star trek enterprise titelmusik

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• Watson, Russell
• Where My Heart Will Take Me (Theme from Star Trek: Enterprise)

Where My Heart Will Take Me (Theme from Star Trek: Enterprise) Songtext von Russell Watson

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Where My Heart Will Take Me (Theme from Star Trek: Enterprise) Songtext

Writer(s): Diane Eve Warren Lyrics powered by www.musixmatch.com

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Soundtrack Information

Decca Records (289 470 999-2)

Release Date: May 14, 2002

Conducted by Dennis McCarthy

Formats: CD, Digital

• Star Trek: Enterprise (2001) [TV Series]
• Dennis McCarthy

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Who sang the Enterprise theme ...

Question: Who sang the Enterprise theme song, "Faith of the Heart"? It wasn't Rod Stewart, but could it have been Scott Bakula, aka Captain Jonathan Archer?Answer: It could've been, I suppose. But it wasn't. "Faith of the Heart," written by Diane Warren and originally performed by Rod Stewart for the Patch Adams soundtrack, was sung by rising U.K. opera star Russell Watson during the show's opening credits. Watson comes from humble beginnings, initially earning a living as a bolt fitter in Manchester and practicing his singing on the side. From there, "The People's Tenor" (I love that name — a tenor for the rest of us) has come into his own as a best-selling singer and was even named a Goodwill Ambassador to the United Nations. Now, if only one could say the same for the song itself, which creat

Question: Who sang the Enterprise theme song, "Faith of the Heart"? It wasn't Rod Stewart , but could it have been Scott Bakula , aka Captain Jonathan Archer?

Answer: It could've been, I suppose. But it wasn't.

"Faith of the Heart," written by Diane Warren and originally performed by Rod Stewart for the Patch Adams soundtrack, was sung by rising U.K. opera star Russell Watson during the show's opening credits. Watson comes from humble beginnings, initially earning a living as a bolt fitter in Manchester and practicing his singing on the side. From there, "The People's Tenor" (I love that name a tenor for the rest of us) has come into his own as a best-selling singer and was even named a Goodwill Ambassador to the United Nations.

Now, if only one could say the same for the song itself, which created quite a storm in the Trek community. It's tough to find a fan who's ambivalent about it. (Admittedly, it's tough to find a Trek fan who's ambivalent about anything .) Those who hated the song started petition drives to get it dumped, while those who championed it screamed just as loudly to have it left alone.

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50 jahre star trek kult: die titelmelodie zu "raumschiff enterprise".

Am 8. September 1966 ging die erste Folge von „Raumschiff Enterprise“ auf Sendung und die Titelmelodie entführte mit leicht außerirdisch anmutendem Vokalgesang und rhythmischem Jazz in unendliche Weiten.

YouTube-Vorschau - es werden keine Daten von YouTube geladen.

Star Trek - Raumschiff Enterprise - German Intro

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"Ein wunderbarer Blödsinn"

Nein, ein Science Fiction Fan war Alexander Courage nicht. "Marvellous Malarkey" - einen "wunderbaren Blödsinn" nannte Courage das Genre in einem Interview aus dem Jahr 2000. "Also dachte ich, ich schreibe dazu einen - hoffentlich - ebenso wunderbaren musikalischen Blödsinn, der gut dazu passt." Und mit dem Ergebnis hat er unsere Idee, wie Raumfahrt-Fiktion klingen muss, tief beeinflusst und mit seinen Sounds eine ganze (Jugend-)Kultur geprägt. Nicht nur Trekis sind bis heute begeistert von der Kultmelodie.

Ich hatte ja, als ich das erste As für die Flöte schrieb, keine Ahnung, dass das irgendwie in die Geschichte eingehen würde... Das ist schon ein sehr merkwürdiges Gefühl.

Innerhalb von nur einer Woche soll das Thema entstanden sein. Übrigens: Erst als Courage fertig mit der Komposition war, schrieb der Erfinder der Serie Gene Roddenberry noch den Text dazu – womöglich, um auch Tantieme einheimsen zu können. Der Legende nach unterschrieb Courage danach Autogrammkarten augenzwinkernd auch mal mit Roddenberrys Namen.

Zitate, Parodien, Hommagen

Bis heute wurde das Thema oft parodiert und zitiert. In der 4. Staffel der Serie "Big Bang Theory" etwa spielt Sheldon die Nummer auf dem Theremin.

The Big Bang Theory - Sheldon's Theremin - Staffel 4 1080p

Und auch die Youtuber lassen es sich nicht nehmen, sich immer wieder an den Opening Titles abzuarbeiten.

Beardfist - Star Trek: The Original Series (A Capella)

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Peter Thomas

Skurril – spannend – sexy: Kultscores

Peter Thomas, der Schöpfer der Titelmusik zu "Die Raumpatrouille" ist gestorben. Wir haben hier seine berühmtesten Soundtracks – und auch noch ein paar ziemlich skurrile Werke von ihm aus den wilden 60er- und 70er-Jahren gefunden.

"Star Trek" wird 50

Anekdoten aus dem Reich der Enterprise

Kirk und Co. - Figuren, die sich tief ins kollektive Kulturgedächtnis der Menschheit eingebrannt haben. In einer Serie, dessen mittlerweile 50 Jahre alte Geschichte voller schräger Anekdoten steckt. Hier sind ein paar davon.

Star Trek Theme Songs

Star trek theme songs from the many tv series and films. Enjoy trekkies! See you at the star trek convention.

Category: Television    Tracks: 18    Views: 91841   

by Jason Booth - 18 tracks

spocko • 5 years ago -

awesome llap

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Star Trek: Enterprise

A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the ... Read all A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the formation of the Federation. A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the formation of the Federation.

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• Trivia Admiral Forrest is named after DeForest Kelley , the late Star Trek (1966) actor who played Leonard H. McCoy. Similarly, Commander Williams and Admiral Leonard from the pilot Broken Bow, Part 1 (2001) are named after series stars William Shatner (James T. Kirk) and Leonard Nimoy (Spock). Big Foot (1982) (#2.5) also had a character with a last name Forrest. That show had numerous references & stars from the Star Trek franchise, the most well known of which was William Shatner from the original TV series.
• Goofs Whenever the video signal is being lost, instead of pixelating, as a digital signal would, the picture shows analog "snow," which would be unheard of by that era.

