voyagers opening credits

Star Trek: Voyager opening title sequence

Title screen for Star Trek: Voyager

The opening title sequence for Star Trek: Voyager highlighted the series' hero starship, the USS Voyager , traversing spatial phenomena made possible with the latest in contemporary CGI modeling. The sequence was designed by Dan Curry , with the title theme composed by Jerry Goldsmith .

The sequence was nominated for an Emmy for Outstanding Individual Achievement in Graphic Design and Title Sequences. ( Star Trek Voyager: A Celebration , p. 19)

John Kenneth Muir's Reflections on Cult Movies and Classic TV

Creator of the audio drama Enter The House Between. One of the horror genre's "most widely read critics" (Rue Morgue # 68), "an accomplished film journalist" (Comic Buyer's Guide #1535), and the award-winning author of Horror Films of the 1980s (2007), The Rock and Roll Film Encyclopedia (2007) and Horror Films of the 1970s (2002), John Kenneth Muir, presents his blog on film, television and nostalgia, named one of the Top 100 Film Studies Blog on the Net.

Wednesday, January 22, 2020

25 years ago: voyager's opening credits.

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A member of a league of time travelers and a boy travel through time repairing errors in world history. A member of a league of time travelers and a boy travel through time repairing errors in world history. A member of a league of time travelers and a boy travel through time repairing errors in world history.

• James D. Parriott
• Jon-Erik Hexum
• Meeno Peluce
• David Cadiente
• 39 User reviews
• 6 Critic reviews
• 1 nomination

Episodes 20

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• Jeffrey Jones
• 1st Pirate …

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• Wilbur Wright

• Teddy Roosevelt

• Charles Lindbergh

• Abraham Lincoln

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• Lawrence of Arabia

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• Trivia After leaving his acting career behind, Meeno Peluce became a high school history teacher.
• Goofs In the early episodes, whenever the Voyagers are in time jump, neither their clothes nor number of personnel match when they jumped or land.

[opening narration]

Phineas Bogg : We travel through time to help history along, give it a push where it's needed. When the Omni's red, it means history's wrong. Our job's to get everything back on track.

• Crazy credits During the credits, we hear Meeno Peluce, one of the cast members, say, "If you would like to learn more about [names of three famous things pertaining to the episode], take a voyage down to your public library. It's all in books."
• Connections Edited from The Buccaneer (1958)

User reviews 39

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• Jul 23, 2000
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• October 3, 1982 (United States)
• United States
• Official Site
• Die Zeitreisenden
• Colonial Street, Backlot, Universal Studios - 100 Universal City Plaza, Universal City, California, USA
• James D. Parriott Productions
• Scholastic Productions
• Universal Television
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Star Trek Opening Credits Ranked

Every "Star Trek" series has a different theme and open credits sequence, all influenced by those that have come before. The original series featured a voice-over from William Shatner as Captain Kirk, explaining the mission of the Enterprise before the stirring music crescendos and the ship zooms off into space. Kirk's monologue has become a part of pop culture, and each series has tried to find a way to both pay homage to the original and tell their own story. As such, there are a wide variety of opening sequences, each trying to capture the themes and visuals of their specific show in a matter of minutes. Some are successful, with memorable, hummable themes that invoke a sense of nostalgia. Others are simply forgettable, while there are others still that I wish I could forget. With 11 different "Star Trek" TV shows in existence, there's quite a range of quality in their title sequences, so I've put together a handy ranking of them all, from the great to the truly terrible. 

11. Enterprise

Music:  "Star Trek: Enterprise" automatically loses points for being the only "Star Trek" opening with lyrics in its title music. While the other series feature an assortment of orchestral arrangements, for some mind-boggling reason the folks behind "Enterprise" decided to base the theme on a Rod Stewart song. "Where My Heart Will Take Me" by Russell Watson was adapted from "Faith of the Heart" by Rod Stewart, and it is  corny . And if the song's weird sentimentality sounds familiar, that's because Stewart also wrote a version of "Faith of the Heart" for the Robin Williams movie "Patch Adams," which was notoriously sappy itself.  

