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THE OFFICIAL MAGAZINE

NICHELLE NICHOLS INTERVIEWED

STAR TREK DISCOVERY CAST UPDATE

INSPIRATIONAL! THE REAL-WORLD WOMEN EMPOWERED BY STAR TREK

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46.5

6 Stardate: 70

oesn’t 2016 seem like a long time ago? That long-awaited 50th year, the conventions, the special events and parties, the thrill of Beyond, and even the exciting, if somewhat extended wait for new Star Trek on TV. Still, from hereon in, every day is an anniversary of something Trek-related, so let the party continue... Three months into 2017, and casting news is trickling out of the secret underground lair of CBS’s Star Trek: Discovery production office. We know some of the new faces set to stun (see our preview feature on page 12), and there’s plenty of speculation about who will be joining them as the female lead, Number One. Trek’s original pilot, “The Cage,” famously featured Majel Barrett as the Enterprise’s first officer (see left), also known as Number One – a strong woman in a commanding role. When Discovery launches, it will take that idea full circle with our new Number One, finally embracing Gene Roddenberry’s original, all-encompassing future dream of diversity and equality. This issue we celebrate one aspect of that diversity – the inspirational female characters that have enriched both our favorite slice of sci-fi, and the daily lives of Star Trek fans. Here’s to the next half-century of that egalitarian, exciting, and effervescent part of our lives called Star Trek. Buckle up, and Engage…

HAILING FREQUENCIES OPEN! Email us at startrekmagazine@titanemail.com about anything Star Trek-related, d or write to Star Trek Magazine at (US address) 2819 Rosehall Lane, Aurora, IL, 60503, U.S.A. or (UK address) 144 Southwark Street, London SE1 0UP

EDITORIAL • Editor: Christopher Cooper • Senior Editor: Martin Eden • Designers: Dan Bura, Amazing15 • Contributors: Chris Dows, Chris Gardner, Lisa Granshaw, John De Gruyther, K. Stoddard Hayes, Rich Matthews, Larry Nemecek, Mike Newbold, Ian Spelling, Derek Tyler Attico, and Adam Walker. STAR TREK: THE OFFICIAL MAGAZINE • Exclusive cover artist: Dusty Abell with Lovern Kindzierski VOL #1, ISSUE #60 (UK #187) • Special Thanks: Bill Burke Published by Titan Magazines, a division of Titan • Bad Robot: J.J. Abrams, Bryan Burk, Damon Lindelof, Publishing Group Limited, 144 Southwark Street, David Baronoff London SE1 0UP. TM ® & © 2017 CBS Studios Inc. © • CBS Consumer Products: 2017 Paramount Pictures. STAR TREK and Related Marks John Van Citters and Marian Cordry are Trademarks of CBS Studios Inc. All Rights Reserved. Titan Authorised User. CBS, the CBS Eye logo and related • Copyright Promotions Ltd.: Anna Hatjoullis marks are trademarks of CBS Broadcasting Inc. TM & © • Paramount Home Entertainment: 2017 CBS Broadcasting Inc. All rights reserved. For sale Kate Addy, Jiella Esmat, Liz Hadley and John Robson in the US, UK, Eire, Australia and New Zealand. Printed in • Simon & Schuster US: Ed Schlesinger the US by Quad/Graphics. ISSN 1357-3888 TMN 13634

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Christopher Cooper Editor

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STAR TREK MAGAZINE

REGULARS 6 STATUS REPORT The latest Star Trek news from every quadrant of the galaxy.

72 TREKNOLOGY Will our working lives be outsourced to robots?

84 TRICORDER The return of Strange New Worlds, plus new novels and comics reviewed.

93 FISTFUL OF DATA

“I KEPT GETTING CALLS FROM MY FAMILY SAYING, ‘WHAT ARE THEY TALKING ABOUT, THE FIRST INTERRACIAL KISS?’”

Trexpert Larry Nemecek brings clarity to your canon queries.

TREK GIVEAWAY! 92 WIN! EXCLUSIVE TREK TITANS

18 NICHELLE

NICHOLS

52 GOING GUI! 97 STARSHIP TREKKERS Going badly where no-one has gone before, in “The Devil in the Dork!”

STAR TREK MAGAZINE

MICHAEL AND DENISE OKUDA

66 NICOLE DE BOER

CONTENTS

12 Regular R l N Newss

d Editi dition

EXCLUSIVE Comic St S ore Ed dition ition n

FEATURES 12 DISCOVERY SUPPLEMENTAL Welcoming the newest members of the Star Trek family.

32 INSPIRATIONAL! Celebrating Star Trek’s legacy of female empowerment.

38 TIME’S ARROW Looking out for Number One: The characters of Majel Barrett-Roddenberry.

24 STARFLEET’S FINEST: SECURITY CHIEFS STAR TREK MAGAZINE

KELVIN COMEBACK Next Big Screen TREK Still in the Works

George Kirk's ship, the U.S.S. Kelvin, in Star Trek (2009)

ll we currently know about the proposed fourth Kelvin timeline movie, originally announced by Paramount Pictures last July, is that “Chris Pine’s Captain Kirk will cross paths with a man he never had a chance to meet, but whose legacy has haunted him since the day he was born: his father.” Chris Hemsworth, who starred as George Kirk in Star Trek (2009) and has since become better known as Marvel’s Thor, continues to be asked when the movie is going ahead – and how his character might come back from the dead. Speaking to MTV, the actor recently revealed that he’s spoken to J.J. Abrams, and that the Bad Robot boss has “an amazing pitch on the whole thing.” Asked whether time travel would play a part in the story, Hemsworth replied, “I honestly don’t know,” and with no ﬁrm dates as to

WHAT WE LEFT BEHIND Behr Looks Back in DS9 Documentary

n its way from the producers of Chaos on the Bridge and For the Love of Spock, brand new documentary DS9: What We Left Behind features Ira Steven Behr and members of the show’s cast, taking a comprehensive look at the series which took Star Trek in a bolder, darker, and more nuanced direction.

STAR TREK MAGAZINE

Producer Adam Nimoy also promises that the documentary will reconvene the original writers’ room, to thrash out story ideas for where an imaginary 8th season could take the show. For updates about the production, sign-up for an exclusive newsletter at www. DS9WhatWeLeftBehind.com

when the movie might shoot, or for its eventual release, time travel may well be our best option for getting any further information. Meanwhile, Zoe Saldana (Uhura) was positive about the prospects of the movie going ahead, telling entertainment outlet IGN, “It’d be crazy to limit the longevity of a show that has had a 50-year life... especially when people were talking about how amazing [Beyond] was.” Saldana also reafﬁrmed her commitment to returning, saying “I would always come back. To get an opportunity to be with all my friends...? I would be so happy.” Paramount have previously conﬁrmed that J.D. Payne and Patrick McKay have signed on to pen the sequel’s script, although fan speculation was stoked by a tweeted photo of Star Trek Beyond screenwriters Simon Pegg and Doug Jung, hunched over a laptop at Bad Robot’s Santa Monica HQ.

STARFLEET ACADEMY (AWARD) Beyond Make-up Nomination

tar Trek Beyond’s huge array of alien races, mortal wounds, and human hairdos earned Joel Harlow and Richard Alonzo an Academy Award nomination at the 2017 Oscars. Up for best Make-up and Hairstyling, Beyond faced stiff competition from Idris Elba as Krall in Star Trek Beyond super-villain movie Suicide Squad, and comedy-drama A Man Called Ove. The date for Trek’s big night at the Oscars fell a month after this issue went to press, so our congratulations to each of the nominees – and hopefully to our winner!

STATUS REPORT

DEVIATIONS ON A THEME IDW Explores Stranger New Worlds

omics publisher IDW is about to take Star Trek in a bold new direction, as part of its fiveweek franchise-busting Deviations event. With IDW titles as diverse as Orphan Black, Ghostbusters, and My Little Pony getting the “What If...?” treatment, the Star Trek universe is also set to be shaken up in a 40-page special written by Donny Cates, with art by Josh Hood. “What if” it wasn’t the Vulcans who made first contact with humans, but the Romulans instead? With Earth turned into a brutal penal colony, it’s down to resistance fighter Will Riker to lead his band of prisoner outlaws, as they attempt to rescue a mysterious prisoner in the darkest level of the Romulan dungeons...

Other IDW Trek titles about to hit comic store shelves include more Star Trek: To Boldly Go, the ongoing series written by Mike Johnson. Issue 5 is out now, and features a special story revealing the secret past of breakout Star Trek Beyond character Jaylah, and following her as she joins the cadets at Starﬂeet Academy. Issue 6 continues the adventures of Kirk, Bones, and the crew of the U.S.S. Endeavour, following directly on from their deadly encounter with the Borg in issue 4. March also sees the fourth installments of both the Star Trek/Green Lantern crossover, and Star Trek: Waypoint, the anthology title that tells tales from all eras of the show.

STAR TREK MAGAZINE

BON VOYAGE All Aboard the Star Trek Cruise

Talking TNG: Denise Crosby, John de Lancie and Marina Sirtis

Wedding vows renewed!

etting sail on January 9th 2017, the ﬁrst official Star Trek Cruise had sold out a year before the Norwegian Pearl weighed anchor with over 2,300 fans aboard. William Shatner welcomed passengers and introduced the oceanbound event by asking fans to “pretend it’s the Enterprise,” before telling them, “we’re going where no one has gone before.” Also on-hand to rouse the crowd were a cavalcade of Trek stars, including Chase Masterson, Ethan Phillips, Robert Picardo, John de Lancie, Denise Crosby, Robert O’Reilly, and Max Grodenchik. Unlike any previous Star Trek convention, this was to be a genuine cruise experience, with the stars of Trek becoming part of the liner’s entertainment staff, performing live shows as well as appearing on more traditional Q&A panels when not mingling with the passengers.

STAR TREK MAGAZINE

Shatner tells passengers to "pretend it's the Enterprise"

John de Lancie joins fans for a selfie

KEEPING SHIP SHAPE Day one saw Marina Sirtis and Terry Farrell perform A.R. Gurney’s 1998 play, Love Letters, and later Chase Masterson sang some of her favorite tunes in Leeta’s Bliss Ultra Lounge (introduced by Max Grodenchik). The next morning, Farrell was up early to lead a morning yoga class on deck, while Sirtis would host an afternoon Blackjack tournament in the cruise ship’s casino, renamed 13 Forward for the duration. Entertainment on day two included John de Lancie’s hilarious One Man Show, and a musical comedy revue starring Robert Picardo and Jordan Bennett, performing Broadway numbers and songs from Monty Python, the Beatles and the Moody Blues. Docking in Cozumel, Mexico, much of day three was given over to Away Team excursions to Mayan ruins, but back aboard ship there was Q’s Masquerade Ball to look forward to, and laughs with Ethan Phillip’s Late Night Comedy show.

STATUS TATUS REPO REPORT

KIRK CAPERS Day four featured numerous star panels, including The Voyages of Voyager and Bringing Forth the Next Generation, while a highlight of the entire cruise saw William Shatner delight passengers by having his grandchildren interview him, live on stage. Terry Farrell, Marina Sirtis, Denise Crosby and Chase Masterson gave fans The Women’s View, in an engaging and forthright conversation, and later the busy (and ordained) Terry Farrell led 80 plus couples in the renewal of their wedding vows. Another evening of music and an awards ceremony brought an enjoyable day to a close.

Lucky Seven

Rodek in Star Trek Online

J Max Grodenchik plays host

Bad weather meant day ﬁve’s planned shore leave was cancelled, so it was all aboard for another day of fun activities and a lot of singing, culminating in A Night at Vic Fontaine’s, featuring a Vegas-styled performance from James Darren. The ﬁnal day of the cruise saw the Enterprise (by now, no-one remembered the ship’s real name) dock at Nassau. After tasting the local delights, it was time for one last highlight, again courtesy of William Shatner, who took to the Stardust Theatre stage and delighted the audience with his experiences of life on-board. Proving itself to be a unique event, Star Trek: The Cruise has already lined up two further voyages for 2018, to be hosted by George Takei and featuring Brent Spiner, Gates McFadden, René Auberjonois and Jonathan Frakes. More information can be found at startrekthecruise.com

anuary 26th marked the 7th anniversary of MMORPG Star Trek Online, an event that was celebrated with the release of Season 12, “Reckoning,” plus a new featured episode entitled, “Of Signs and Portents.” “Reckoning” sees the return of actor Tony Todd (interviewed in our last issue) to the role of Rodek – formerly known as Worf’s brother, Kurn. In the Deep Space Nine episode, “Sons of Mogh,” Worf arranged for Kurn’s memory to be wiped, his appearance surgically altered, and his DNA resequenced in order to avoid the dishonor of suicide. By the 25th Century, and with a new

identity, General Rodek will play a big part in the “Reckoning” storyline. Todd described returning to the role as “Magniﬁcent!” saying, “It’s always an honor and a glory to be part of the Klingon legacy.” There will also be a new enemy for players to battle, in the form of the Tzenkethi – a militant and violent warp-capable species that will be a major threat to the Federation and its allies. Star Trek Online is available now on PC, and on Xbox One and PlayStation 4 consoles. PC gamers are already able to play Season 12, with “Reckoning” set to be made available to console gamers at a later date.