Commander Tucker : You aren't saying much tonight. Don't tell me you're still upset about me and Amanda.

Subcommander T'Pol : I'm not upset.

Commander Tucker : Sure sounds like it.

Subcommander T'Pol : You're mistaken.

Commander Tucker : Why would a few neuropressure sessions between me and a MACO be such a big deal. Unless...

Subcommander T'Pol : Unless what?

Commander Tucker : Unless you're a little jealous.

Subcommander T'Pol : I don't experience jealousy.

Commander Tucker : You're doing a pretty fair imitation of it.

Subcommander T'Pol : I am not, in any way, jealous of you and Corporal Cole.

Commander Tucker : You know, your voice is tensing up. That's a dead giveaway.

Subcommander T'Pol : I didn't know you were an expert in vocal inflections.

Commander Tucker : I don't need to be an expert to read you. Come on, admit it. You're a little jealous.

Subcommander T'Pol : Are you implying that I'm attracted to you?

Commander Tucker : That kind of goes along with the assumption, doesn't it?

• Crazy credits The opening credits video footage of the Sojourner rover approaching the "Yogi" rock, taken by the Mars Pathfinder lander, make Star Trek: Enterprise the first television show or movie in history to use footage taken on another planet.
• Alternate versions The Region 1 DVD release of Season 3 modifies the opening credits of the first three episodes of the season to say "Star Trek: Enterprise" instead of "Enterprise", in order to be consistent with the rest of the season.
• Connections Featured in How William Shatner Changed the World (2005)

User reviews 537

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• September 26, 2001 (United States)
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• Runtime 1 hour
• Dolby Digital

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Star-Trek-Titelmusik

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• Versionsgeschichte
• Diskussion (9)

Siehe Where No Man Has Gone Before (Episode) für die Folge mit gleichem Namen.

Die original Star-Trek -Titelmusik wurde von Alexander Courage ursprünglich unter dem Titel Where No Man Has Gone Before geschrieben.

Inhaltsverzeichnis

• 1 Beschreibung des Stückes
• 2 Produktion
• 3 Versionen

Beschreibung des Stückes [ ]

Titelmusik Episode Der Käfig

alternative Musik Abspann, Episode Die Spitze des Eisberges

Titelmusik 1. Staffel, erstes Arrangement

Titelmusik 1. Staffel, zweites Arrangement

Titelmusik 2. Staffel

Star Trek: The Next Generation , Titelmusik 2. Staffel

Für die erste Pilotepisode von Star Trek , die Episode Der Käfig , wurde von Alexander Courage das heute bekannte Thema als Titelmusik komponiert. Als die zweite Pilotepisode Die Spitze des Eisberges produziert wurde, komponierte er im Auftrag von Gene Roddenberry ein neues Titelthema, welches aber nur einmal verwendet wurde, als Roddenberry dem Sender NBC die neue Produktion präsentierte. Als die Serie dann im Fernsehen ausgestrahlt wurde, kehrte man zum ursprünglichen Thema zurück. Das alternative zweite Thema wurde von GNP Records auf der CD Star Trek: Original Television Soundtrack veröffentlicht. Es ist auch in der TOS-R Blu-ray-Box Staffel 3 im Bonusteil im Rahmen der nicht ausgestrahlten Präsentationsfolge zu hören.

Das Stück ist fast eine Minute lang und die erste Hälfte untermalt den Text der Sprecherstimme mit den Worten Space: the final frontier . Dieser Teil des Stücks besteht nur aus leisen Akzenten und der achtnotigen Star-Trek -Fanfare, die später auch in allen Star-Trek -Kinofilmen verwendet wurde. Die zweite Hälfte der Komposition zeichnet sich durch die wortlose Vokalise einer Sopran-Sängerin aus. Dieser ist wohl der bekanntere Teil des Stückes. Die erste Hälfte wurde für das Thema von Raumschiff Enterprise: Das nächste Jahrhundert wiederverwendet, wo wiederum der erste Teil unter der Sprecherstimme zum Einsatz kam. Als zweite Hälfte verwendete man das Thema aus dem ersten Star-Trek -Kinofilm Star Trek: Der Film von Jerry Goldsmith . Diese neue Titelmusik wurde von Dennis McCarthy im Auftrag von Robert Justman arrangiert.

Im Lauf der Ausstrahlung der drei Staffeln der Originalserie in den USA wurde mehrmals das Arrangement der Titelmusik geändert. Zunächst verzichtete man auf das Sopransolo aus Der Käfig und verwendete für die Melodiestimme eine elektrische Violine. Dann wechselte man im Lauf der Staffel zu einem Arrangement für Orchester, welches durch Fred Steiner erstellt wurde. Ab der zweiten Staffel kehrte man zur Sopranvokalise in einer neuen Einspielung zurück, die auch in der deutschen Ausstrahlung verwendet wurde.

Produktion [ ]

Der Gesang stammt im Original von Loulie Jean Norman und beinhaltet keinen Text, da er eine wortlose Vokalise darstellt. Gene Roddenberry schrieb jedoch einen Text, um von den Lizenzgebühren profitieren zu können. Für Star Trek: The Original Series – Remastered wurde das Stück dann neu aufgenommen. Als Sopranistin wurde hier Elin Carlson gewählt. [1]

Der von Roddenberry geschriebene Liedtext lautet wie folgt:

Beyond The rim of the star-light My love Is wand'ring in star-flight I know He'll find in star-clustered reaches Love, Strange love a star woman teaches. I know His journey ends never His star trek Will go on forever. But tell him While he wanders his starry sea Remember, remember me.