Visuals:  Unfortunately, the visuals are just as dated and sentimental as the song choice, showing the history of exploration on Earth before we took to the stars. The idea is kind of cool, but it ends up looking like a NASA recruitment video more than the opening of a "Star Trek" series.

Trek Factor:  While seeing the origins of exploration are neat, there's something about the misspelled "Enterprize" and the other various "old timey" elements that make the show feel weirdly dated, and not in an intentionally historical way. I imply cannot get over how hilariously late-'90s to early-'00s the intro feels, from the bizarre crossfades to the song that sounds a lot like the theme from "Firefly," which came out just a year after "Enterprise." Everything about it is trying to embody Americana, which feels oddly against the themes of intergalactic sharing of knowledge from the rest of "Star Trek." The whole thing feels corporate and sterile, and misses the point of "Star Trek" entirely. 

Music:  The instrumental theme by Jeff Russo is pretty excellent, though it doesn't have the same rousing spirit as many of its forebears. Then again, " Picard " focuses on a man in his twilight years, and isn't about exploring the cosmos or defending a pivotal gateway between universes. It's a little more contemplative, a little more somber, and the theme reflects that with its gentle string arrangements and hints of the theme from "Star Trek: The Next Generation." 

Visuals:  "Picard" unfortunately falls into the recent trend of overlaying a bunch of images in a semi-psychedelic looking way to create a title sequence. The trend started with shows like "Hannibal" and "Nip/Tuck," though those had a unique conceit tied to their show, before eventually blowing up with the incredible title sequence on the first season of "True Detective." After that, everyone tried to mimic the style in their own way, and the opening titles to "Picard" feel more like an attempt at being relevant than staying true to "Trek." 

Trek Factor: With no voiceover, a much more serene theme, and no footage of starships, planets, or really any of the things we have come to associate with "Star Trek," it's clear that "Picard" is just about Picard. That's fine and dandy, but it doesn't make for a good "Star Trek" opening. 

9. Discovery

Music:  "Star Trek: Discovery" features another theme by Russo, and it's significantly more "Trek" than the theme to "Picard." It's rousing and exciting with big orchestral swells — exactly the things that belong in a "Star Trek" theme. While it's not as instantly recognizable as some of the classic "Trek" themes, it still fits right in among them. 

Visuals:  " Discovery " has an interesting opening sequence, with blueprints and design schematics animated around the U.S.S. Discovery. It all looks very cool, but a "Star Trek" opening without stars just doesn't have the same feeling. The series was trying to set itself apart and become a bold new kind of "Trek," so the move away from the standard "ship flying through space" visuals is understandable. 

Trek Factor:  The title sequence to "Star Trek: Discovery" feels tangential to "Trek" without being directly a part of it. The visuals and music both hew closer to the sharp designs of the Kelvin timeline films, but at least it still feels "Trek"-adjacent. 

Music:  The opening sequence for "Star Trek: Prodigy" is scored by Michael Giacchino, who also composed the scores for the three Kelvin-timeline films starting with "Star Trek" in 2009. It's a rousing theme that sounds a little more "Star Wars" than "Star Trek," but since "Prodigy" is for kids , that whimsical, fantastical sound kind of fits. It's not the best "Star Trek" theme, but it's still pretty cool, and definitely feels age-appropriate. 

Visuals:  The visuals are where "Star Trek: Prodigy" really shines. The animation is gorgeous as the ship flies around the galaxy, zipping around planets and asteroid belts before more abstract but beautiful things start flying around the ship itself. The whole thing is designed to be awe-inspiring and get kids excited, and I can only imagine how thrilled I would have been watching these credits as a child. We even get a version of Captain Janeway (Kate Mulgrew), made from stardust. How cool is that? 

Trek Factor:  This opening has all of the basic requirements for a quality "Star Trek" opening: a ship flying through space, a good theme, and some fun little visual treats, but it's still very clearly intended for kids and it's a little more fantastical than your average "Trek" opening. It's perfect for introducing young viewers to "Star Trek," but doesn't have the same nostalgic oomph as some of the other openings. 

7. The Animated Series

Music:  Composers Ray Ellis and Norm Prescott took the theme from "Star Trek: The Original Series" and turned it into something more befitting an animated series. The theremin and orchestral arrangements are replaced by something significantly more poppy and upbeat, and when the titles actually show up and the big swell into the theme happens, it sounds more like "The Love Boat" than "Star Trek." It's a product of its time, though it's honestly incredibly charming. 