Concept art for deadly new foe, the Tzenkethi

STAR TREK MAGAZINE

REPLICATE THIS Trek Merchandise Roundup

FEELING GRAVITY’S PULL Trek Icons Get Heavy

PIN-TERESTED? The Final Frontier of Pins, Badges and Brooches

ut now from Her Universe, and available exclusively from ThinkGeek, comes a collection of Vintage Style, acrylic Star Trek brooches. The set consists of four modern yet retro brooches, depicting the U.S.S. Enterprise NCC-1701, U.S.S. Enterprise NCC1701-D, a Science insignia, and a shooting star design featuring the Starﬂeet delta in the classic blue, red, and yellow primary colors of the original series uniforms. If it’s a more practical pin you’re after, then ThinkGeek is also the exclusive retailer for the Star Trek TNG Bluetooth Comm Badge. y g replica p of The Next Generation’s handyy It’s a fully-functioning a e co un u icator which, h c n cted to your smartphone l s a ds-free c li g a a s digit l assistants lik S . Google N , or Cor

STAR TREK MAGAZINE

If you’ve been looking for something unique to weigh down that pile of energy bills and bank statements that’s cluttering up your sideboard, then Icon Hero’s limited edition Captain Kirk and Mr. Spock Statue Paperweights might be just the thing. Sadly, with only 150 sets being made available worldwide, you may have to stick with that matted Tribble plush you’ve been using. Standing at around 7.5 inches tall, and cast in high-quality polystone resin, these hefty collectibles are hand painted, and come with a certiﬁcate of authenticity (proving that yes, they really are paperweights!). At the time this issue went to press, pre-orders were still available at www.iconheroes.com, where you can gaze in awe at a gallery of images if it turns out you missed your chance.

BACK IN THE BOX (SETS) DS9, Voyager and Enterprise DVDs

etween January and March, 2017, CBS Home Entertainment and Paramount Media Distribution have been busy re-releasing Complete Series DVD box-sets of Deep Space Nine, Voyager, and Enterprise in the USA. With no HD remasters on the horizon for DS9 or Voyager, these value-priced releases should be a welcome addition to any fan’s collection, featuring the same wealth of extras available in the previous DVD sets, released several years ago. The Enterprise boxset doesn’t include the new extras created for its Blu-ray cousin, but there are enough audio commentaries, deleted scenes, and other material to satisfy fans who’ve not made the leap to HD.

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images from Behind-the-scenes Discovery k: Tre r the set of Sta

STAR TREK MAGAZINE

DISCOVERY SUPPLEMENTAL

Star Trek: Discovery continues its journey to your televisions and connected devices, with shooting on the CBS All Access series having ofﬁcially begun on January 24th in Toronto, Canada. This issue, Star Trek Magazine takes a look at the production’s progress in the months leading up to that momentous date. Words: Ian Spelling

S U P P L E M E N T A L

s previously revealed last summer at San Diego Comic-Con, Discovery’s 13-episode ﬁrst season will unfold about a decade prior to the events of the original Star Trek TV series, and will center on the travails of a female protagonist who, at least for a while, will be known as Number One. Behind the scenes, there have been the comings and goings typical of any ambitious new show, with the biggest twist being the news that Discovery’s long-awaited

debut is flexible, pushing the previously announced May launch to a yet-to-bedetermined date. In an official statement released on January 18th confirming the production start-date, CBS said “We love the cast, the scripts, and are excited about the world the producers have created. This is an ambitious project; we will be flexible on a launch date if it’s best for the show. We’ve said from the beginning it’s more important to do this right than to do it fast.”

STAR TREK MAGAZINE

BEHIND THE SCENES Making headlines three months earlier, news broke in October that Bryan Fuller was standing down from his role as Discovery showrunner, although he’ll retain executive producer and co-creator credits. A tweet from Fuller revealed his faith in the duo that would be taking his place, saying: “Riker spent seven years of TNG unready for Captaincy, @GretchenJBerg @AaronHarberts are ready. Thrilled to see them in command of the Bridge.” Gretchen J. Berg and Aaron Harberts are longtime writing-producing partners and friends, who met during their college days at Northwestern University in Evanston, Illinois. They’d previously collaborated with Fuller on Wonderfalls and Pushing Daisies. Other joint credits include Beverly Hills, 90210, the horror ﬁlm Valentine, and Reign. Bryan Fuller

Gretchen Berg

Fuller beamed off Discovery in order to focus his energies on other projects he was already committed to, including a television adaptation of Neil Gaiman’s acclaimed book American Gods, and a reboot of the old Steven Spielberg series Amazing Stories. CBS Television Studios addressed the hand-off from Fuller to Berg and Harberts with a statement that, in part, read, “… Gretchen Berg and Aaron Harberts will continue to oversee the show with the existing writing and producing team. Bryan is a brilliant creative talent and passionate Star Trek fan, who has helped us chart an exciting course for the series.” Berg tweeted on October 28th, 2016, “We are all committed to seeing this vision through and look forward to premiering Star Trek: Discovery. Bryan, you’re my brother, mentor and friend. We will continue what we started and make you proud.”

David Semel

STAR TREK MAGAZINE

Aaron Harberts

Alex Kurtzman

Berg and Harberts are far from alone, as the Discovery creative team includes co-creator/ executive producer Alex Kurtzman (co-writer/coproducer of Star Trek and Star Trek Into Darkness), and executive producer Heather Kadin (Scorpion). Members of the diverse Discovery writing team include Akiva Goldsman, an Oscar-winner for his screenplay adaptation of A Beautiful Mind. Fans are also excited that Nicholas Meyer, writer-director of the acclaimed feature ﬁlms Star Trek II: The Wrath of Khan and Star Trek VI: The Undiscovered Country, had signed on to Discovery as a consultant. The familiar names don’t end there as other staff-writers include popular Voyager novelist Kirsten Beyer, and Next Generation, Deep Space Nine, and Voyager writer-producer Joe Menosky. Jesse Alexander (Hannibal), and popular comic book writer Aron Eli Coleite (Heroes) are also onboard, along with noted playwright and memoirist Kemp Powers, a particularly intriguing addition

Heather Kadin

to the creative staff. Also serving as executive producers are Rod Roddenberry, the son of legendary Star Trek creator Gene Roddenberry, and his business partner, Trevor Roth. Settling into the director’s chair for the pilot episode, to be broadcast on CBS Television before the series moves to its streaming platform for subsequent episodes, will be David Semel, who will also executive-produce the first episode. Semel is an experienced director, having called the shots on sci-fi fare such as Heroes, No Ordinary Family, and The Man in the High Castle, as well as romantic comedies (Duets), teen soaps (Beverly Hills, 90210), and contemporary dramas (House). Also in place as a producing director is Vincenzo Natali, who first gained fame with the sci-fi/horror film Cube, which starred future Deep Space Nine actress Nicole de Boer. Natali went on to helm Gene Roddenberry’s Earth: Final Conflict, Splice, Hannibal, and HBO’s hit drama Westworld.

DISCOVERY SUPPLEMENTAL

TO YOUR STATIONS

THE CAST OF STAR TREK: DISCOVERY ASSEMBLE From November 2016 to the start of shooting, CBS Television Studios slowly but steadily rolled out the names of the actors joining the Star Trek family, and revealed a few details about their respective Discovery roles. Although it’s possible that some character names may well evolve as production continues, here’s a summary of some of cast announced as this issue went to press:

STARFLEET’S FINEST MICHELLE YEOH as CAPTAIN GEORGIOU

DOUG JONES as LT. SARU

Yeoh will portray Captain Georgiou of the starship Shenzhou. The Chinese-Malaysian actress and action icon is most familiar to moviegoers worldwide for the James Bond adventure Tomorrow Never Dies, and the Academy Awardwinning martial arts drama/fantasy Crouching Tiger, Hidden Dragon. In January, 2017, Michelle Yeoh Credits accompanying an Instagram photo of a Discovery-themed dessert, The Tai Chi Master (1993) Yeoh wrote, “So excited to be here Crouching Tiger, Hidden #startrekdiscovery” Dragon (2003)

Doug Jones will play Lt. Saru, a Starfleet science officer from an alien species fresh to Star Trek. The American performer is a sci-fi/fantasy/ horror regular (not to mention a contortionist and mime), whose long list of genre credits includes Buffy the Vampire Slayer, Hellboy, The Strain, and the upcoming film The Shape of Water, which reunites him with frequent collaborator Guillermo del Toro. In what can only be described as a cool coincidence, Jones recently starred in a family telemovie called The Ultimate Legacy, which also featured Bill Cobbs and Lee Meriwether. Star Trek fans will remember that Cobbs portrayed the inventor of the transporter, Emory Erickson, in the Enterprise episode “Daedalus,” while Meriwether played Losira in the original series episode, “That Which Survives.” Speaking to IGN in January, 2017, Jones described Lt. Saru as a “new breed of alien who you’ve never seen on the series before, or the movies” and said he was “tickled pink” to bring the character to life.

ON SCREEN

Memoirs of a Geisha (2005) Sunshine (2007) The Mummy: Tomb of the Dragon Emperor (2008) Reign of Assassins (2010) Kung Fu Panda 2 (2011) Final Recipe (2013) Strike Back: Legacy (2015) Marco Polo (2016) Blazing Samurai (2018)

ON SCREEN Doug Jones Credits

Batman Returns (1992) The Young Indiana Jones Chronicles (1994) Buffy the Vampire Slayer (1999) Adaptation (2002) Hellboy (2004)

Pan’s Labyrinth (2006) The Benchwarmers (2006) Fantastic Four: Rise of the Silver Surfer (2007) Hellboy II: The Golden Army (2008) Sons of Anarchy (2013) Falling Skies (2013-2015) The Strain (2014-2016) The Bye Bye Man (2017)

STAR TREK MAGAZINE

ANTHONY RAPP

as LT. STAMETS Anthony Rapp co-stars as Lt. Stamets, an astromycologist (fungus expert), and Starfleet science officer on the starship Discovery. Show co-creator Fuller long promised that a series regular would be gay, and Lt. Stamets is that character. Rapp is best known as a stage actor and singer, who originated the role of Mark Cohen in the off-Broadway and Broadway productions of the awardwinning musical Rent. He also reprised the part in the film version, and wrote a book, “Without You: A Memoir of Love, Loss and the Musical, Rent,” which he later realized as a one-man stage show. On November 29th, 2016, Rapp tweeted about his imminent Discovery experience: “So proud to be a part of this journey. I’m a longtime fan and super geek of the highest order.” He has since kept fans updated on his deep dive into the Star Trek universe, as he’s been binge-watching episodes of all the shows from across the franchise.

ON SCREEN Anthony Rapp Credits

Six Degrees of Separation (Play, 1990) School Ties (1992) Twister (1996) The X-Files (1997) A Beautiful Mind (2001) Little Shop of Horrors (Play, 2004) Rent (Play, 1995-1997; Movie, 2005) Law & Order: Special Victims Unit (2004-2012) The Knick (2015) If/Then (Play, 2014-2016)

THE VULCAN JAMES FRAIN

as SAREK James Frain joins Discovery as the first character with a direct connection to previous Star Trek productions. The British actor will play Sarek, the Vulcan father of Spock. Sarek was first played by Mark Lenard in the original Star Trek, The Next Generation, and several Trek movies, while Ben Cross took the role in the Kelvin timeline films. Frain’s 20-year career spans theatre, film, and TV shows in the UK and America, and he is perhaps best known for villainous turns in The Tudors, True Blood, and Gotham. He’s also appeared in stage productions with the Royal Shakespeare Company and Royal Court Theatre, and co-starred in an awardwinning Broadway production of The Homecoming in 2007. His upcoming projects include the films The Jester from Transylvania and Headlock.