Alexander Courage befand diesen Text nicht als Bereicherung des Stückes und wirft Roddenberry vor, ihn nur aus Geldgier geschrieben zu haben. Nichelle Nichols brachte in den 70ern eine Disco-Version des Liedes heraus, die ebenfalls einen Text hatte. Dieser unterschied sich jedoch von Roddenberrys.

Versionen [ ]

Während in TOS : Der Käfig eine Version mit Sopran und ohne William Shatners Einleitung gespielt wird, ist in der ersten Staffel von Raumschiff Enterprise eine Instrumentalversion mit Einleitung zu hören. Erst ab der zweiten Staffel wird der Sopran-Gesang wieder verwendet.

• Werk: Star-Trek-Titelmusik in der musicbrainz.org-Datenbank

Fußnoten [ ]

• ↑ http://trekmovie.com/2006/10/13/new-theme-for-trek-remastered-in-good-hands/
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The restored star trek enterprise-d bridge goes on display in may, the bridge is going on display at sci-fi world musem in santa monica, california..

Jonathan M. Gitlin - Mar 22, 2024 4:48 pm UTC

More than a decade has gone by since three Star Trek: The Next Generation fans first decided to restore the bridge from the Enterprise-D . Plans for the restored bridge morphed from opening it up to non-commercial uses like weddings or educational events into a fully fledged museum , and now that museum is almost ready to open. Backers of the project on Kickstarter have been notified that Sci-Fi World Museum will open to them in Santa Monica, California, on May 27, with general admission beginning in June.

It's not actually the original set from TNG , as that was destroyed while filming Star Trek: Generations , when the saucer section crash-lands on Veridian III. But three replicas were made, overseen by Michael Okuda and Herman Zimmerman, the show's set designers. Two of those welcomed Trekkies at Star Trek: The Experience , an attraction in Las Vegas until it closed in 2008 .

The third spent time in Hollywood, then traveled to Europe and Asia for Star Trek: World Tour  before it ended up languishing in a warehouse in Long Beach. It's this third globe-trotting Enterprise-D bridge that—like the grit that gets an oyster to create a pearl—now finds a science-fiction museum accreted around it. Well, mostly—the chairs used by Riker, Troi, Data, and some other bits were salvaged from the Las Vegas exhibit.

Unlike the actual set, which was made from wood, the replica is made of metal and fiberglass. The restoration was originally supposed to take up to two years , but the project ended up being a far bigger challenge.

When Ars checked in with the Enterprise-D bridge restoration in 2014, the science-fiction museum plan had taken shape. But that change of plans did not sit well with some of the project's original supporters, particularly after an imperfect re-creation of the captain's chair—which remained lost until recently—was sold on eBay.

Things got even uglier in 2018 when Huston Huddleston, who led the project, was arrested and then convicted for possessing child pornography. Although Huddleston still appears listed as the project's CEO on its Kickstarter page , that appears to be an artifact of its creation, and John Purdy is listed as the CEO of the Sci-Fi World Museum on its About Us page . However, Huddleston's mother remains as the museum's Chief Financial Officer.

The Enterprise-D isn't the only bridge you'll be able to find at the museum —there's also a replica of the bridge from Star Trek: The Original Series , which previously lived in a wax museum in Buena Park, California. Other exhibits include a hall of robots, as well as the "Bubbleship" and a drone from the movie Oblivion .

It's also not the only recent re-creation of the Enterprise-D's bridge. Okuda and his wife Denise both helped Paramount re-create the iconic set for the third season of Picard . The new Enterprise-D set can even be explored on Google Maps .

And earlier this month, it looked like Jean-Luc Picard's long-lost chair might be sold at auction. However, the day saw an agreement between CBS Studios and the auctioneer Propstore, which will return the chair to CBS's Star Trek Archive, which plans to restore and display it in the coming year.

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‘Star Trek’: Rachel Garrett, the First Female USS Enterprise Captain, Will Be Part of the ‘Section 31’ Movie

Christian blauvelt.

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“ Star Trek ” fans got a couple fascinating details in a March 27 report by Variety on the future of the franchise on Paramount+. The biggest for sure is that the character of Rachel Garrett, the first female captain of the USS Enterprise, will be appearing in the “Section 31” direct-to-Paramount+ movie that’s going to star Michelle Yeoh .

The actress Kacey Rohl will be playing Garrett, who was the captain of the Enterprise-C in the first half of the 24th century and was the subject of one of the most beloved “Next Generation” episodes ever: “Yesterday’s Enterprise” (she was played by Tricia O’Neal in the original episode).

This is the episode where, once they’ve agreed to face their doom, Picard says, “Let’s make sure history never forgets the name Enterprise.” If Kirk didn’t believe in a “no win” situation, she faced one head-on, making Garrett an especially valiant captain.

In the “Star Trek” timeline, she’s the first female Enterprise captain. In order, the timeline goes: Jonathan Archer of the pre-Federation Enterprise NX-01, James T. Kirk of the Enterprise NCC-1701 and Enterprise-A, Alan Ruck’s Benjamin Harrison of the Enterprise-B (this writer chooses to believe that since the lore does say Harrison came from “a prominent family,” that he is in fact a descendant of Connor Roy, thus winning the ultimate succession: the Enterprise captain’s chair), and then Garrett.

One other interesting detail emerged in that report: That the “Starfleet Academy” show, which IndieWire told you a year ago must logically have a 32nd Century setting as a follow-up series to “Discovery,” is in fact confirmed to be set then, but, surprisingly, is being targeted to a “tween and teen” audience.

Jonathan Frakes, who’s directed episodes of every “Trek” series since “Next Gen” in addition to playing Riker on that series and beyond, is quoted in the Variety piece as saying that he thinks the franchise’s audience is older. Franchise mastermind Alex Kurtzman seems to hope that a show like “Starfleet Academy” may reach a new audience altogether.

Reps for Paramount+ did not respond to IndieWire’s request for comment about confirmation of these details.

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• 2024 Spring Entertainment Preview

Star Trek: Discovery is finally free to do whatever it wants

Imagining the future of the future

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It’s a truth universally acknowledged that even among the greatest television shows in Star Trek history, most of them take two seasons to stop being kind of bad. Never has that been more true or more excruciating than in the case of Star Trek: Discovery .