Visuals:  There's a little animated Enterprise zooming around the galaxy, mimicking the credits from "The Original Series" in animated format. It's old, cel-shaded, hand-drawn animation, and by golly, it's fun.

Trek Factor:  William Shatner reads the original series voice-over, the theme is based on the original theme to some degree, and the animation is a near carbon-copy of the original series credits. You really can't get much more "Trek" than this, but it's just too much a product of its era to inspire more than amusement. If you want to feel like you've been teleported back in time to the 1970s, just watch this intro. 

6. Deep Space Nine

Music:  The theme by Dennis McCarthy is great. It starts soft and builds into a big swell, as "Star Trek" themes are wont to do, but it stands just apart enough from the themes of the original series and "Next Generation" to clearly be its own thing. This is the first "Star Trek" opening without a voice-over, setting a precedent that would remain until "Star Trek: Strange New Worlds." Since "Deep Space Nine" was trying to take "Trek" in new directions, a different kind of opening makes a lot of sense. 

Visuals:  We see the space station Deep Space Nine, located near both the planet Bajor and the wormhole that leads to the Gamma Quadrant. One of the coolest things about the "Deep Space Nine" opening credits is the way they change as the seasons progress, adding the docked Defiant and occasionally other docked ships, representing various plot points in the series. 

Trek Factor:  The lack of a voice-over (and Avery Brooks as Captain Sisko could have probably done a pretty cool one) and sheer length of this intro (it's nearly two minutes) unfortunately hold it back from being one of the best. "Star Trek: Deep Space Nine" may be my favorite "Trek" of them all, but its opening sequence just isn't quite as great as some of the rest.

5. Lower Decks

Music:  The theme by Chris Westlake is pretty much perfect, mixing the sounds of many of the older series together to create something entirely new. From the opening chords, it's impossible to think of anything but "Star Trek." "Star Trek: Lower Decks" is a comedy show, but there's nothing comedic about the score. It just rules.

Visuals:  "Lower Decks" uses the intro to show off the U.S.S. Cerritos, which doesn't get much screen time in the short episodes. We see it going on a bunch of missions and getting pelted by all kinds of space debris, which highlights the comedic aspect of the show. When we get a view looking down from above the ship, however, and we can read the ship's name and designation, it's fabulously nostalgic. 

Trek Factor:  Despite being a cartoon comedy series , the opening to "The Lower Decks" still  feels like "Star Trek." It's both a throwback and something new, which is what all the best "Star Trek" tends to be. 

4. The Original Series

Music:  The original theme by Alexander Courage is what started it all, inspiring the rest of the themes on this list in some way or another. (Except maybe "Enterprise," but that's on them.) The theme has the kind of a military march to it until Shatner finishes his voice-over and the title appears, then it softens and becomes a more melodic, joyful tune. The second half of the theme is exceptionally dated, but it evokes late 1960s television from the first note.

Visuals:  Speaking of exceptionally dated, the images of the Enterprise flying around in outer space aren't exactly modern marvels of special effects. When you remember that they were creating these effects with models, careful camera placement, and matte paintings, they feel a little less silly and more impressive, but they just can't hold a candle to the CGI-created starships in today's "Trek."

Trek Factor:  It's the original , there's no way to be any more "Trek."

Music:  Composer Jerry Goldsmith  really  knows how to write a great "Star Trek" theme. The theme for "Star Trek: Voyager" is one of the best, relishing in a big orchestral sound reminiscent of the themes from the original run of "Star Trek" films (probably because he helped with those, too). The theme to "Voyager" is spectacular, though not quite as catchy or memorable as the top two on the list. 

Visuals:  Yes, some of the CGI on the intro to "Voyager" looks a little dated, but it's not so outlandishly cartoonish that it detracts from the overall impression, which is that "Voyager" voyages. We see the ship zip around space, exploring planets, asteroid fields, and more, and it's really the first "Star Trek" opening that gave a real idea of the scope of Starfleet's exploration. We had seen the Enterprise zooming through space and around a few planets, and we had seen Deep Space Nine chilling next to Bajor, but this was the first time we got to see the full capabilities and range of a Federation starship in the opening credits. 