ON SCREEN James Frain Credits Invasion (2006) 24 (2005) Fringe (2008-2009) True Blood (2010)

STAR TREK MAGAZINE

Tron: Legacy (2010) Grimm (2012-2013) The Tunnel (2013) True Detective (2015) Agent Carter (2015) Orphan Black (2015-2017) Gotham (2015-2016)

DISCOVERY SUPPLEMENTAL

KLINGONS MARY CHIEFFO

as L’RELL Relative newcomer Chieffo will portray L’Rell, battle deck commander of a Klingon ship. The American actress is the daughter of actors Beth Grant and Michael Chieffo and, like her father before her, graduated from the esteemed Juilliard School. Chieffo’s stage credits include an all-women Harlem Shakespeare Festival staging of Othello. On the day of her Discovery casting, Chieffo happily tweeted in Klingon, “tlhIngan maH,” which translates as “We Are Klingon.”

ON SCREEN Mary Chieffo Credits

Natural Disasters (2008) Jack and Janet Save the Planet (2009) Girls! Girls! Girls! (2011) The Perfect Fit (2012) Shelby’s Vacation (2017)

CHRIS OBI

as T’KUVMA Obi is on-board as T’Kuvma, a Klingon leader determined to bring together the Klingon houses. The actor learned his craft at the Drama Center London and celebrated his professional theater debut in a 2002 staging of Macbeth. He’s also appeared in the Royal Shakespeare Company productions of Comedy of Errors and Twelfth Night. Among his television and ﬁlm credits, Obi is soon to be seen in Bryan Fuller’s upcoming American Gods adaptation, and the ﬁlm Ghost in the Shell. Additionally, Obi trains students and serves as artistic director at Actor in Session, a drama school in London. Obi tweeted on January 1st, 2017, “What an emotional-creative, juggernaut 2016 was! Now to boldly go where no Obi has been before in 2017. Happy New Year x”

ON SCREEN Chris Obi Credits

State of Play (2003) Doctor Who (2011) Snow White and the Huntsman (2012) Roots (2016) American Gods (2017) Ghosts in the Shell (2017)

STAR TREK MAGAZINE

ANYTHING IS POSSIBLE If any of Star Trek’s actors have lived creator Gene Roddenberry’s dream of a better future for humanity, it’s Nichelle Nichols. Nichols was just two months away from her 84th birthday when she spoke with Star Trek Magazine, ahead of her rapturously received appearance on the main stage at the 2016 Armageddon Expo in Auckland, New Zealand. Meanwhile back home, last year’s US presidential election campaign was still in full swing… Words: Chris Gardner

Nichelle Nichols as Uhura (alongside co-stars William Shatner as Kirk and George Takei as Sulu)

NICHELLE NICHOLS

ichelle Nichols thinks the world needs Star Trek more than ever. The actress, who played Lt. Uhura in all three seasons of the original series of Star Trek, feels that creator Gene Roddenberryâ&#x20AC;&#x2122;s utopian vision of a united planet Earth is as relevant today as it was 50 years ago. In casting Nichols, a black woman, as a valued member of the command crew of the U.S.S. Enterprise, Roddenberry

sent the world a message. Until Nichols was cast, black women had only appeared on screen as slaves or servants. Fifty years later, during a year in which a divisive US presidential election campaign raised issues of racism and sexism, and with the news dominated by numerous incidents of fatal shootings of African-Americans by police ofďŹ cers, does Nichols think that America has moved forward at all, or drifted backwards?

Uhura (Nichols) wears a command gold uniform in "The Corbomite Maneuver"

“WHAT GENE RODDENBERRY WAS TALKING ABOUT WAS THE TRUTH. WE’RE A VERY, VERY, CARELESS NATION.” NICHELLE NICHOLLS “It wasn’t a step backwards,” Nichols insists, finding a note of optimism in such desperate times. “It was an identification, that what Gene Roddenberry was talking about was the truth. We’re a very, very, careless nation.” Nichols pauses to consider the public reaction to Donald Trump’s campaign, in contrast to the many rallies across America which saw people take to the streets to protest against institutionalized racism. “Instead of making it worse, it made them better,” Nichols says of the protesters. “Many saw what they were talking about, and wanted to go that way, because they thought they were already moving in the right direction.” Today’s attitudes make Roddenberry’s decision, half a century ago, to put a black woman on the bridge of his 23rd Century starship, even more incredible. It’s easy to forget how radical Star Trek was when it first aired on September 8th, 1966.

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Part of Roddenberry’s vision for humanity’s future was a united Earth with no discrimination based on sex or skin color, and he cast Nichols as communications ofﬁcer Lt. Uhura to personify that vision. After Roddenberry offered Nichols a contract, the network executives, in her own words, “had a ﬁt.” When they discovered that the U.S.S. Enterprise’s command crew included a black woman, they refused to honor that contract. Roddenberry was forced to hire Nichols as a “day player,” and he ensured she was hired as much as possible – even if only to be in the background for close-up shots of William Shatner’s Captain James T. Kirk. “It was very important how they shot it,” Nichols reveals, “as the team was always there, on the bridge.” As a result, it actually worked out that Nichols earned more than she would have if she had been on that original contract.

THE NAME MEANS FREEDOM Before becoming an actress, Nichols had been a dancer and a singer, and was still a teenager when she accompanied legendary band leader Duke Ellington on stage. Nichols joined the Star Trek cast after being called to a meeting with Roddenberry, associate producer Robert H. Justman, assistant to the producer Edward K. Milkis, and director Joseph Sargent. She had met Roddenberry a few years earlier, on the set of The Lieutenant episode “To Set it Right,” where the pair had undertaken a brief love affair. That relationship had ended long before her Trek audition. According to Nichols, Roddenberry knew nothing of the character when she auditioned – not even her name – only that he wanted Nichols to play her, so the lines she read actually belonged to Spock (Leonard Nimoy had already been cast by this point). Once she’d secured the role, Roddenberry and Nichols began fleshing out the character that would become Nyota Uhura. Her distinctive name was derived from Uhuru, a Swahili word for freedom that Nichols had discovered in a book she was reading ahead of her audition. She would hail from the United States of Africa – another radical idea, as the continent spent much of the 1960s being torn apart by tribal and civil wars. As the Enterprise’s communications officer, Uhura’s would often be the first human voice heard by any new lifeforms and new civilizations that the Enterprise encountered. She commanded the communications center of the ship, made up of technicians, linguists, and other specialists. Perhaps this explains why Uhura wears command gold in “The Corbomite Maneuver,” the first regular episode of Star Trek to be filmed, although she was soon given the red uniform of engineering and ship’s services.

NICHELLE NICHOLS

CREW NOTES NYOTO UHURA Communications officer aboard the original Starship Enterprise under the command of Captain James Kirk, Uhura was born on Earth in 2239. A highly skilled technician and linguist, Uhura was also a talented musician and enjoyed serenading her fellow crew-members with song. Her memory was wiped clean in 2267 by the errant space probe Nomad, though Doctor McCoy was able to restore her memories and re-educate her. Following the re-assignment of the original Enterprise crew to Starfleet Academy in 2284, Uhura served at Starfleet command on Earth. Uhura was scheduled to give a seminar at the academy in 2293, although she volunteered to return to her old post on the Enterprise–A at Kirk’s request, prior to the historic Khitomer Conference. Source: Star Trek Encyclopedia: A Reference Guide to the Future by Michael Okuda and Denise Okuda, Harper Design, 2016.

An early publicity shot of Nichelle Nichols as Uhura

Nichols recruited for NASA, and attended the unveiling of the Space Shuttle Enterprise with Gene Roddenbery and the stars of the original series

“I KEPT GETTING CALLS FROM MY FAMILY SAYING, ‘WHAT ARE THEY TALKING ABOUT, THE FIRST INTERRACIAL KISS?’” NICHELLE NICHOLLS Through casting Nichols, Roddenberry triggered a sea change in the entertainment industry, but the actress soon became dissatisfied with Uhura’s lack of character development or any storylines that centered on the communications officer, and she resolved to leave the show after the first season. Resigning late one week, Roddenberry insisted she reconsider and take the weekend to think about it. That weekend, at a function, Nichols was asked to come and meet her “biggest fan,” and was introduced to AfricanAmerican Civil Rights Movement activist Martin Luther King Jr. “It was incredible, because all my family were followers of Martin Luther King. He was such a great man,” Nichols says. “I didn’t even know I was going to meet him, and you know when you get into a situation like that, you say…” Her

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mouth moves but forms no words, as she recalls how dumbstruck she was in his presence. “He said ‘I’m so happy to meet you, I am a big fan,’” she continues, “and I said...” Her mouth moves again, and again her lips form no words. King told Nichols that Star Trek was the only show he allowed his young family to stay up late to watch, and she replied that she would miss it because she was leaving. He pleaded with her to stay, because of what having Lt. Uhura on the bridge represented. “He was a wonderful man,” says Nichols, who returned to the studio the following week and, having told Roddenberry about the conversation, withdrew her resignation. “Thank God,” Roddenberry is reputed to have said. “At least someone can see what I am trying to do here.”

DEFYING GRAVITY Without Uhura’s continued presence on the Enterprise bridge, it’s conceivable that Jamaican actress Madge Sinclair wouldn’t have been offered the opportunity to play the Captain of the U.S.S. Saratoga in Star Trek IV: The Voyage Home, or that Indian actor Vijay Amritraj wouldn’t have been cast as the U.S.S. Yorktown’s Captain in the same ﬁlm. Nichols’ decision to stick with Star Trek would, two decades later, lead to fellow AfricanAmerican actress, Whoopi Goldberg, lobbying Roddenberry for a role on Star Trek: The Next Generation. Goldberg herself had been inspired by Nichols to become an actress. Nichols’ legacy shouldn’t be underestimated, and it continues – not just in the entertainment industry. Nichols talks with enthusiasm and vigor about her involvement in the American space program, something she admits to being “absolutely proud” of. “I recruited for NASA,” Nichols beams. “The ﬁrst women and minority astronauts for the space shuttle program.” Dr. Judith Resnik and Dr. Ronald McNair, who sadly lost their lives in the Space Shuttle Challenger disaster in 1986, had become astronauts thanks to the work of the actress (Star Trek IV was dedicated to that tragic mission’s crew.) “Prior to that, NASA had heard me complain many times, and blame them [for the lack of women and minorities in the space program]. So, the next thing I knew, NASA was calling me in and saying ‘let’s do this.’” Nichols was initially concerned that NASA hiring a Hollywood “astronaut” would be nothing more than a publicity stunt, and she was dubious about saying yes. Eventually, the space agency managed to convince her. “They hired me to seek out women astronauts for the space

NICHELLE NICHOLS shuttle program. I hoped to make it known, not only in our country but worldwide, that America was serious, and that’s what I told the Government and NASA,” Nichols explains. “People have to know that you’re serious, that NASA is not just talking through its mouth, but serious. I said ‘I’m telling you, I’m serious – and if you’re not, I’m going to sue you!’” she laughs. “They fell about laughing, and they were pointing to each other and saying, ‘I told you that’s what she was going to say.’ So I had a wonderful relationship with them, and still do. Of course, I had been opening my big mouth about it, so all I could do was say yes.” One of Nichols’ strategies was to pen an article, which she sent to newspapers across the country. “I said, ‘they’re out there and you guys are not recruiting them correctly, and I’m going to bring you so many people,’” Nichols remembers. “The next thing I knew, I was getting calls from NASA, saying ‘stop!’ They had so many recruits! Of my ﬁrst group of recruits they chose eight people – they were looking for one! Many people whom I recruited, that didn’t go on to be astronauts, found that they wanted to work in another area of NASA, so NASA were very, very happy with me. “What I’m very proud of,” Nichols adds, “is people in the space program going out and talking to young people, telling them beyond the written word what is to be expected if they are recruited. Some of them were my recruits.”

LIVE LONG AND PROSPER Nichelle Nichols backstage at the Armageddon Expo with journalist (and writer of this very feature) Chris Gardner and his son Thomas, 10. “Oh wonderful, wonderful, you’ve got a great dad there,” says Nichols, when she learns Thomas is being introduced to the original series episodes.