Polygon is looking ahead to the movies, shows, and books coming soon in our Spring 2024 entertainment preview package, a weeklong special issue.

Often it felt like what Discovery was really doing in its early seasons was discovering what didn’t work. Strong performances from a great cast? That works. A Klingon design that absolutely nobody liked ? Definitely not. But despite the stumbles, Discovery season 1 had still averaged C’s and B’s with reviewers, and had built an audience and a subscriber base for Paramount Plus. On the strength of Disco ’s first season, Paramount greenlit Star Treks Picard , Lower Decks , and Prodigy , three new shows covering a huge range of ages and nostalgic tastes. And spinning out of Disco ’s second season, which introduced familiar , nostalgic characters and a brighter, more Star Trek-y tone, Paramount produced Star Trek: Strange New Worlds , inarguably the best new addition to the franchise since 1996.

Star Trek: Discovery crawled so that the rest of modern Trek could run... and then it started to walk. The show’s third season saw the USS Discovery and crew in the place that should have been their starting blocks: the bleeding future edge of Star Trek’s timeline. Thanks to season 3’s groundwork, season 4 became the first time that Discovery had a status quo worth returning to. In its fifth and final season, Star Trek: Discovery is finally free — free in a way that a Star Trek TV series hasn’t been in 23 years.

Star Trek: The Next Generation is such an elder statesman of the television elite that it’s easy to forget that it was daring. The show’s triumph wasn’t just that it featured a new cast of characters, but also its audaciousness in imagining the future of the future — and making that future unmistakably different . The Original Series showed a racial and national cooperation that seemed fantastical in its time, with an alien crewmember to denote the next frontier of embracing the other . Next Generation saw that bet and raised it, installing a member of the Klingon species, the Federation’s once-feared imperialist rival state, as a respected officer on the bridge of Starfleet’s flagship.

Next Generation ’s time period — one century after Kirk’s Enterprise — wasn’t a nominal choice, but a commitment to moving the story of Star Trek forward. From the show’s foundations, Gene Roddenberry and his collaborators, new and old, set a precedent that the Federation would evolve. Therefore, in accordance with the utopian themes of the franchise, old enemies would in time become friends. Next Generation embraced The Original Series ’ nemeses and the rest of ’90s Trek saw that bet and raised it again, pulling many of Next Gen ’s villains into the heroic fold. Voyager welcomed a Borg crewmember and disincorporated the Borg empire; Deep Space Nine gave the franchise the first Ferengi Starfleet cadet, and brokered a Federation-Klingon-Romulan alliance in the face of an existential threat.

But Discovery — at least until it made its Olympic long-jump leap 900 years into the future — couldn’t move Star Trek forward. So long as it was set “immediately before Kirk’s Enterprise,” hemmed in by the constraints of a previously established era of Star Trek history, it could graft on new elements (like Spock’s secret human foster sister) but it couldn’t create from whole cloth (like a galaxy-wide shortage of starship fuel that nearly destroyed the Federation). Like its predecessor, the ill-fated Star Trek: Enterprise of the ’00s, it was doomed to hang like a remora on the side of the events of The Original Series , or, if you’ll pardon another fish metaphor, doomed like a goldfish that can only grow as large as its half-gallon fishbowl will allow.

Discovery ’s later, free seasons in the 32nd century have shown the Federation at its most vulnerable, a subtler echo of Picard ’s own season 1 swing at fallen institutions . (Fans of Voyager and Deep Space Nine know that this is an extremely rich vein of Trek storytelling.) In its third season, Discovery solved a galaxy-wide fuel crisis that had shattered the community of the Federation. In its fourth it fought for a fragile new Federation alliance and its millennia-old ideals.

And those seasons have also boldly committed to the idea of imagining the future’s future — 900 years of it. The centuries-old rift between Vulcans and Romulans is long healed, Ferengi serve as captains in Starfleet, the work of Doctor Noonien Soong has brought new medical technologies to the fore.

Even still, Discovery hasn’t been truly free in its third and fourth seasons. Star Trek: Picard was out there, forming new past elements of a post- Next Gen / Voy / DS9 era that Discovery had to abide by. And, after all, the show still had to make sure there was something for its own next season to come back to.

But now — with Prodigy and Picard finished, and Strange New Worlds and Lower Decks locked into their settings of Star Trek’s established past, and Starfleet Academy and Section 31 not yet in production at the time that its final season would have been written — Discovery has reached the final final frontier for a Star Trek show. If you’re a Star Trek fan, that should excite you.

Not since Deep Space Nine in 1999 and Voyager in 2001 has a Star Trek series had the freedom to wrap up its run with the Federation in any state it wants to. With franchise flagship Next Generation at an end, and Voyager restricted to the Delta Quadrant only, Deep Space Nine used its last seasons to throw the Federation into all-out war, making sweeping changes to the established ficto-political norms of ’90s Trek. Voyager used its finale to do what Captain Picard never could: defang the Borg (mostly).

We don’t know exactly what Discovery will do with that freedom. Season 4 directors have talked about reaching “ into the past to get further into the future ,” and likened it to Indiana Jones. Official news releases have said the crew will “uncover a mystery that sends them on an epic adventure across the galaxy to find an ancient power whose very existence has been deliberately hidden for centuries.” But speculating on what that means would be beside the point.

Discovery , the show about an intergalactically teleporting starship, can finally, actually, go anywhere. It’s been almost a quarter of a century since a beloved Star Trek series was so free to boldly go. Let’s hope they’re very bold indeed.

Star Trek: Discovery season 5 premieres with two episodes on April 4 on Paramount Plus.

Spring 2024 entertainment preview

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The Future of ‘Star Trek’: From ‘Starfleet Academy’ to New Movies and Michelle Yeoh, How the 58-Year-Old Franchise Is Planning for the Next Generation of Fans

“I can’t believe I get to play the captain of the Enterprise.”