Trek Factor:  Pretty much the only thing holding " Voyager " back is the lack of a voice-over, because I need my captain to tell me the mission every episode, darn it! 

2. Strange New Worlds

Music:  Composer Jeff Russo got a  lot of practice writing "Star Trek" themes with his work on "Discovery" and "Picard," and it seems like he finally found the perfect vessel for his ideas in "Star Trek: Strange New Worlds." The theme to the new series has everything you could ask for from a "Star Trek" theme: orchestral swells and booms, hints of the original series theme, and even a theremin to give the end of the theme an otherworldly sound. 

Visuals:  The Enterprise gets to go on the kind of intro ride that Voyager did, exploring space and all of the various hazards it has to offer. The special effects are incredible, and the opening sequence is just gorgeous to watch. 

Trek Factor:  Starship bopping about the galaxy? Check. A smooth-voiced captain (Anson Mount as Christopher Pike) doing a voice-over monologue that starts with "Space... the final frontier"? Check. A theme that gets the blood pumping before delivering chills in its final moments? Check. "Star Trek: Strange New Worlds" is a throwback in many ways, but its opening proves that it's also updating and upgrading the old into something even more grand. 

1. The Next Generation

Music:  The theme for "Star Trek: The Next Generation" is actually the theme  from "Star Trek: The Motion Picture," composed by Jerry Goldsmith and based on the original score by Alexander Courage. When you ask the vast majority of "Star Trek" fans to think of a theme song, this is probably the one that's going to pop into their heads. It marries the original series, the movies, and "The Next Generation," making it  the "Trek" theme for more than one generation. 

Visuals:  I'm not going to lie: the visuals for " The Next Generation " are pretty lackluster. The Enterprise zips around the stars a bit, but we don't see anything else out there in space, and the zipping gets a little repetitive. Thankfully, this is also one of the shorter intros, so it's easy to just focus on the killer theme music and Patrick Stewart's phenomenal opening voice-over.

Trek Factor:  If Stewart doing the whole "these are the voyages of the starship Enterprise" thing followed by Goldsmith's theme doesn't get your heart pumping and the hair on your arms standing on end, you might be a Borg. This is "Star Trek" at its most "Star Trek," which is why it's the best opening of all of the series. 

This Movie is Currently Unavailable

Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what's outside the ship or who they're becoming inside it.

The Impossible Planet in the 'Star Trek: Voyager' Opening Credits

It's been staring you in the face this whole time.

Engaging in a fun hypothetical, EC Henry looks at fairly obvious clues within the credits that point at the phenomenal nature of the planet Voyager appears to be exploring. Microscopic by planetary standards, the object would be dwarfed by its rings.

As fun as in-world solutions are, the true answer probably lies in the scaling issues that have existed since Captain Kirk's original series in the 60s. It's tough to show off your cool looking spaceship while also showing cool looking planets. Whatever the future holds for Star Trek will probably also face similar difficulties.

We'll find out what impossibilities, if any, exist in the Discovery opening credits on September 24th .

David Grossman is a staff writer for PopularMechanics.com. He's previously written for The Verge, Rolling Stone, The New Republic and several other publications. He's based out of Brooklyn.

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The Ending Of Voyagers Explained

Voyagers , the latest science fiction film starring Tye Sheridan and Lily-Rose Depp is, in a way, a sort of Lord of the Flies set on a starship far from the reaches of Earth and human civilization. While the children in Lord of the Flies wind up trapped on an island by accident, the young people onboard this starship (which is more of an ark) are there by design. In both cases, the adolescent ensemble has to reckon with the chaos of a world without adult rules.

On its face, Voyagers has a familiar sci-fi premise: The Earth's time is running out. Richard ( Colin Farrell ), a scientist with a plan, takes a crew of young people who have never interacted with the rest of the world into space, where they will live and eventually breed the next generation of humans. The hope is that their children will eventually arrive on a new world for humanity to populate. So, a pretty standard execution of the generation ship trope.