Nichols as Uhura in the classic alternate universe episode, "Mirror, Mirror"

WHAT’S THE BIG DEAL? Having almost quit Star Trek early on when her character seemed to be going nowhere, it’s not surprising to learn that Nichols’ favorite moments from the show were when she actually did leave her post. “Any time Uhura got to get off the bridge,” Nichols smiles. “It didn’t happen a lot.” But when it did, it was memorable. Uhura was a key player in stories like “The City on the Edge of Forever”, “Mirror, Mirror,” and “Plato’s Stepchildren,” in which she and Kirk shared a kiss that would go down in television history – although Nichols found it hard to understand what the fuss was all about. “It was the first interracial kiss on television that we knew of,” she says. “I think [it had happened] maybe in a movie or something, but it was called the first interracial kiss on TV.” Back then, many rules governed what could or could not be put on screen, including a kiss between a white person and a black person. “If it was there, we did it, and enjoyed it,” Nichols laughs. “The funny part was I kept getting calls from my family saying, ‘what are they talking about, the first interracial kiss? We don’t know what that was all about!’ It was simple to me, because I have an interracial family from way back, all the way to now, and it doesn’t seem strange to us, or a big deal. Grandma and Grandpa did that all the time, our Pop does it all the time, so big deal!”

It’s been a quarter of a century since Nichols last donned her Starfleet uniform for Star Trek VI: The Undiscovered Country. That film, co-written and directed by Nicholas Meyer, included a definite sign-off for the original series cast. But, according to Nichols, that doesn’t mean she will never play Uhura again. “I don’t know this,” Nichols replies, sagely, when asked what is written on her character’s gravestone, “She hasn’t told me yet.” Whether Nichols believes it of her character, or is drawing a parallel between Uhura and herself, what she will say about Uhura’s story is that “It’s not finished.” So is she expecting a call from the casting director of the new series, Star Trek: Discovery, currently in production? After all Meyer is also involved in that production. “You never know!” she laughs, eyes sparkling coyly, “Anything is possible.” However, when the same question is put to her while on stage at the Armageddon Expo, she can’t contain her excitement. “There’s talk,” she says, to rapturous applause, “So it hasn’t been decided… there’s probably a script waiting for me at home. I would love to see another Star Trek that I could be in too, you know. Actors do something, do it well, and many times nothing happens, you move onto the next thing. But a really great script, a really great performance in a given situation, nothing compares to it. You will go back to it. It’s hard to leave it.”

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“YOU REALLY ENJOY THIS, DON’T YOU? I MEAN, HAVING PEOPLE SHOOT AT US.” “IF YOU MUST KNOW, I MUCH PREFER THE SHOOTING-BACK PART.” TRIP TUCKER & MALCOLM REED, ENTERPRISE, “FALLEN HERO” 24

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security personnel h v een around since the e r es days of Star Trek, w e he monstrous android R k throws Crewman M hews into a chasm, in “What Are Little Girls M de Of?” In all five series, they fulfill a specific dramatic function: to be the person who gets in the way of the bad guy and gets killed. Like countless bit-part police officers and soldiers, they die in order to show the audience that the jeopardy facing Our Heroes is real. It takes a special kind of officer to bear the responsibility for sending such selfless individuals into almost-certain doom... Words: K. Stoddard Hayes

STAR TREK ’S SECURITY CHIEFS

ithin the Star Trek universe, the mission of Security personnel is not to get killed, but to protect their crews, their ships and space stations, and especially their commanding officers. They are first to reach any disturbance, such as a bar brawl, an alien incursion, or a murder victim; and first in line when any danger threatens, aboard ship or on away missions. And, if they are lucky, they will survive such hazards long enough to report to their superiors. Starfleet recruitment must balk at the fatality rate of its Security teams, as members seem to die in far greater numbers than personnel from other departments. Keeping these hazard-duty crewmen alive is therefore a tough assignment, requiring a unique blend of skills and life experience, which brings us to Star Trek’s quintet of Security Chiefs: Tasha Yar, Worf, Odo, Tuvok, and Malcolm Reed.

PROTECTORS AND DEFENDERS The Security Chiefs of Star Trek present more diversity than any other set of department chiefs: human male, human female, Klingon, Vulcan, and Changeling. Though their titles vary, these ﬁve ofﬁcers all serve the function of being the Captain’s “early warning system” for any threat that directly confronts the crew. Their personal histories qualify each of them as well-honed threat detectors.

Reed is the only one of the five who grew up in the haven of his own family. However, his aptitude for the position of Armory Officer is derived directly from his family history; his grandfather had been an ordinance officer in Britain’s Royal Navy. Tasha and Worf were both orphaned at a young age – Worf’s parents died in the Khitomer massacre, and Tasha’s in the violent anarchy of a failed colony. Worf was rescued and adopted by a Starfleet officer, Sergey Rozhenko, yet even in his new family had to maintain a constant emotional guard as a Klingon child among humans; feared, detested, and a physical danger to his more fragile human playmates. Tasha never had the security of a family, and spent much of her youth fighting to survive and protect her little sister on a world at war with itself. Odo is also essentially an orphan, abandoned by his people in the Alpha Quadrant when he was an infant. Odo had no idea of his own nature and identity until the Federation made first contact with the Founders. He spent the first years of his life being experimented upon, then trying to assimilate into “solid” society, concealing his abilities and true form from everyone around him. Those early years were also spent under Cardassian rule, during the last years of the Occupation of Bajor, and that taught him about violence, power, and his guiding star: justice.

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SECURITY OFFICER PROFILES //////////////////////////////////////////

LT. COMMANDER MALCOLM REED

PLAYED BY: Dominic Keating Armory Officer, Enterprise NX-01 BIRTHPLACE: England, September 2nd (year unverified) PERSONAL: Heir to a family tradition of British Naval Officers, Reed joined Starfleet because he was afraid of water but not space travel (yes, really!). A very private person, he keeps himself to himself on the Enterprise until a shuttle accident strands him with Trip and they become friends. During his service on the Enterprise, Reed makes important contributions to military technology, including developing, constructing and field-testing a battery of phase cannons for the ship, and the development of an early electromagnetic force field. HOBBY: Chess. PET PEEVE: Reed is so private that if he has a pet peeve, he hasn’t revealed it – unless it’s having his privacy invaded. DISTINGUISHED SERVICE: Reed and Tucker board a mysterious chameleon ship that has been attacking Andorian and Tellarite vessels, and discover that it is a drone ship, remotely operated by the Romulans to provoke hostilities between Andoria, Tellar, and Earth. Even as the Romulans weaponize the ship’s internal systems against them, the duo sabotage its propulsion and command systems long enough to disrupt the attacks. The failed Romulan plot leads the three races into an ever stronger alliance that will one day become the Federation (Episodes “Babel One,” and “United”).

Worf (Michael Dorn) sets aside his Starfleet oath when his mate is killed by a Klingon enemy ("Reunion")

TASHA SPENT MUCH OF HER YOUTH FIGHTING TO SURVIVE. NO WONDER HER INSTINCTS FOR DEFENSE ARE SO FINELY HONED. CAREER PATHS

FIGHT OR FLIGHT

As a young officer, Reed narrowly missed a career in a much more secretive branch of security. He was recruited by Section 31, and signed up because it sounded exciting. However, Starfleet’s covert operation completely ignored him for years, and he advanced as an Armory officer, eventually being posted to Enterprise – a mission that proved much more exciting than he’d ever bargained for. Tasha spent her youth protecting both her sister and herself from violent thugs, rape gangs, and worse. She understood the basic mindset of perpetual watchfulness, which surely gave her an inclination towards Security duties. After her death, Worf succeeded Tasha as Chief of Security, though it was his status as a trusted officer as much as his Klingon physique and warrior training, that made him a natural choice for such a vital position. Odo’s path to being a Security Officer is perhaps the most unusual. He was ordered by Gul Dukat to investigate a murder on Terok Nor, leaving Dukat so impressed by his investigation that the Cardassian appointed Odo as the station’s Security Chief. Odo’s impartiality, persistence, and relentless zeal for justice made him an excellent choice – one that Dukat would surely never have made, had he known that Odo had covered up the involvement of a young Bajoran Resistance operative named Kira Nerys, in DS9 episode “Necessary Evil”).

The Security Ofﬁcers’ temperaments vary greatly, from the quick temper of Tasha and Worf, to the reserve of Reed, to the cool rationality of Odo and Tuvok. The Changeling and the Vulcan rarely act in matters of duty without careful deliberation. Worf and Tasha both have quick tempers, and these, combined with their instinct to protect and defend, sometimes lead them to take rash action. In “Encounter at Farpoint,” Tasha almost gets herself killed when she loses her temper with Q, telling him that his sham court should be ashamed in the presence of Starﬂeet’s values. Worf goes even further; when Duras murders his mate, K’Ehleyr, in “Reunion,” he deliberately sets aside his oath Continues on page 29...

Odo's plan to catch Quark smuggling backfires in "Little Green Men"

STARFLEET’S FINEST

The idea that Star Trek extras in red uniforms always get killed is so well established that “redshirt” has become a widely used term for any expendable character. In the original Star Trek series, red-shirted crewmen do indeed die at an alarmingly high rate – but that’s not down to the color of their uniforms. Along with Security, the red uniform is also worn by all personnel in the Engineering and Operations divisions, both of which manage to keep their casualty rate reassuringly low – note that Uhura and Scotty remained hale and hearty well beyond the TV series! Security ofﬁcers, however, are killed so frequently that they make up almost half of all crew casualties in the original ﬁve-year mission. It’s likely that just three episodes – all from Season 2 – may be responsible for originating the redshirt trope, containing half of the total Security deaths (and almost a quarter of the total crew deaths) in the entire original series:

“THE CHANGELING” Season 2, Episode 8 HEADCOUNT: 4 Four security ofﬁcers are killed by Nomad. Scotty, who also happens to wear red, is also killed… but then revived by Nomad. Phew!

“THE APPLE” Season 2, Episode 9 HEADCOUNT: 4 Four more security ofﬁcers (the landing party’s entire security team!) are killed: Three by planetary hazards under Vaal’s control, and one by Vaalian leader, Akuta.

“OBSESSION” Season 2, Episode 18 HEADCOUNT: 4 Another four security ofﬁcers (plus 1 other crewman) are killed by the gaseous entity.

PLAYED BY: Denise Crosby Chief of Security, Enterprise-D BIRTHPLACE: Turkana IV, 2337 DIED: Vagra II, 2384 PERSONAL: Tasha’s youth on a violently anarchic colony made her see Starfleet as a haven of order, and as her family. As an adult, Tasha struggles to balance the toughness demanded by her childhood and her security duties with expressions of femininity and emotional warmth. Her friendship with Deanna helps with this, and so does her liaison with Data under the influence of a virus (“The Naked Now”). She is the only Security Chief to die in the line of duty, and her shirt wasn’t even red. HOBBIES: Martial arts competitions. PET PEEVE: Bullying and arbitrary injustice, especially when committed by Q. DISTINGUISHED SERVICE: In an alternate timeline, where the Federation is losing a long war with the Klingon Empire, Tasha joins the crew of the temporally displaced Enterprise-C, and returns with them to the Narendra III Klingon outpost to defend it against a Romulan ambush. This sacrifice of a Federation ship in defense of Klingons averts the war, changing the course of history (“Yesterday’s Enterprise”).

SECURITY OFFICER PROFILES /////////

RED OR DEAD: DO REDSHIRTS ALWAYS BITE THE BULLET?

LT. NATASHA YAR

SECURITY OFFICER PROFILES ///////////////

LT. COMMANDER WORF

PLAYED BY: Michael Dorn Chief of Security, Enterprise-D BIRTHPLACE: Klingon Homeworld, 2340 PERSONAL: Raised as a Klingon child in a human foster family, Worf became the ﬁrst Klingon in Starﬂeet. Under Picard’s command, Worf becomes a key player in the Klingon succession, despite having had a complex relationship with his Klingon heritage, his family history, and the politics of the Empire. In his later career, Worf helps end the Founders’ subversion of the Empire, and ultimately becomes the Federation Ambassador to the Klingon Empire. HOBBIES: Martial arts, and Klingon opera (preferably turned up to full volume). PET PEEVE: Earth humor. DISTINCTIVE SERVICE: Worf’s role in the overthrow of the corrupt and ambitious Duras family proves critical to the longterm stability of the Klingon Empire. His vengeance killing of Duras deprives the faction of their most cunning and ruthless leader, and his support of Gowron against the Duras sisters’ coup attempt helps end the civil war (“Reunion,” “Redemption, Parts I and II”).