“Strange New Worlds” is the 12th “Star Trek” TV show since the original series debuted on NBC in 1966, introducing Gene Roddenberry’s vision of a hopeful future for humanity. In the 58 years since, the “Star Trek” galaxy has logged 900 television episodes and 13 feature films, amounting to 668 hours — nearly 28 days — of content to date. Even compared with “Star Wars” and the Marvel Cinematic Universe, “Star Trek” stands as the only storytelling venture to deliver a single narrative experience for this long across TV and film.

In other words, “Star Trek” is not just a franchise. As Alex Kurtzman , who oversees all “Star Trek” TV production, puts it, “‘Star Trek’ is an institution.”

Without a steady infusion of new blood, though, institutions have a way of fading into oblivion (see soap operas, MySpace, Blockbuster Video). To keep “Star Trek” thriving has meant charting a precarious course to satisfy the fans who have fueled it for decades while also discovering innovative ways to get new audiences on board.

“Doing ‘Star Trek’ means that you have to deliver something that’s entirely familiar and entirely fresh at the same time,” Kurtzman says.

The franchise has certainly weathered its share of fallow periods, most recently after “Nemesis” bombed in theaters in 2002 and UPN canceled “Enterprise” in 2005. It took 12 years for “Star Trek” to return to television with the premiere of “Discovery” in 2017; since then, however, there has been more “Star Trek” on TV than ever: The adventure series “Strange New Worlds,” the animated comedy “Lower Decks” and the kids series “Prodigy” are all in various stages of production, and the serialized thriller “Picard” concluded last year, when it ranked, along with “Strange New Worlds,” among Nielsen’s 10 most-watched streaming original series for multiple weeks. Nearly one in five Paramount+ subscribers in the U.S. is watching at least one “Star Trek” series, according to the company, and more than 50% of fans watching one of the new “Trek” shows also watch at least two others. The new shows air in 200 international markets and are dubbed into 35 languages. As “Discovery” launches its fifth and final season in April, “Star Trek” is in many ways stronger than it’s ever been.

“’Star Trek’s fans have kept it alive more times than seems possible,” says Eugene Roddenberry, Jr., who executive produces the TV series through Roddenberry Entertainment. “While many shows rightfully thank their fans for supporting them, we literally wouldn’t be here without them.”

But the depth of fan devotion to “Star Trek” also belies a curious paradox about its enduring success: “It’s not the largest fan base,” says Akiva Goldsman, “Strange New Worlds” executive producer and co-showrunner. “It’s not ‘Star Wars.’ It’s certainly not Marvel.”

When J.J. Abrams rebooted “Star Trek” in 2009 — with Chris Pine, Zachary Quinto and Zoe Saldaña playing Kirk, Spock and Uhura — the movie grossed more than any previous “Star Trek” film by a comfortable margin. But neither that film nor its two sequels broke $500 million in global grosses, a hurdle every other top-tier franchise can clear without breaking a sweat.

There’s also the fact that “Star Trek” fans are aging. I ask “The Next Generation” star Jonathan Frakes, who’s acted in or directed more versions of “Star Trek” than any other person alive, how often he meets fans for whom the new “Star Trek” shows are their first. “Of the fans who come to talk to me, I would say very, very few,” he says. “‘Star Trek’ fans, as we know, are very, very, very loyal — and not very young.”

As Stapf puts it: “There’s a tried and true ‘Trek’ fan that is probably going to come to every ‘Star Trek,’ no matter what it is — and we want to expand the universe.”

Every single person I spoke to for this story talked about “Star Trek” with a joyful earnestness as rare in the industry as (nerd alert) a Klingon pacifist.

“When I’m meeting fans, sometimes they’re coming to be confirmed, like I’m kind of a priest,” Ethan Peck says during a break in filming on the “Strange New Worlds” set. He’s in full Spock regalia — pointy ears, severe eyebrows, bowl haircut — and when asked about his earliest memories of “Star Trek,” he stares off into space in what looks like Vulcan contemplation. “I remember being on the playground in second or third grade and doing the Vulcan salute, not really knowing where it came from,” he says. “When I thought of ‘Star Trek,’ I thought of Spock. And now I’m him. It’s crazy.”

To love “Star Trek” is to love abstruse science and cowboy diplomacy, complex moral dilemmas and questions about the meaning of existence. “It’s ultimately a show with the most amazing vision of optimism, I think, ever put on-screen in science fiction,” says Kurtzman, who is 50. “All you need is two minutes on the news to feel hopeless now. ‘Star Trek’ is honestly the best balm you could ever hope for.”

I’m getting a tour of the USS Enterprise from Scotty — or, rather, “Strange New World” production designer Jonathan Lee, who is gushing in his native Scottish burr as we step into the starship’s transporter room. “I got such a buzzer from doing this, I can’t tell you,” he says. “I actually designed four versions of it.”

Lee is especially proud of the walkway he created to run behind the transporter pads — an innovation that allows the production to shoot the characters from a brand-new set of angles as they beam up from a far-flung planet. It’s one of the countless ways that this show has been engineered to be as cinematic as possible, part of Kurtzman’s overall vision to make “Star Trek” on TV feel like “a movie every week.”

Kurtzman’s tenure with “Star Trek” began with co-writing the screenplay for Abrams’ 2009 movie, which was suffused with a fast-paced visual style that was new to the franchise. When CBS Studios approached Kurtzman in the mid-2010s about bringing “Star Trek” back to TV, he knew instinctively that it needed to be just as exciting as that film.

“The scope was so much different than anything we had ever done on ‘Next Gen,’” says Frakes, who’s helmed two feature films with the “Next Generation” cast and directed episodes of almost every live-action “Trek” TV series, including “Discovery” and “Strange New Worlds.” “Every department has the resources to create.”

A new science lab set for Season 3, for example, boasts a transparent floor atop a four-foot pool of water that swirls underneath the central workbench, and the surrounding walls sport a half dozen viewscreens with live schematics custom designed by a six-person team. “I like being able to paint on a really big canvas,” Kurtzman says. “The biggest challenge is always making sure that no matter how big something gets, you’re never losing focus on that tiny little emotional story.”