The stars of Voyagers will never see that new world. They are the intermediary generation between the humans of Earth and their children, who will hopefully be the ones to kickstart human civilization all over again someplace new. The end of Voyagers and its meaning are tied to the chaos of what happens aboard that lonely vessel in the blackness of space. Here's the ending of  Voyagers explained.  Major spoilers ahead.

Voyagers ending isn't about the future, it's about right now

Richard's big plan once everyone's on the ship is to trick the kids into self-medicating with something called "The Blue," which is essentially a cocktail of anti-androgens and other meds designed to keep everybody sexless and docile. But the kids find out about the drug, and they stop taking it. Without The Blue, the kids become volatile, which results in Richard's death, leaving the kids to fend for themselves.

These kids may not have experienced much of Earth, but they're still human, so they do exactly what humans do — they vie for power through violence and manipulation. They even create a pretend evil alien designed to explain away Richard's death. More crewmembers die and, for a while there, it seems like the entire mission will end with no survivors.

The movie actually ends with a détente, however. Two male leaders, Christopher (Tye Sheridan) and Zac (Fionn Whitehead), who have been struggling for control of the mission, accept the compromise that Sela (Lily-Rose Depp) the medic will take charge. Christopher and Zac step down and cease hostilities, but they agree that everyone will stop taking The Blue.

The movie ends showing that these people do age, and do indeed procreate. Their progeny do make it to a new world. The resolution is a major contrast with the rest of the chaotic and violent third act. It begs a metaphorical reading of the movie's plot: Earth is our vessel, and like the crew of the fictional starship, we are often manipulated by one another into doing self-harm. We have these periods of volatility, during which we wonder if the human species will make it to see another day, but even when our interests seem diametrically opposed, it's the process of reconciliation that guarantees our future.

Voyagers looks to this future, but it reminds us of our past, too. It reminds us that there has always been chaos caused by humanity, which carries the risk of extinction. We've survived wars, we've endured genocides, and we've navigated the creation of planet-destroying weapons. All of these wounds are self-inflicted, and yet we are still here. What Voyagers is daring us to believe with its ending is that we will not only keep surviving, but that we'll thrive for so long that we'll reach out into the farthest parts of the galaxy to inhabit new worlds. It's an optimistic movie in the end.

Voyagers Ending, Explained: What Happens to Sela and Christopher?

Neil Burger’s hefty portfolio of features might include the likes of a few you’ve seen or perhaps heard of. However, each feature is as memorable as it gets. From 2002’s ‘Interview With The Assassin’, to his ever popular ‘ Divergent ’, Burger has paved the way for like-minded filmmakers to explore nuances that drift away from the typical.

One such sci-fi feature is 2021’s Voyagers ,’ a film that tells the tale of Earth’s inevitable demise and the journey of a future generation to a planet that will serve as its successor. The journey is stricken with mishaps and challenges as the crew navigates not only the vastness of space but also the complexity of human nature. What happens when they have to experience all that in the close quarters of the ship? SPOILERS AHEAD

Voyagers Plot Synopsis

The Earth is ravaged by heat and drought. Humanity’s only hope is to find Earth’s successor, a planet that could be colonized by the future generations of the planet. Scientists find this planet in the year 2063. The journey to the planet will take 86 years, and hence, only the first crew’s grandchildren will be able to set foot on the planet. Richard Alling, played by Colin Farrell, is the lead scientist on the mission. The crew is trained in isolation to survive the confines of the ship.

The crew is bred through IVF and, at a young age, are launched within a ship to their destined planet. After a decade of being onboard crew members, Christopher and Zac discover that “the blue” they’ve been consuming is actually a drug that suppresses their pleasure response and sex drive, keeping them docile and manageable.

Both Christopher and Zac stop taking the chemical. The duo begins feeling a resurgence of adolescent hormones. Their pleasure response has also seemingly been reactivated. Soon, others also stop consuming the blue chemical. Raging hormones aboard the confines of the ship spell a recipe for disaster as the young men and women give into their most primal urges. The film explores many themes, such as adolescence, hierarchy, a lust for power, and the importance of human communication.

Voyagers Ending: Does the Alien Really Exist?