SECTION 31 THE ULTIMATE SECURITY FORCE

In the real world, many geopolitical powers use a covert intelligence agency to carry out those ethically questionable jobs they’d rather not acknowledge – and the galactic superpowers of the Star Trek universe are no different. The Romulans use the Tal Shiar, the Cardassians have their Obsidian Order, and the Federation has Section 31. In story terms, there’s nothing like a secretive agency to create conﬂict and suspense. Within the borders of the authoritarian Romulan and Cardassian Empires, these secret agencies are widely known, and greatly feared. For the Federation, with its ideals of justice and democracy, public knowledge of such a “dirty work” organization would undermine those very principles, and Section 31 therefore operates in the shadiest of shadows. Given that Section 31’s role is to “protect at all costs,” it’s quite plausible that the secret division was founded by high-ranking Security Ofﬁcers, seeking more freedom in the means they used to covertly protect Earth and the newly formed Federation. Section 31 is so secret in fact that, even though it existed long before the Federation was formed, Julien Bashir has never heard of it when Sloan recruits him in the 24th Century.

“AFFLICTION” & “DIVERGENCE” Enterprise Season 4, Episode 15 & 16 Section 31 activates Reed to help conceal their role in helping the Klingons to kidnap Phlox. Agent Harris and his superiors believe that if Phlox can’t ﬁnd a cure for a deadly metagenic virus, the Klingon Empire will retaliate against Earth and its allies with a catastrophic war.

“INQUISITION” Deep Space Nine, Season 6, Episode 18 Agent Luther Sloan arrives at Deep Space 9, and accuses Bashir of being a Dominion agent. But Sloan’s interrogation of Bashir is really a pretext for testing his loyalty, and attempting to recruit him as a Section 31 agent.

“INTER ARMA ENIM SILENT LEGES” Deep Space Nine, Season 7, Episode 16 Sloan enlists Bashir in an elaborate scheme to get the Romulan, Koval (a Federation mole) appointed to a powerful ruling committee.

“TACKING INTO THE WIND” Deep Space Nine, Season 7, Episode 22 Bashir discovers that the Changeling virus is a genocidal bioweapon, engineered by Section 31 and secretly transmitted to Odo to destroy the Founders.

“EXTREME MEASURES” Deep Space Nine, Season 7, Episode 23 Bashir and O’Brien lure Sloan to Deep Space 9, and use a neural interface to penetrate Sloan’s mind to extract the cure for the changeling virus.

STARFLEET’S FINEST

Malcolm Reed (Dominic Keating) finds his authority challenged, in Enterprise episode, "Harbinger"

to Starfleet to take revenge on Duras, killing him in a duel. This rough edge can make Worf and Tasha more thrilling than their fellow Security Chiefs – they’re much more likely to get into a fight, and their fights are always entertaining – but whether or not it makes them better Security Officers is an entirely different matter. Both had to work hard to Odo (Rene Auberjonois) faces a fellow Changeling discipline their impulsiveness. Tuvok’s emotional detachment is essential early Odo’s deliberate nature extends to in Voyager’s journey, when he is faced with carefully planned covert investigations, often the suspect loyalties of the ship’s former harnessing his shapeshifting abilities to shut Maquis crewmembers. He builds a holodeck down criminal activity. Quark’s smuggling is a training simulation to deal with a possible favorite target of these stings, but they don’t Maquis mutiny, but when he recognizes that always go according to plan. When Odo hides the two crews are quickly blending into one aboard the Ferengi’s shuttle to uncover another harmonious unit, he abandons it as potentially smuggling scheme under the guise of “taking inflammatory. A human or Klingon Security Nog to Starfleet Academy,” the ship crash-lands Officer might not have been able to yield in Roswell, New Mexico, in 1947, where the 24th suspicion to logic so easily. Much later, Century aliens are mistaken for “Little Green when the crew starts using the simulation as Men.” Perhaps a more direct approach might entertainment in the episode “Worst Case have been a better option on that occasion. Scenario,” both Janeway and Paris suggest Tuvok As a Security Officer, Odo is remarkable in should “lighten up” on logic in favor of drama one other way: due to his deeply-held respect and entertainment. for all life, he carries no weapon. Even unarmed, Reed may not be a Vulcan, but his natural his shapeshifting abilities usually give him reserve makes him a difficult man to provoke the advantage of surprise and adaptability in a into rash action. He loses his temper only when fight. Odo seems able to uphold this standard of he and Major Hayes butt heads over which of non-lethal force until he faces an adversary who them is actually in charge of protecting the is truly his match: a fellow Changeling who has Enterprise and her crew – Reed and his Armory infiltrated and sabotaged the Defiant, in personnel, or Hayes and his MACOs. Their “The Adversary.” Unfortunately, brawl in “Harbinger” earns both a reprimand the death of this Changeling from Archer, but it also leads to a truce and – at Odo’s hands – makes ultimately cooperation, which proves essential Odo the first of his race, in to Enterprise’s survival during the trials of the its entire history, to harm Xindi War. another Changeling.

PLAYED BY: Rene Auberjonois Chief of Security, Deep Space 9 FOUND: Denorios Belt, Bajor system, 2358 PERSONAL: As a Changeling among Solids, Odo has difficulty trusting (and being trusted by) any but his closest friends. Ironically, one of those friends is someone Odo doesn’t trust in the slightest – Quark. Even closer to him is Kira, who trusts him without reservation. Odo never speaks of his romantic feelings towards the Bajoran until she discovers them by chance. Even then, Kira has to goad him to declare himself. Their romance is happy but brief, and ends in a permanent separation when Odo returns to the Great Link to heal his people. HOBBIES: Exploring his shape-shifting abilities; crushing Quark’s ambitions to be a criminal mastermind. PET PEEVES: The absurdities of Solid behavior, especially mating rituals; anything Quark says or does. DISTINCTIVE SERVICE: Odo joins Sisko, Worf, and O’Brien on an undercover mission to the Klingon High Council, to expose Gowron as a Changeling infiltrator. At the last minute, Odo figures out that the Changeling is actually Martok, whose plan was to have Gowron killed by Starfleet, then make himself Chancellor in order to escalate the war and destabilize the Alpha Quadrant. By exposing the plot, Odo changes the strategic situation, leaving the Federation and its allies united (for now) and strong enough to resist the Dominion (“Apocalypse Rising”).

SECURITY OFFICER PROFILES /////////

ODO

SECURITY OFFICER PROFILES ///////////////////

LT. COMMANDER TUVOK

PLAYED BY: Tim Russ Chief of Security, U.S.S. Voyager BIRTHPLACE: Vulcanis Lunar Colony, 2264 PERSONAL: Tuvok was pushed into joining Starfleet by his parents, but after several unhappy years of service, the Vulcan resigned in order to marry and raise a family. Years later, influenced by this maturing experience, he reenlisted, and began his long friendship with Kathryn Janeway. Inadvertently, Tuvok is the cause of Voyager’s Delta Quadrant exile, after Janeway takes the ship into the Badlands, pursuing the Maquis ship aboard which he is operating undercover. Although Tuvok finds his seven-year separation from his family difficult, especially during pon farr, his Vulcan discipline makes him a good counselor to other crewmembers similarly separated from their loved ones. HOBBIES: Vulcan lute; breeding Vulcan orchids; playing kal-toh. PET PEEVE: Seven years of Neelix’s enthusiastic attempts to bring jollity to “Mr. Vulcan.” DISTINCTIVE SERVICE: After violently unstable crewman Suder murders a crewmate, he is permanently confined to quarters. Tuvok mind melds with Suder, to help him rehabilitate through Vulcan disciplines, and this act of compassion does more than prevent future murders; it gives Suder both the opportunity and the motivation to have an essential role in recapturing Voyagerr from the Kazon (“Meld,” “Basics, Parts I and II”).

Contact with Section 31 causes a conflict of loyalties for Reed, in "Affliction"

ODO’S DELIBERATE NATURE EXTENDS TO CAREFULLY PLANNED, COVERT INVESTIGATIONS. INNER CONFLICTS Honor-bound to protect their ships and stations, it’s perhaps not surprising to learn that our Security Chiefs have often had to face a conflict of interests. For years, Reed’s early recruitment by Section 31 presented no such conflict, until Phlox is mysteriously kidnapped. As Reed investigates, Agent Harris orders him to stall the investigation, and lie to Archer about the role of the Klingons in the abduction. When those lies are discovered, Archer arrests Reed. Though he is eventually released and exonerated, Reed tells Harris that he’s through with Section 31, and will take his orders only from his Captain. For Worf, the conflicting loyalties of Starfleet and his Klingon heritage cut both ways. When the Klingon Civil War breaks out (“Redemption, Parts I and II”), Worf feels compelled to resign his Starfleet commission to support Chancellor Gowron, rather than remain neutral as per Starfleet regulations. However, the years of living under Starfleet discipline and values have made him uncomfortable with some Klingon ways, including the right to execute the son of his dead enemy, Duras. Worf refuses to kill the boy, and returns to service on the U.S.S.Enterprise-D.

For Odo, the conflict runs far deeper. He learns of his true origins on the very same day that he learns his own people are the hostile Founders. When the Cardassian/Dominion alliance captures Deep Space 9, the Female Changeling uses Odo’s longing to rejoin the Great Link to manipulate him into betraying his friends and allies to the Dominion. Only the threat that Kira and the rest will be executed rouses him to fight back, and help the Bajorans and the Federation recapture the station. Whatever the conflict – physical, external, or existential – the mark of a truly fine Security Chief is that they will always fight to protect their Captains, their crews, and their ships from any threat.

Worf rejects Klingon tradition and returns to Starfleet ("Redemption, Part II")

Across the decades, Star Trek has introduced us to strong, diverse, and complex women, boldly bringing their skills to adventures in the ﬁnal frontier. From Lieutenant Uhura to Captain Janeway, T’Pol to Number One, the women of Star Trek have excelled, leaving their mark not only on the history of the show, but also on the aspirations of their fans. Words: Lisa Granshaw

INSPIRATION L! CELEBRATING STAR TREK ’S LEGACY OF FEMALE EMPOWERMENT

t all began with the original series, and communications officer Lieutenant Uhura. Uhura was an essential member of the Bridge crew, an officer that the ship could not function without. Her skills were unquestionable, and there was never any doubt that she was the best person for that position. It’s not always easy to find women well represented in science fiction, but Star Trek had shown from the very beginning that women were central to its vision of the future. That became ever clearer as meaningful roles for women grew with each series, and that in turn has enriched the lives of many fans. The equality represented in Star Trek has not gone unnoticed by fans like Angélique Roché, senior director of external affairs for the nonprofit Ms. Foundation for Women. “In a lot of sci-fi, women – particularly at that time – were marginalized,” Roché explains. “They’re someone’s assistant, or someone’s wife, or there are no women of color, like women of color do not make it to the future.” That initial step with Uhura, and the evolution of women in the franchise, showed that in this future vision, women were there, front and center. They were in leadership positions like Captain Janeway, or moving up in the ranks, like Uhura. Even before Uhura, Star Trek had attempted to break ground with its representation of women, although television was

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INSPIRATIONAL!

