet tried to add some of their own improved designs — hence why the nacelles are a little bit different and whatnot. I think Starfleet would happily integrate new technology they find into their own… they’re like a nicer version of the Borg that way!
The new USS Dauntless starship. (Paramount+)
TREKCORE: That idea that shape promotes successful slipstream speeds is another concept inspired from Trek novels, right?
WALTKE: Yes! That’s not to say there aren’t other shapes that might work, but there are two variables that meant quantum slipstream was not scalable fleetwide — even though we see it’s still occasionally used in the far future after the Burn.
One of which I think is like designing the ship so that it navigates well; the other one is that the required benamite crystals seem to be very rare, and they take years to synthesize.
It’s more of something for specialized ships that just need to go very fast — which Janeway totally does, especially if she’s going to bother to go back into the Delta Quadrant. She wants to be able to get back home again!
TREKCORE: Is this new Dauntless a prototype, or the first of a new fleet? Unlike the Protostar, it’s labeled with an ‘NCC’ designation, rather than an ‘NX.’
WALTKE: There was a lot of debate about how there was technically another previous version of this ship, fully functional, but it was really an alien ship.
In the 2380s they were doing a lot of experimentation with all this technology that Voyager had brought back from the Delta Quadrant, and ultimately we figured that Starfleet probably built a testbed ship that worked, and then they decided to build least one more — Admiral Janeway’s Dauntless — and put it into use for quick, short bursts.
TREKCORE: What was the thought process for choosing an antagonist like The Diviner for a children’s show, who has such a complex motivation factoring in both time travel and revenge?
Aaron Waltke: Obviously, he has a little bit of scenery-chewing in the classic vein of any great Star Trek villain — but we didn’t want his motivation to be purely, “I hate Starfleet, because I hate freedom!” We wanted it to have both a personal motivation, and one that you actually understand. For The Diviner, we wanted him to be a bad guy, but not without principles that gives every villain in a way as a hero of their own story.
When we were developing the character, we spent weeks saying, “Why is he after this ship specifically? Why doesn’t he try something else?” We realized the answer is not just getting to the Federation or whatnot — it was because there was something specifically on the Protostar that he needed, a weapon from the future that was capable of destroying Starfleet.
Gwyn (Ella Purnell) learns the truth from The Diviner (John Noble). (Paramount+)
As to why he might not just go and talk to Starfleet… well, you saw how he thinks they treated his people! I don’t think he would trust them to keep their word after that. As for why maybe he wouldn’t just trust the kids to deliver the package himself, I don’t think he would trust them to do that either.
He’s spent 30-plus years or whatever trying to achieve this singular goal, he’s going to see it through to the end because that is his task as given to him by the mysterious order. You will find out more about what was going on with all of that as the show continues, but we definitely wanted it to be I think like all great Star Trek villains and have these great conundrums that you come up against.
It’s very rarely black and white. It’s situations based around a misunderstanding or a tragic collision of philosophical ideas. I think how we navigate through them ultimately is where perhaps we can get a little closer to the truth which is something that Starfleet has always strived for. Always striving perhaps never truly achieving.
Star Trek: Prodigy will return for ten more Season 1 episodes later in 2022; the series has already been renewed for Season 2, expected in 2023.
Following the USS Cerritos and the USS Titan in 2022 is the next new addition to the Official Star Trek: Lower Decks Starship Collection!
Coming in April from Eaglemoss/Hero Collector is the Parliament-class USS Vancouver (NCC-70492), the second new Starfleet starship design introduced by the animated series in 2020’s Season 1 episode “Cupid’s Errant Arrow.”
The Official Starships Collection — USS Vancouver (NCC-70492)
1 of 9
USS VANCOUVER — The design of the Parliament-class starship was essentially dictated by its role in handling assignments that focused on extensive, complex engineering projects.
Advanced in terms of 24th-century design, the U.S.S. Vancouver comprised a large primary saucer section. Its low-slung, aft-ranged warp nacelles were secured by large pylons that formed part of the saucer section’s dorsal superstructure. A discrete secondary hull and deflector array was located below and aft of the saucer section.
Around 2380, the Vancouver was instrumental in successfully completing an operation to demolish one of the moons of Mixtus III. During the mission, the crew was supported by the U.S.S. Cerritos.
The third ship in the Lower Decks Starship Collection measures in just over 8 inches in length, and is due to collectors in April — and the Vancouver is up for preorder today in the Eaglemoss USA shop and the Eaglemoss UK shop as well, retailing at $59.99 USD and £44.99 GBP respectively.
We’ll be back soon with the next round of new Star Trek Official Starships Collection ships, so keep your sensors locked here at TrekCore!