While the existence of the alien could have been an intriguing turn of events in the film, the alien does not exist. Here’s what we know about the alien. Over the course of time, the crewmates begin to hear strange noises on the ship. Nothing peculiar comes up when they check the surveillance systems onboard. Upon asking Richard about these noises and what they could be, he explains that it’s just the ship contracting due to negative temperatures. The crewmates, particularly Zac and Christopher, already know that they’re being drugged by consuming the Blue. Hence, they do not trust Richard’s explanation even in the slightest.

Curious to know what’s really happening, they begin hypothesizing possibilities. After hearing the noises again, Christopher and Zac go to the main surveillance room. Edward is stationed there and is also curious to know where these noises are coming from. While Christopher believes there’s a logical reason for it, Zac thinks there might be an external force at hand. Edward additionally hypothesizes that if the planet they’re going to has life, then there is a possibility of it existing out in space where the ship is.

This essentially plants a seed in Zac’s mind. He begins to believe that it could very well be alien life that’s making sounds somewhere within the ship. As the movie progresses, a malfunction in the communication systems outside the ship prompts Richard, accompanied by Christopher, to conduct a check-up. During the checkup, a bizarre energy is seen attacking Richard, which results in his death. At this time, the surveillance systems picked up something strange before corrupting its files. The only person to witness these events is Edward. He describes it as an entity or force that consumed Richard until he was unresponsive.

While others might have taken this information with a grain of salt, Zac had no trouble accepting it. As the story progresses, Christopher is elected as Chief Officer and is tasked with overseeing all the operations on the ship. This doesn’t sit well with Zac, as he believes he is a better fit. After convincing others to stop taking the Blue liquid, Zac forms his own group, rebelling against Christopher.

Zac has now fully embraced the idea that the alien exists and that it killed Richard. Christopher and Sela, on the other hand, do not believe in it. They set out in search of any missing surveillance footage of the incident, believed to be lost. Christopher, Sela, and others stumble upon footage of Kai in a control room operating an external instrument that he was assigned. With him is Zac, enraged by Richard’s decision to opt for Christopher instead of him.

Kai suggests to “Give him a little zap for his trouble…” indicating that the external equipment they’re handling could be manipulated to cause injuries. Within the footage, the same noises can be heard, but Zac dismisses it, saying it’s just noises from the ship. With this, Sela, Christopher, and others realize that Zac has been faking it all along. He sold this idea to the rest of the crew, claiming he could protect them from this alien.

As the footage plays out, Zac is seen manipulating the electricity surge to the external equipment, gradually increasing it. He does this until the surge is at its maximum, electrocuting Richard. The Surge also damages many other systems aboard the ship. Christopher, Sela, and the others now have firm proof that Zac was the one who killed Richard and doesn’t believe in the alien. They back the footage up in a memory drive and hide it so no one tampers with it.

They use the opportunity to play the footage on a display in the dining room, where everyone meets for meals. Christopher plays the footage and explains to the rest of the crew that Zac is the origin of all the issues. Even after the footage is shown, Zac seemingly convinces his group that the alien could be anywhere, and he wants to protect them from it. To prove his point, he randomly selects crewmate Peter and begins interrogating him on the spot. He says that Peter has the alien in him and that he should be killed.

Zac’s group needs little to no convincing of this. They chase him down and brutally beat Peter to death. Christopher, trying to stop them, also gets hurt in the process. The group realizes what they have done, but Kai persuades them they did the right thing. Directly from the story, we get a clear image of how power-hungry Zac really is. He is equipped and ready to fabricate any story that will keep him on top. He even goes to the extent of killing Richard.

The alien is nothing but a mere made-up story driven by its mysterious setting and unsettled listeners. It all began when Edward initiated the possibility of it being an external influence to Zac, using the story for his power-hungry needs. He actually didn’t even need to convince the rest of the crew; the noises helped him without trying. It just goes to show how gullible people can be within a herd mentality. In this setting, the alien is really Zac’s lust for power; although intangible, it can become a reality if the need for it is larger than life.

What Was in the Secret Compartment of the Ship?

When Christopher figures out the real composition of the Blue, he also stumbles upon another secret that the mission withheld from the crew. Within the bounds of the ship is a secret compartment, Pod-23 , that contains something mysterious. Christopher found the compartment in the ship’s plans. Curious about this, he discloses this information to Zac and some others.