Majel Barrett-Roddenberry as Number One, in pilot episode "The Cage"

by placing women in equivalent roles to men, and laid the foundation for the future diversity of Star Trek. Roché recalls how Star Trek’s women began to take on more leadership positions, and were often shown as the smartest person in the room. They were essential to its in-universe history as well, including a woman being central to the invention of warp drive (Lily Sloane in First Contact). Roché has seen how storylines for women have improved with greater character development, and feels it’s an important point to make. “When people are kids, they learn this horrible word called ‘impossible’,” says Roché. “And a lot of times, when women don’t have the opportunity to see other women, or when women of color don’t have the opportunity to see other

“WHEN PEOPPPLE ARE KIDS, THEY LEARN THIS HORRIBLE WORD CALLED ‘IMPOSSIBLE’.” ANGÉLIQUE ROCHÉ

not quite prepared for it. Inn the first pilot episode, “The Cage,” there was a cleaar visual indicator that this was a universe of equal e opportunity for women and men – female crewmembers, c including Majel Barrett’s Number Onee (the ship’s first officer, no less), wore uniforms thaat a were essentially the same as their male colleaguues. Dr. Michelle Thaller, NASA’s Education and Public Outreach Program manager (who can’t recall a time when she wasnn’t a fan of Star Trek), remembers these aspects, saying s she was aware of how “the pilot was more aggressive in showing this was an egalitarian sociiety.” While the original seriies itself would opt for short skirts and big hair, it still made a difference

Dr. Michelle Thaller LWAXANA TROI Klingon women captured the imagination off Dr. Michelle Thaller, Education and Public Outreach Progrrram manager for NASA. Dr Thaller loved them because they w were so much fun, and she found Ensign Ro a tough and interesssting character, but it was Lwaxana Troi’s conﬁdence that really sstruck a chord – especially how she always said whatever waas on her mind... “That made sense for somebody that’s basically telepathic, where you’re not going to be able to hide yooour emotions, to have all that just out there,” says Thaller. “Ass a young woman, I was very much into hiding what I felt and pleeeasing people, and Lwaxana just blows her way through that.”

women of color, or they feel like they’re not being represented, it’s hard to see that the possibilities are endless. As corny as it sounds, when you look at Star Trek, we’re there.” Roché sees hope in Star Trek’s depiction of a society that can get past issues like discrimination, in which people don’t think twice about accepting others. “When it comes to the things we feel like we can’t solve as humans, the morals behind many of the stories, seeing that women are a very key part – not just in implementing, but actually being solution makers – it’s just great,” she says. INSPIRING GENERATIONS Star Trek: The Next Generation not only followed in the original series’ footsteps, but went further, introducing memorable, highly-skilled, and conﬁdent women like Deanna Troi and Dr. Beverly Crusher, who would become role models for fans like experimental petrologist and volcanologist, Dr. Kayla Iacovino. “They never said ‘and by the way she’s a woman. Isn’t this great?’ It wasn’t even an issue,” Iacovino contends. “I think that’s the goal, right? To get kids growing up and not saying, ‘Look what they’ve accomplished in spite of being women.’ It’s, ‘Why are you even mentioning that? It’s not important.’ “The Next Generation played a big role in me growing up thinking that way,” continues Iacovino, who became a scientist because of Star Trek. “I never thought that it was weird that Beverly was a woman and the doctor.”

INSPIRATIONAL!

Lily Sloane (played by Alfre Woodard in Star Trek: First Contact) worked with Zefram Cochrane to develop Earth's first warp drive

Beverly Crusher is also “Women at Warp” podcaster Sue Kisenwether’s favorite character. She learned from the doctor that you could be kind and compassionate while also standing up for your beliefs. “That is something that I have found myself doing, and wondering if I’m annoying my boss because of Beverly Crusher, 25 years ago,” says Kisenwether. “It was a big inﬂuence to see somebody not back down, and have no problem speaking up if they think a decision is incorrect.” Kisenwether is one of four women hosting “Women at Warp,” a podcast dedicated to the women of the franchise, both on-screen and behind-the-scenes. Fellow podcaster Grace Moore thinks it’s fantastic how Star Trek has shown “an evolution in what we can see a woman doing on screen.” Moore praises Deep Space Nine and Voyager for having “a really good handful of unapologetic women characters, who,” she says, “aren’t necessarily there to be nice; who don’t feel like they have to apologize for what they’re doing. It’s always great to see that sort of range broadened,

Gates McFadden (right) as Dr. Crusher

MY ST Sue Kisenwetther JANEWAY/TORRES/SEVEN OF NINE having a major inﬂuence With the women of Voyager V on “Women at Warp”” podcaster Sue Kisenwether at an important point inn her life, it would be churlish to narrow her choice doown to a single favorite. “Voyager came out when I was 13 or 14, which is a period when a lot of girls leave STEM ﬁelds (Science, Techhnology, Engineering, and Mathematics), because we’re kind of conditioned to think math and sciennce are too hard,” Kisenwether recalls. “To see Janeway, and B’Elanna Torres, and later Seven of Nine, just sciencing the crap out of Voyager every weekk normalized women in tech for me. It wasn’t a strange thing to enjoy science and chemistry and math. I really think that it’s probably because of Voyager that I have a math degree.”

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in that sense of ‘No, I don’t have to hold your hand while telling you you’re being an idiot.’ It’s always great to see that progress made. Women who don’t have to be nice!” CULTURAL SHIFT Star Trek is somewhat unique in having been a part of popular culture for so long that its values have had a wider societal impact. For example, Dr. Michelle Thaller believes that the series has contributed to a sense that young men working in the scientiﬁc community are more comfortable working side-by-side with women than their older colleagues. “People in the 60 years and above age bracket don’t necessarily mean to discriminate against you,” she suggests, “but when they think about who their colleagues are, who their mentors were, who the people are that most resemble them as they move up the ranks, they ﬁrst look to the

T'Pol (Jolene Blalock) was both a scientist and the NX-01's First Officer

MY STAR: Jarrah Hodge KATHRYN JANEWAY Jarrah Hodge, podcaster with “Women at Warp”, cites Deep Space Nine and Voyager as highlight Star Trek shows for her growing up, since they both featured numerous smart, complex, and strong women. Captain Janeway was Hodge’s primary Star Trek role model. “What I learned from her is the importance of listening to people around you to make the best decision, respecting other peoples’ opinions and where they’re coming from, and still at the end of the day being willing to make the right call,” Hodge says. “I think that Janeway set a really strong example of being able to be strong and caring. She also dealt with some personal issues, which I think could have been explored more. It was important to me to see her struggle with isolation and depression, and to be able to pull through and be a really outstanding Starﬂeet Captain.”

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STAR TREK IS SOMEWHAT UNIQUE IN HAVING BEEN A PART OF POPULAR CULTURE FOR SO LONG THAT ITS VALUES HAVE HAD A WIDER SOCIETAL IMPACT. other guys. I don’t think it’s necessarily singularly attributable to Star Trek, but there’s deﬁnitely a cultural shift happening. Young men coming in don’t have those same assumptions, and that is partially to do with Star Trek, and that depiction of the future.” It’s a cultural shift that will hopefully continue, and with a new Star Trek series approaching fast, there’s still a lot that fans would like to see reﬂected in the show. Thaller, who would like to see more strong women driving plots forward, sees Star Trek as a cultural icon with the power to help bring us to a better place, to show us where we can go next as a society, and there are ways that Star Trek can keep growing to help us better achieve this. “From the very beginning, Star Trek was this groundbreaker in terms of diversity, in terms of where the women were in the show, of where minorities were,” says Thaller. “So I think that’s one of the things that’s kept me coming back to Star Trek. I look for them to give us an optimistic view of the future, and I want them to push boundaries.”

Photo: Helga Esteb / Shutterstock.com

INSPIRATIONAL!

Michelle Yeoh will join the ranks of Trek's inspirational women in Star Trek: Discovery

Grace Moore would love to see some less traditionally feminine women represented. In fact, Moore would be happier still to see some ugly, scary female aliens – in place of the usual ugly, scary male aliens. Angélique Roché would like to see a woman like Kirk, working in deep space but who makes time for dating. “There are more dynamics to women,” says Roché, “and they don’t always have to be in a relationship. They have a romantic life and can still be in a leadership position. That would be really awesome.” Dr. Iacovino hopes the franchise will move past catsuits, and would love to see a transgender character. Andi VanderKolk of “Women at Warp” echoes that aspiration, hoping to see a non-

Seven of Nine (Jeri Ryan) and Kathryn Janeway (Kate Mulgrew) were the dramatic core of many Voyager episodes

“SINCE 1966, STAR TREK HAS ALWAYS BEEN PUSHING THAT FRONTIER FOR WOMEN IN HOW THEY’RE PORTRAYED... I THINK IT’S HAD A HUGE INFLUENCE ON A LOT OF PEOPLE.” DR. KAYLA IACOVINO

straight woman join Trek’s diverse roster of characters. It seems that there is a desire to see Star Trek continue to push forward, representing not just women, but everyone in our culture. “Star Trek has been consistent in pushing for making women shine, and putting them in these roles,” says Iacovino. “For the fanbase, I think it’s been really inspiring for people who have grown up being surrounded by that. Star Trek has been

this constant thread for decades. Since 1966, Star Trek has always been pushing that frontier for women in how they’re portrayed in the media, how they’re portrayed in science and in the military, and in positions of power. I think it’s had a huge inﬂuence on a lot of people.” It’s a powerful legacy that the women of Star Trek have created, and one that will certainly keep empowering fans in the decades to come.

THE MALE PERSPECTIVE

S Alice Krige as the Borg Queen

tar Trek’s empowering lessons have not only made a difference to female fans, but to men watching too. According to Dr. Ali Mattu, watching Star Trek from a young age set his expectations of what was normal, what society should look like, and how we should function. It stuck with Mattu how women were an inclusive element of the military and science organizations of Star Trek. “In Voyager, Captain Janeway playing a command role never seemed strange or weird to me,” Mattu says. “I think I was in 6th grade when Voyager came out, and I remember a lot of discussion, but it just didn’t seem like a big deal to me. I think it’s because Star Trek laid out this layer of normalcy for me. That’s where we should be: seeing characters, regardless of gender, who were playing major roles; just setting that expectation, that this is there, and that it’s a thing.”

Trill symbionts’ blurring of gender lines also stood out for Mattu. “That was kind of a big thing, that in this culture you have symbionts, and this is a sought after, high position in society – and gender didn’t play a role there. The symbiont could go in a man or a woman.” Tony Kim, whose parents moved from Korea about a year before he was born, enjoyed how Star Trek’s female characters disrupt the status quo. “Whether it’s making Captain Janeway the Captain of the U.S.S. Voyager,” Kim says, “or bringing in Alice Krige as the Borg Queen… We don’t see enough female villains in movies or franchises, and she’s probably one of the best ever. I love how Star Trek has tried to break the mold of what it means to be a traditional ‘hero’ by bringing in all these really strong and fascinating characters.” STAR TREK MAGAZINE

TIMEâ&#x20AC;&#x2122;S ARROW

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LOOKING OUT FOR

NUMBER ONE! Not one, not two, but three key Star Trek characters were portrayed by Majel BarrettRoddenberry – the pilot episode’s otherwise nameless Number One; redoubtable nurse Christine Chapel; and force-of-nature Lwaxana Troi – making her a key player in Trek’s fortunes across the decades. And that’s not even counting her role as Starﬂeet’s computer-voice of choice... Words: Rich Matthews

ajel Barrett-Roddenberry (née Barrett) doesn’t always get the credit she deserves for her prolific input into one of the biggest science fiction brands of all time. Her Starfleet computer voice alone is as evocative of Star Trek as the swoosh of sliding doors, the blare of a Red Alert, or the chirrup of a comm badge, making Barrett-Roddenberry as essential a stitch in the fabric of Trek’s future universe as any other performer. When talk, especially in the media, turns to female empowerment through the allegory of space-faring drama, it’s always Uhura or Crusher or Janeway that grab the headlines.

Sure, Nichelle Nichols, Gates McFadden, and the formidable Kate Mulgrew definitely redefined representations of their gender on television, but Majel Barrett got there first. She was literally Number One.