At this point, is there a genre that “Strange New Worlds” can’t do? “As long as we’re in storytelling that is cogent and sure handed, I’m not sure there is,” Goldsman says with an impish smile. “Could it do Muppets? Sure. Could it do black and white, silent, slapstick? Maybe!”

This approach is also meant to appeal to people who might want to watch “Star Trek” but regard those 668 hours of backstory as an insurmountable burden. “You shouldn’t have to watch a ‘previously on’ to follow our show,” Myers says.

To achieve so many hairpin shifts in tone and setting while maintaining Kurtzman’s cinematic mandate, “Strange New Worlds” has embraced one of the newest innovations in visual effects: virtual production. First popularized on the “Star Wars” series “The Mandalorian,” the technology — called the AR wall — involves a towering circular partition of LED screens projecting a highly detailed, computer-generated backdrop. Rather than act against a greenscreen, the actors can see whatever fantastical surroundings their characters are inhabiting, lending a richer level of verisimilitude to the show.

But there is a catch. While the technology is calibrated to maintain a proper sense of three-dimensional perspective through the camera lens, it can be a bit dizzying for anyone standing on the set. “The images on the walls start to move in a way that makes no sense,” says Mount. “You end up having to focus on something that’s right in front of you so you don’t fall down.”

And yet, even as he’s talking about it, Mount can’t help but break into a boyish grin. “Sometimes we call it the holodeck,” he says. In fact, the pathway to the AR wall on the set is dotted with posters of the virtual reality room from “The Next Generation” and the words “Enter Holodeck” in a classic “Trek” font.

“I want to take one of those home with me,” Peck says. Does the AR wall also affect him? “I don’t really get disoriented by it. Spock would not get ill, so I’m Method acting.”

I’m on the set of the “Star Trek” TV movie “Section 31,” seated in an opulent nightclub with a view of a brilliant, swirling nebula, watching Yeoh rehearse with director Olatunde Osunsanmi and her castmates. Originally, the project was announced as a TV series centered on Philippa Georgiou, the semi-reformed tyrant Yeoh originated on “Discovery.” But between COVID delays and the phenomenon of “Everything Everywhere All at Once,” there wasn’t room in the veteran actress’s schedule to fit a season of television. Yeoh was undaunted.

“We’d never let go of her,” she says of her character. “I was just blown away by all the different things I could do with her. Honestly, it was like, ‘Let’s just get it done, because I believe in this.’”

If that means nothing to you, don’t worry: The enormity of the revelation that Garrett is being brought back is meant only for fans. If you don’t know who the character is, you’re not missing anything.

“It was always my goal to deliver an entertaining experience that is true to the universe but appeals to newcomers,” says screenwriter Craig Sweeny. “I wanted a low barrier of entry so that anybody could enjoy it.”

Nevertheless, including Garrett on the show is exactly the kind of gasp-worthy detail meant to flood “Star Trek” fans with geeky good feeling.

“You cannot create new fans to the exclusion of old fans,” Kurtzman says. “You must serve your primary fan base first and you must keep them happy. That is one of the most important steps to building new fans.”

On its face, that maxim would make “Section 31” a genuine risk. The titular black-ops organization has been controversial with “Star Trek” fans since it was introduced in the 1990s. “The concept is almost antagonistic to some of the values of ‘Star Trek,’” Sweeny says. But he still saw “Section 31” as an opportunity to broaden what a “Star Trek” project could be while embracing the radical inclusivity at the heart of the franchise’s appeal.

“Famously, there’s a spot for everybody in Roddenberry’s utopia, so I was like, ‘Well, who would be the people who don’t quite fit in?’” he says. “I didn’t want to make the John le Carré version, where you’re in the headquarters and it’s backbiting and shades of gray. I wanted to do the people who were at the edges, out in the field. These are not people who necessarily work together the way you would see on a ‘Star Trek’ bridge.”

For Osunsanmi, who grew up watching “The Next Generation” with his father, it boils down to a simple question: “Is it putting good into the world?” he asks. “Are these characters ultimately putting good into the world? And, taking a step back, are we putting good into the world? Are we inspiring humans watching this to be good? That’s for me what I’ve always admired about ‘Star Trek.’”

Should “Section 31” prove successful, Yeoh says she’s game for a sequel. And Kurtzman is already eyeing more opportunities for TV movies, including a possible follow-up to “Picard.” The franchise’s gung-ho sojourn into streaming movies, however, stands in awkward contrast to the persistent difficulty Paramount Pictures and Abrams’ production company Bad Robot have had making a feature film following 2016’s “Star Trek Beyond” — the longest theaters have gone without a “Star Trek” movie since Paramount started making them.

First, a movie reuniting Pine’s Capt. Kirk with his late father — played in the 2009 “Star Trek” by Chris Hemsworth — fell apart in 2018. Around the same time, Quentin Tarantino publicly flirted with, then walked away from, directing a “Star Trek” movie with a 1930s gangster backdrop. Noah Hawley was well into preproduction on a “Star Trek” movie with a brand-new cast, until then-studio chief Emma Watts abruptly shelved it in 2020. And four months after Abrams announced at Paramount’s 2022 shareholders meeting that his 2009 cast would return for a movie directed by Matt Shakman (“WandaVision”), Shakman left the project to make “The Fantastic Four” for Marvel. (It probably didn’t help that none of the cast had been approached before Abrams made his announcement.)

The studio still intends to make what it’s dubbed the “final chapter” for the Pine-Quinto-Saldaña cast, and Steve Yockey (“The Flight Attendant”) is writing a new draft of the script. Even further along is another prospective “Star Trek” film written by Seth Grahame-Smith (“Abraham Lincoln: Vampire Hunter”) and to be directed by Toby Haynes (“Andor,” “Black Mirror: USS Callister”) that studio insiders say is on track to start preproduction by the end of the year. That project will serve as an origin story of sorts for the main timeline of the entire franchise. In both cases, the studio is said to be focused on rightsizing the budgets to fit within the clear box office ceiling for “Star Trek” feature films.