Later on in the film, Christopher and Sela recognize that the compartment actually contains weapons. Sela mentions to Christopher that Richard had provided this information earlier. Hiding from the rest of Zac’s followers, Christopher ventures out searching for this compartment, but to the dismay of his stealth skills, is unable to and leads Zac and his followers straight to it. The weapon’s cache is now in the hands of Zac and his peers, adding even more chaos.

The reason behind the weapons cache existing on the ship is clearly mentioned in the film. The mission integrated the weapons into the ship, only to be used by the generation that reached the planet. They would use these weapons for self-defense if they encountered any threat on the planet. After all, it is imperative for the crew of the ship to survive on the planet if they are meant to colonize it. Therefore, having weapons is a must.

The secret compartment helps us understand how intelligent the crew members really are. Anything that is kept secret will eventually be unearthed, especially when confined to a particular space, which in this case is the ship. It paints a picture of adolescent curiosity, something that can uncover several mysteries if it wants to. Human ingenuity knows no bounds, and considering the crew members are genetically enhanced for their intellect, it would be concerning if they didn’t find the cache.

Purely from a narrative perspective, the weapons play a vital role in storytelling. Without the guns, the intensity and thrill displayed towards the end of the film would not exist. In the hands of these young adults, the weapons are a symbol of power. Others would fear them because they possess it. This is precisely what Zac wanted: power, and he got even more of it with the weapons. Zac tells his peers that he’ll protect them from the alien, and with the acquisition of the weapons, Zac can carry out his claims.

The secret compartment of weapons isn’t just there to add a feature to the narrative. It has systematically been placed by the writers to help its viewers understand the scenario onboard the ship. It is a symbol of intelligence, power, fear, and hatred, traits that readily appear in the film.

Are Sela and Christopher Alive at the End?

Details about Sela and Christopher dwindle towards the end of the film after the birth of their children. While it is unknown whether they survived the journey in its entirety, from a purely cinematic perspective, this could be plausible. The odds aren’t necessarily in their favor. To understand if they survived, we must know how old they could be at the end of the film.

Using the information provided at the beginning of the film, it is assumed that the children were conceived right after the exoplanet was found. We can confirm from the movie itself that it is an exoplanet, as displayed during the initial presentation by the mission director at the start of the film. The chart indicates that the spacecraft will be traveling to Alpha Centauri, which in reality is the nearest solar system from ours, about four light-years away.

Using the information provided in the film, the children were conceived right after the exoplanet was found. This means the children are born approximately one year after the planet was found in 2063. If the children were born in 2064, they were launched within Humanitas (the spacecraft) only during their pre-teen years, ages 9 to 12. If the average age of the children is nine years, they were launched into space in 2073.

After the 10-year jump, Sela and Christopher are 19 years old. While most of the film is accompanied by suitable answers, time-frames have fallen short. Information about the time frame between Richard’s death and Sela becoming Chief Officer is quite foggy. However, if the time frame lies between a few months to a year, Sela and Christopher could have given birth to their child at the age of 21.

If they stuck to the designated age provided by the rules of the mission of 24 years, it would alter the trajectory of their ages. Sela would have ample time to re-adjust the state of affairs onboard the ship and bring consensus and peace among the crew after the events that took place when they were 19. Sticking to this route, Sela would give birth to her child at the age of 24, 15 years after the launch of the mission.

If the crew sticks to the same pattern, then Sela’s children will also give birth at the age of 24. Sela would be 48 years old during the birth of her grandchildren, 39 years into their journey. Gen 1 would give birth to Gen 2 at the age of 24; Gen 2 would give birth to Gen 3 when Gen 1 is 48 years. Sela and Christopher would need to survive another 47 years before landing on the exoplanet at the age of 95.

The average life expectancy worldwide is around 73.4 years, which means Sela and Christopher would be in a minimal percentage of people who live to the age of 95. According to other academic records, the centenarian (people who are 100 years old and above) percentage around the world is around 0.017%. This could indicate that Sela and Christopher have a very minute chance of living that long, irrespective of other conditions.

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