THERE CAN BE ONLY ONE Long before Riker, there was another Number One – Majel Barrett’s glass-ceiling-busting role in Star Trek’s pilot episode, “The Cage”. This unnamed ﬁrst ofﬁcer and helmsman was one of the most experienced crewmembers on the original Enterprise, and a true image of 23rd Century equality. But in the mid-1960s,

Taking on the Talosians, in pilot episode "The Cage"

it seemed it was only acceptable to have a woman on the bridge if she wore a short skirt and played the damsel-in-distress as and when required. Having an intelligent, commanding, and relatively emotionless female ﬁrst ofﬁcer was a step too far for NBC – according to Gene Roddenberry’s retelling of events, that is. Producer Herb Solow, not one of Majel Barrett’s biggest fans, made the alternative claim that the character was actually dropped because the network took umbrage at Roddenberry’s insistence on casting the unknown Barrett, believing it had more to do with their romantic involvement than her acting

Spock (Leonard Nimoy) with Number One (Majel Barrett)

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DATACORE “THE CAGE” STAR TREK, PILOT EPISODE In 2254, the starship Enterprise investigates a distress call from Talos IV, resulting in the capture of and experimentation upon its captain, Christopher Pike, by a race of powerful telepaths. FIRST AIRED: WRITTEN BY: DIRECTED BY:

Majel Barrett as Number One

prowess. History shows us that the “truth” is often a combination of viewpoints, so while Gene’s push to cast Barrett may have been for personal reasons, the character itself really was a difﬁcult ﬁt for the network, who had one eye on keeping their conservatively-minded advertisers happy. Consequently, Number One never got out of “The Cage,” and was gone by the time Kirk took command in the second pilot episode, “Where No Man Has Gone Before.” The great irony in the original pilot is that Number One’s logical outlook and composed demeanor made her character more of a protoSpock than Leonard Nimoy’s forthright Vulcan. Nimoy famously played early Spock with more emotion, to counterbalance the understated performance style of Jeffrey Hunter’s Captain Pike. With Number One booted off the ship by the second pilot, Spock assumed the cool, emotionless poise we all know and love, and Barrett was recast, newly blonde, and relegated to mooning over Spock’s unattainable, extraterrestrial stoicism. Today, in a post-Janeway world, Number One seems somewhat modest in her feminist positioning within the Trek pantheon, bland even, but it’s a great tragedy that we never got to see where the character might go – although, we can only hope Roddenberry wouldn’t have further embellished on those Captain Pike fantasies that the Talosians revealed when they read her mind! Had he done that to Number One, she might have ended up no better off than Nurse Christine Chapel…

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Number One was the first character to be introduced in the original network draft of “The Cage”. “She was the first character Gene wrote in the script,” revealed Barrett, “Captain April was not an afterthought, because he knew he had to have a captain, but the first character described was Number One.” Roddenberry had always held both Barrett and Leonard Nimoy in mind for Number One and Spock, having worked with them both on The Lieutenant – but Barrett was cast first, even before King of Kings’ Jeffrey Hunter was cast as Captain Pike (renamed from April before shooting). Even though Spock was written for Nimoy, Oscar-winner Martin Landau was also in the Vulcan running, along with Gunfight at the O.K. Corral player DeForest Kelley!

GOING TO THE CHAPEL Why didn’t Christine Chapel become one of the key crewmembers when the original cast beamed onto movie screens? Both Barrett’s platinum blonde nurse and Grace Lee Whitney’s similarly coiffured Yeoman Rand were relegated to walk-on roles in The Motion Picture, and later The Voyage Home. It’s never been stated, but the likely reason Chapel was gently moved into the background is because she’d previously performed only one narrative function – to be the object of romantic rejection by Spock. The original Star Trek series was progressive in so many ways that it can be forgiven the odd lapse, here and there. The treatment of Chapel was one such lapse. She

OCTOBER 4TH 1988 GENE RODDENBERRY ROBERT BUTLER

The idea of McCoy playing the greenblooded, inhuman Spock is priceless.

Interestingly, all the Talosians were played by women, subsequently over-dubbed by male actors.

It was Barrett who stood in for the Orion slave girl during make-up tests, which were done repeatedly as the desired green color wasn’t showing up on ﬁlm. They subsequently discovered that the ﬁlm processing lab was trying to remove the green from her skin because they thought it was a mistake.

Nimoy and Barrett are the only actors to appear in both the pilot and the very last episode of the original series – although, by then, Barrett was playing nurse Christine Chapel.

was used to reveal the conflict between Spock’s Vulcan and human sides, a literal mouthpiece for that dynamic. “I’m in love with you, Mr. Spock.” Chapel opined, in early episode, “The Naked Time”, “The human, the Vulcan. I see how honest you are; I know how you feel. You hide it, but you do have feelings. Oh, how we must hurt you, torture you.” Admittedly, Chapel was under the influence of the PSI 2000 intoxication, but any slack you’d cut her (or, rather, the writers...) in this regard was eroded by further fawning in later episodes, most notably the soup-flinging incident in “Amok Time,” during which Spock underwent the Vulcan mating cycle of pon farr. The show even

TIME'S ARROW

DATACORE “THE NAKED TIME” STAR TREK, SEASON 1, EPISODE 6 A contagion is brought aboard the Enterprise from the ravaged planet PSI 2000 that infects the crew, unleashing libidinous mayhem. FIRST AIRED: WRITTEN BY: DIRECTED BY:

Upon reading early scripts, Majel Barrett became convinced she could play nurse Chapel incognito by dyeing her hair. She did just that, bleaching it blonde – which was so convincing that even her romantic partner, Roddenberry, didn’t recognize her. However, according to producer Herb Solow, the NBC brass cottoned on instantly. “The Naked Time” marked Barrett’s ﬁrst appearance on the regular show as Chapel,

allowed her feelings to interfere with her work, when Spock needed treatment for the Denevan neural parasite in “Operation – Annihilate!” Worse, she only got to kiss Spock when the pair were forced into it by the Platonians, in “Plato’s Stepchildren”, which left her brimming with self-loathing. Chapel was so desperate for her devotion to be returned in The Animated Series, that she resorted to using a love potion on Spock, in the episode, “Mudd’s Passion”! Thanks to the unforeseen popularity of Spock (especially among women), and Chapel’s preoccupation with the Science Ofﬁcer, she quickly became an unpopular character. Even Barrett herself bridled at Chapel’s lack of depth. “I didn’t care much for Chapel, to tell you the truth,” Barrett once said. “She really wasn’t that exciting a person, or that exciting a character to play. I was happy with what I did, except there wasn’t that much to do.” When Alice Eve was cast in Star Trek Into Darkness, some fans wondered if Chapel might be resurfacing in the Kelvin timeline, but with Eve playing a young Carol Marcus, and Spock already romantically linked with Uhura, there wasn’t room for Chapel.

Spock's emotions unleashed

SEPTEMBER 29TH 1966 JOHN D. F. BLACK MARC DANIELS

and immediately established her love for Spock. It’s also the one and only time she pronounced anyone dead on the show.

This is the only episode in the three seasons of the original series to feature all three of the main female crew members, namely Chapel, Yeoman Rand, and Lieutenant Uhura. They would not share the screen again until The Motion Picture, in 1979.

Riley flirts with Nurse Chapel, in "The Naked Time"

Chapel (Barrett), Spock (Leonard Nimoy) and that other kiss in "Plato's Stepchildren"

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DATACORE “HAVEN” STAR TREK: THE NEXT GENERATION SEASON 1, EPISODE 11 The Enterprise-D is turned upside-down by the arrival of Counselor Deanna Troi’s mother, Lwaxana. The Federation’s Betazoid Ambassador has come to attend Deanna’s arranged nuptials, but ﬁnds diversion in the shape of Captain Picard. Meanwhile, the intended meeting place is threatened by the arrival of a plague ship. FIRST AIRED: WRITTEN BY: STORY BY: DIRECTED BY:

NOVEMBER 30TH 1987 TRACY TORME TRACY TORME AND LAN O’KUN RICHARD COMPTON

Lwaxana's loyal aide, Homn (played by Carel Struycken)

The character’s traditional infatuation with Spock, and the tension that he would never relent to his emotions was redundant because, well, he already had, with Uhura – and before the Enterprise had even launched! With a fourth Kelvin movie in the works, it’s possible that Chapel could yet return, and be redeemed with a more progressive representation. Times have changed, and it’s a shame that Barrett-Roddenberry is no longer around to see Chapel change with them.

TROI AND TROI AGAIN It’s amazing what a few years, a reversion to natural hair color, and a larger-than-life role can do for an actor. Chapel had been such a passive, even submissive role that no one saw Lwaxana Troi coming – and many Trekkers didn’t even recognize Barrett because of the dominance and humor of her performance. Every time Lwaxana appeared on The Next Generation (and, later, on Deep Space Nine) she blew everyone else off of the screen. You either loved or loathed her, but what you couldn’t do was ignore her. While Chapel had been shackled by unending, unrequited love for Spock, Lwaxana’s list of romances lengthened with her every appearance. She tried it on with Picard, Odo, and numerous others – even holding a wedding on the Enterprise-D that was never completed, after she’d insisted (against the wishes of her betrothed) on assuming traditional

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Barrett’s first appearance on The Next Generation as Lwaxana Troi is also marked by Deep Space Nine star Armin Shimerman’s turn as the Betazoid Gift Box – his only non-Ferengi role in Star Trek. This was technically his first appearance in Star Trek, as “Haven” was filmed before “The Last Outpost,” even though it aired after it. It’s the only time that Lwaxana’s loyal aide Homn has any lines. The change in transmission order created a continuity error, as Deanna states that she hasn’t seen Lwaxana for some time, yet had just been to see her on Betazed

Betazed wedding attire, which is absolutely no clothing whatsoever. Lwaxana was something of a contradiction: a Federation ambassador, hell-bent on ﬁnding a husband; a strong, independent woman determined to get her equally independent Starﬂeet-counselor daughter to settle down; and an incredibly self-centered, crass, and abrasive individual, capable of great largesse and sensitivity. Her greatest moment came in DS9 episode, “The Forsaken,” while trapped in a turbolift with Odo. In a gesture of solidarity at his discomfort maintaining his human disguise, and at being “different,” Lwaxana reveals that her hair is a wig – whipping it off in front of the startled

in the previously aired episode, “Hide and Q.”

Executive Producer Robert H. Justman famously hated Barrett as nurse Chapel, but changed his opinion upon seeing Barrett as Troi on TNG, noting it was clearly the character he didn’t like, rather than Barrett’s performance.

Barrett’s appearance in the episode has another hair-raising twist, as it gained make-up artist Richard Sabre an Emmy nomination for “Outstanding Hairstyling in a Series.”

Lwaxana had a soft spot for Odo

TIME'S ARROW constable. That one moment instantly layered and deepened the character, retrospectively changing how you perceive her previous appearances – even if it doesn’t make them more tolerable! With revelations about her eldest daughter, Kestra, dying young, and her touching attachment to Worf’s son, Alexander, also eliciting sympathy for a character we might otherwise have dismissed as over-the-top comic relief, you get a good illustration of a trick that Star Trek is very adept at pulling: ﬂipping expectation on its head without betraying the nature of either the show, the world within it, or the characters themselves. As annoying as Lwaxana could be, her tendency to call Worf “Mr. Woof” never got old, nor did her capacity to give Marina Sirtis’ Deanna some fun and emotional business to do, and the amazing presence of her towering aide Mr. Homn (the late, great Carel Struycken) more than made up for her bombast and bluster. Barrett-Roddenberry had already earned her place in the canon – Lwaxana Troi made it a fun and meaningful one.

“COMPUTER? HELLO, COMPUTER.” Majel Barrett-Roddenberry may have played several iconic characters on-screen, but her real Star Trek legacy is as a voice. Spanning the original Star Trek series through to 2009’s Kelvin reboot (she died of leukemia shortly before its release), Barrett lent her dulcet tones to Starfleet’s many computers, in more than 200 episodes and five movies. Her vocal turn was so indelible that she even guest-starred on Family Guy as the voice of Stewie’s “s t’s the real final frontier.

THE BIG

FIVE-OH THOSE WERE THE VOYAGES PART THREE: In this, the third and ﬁnal part of our epic conversation with the performers and makers of Star Trek, celebrating the show’s 50th anniversary, we asked them to share their most vivid memories of their intergalactic experience, and how their involvement in Star Trek has changed their lives... Interviews by Ian Spelling

s Star Trek enters its sixth decade, and Discovery readies itself to take us to new worlds of imagination, a new generation of actors, writers, make-up artists, bit-part players, set decorators, directors, and many others will join the ranks of those who’ve already become a part of the Trek family. These new adventurers will have their own experiences, their own stories to tell, as they add new layers to the Star Trek mythos that began when Gene Roddenberry sat down at his typewriter, and started thinking about writing a grown-up space series for television... With new quotes from Trek alumni, and some taken from archive interviews featured in Star Trek Magazine, on startrek.com, and other ofﬁcial sources, this article is dedicated to the creativity and perseverance of the performers and production staff who make Star Trek possible, and to those special people whom we’ve lost along the way.

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DEFOREST KELLEY (1920-1999) Dr. Leonard “Bones” McCoy, Star Trek We knew we’d be dropped at the end of the (third) season, but we were still shooting the show. There was a television set around, and we watched one of the NASA missions, maybe the one where they landed on the moon. Here we were, standing there in our far-out costumes, ﬁlming a show about the future, watching the astronauts walking around for real. That always amazes me, that memory.

“HERE WE WERE, ERE IN STANDING THERE OUR FAR-OUTT COSTUMES, FIILMING A SHOW ABOUTT THE FUTURE, WATCCHING THE ASTRONAAUTS WALKING AROOUND FOR REAL.”