Far from complaining, everyone seems to relish the challenge. Visual effects supervisor Jason Zimmerman says that “working with Alex, the references are always at least $100 million movies, if not more, so we just kind of reverse engineer how do we do that without having to spend the same amount of money and time.”

The workload doesn’t seem to faze him either. “Visual effects people are a big, big ‘Star Trek’ fandom,” he says. “You naturally just get all these people who go a little bit above and beyond, and you can’t trade that for anything.”

In one of Kurtzman’s several production offices in Toronto, he and production designer Matthew Davies are scrutinizing a series of concept drawings for the newest “Star Trek” show, “Starfleet Academy.” A bit earlier, they showed me their plans for the series’ central academic atrium, a sprawling, two-story structure that will include a mess hall, amphitheater, trees, catwalks, multiple classrooms and a striking view of the Golden Gate Bridge in a single, contiguous space. To fit it all, they plan to use every inch of Pinewood Toronto’s 45,900 square foot soundstage, the largest in Canada.

But this is a “Star Trek” show, so there do need to be starships, and Kurtzman is discussing with Davies about how one of them should look. The issue is that “Starfleet Academy” is set in the 32nd century, an era so far into the future Kurtzman and his team need to invent much of its design language.

“For me, this design is almost too Klingon,” Kurtzman says. “I want to see the outline and instinctively, on a blink, recognize it as a Federation ship.”

The time period was first introduced on Season 3 of “Discovery,” when the lead character, Michael Burnham (Sonequa Martin-Green), transported the namesake starship and its crew there from the 23rd century. “It was exciting, because every time we would make a decision, we would say, ‘And now that’s canon,’” says Martin-Green.

“We listened to a lot of it,” Kurtzman says. “I think I’ve been able to separate the toxic fandom from really true fans who love ‘Star Trek’ and want you to hear what they have to say about what they would like to see.”

By Season 2, the “Discovery” writers pivoted from its dour, war-torn first season and sent the show on its trajectory 900-plus years into the future. “We had to be very aware of making sure that Spock was in the right place and that Burnham’s existence was explained properly, because she was never mentioned in the original series,” says executive producer and showrunner Michelle Paradise. “What was fun about jumping into the future is that it was very much fresh snow.”

That freedom affords “Starfleet Academy” far more creative latitude while also dramatically reducing how much the show’s target audience of tweens and teens needs to know about “Star Trek” before watching — which puts them on the same footing as the students depicted in the show. “These are kids who’ve never had a red alert before,” Noga Landau, executive producer and co-showrunner, says. “They never had to operate a transporter or be in a phaser fight.”

In the “Starfleet Academy” writers’ room in Secret Hideout’s Santa Monica offices, Kurtzman tells the staff — a mix of “Star Trek” die-hards, part-time fans and total newbies — that he wants to take a 30,000-foot view for a moment. “I think we need to ground in science more throughout the show,” he says, a giant framed photograph of Spock ears just over his shoulder. “The kids need to use science more to solve problems.”

Immediately, one of the writers brightens. “Are you saying we can amp up the techno-babble?” she says. “I’m just excited I get to use my computer science degree.”

After they break for lunch, Kurtzman is asked how much longer he plans to keep making “Star Trek.” 

“The minute I fall out of love with it is the minute that it’s not for me anymore. I’m not there yet,” he says. “To be able to build in this universe to tell stories that are fundamentally about optimism and a better future at a time when the world seems to be falling apart — it’s a really powerful place to live every day.”

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Spock Experiments on a New Set in First ‘Star Trek: Strange New Worlds’ Season 3 Image

Strange things are brewing in the Enterprise's new science lab.

The Big Picture

• Ethan Peck's Spock examines a strange lifeform in a new lab set on the USS Enterprise, in the first image from Star Trek: Strange New Worlds Season 3.
• Jonathan Frakes returns to the director's chair for Strange New Worlds , and calls one episode the "best episode" he's ever done.
• Season 3 will feature the classic Star Trek character Scotty, who made an appearance in the Season 2 finale.

Star Trek fans may have a while longer to wait for the third season of Star Trek: Strange New Worlds to air, but we have a first glimpse of the upcoming season, which is currently filming in Toronto, Ontario. The new image, courtesy of Variety , shows Spock ( Ethan Peck ) clad in a full-body environment suit, examining a strange lifeform in the new science lab set of the USS Enterprise. In the impressive new set, the translucent floor covers a four-foot pool of illuminated water, while the walls are bedecked with six viewscreens displaying live graphics.

Star Trek mainstay Jonathan Frakes , who will return to the director's chair for Strange New Worlds ' third season, also teased a bit of what we can expect. The third season will feature one episode structured like a Hollywood murder mystery that Frakes calls "the best episode of television I’ve ever done." This may be connected to a recent filming update from star Anson Mount , who noted that the upcoming season will feature something he's never done before.

'Star Trek: Strange New Worlds' Season 3 Resumes Filming With New Set Image

What can we expect from season 3 of 'strange new worlds'.

The third season of Strange New Worlds will continue to chronicle the 23rd-century voyages of the USS Enterprise and its crew, including Captain Christopher Pike (Mount), Spock (Peck), Una Chin-Riley ( Rebecca Romijn ), Nyota Uhura ( Celia Rose Gooding ), La'an Noonien-Singh ( Christina Chong ), Erica Ortegas ( Melissa Navia ), Christine Chapel ( Jess Bush ), and Dr. Joseph M'Benga ( Babs Olusanmokun ).

Presumably, it will open with the conclusion of last season's cliffhanger finale , which saw the crew imperiled by the hostile reptilian Gorn aliens on all fronts; not only is the Enterprise under attack from a Gorn fleet, but Pike's fellow captain and love interest Marie Batel ( Melanie Scrofano ) has been implanted with Gorn embryos that will kill her when they hatch. The third season will likely also incorporate classic Trek character Montgomery "Scotty" Scott into the cast. The crew encountered him for the first time in the Season 2 finale, as played by Martin Quinn .

The water in the new science lab set may simply be for effect, or it may allude to an occasionally-referenced part of Star Trek lore that wasn't seen on-screen until the second season of Star Trek: Lower Decks : Cetacean Ops, an area of some Starfleet ships that features a large aquarium and is staffed by various intelligent whales and dolphins.

The third season of Star Trek: Strange New Worlds is currently filming and does not yet have a release date . You can stream the previous seasons on Paramount+. Stay tuned to Collider for future updates.

Star Trek: Strange New Worlds

Star Trek: Strange New Worlds follows Captain Christopher Pike (played by Anson Mount) and the crew of the starship USS Enterprise (NCC-1701) in the 23rd century as they explore new worlds throughout the galaxy in the decade before Star Trek: The Original Series.

Watch on Paramount+

Screen Rant

Star trek: legacy gets boost as new report teases picard follow-up movie.

The proposed continuation for Star Trek: Picard season 3 dubbed Star Trek: Legacy may become a streaming movie according to a new report.

• Star Trek: Legacy may become a movie instead of a TV series.
• Rumored Star Trek streaming movie "Legacy" may happen if Section 31 succeeds, says Variety report.
• Star Trek: Legacy has been campaigned for by fans since Picard season 3 ended.

Star Trek: Legacy , the rumored follow-up series to Star Trek: Picard , gets an update courtesy of a new report. In addition to reuniting the cast of Star Trek: The Next Generation for one last mission, Picard season 3 set up a new Star Trek show featuring Captain Seven of Nine (Jeri Ryan) as commander of the USS Enterprise-G, tentatively titled Star Trek: Legacy . The cast ideally would include Commander Raffi Musiker (Michelle Hurd) as First Officer; Ensign Jack Crusher (Ed Speleers), as well as several returning Picard characters.

A new Variety cover story about the future of the Star Trek franchise includes a long-awaited, albeit brief, update on the possibility of Star Trek: Legacy happening as a Star Trek streaming movie made for Paramount+ if Star Trek: Section 31 is a success. Read the quote below:

And Kurtzman is already eyeing more opportunities for TV movies, including a possible follow-up to “Picard.”

Star Trek Picard Season 3 Ending Explained (In Detail)

Why hasn't star trek: legacy been confirmed yet, short answer: money..

The fan-led campaigns to greenlight Star Trek: Legacy certainly show that demand for the new Star Trek: Picard spinoff exists, but demand alone isn't enough to warrant a whole new Star Trek series going into production. Even though Picard season 3 clearly set up Legacy , with its potential cast of new characters, Captain Seven catchphrase cliffhanger, and even a visit from Q (John de Lancie), there was never a guarantee that the premise would result in a multi-episode, ongoing Star Trek show, especially with 3 other Star Trek shows currently in production.

The new Variety report suggests that Star Trek: Legacy may come to exist as a streaming Star Trek movie, which would be a more financially sound move , even if it isn't exactly what fans have been clamoring for. Star Trek: Section 31 was intended as a series before being modified into a more cost-effective feature-length telefilm, and its success could lay the groundwork for a collection of similar Star Trek content on Paramount+. Legacy as a Star Trek movie may not be ideal, but it would still see the continuing adventures of the USS Enterprise-G crew, and that's better than no Star Trek: Legacy at all.

Source: Variety

Star Trek: Picard season 3 is available to stream on Paramount+

The Next Star Trek Movie Will Be An Origin Story For The Entire Franchise

When a franchise has lasted for upwards of half a century and is still going strong, the decision-makers in charge will inevitably run into one pressing question above all others: Where do we go next? "Star Trek" became a beloved institution among the nerdiest of fans for a pretty good reason, largely because of its wholesale commitment to treading new ground and envisioning a new future. But with the franchise firing on all cylinders these days (on television, at least) and no signs of slowing down anytime soon, writers have become increasingly hard-pressed to boldly go where no others have gone before ... literally speaking, that is, since recent "Star Trek" shows like "Strange New Worlds," "Lower Decks," "Discovery," "Picard," and more have filled in all sorts of gaps in the official canon.

It's no secret that Paramount is eager to get back in the big-screen business for "Trek," however, and one of the more intriguing productions currently in the works seems to have settled on its main focus. We previously knew that "Black Mirror" and "Andor" director Toby Haynes had been tapped to lead an untitled upcoming "Star Trek" movie – one that's not  meant as a continuation of the alternate-universe (aka Kelvin Timeline) movies starring Chris Pine and the rest of those films' cast. The studio is still playing its cards close to the chest on this, but a new report has shed a little more light on what we can expect from this mysterious motion picture.

The key phrase, apparently, is "origin story."

An origin story ... 'of sorts'

Variety has the scoop on the future of "Star Trek," unveiling a flashy new cover story covering practically every corner of the (fictional) universe. One tidbit buried among the rest, however, paints a rather interesting picture of what one of the movies in development could end up focusing on. With names like Toby Haynes and writer Seth Grahame-Smith ("The LEGO Batman Movie," "Abraham Lincoln: Vampire Hunter") attached, there's clearly no shortage of creative talent looking to put their stamp on future plans for the franchise. Figuring out what exactly that direction should be, however, is another story altogether.

According to the report, fans can expect the movie to "serve as an origin story of sorts for the main timeline of the entire ['Star Trek'] franchise ." What that means, of course, is anybody's guess. In terms of the timeline, the best guess is that this will take place long before the events of the 2009 J.J. Abrams semi-reboot and that of "The Original Series" as well. Discounting time-travel adventures that placed contemporary "Trek" characters on, say, 20th Century Earth, the earliest era of the canon that we've seen was previously explored in "Star Trek: Enterprise," which is set a full century before the likes of Captain James T. Kirk or Mr. Spock ever stepped foot on the USS Enterprise.

Trekkies already know how events like First Contact between humanity and the Vulcans unfolded or how events like the Eugenics Wars ravaged the Earth and set our civilization on a course for the stars, so could this in-development movie tackle the formation of Starfleet and the Federation as a whole? At this point, your guess is as good as ours. We'll definitely be keeping a close eye on this one.