ARMIN SHIMERMAN Quark, Deep Space Nine Deep Space Nine was never a job to me. It was always a delight. I was always a Star Trek fanatic. I wanted to be part of the franchise, and it was always important to me that I was part of the franchise. At times, if you spoke to me when we were making the show, I may have made it seem a little bit more like a job, because I had lines to memorize, and make-up to put on, and episode after a episode after epissode to complete. Evenn then, I was always thinking about how much fun it was. w

KIRSTIE ALLEY Lt. Saavik, The Wrath of Khan When I was little I used to watch Star Trek on TV TV. EEvery weekk, I used to say to myself, “I should plaay Spockk’s daughter.” I mean, I couuld arch my eyyebrow as good as Leonard Nimoyy. I could get it i way uup there. Whenever I’d waatch the show, I’d write dialogue for myself soo I could be part p of the storyy. I’d sit there thhinking “If Spoock should askk me this, thenn I would annswer thhis.” When my manageer told me abbout Saavik, I thought,, “This is peerfect! It’s not Spock’s daughhter, but it’s cloose enouugh.”

IRA STEVE EN BEHR Writer and Produceer, The Next Generation and Deep Space Nine I’d be insane and complettely and utterly neurotic, at the very leastt, if I said anything other than it wass an amazing eight years. To be a part of o that, to be doing 26 episodes a seasoon, having two or three weeks off, annd then starting again… It was a good experience. I’m still friends with a lot of people I worked with on o Star Trek. Plus, people still ask me about Star Trek. You’re lucky if you can make any kind of marrk on pop culture, on mass culture, so being a mplaints. part of that, I have no com

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KATE E MU ULGREW Captain Kathrynn Janeway, Voyager Voyagerr haas been the job that challenged me most, on every conceivable level, both as an c actress and as a human being. It’s been not only a roole, it’s certainly been a way of life as well, and you have got to understand that thaat’s som mething that most actors never kknow. Thhe world of Star Trekk is very far-reachingg, and the Captain has been veryy inﬂuential as a role model. She has been extremely challenging e as a charaacter for me as well, so it’s beeen an aall-consuming undertaking, f from Day One.

BOB GUNTON Captain Maxwell, The Next Generation, “The Wounded” In the episode “The Wounded,” my character, Captain Maxwell, presented Picard with a very dramatic and emotional moral dilemma. That, to me, was The Next Generation at its very best. I am proud to have been a part of that. Also, besides working closely with the wonderful Patrick Stewart, I renewed my friendships with Colm Meaney and Brent Spiner. And, although I am a longtime Broadway performer, that epissode was the ﬁrst time I got to sing on televvision. I sang “The Minstrel Boy” with Colm, and that was an unexpected bonus.

MICHAEL NOURI Syrran, Enterprise, “The Forgge”

“TTHE LONGEST TIME ME I HHAVE EVER HAD TOO SIT N H .” JERI RYAN Seven of Nine, Voyager The ﬁrst thing I think about when I look back on Voyagerr is the costume. Also, how much fun I had working with all the men on thee show. They were a bunch of lunatics, and I loved them. I loved every single one of them, and they were all so much fun too work with. It’s hard to stay in touch because we’re each all over thee place, but we see each other once in a while at conventions, and theyy’re as crazy as ever.

ANTO ON YELCHIN (1989-2016) Pavel Chekov, SStar Trek (2009), Star Trek Innto Darkness, and Star Trek Beyond Walter Koenig’s blessing of my casting as Chekov was huge. When you’re taking on something thatt’s been made iconic by an inndividual, andd for so many years, there’s always that sorrt of desire, I guess in some selﬁsh way, to gain their approval. I’m so glad that he liked the work that I did, and to meeet him was really great. It was really a very important thing for me.

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DOUGLAS TAIT RENE AUBERJONOIS Odo, Deep Space Nine I salute the writers, that they kept me – kept all of us – on our toes. You never really knew what was going to happen. If you thought, “I love that Odo can shapeshift,” well, then they took his powers away. I thought, “Well, that’s amazing. How do we deal with that?” Then he got his powers back, and I had to play that. The Kira-Odo romance seemed to come out of left ﬁeld. It was so interesting for both characters, and you never knew what would happen with it. So, each week, opening the script was like opening a treasure map leading to another adventure.

Gaia colonist, Deep Space Nine, “Children of Time” The Long-faced Barfly in Star Trek (2009) I feel very fortunate for the opportunity to play a small part in the franchise. I got to work on an episode of Deep Space Nine when I was in high school, and it was such a memorable time. Years later, when I played The Long-Faced Barfly alien in J.J. Abrams’ Star Trek (2009) film, I have to say it was one of the best experiences of my career to date. I’m forever grateful for the experiences.

ANNETTE HELDE TOM HARDY Shinzon, Star Trek Nemesis Nemesis was brilliant because I learned so much, doing a big studio movie on a big sound stage in America. It’s very different to how we work in England, because of the broad scope, and ability to reach a vast populace. Also, the Star Trek franchise is so big and important to the fans. I learned a lot about working under duress, and in America, and working with famous people.

TIM RUSS Tuvok, Voyager Voyager was definittely a major turning point in my carreer. It opened up opportunities for me that I am still benefiting from today. And it was also a financcial boost, obviously, which has h allowed me to not havee to worry so much about when the next job might happen.

JOHN BILLINGSLEY Dr. Phlox, Enterprise I look back fondly on Enterprise because of what it did for me, and because I liked the people and enjoyed the show. I enjoyed making a connection with the fans, and I still enjoy meeting the fans at the conventions. I’m not much for nostalgia, so I don’t tend too think of it at all, except at conventions, where people want to talk about it.

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Karina, Deep Space Nine, “Visionary” Lt. Nadia Larkin, Deep Space Nine, “The Siege of AR-558” Takar, Voyager, “Scientiﬁc Method” My small contributions to this epic journey were the most rewarding experiences in my acting career. In a business that can be extremely cold and heartless at times, the Star Trek people allowed you to feel a part of their family. Which is why I think they were able to create such inspiring and insightful y looks at the human condition enlighteningg ways. It was a privilege.

ANTHONY MONTGOMERY Travis Mayweather, Enterprise Someone very wise told me a long time ago: “In truth, your opinion of me is not my concern because, regardless of what we do from an acting standpoint, you’re going to have your opinion. You’re going to love it, or you’re going to hate it, and you will have very strong reasoning to back whatever your opinion is. Just do the best job you can, and leave it there.” I get people, even now, who come up to me and say, “Your show was the absolute best of all of the series’,” and then there are other people [who didn’t care for Enterprise]. We did the best work we possibly could, and hopefully we did more good than harm – and hopefully the fans will love us more than theyy hate us, iin the long run.

SIMON PEGG

Montgomery Scott, Star Trek (2009), Star Trek Into Darkness, and Star Trek Beyond It’s really fun to play Scotty, because what I think that we’ve done with the modern iteration is try to isolate certain dynamics that came up NICOLE DE BOE ER in the original series, and further them a little bit. I try to see Ezri Dax, Deep Space Nine Scotty as the pragmatist. He’s a more-mature member of the Deep Space Nine was a very speecial experience, crew. He’s less of a superhero than everyone else. He’s more just to be a part of the whole SStar Trek phenomenon. of an everyman than Kirk. Kirk is exceptional. Spock is I was glad I got the opportunity. It’s weird for me to y He’s a exceptional. I think Scottyy is one of the gguys. sit here and think I may never get to do it again, and workhorse at his job. He’s a serious guy, even though it’s when I think that way that I think that year went he’s lighthearted. People always say, “Oh, by incredibly fast. Scotty’s really funny.” Maybe his outlook I came into the show know wing that Ezri was going to is amusing. He’ss deﬁnitely reacting be a counselor. Knowing that, I didn’t expect to be in battle to extraordinary situations as any scenes, and have a gun, and thinggs like that. That was me of us would, andd therein lays the with a gun, being G.I. Jane-ish! comedy. I like thaat we keep him light I really enjoyed “What You Leave Behind.” I thought the while managing too not make him a joke. producers did a great job with it. It did a nice job of cllosing out all the storylines. I’d like to thhink that Ezri and Julian live happilyy ever after. JENNIFER LIIEN Kes, Voyager I had a good time. I have no complaints; I have no regrets. Everything workked out the way for it should have. Everything happens h a reason. So I don’t look bacck and say it should have been like this, or it should have been like that. I’m perfectly at peace and content with my llife. I don’t wish anything live in the past, and I don’t w were different.

“DEEP SPACE NINE WAS A VERY SPECIAL EXPERIENCE, JUST TO BE A PART OF THE WHOLE STAR TREK PHENOMENON.”

MELANIE SMITH Torah Ziyal (Gul Dukat’s daughter), Deep Space Nine Star Trek isn’t just a show, it is a culture, a world within a world. This groundbreaking franchise stretched people’s imaginations beyond limits. It created fresh and exciting ideas about what is possible, both on Earth, as well as in galaxies made-up beautifully, out of thin air, by great minds. That I had the honor of living inside this iconic universe was a true and unmatchable gift. I grew up lost inside the stories of these master writers. Having the opportunity to ﬂesh out one of their magical creations was absolutely incredible, and proof that, as Star Trek has shown us all along, anything is possible. It remains one of the great and unforgettable times of my life.

ERIC STILLWELL Co-writer on TNG’s “Yesterday’s Enterprise,” and Voyager’s “Prime Factors” Production Assistant and Script Coordinator, The Next Generation Celebrating the 50th anniversary of Star Trek is like coming full circle for me. I became a fan at the age of 11, then ran the world’s largest Star Trek fan club at age 18. After college, my work on The Next Generation became a career highlight, and my personal best with “Yesterday’s Enterprise.” And now, a quarter-century after The Next Generation, I’m just a big fan eagerly awaiting the next incarnation of the ﬁnal frontier!

DWIGHT SCHULTZ Lt. Reginald Barclay, The Next Generation, Voyager, and First Contact The fans love Barclay because he’s so real, so human. He’s very much like all of us. He has doubts and fears, and he expresses them. He has fantasies and acts them out. That rang a bell with Star Trek fans. I really think Barclay was a stroke of genius by the writers and producers.

“LIVE LONG AND INSPIRE, STAR TREK. ” ROBERT PICARDO The Doctor, Voyager Star Trek changed my life in unexpected ways. I’ve shared a stage with five American heroes who walked on the moon. I’ve sung at the Royal Albert Hall, to the enthusiastic cheers of more than 6,0000 musically challenged Trek fans. Presently, I sit on the board of the world’s leading space advocac non-profit, The Planetary Society – co-founded over 35 years ago by Carl Sagan, and enthusiasticcally supported from its start by Gene Roddenberry – whose mission is to empower the world’s citizens to advance space science and exploration. Through The Society, I have a voice, and encourage others to have a voice, in our future exploration of space. My work on the Broadway stage, and on shows like China Beach may have given me confidencce and credibility as an actor, but my work on Voyager introduced me to a world of opportunity and experience beyond my imagination, and has given me many treasured friendships among our extended family. I am keenly aware and grateful that Star Trek continues to inspire three generations of felloow earth-dwellers in social justice, exploration, and technological achievement. Live long and inspire, Star Trek.

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GARRETT WANG Harry Kim, Voyager When I look back upon the experience, what stands out most are the times we Voyager actors shared on the set, when the camera wasn’t rolling. I’ve always said that if we kept the cameras rolling between takes, and broadcast that footage as a half-hour reality show, it would be the highestrated show on television. Each and every Voyager principal actor had a unique sense of comedy, whether it was Bob Picardo’s dry one-liners, Tim Russ’s premeditated practical jokes, or Kate Mulgrew’s random survey questions, the set of Voyager was deﬁnitely, at times, like being at a comedy club. In my opinion, to be funny, one must ﬁrst be intelligent. Thus, I believe my fellow Voyager actors to be some of the most intelligent people I’ve ever worked with. Not anybody s hoo hoo-ha, trying to blow smoke up anybody’s ha just sticking to the truth.

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GOING GUI

Touchscreen devices have become so ubiquitous, it’s hard to remember a time when buttons were buttons and not a magical confluence of computer code and pixels. But what now seems commonplace was once the stuff of science ficton – and specifically the stuff of Star Trek design duo Michael and Denise Okuda’s day job. Words: Chris Gardner

Denise and Michael Okuda alongside the restored original Enterprise miniature

“A TESTAMENT TO MATT JEFFERIES’ GENIUS IS THAT, 50 YEARS LATER, THE ORIGINAL ENTERPRISE STILL HOLDS UP BRILLIANTLY.” MICHAEL OKUDA

f you’re in the market for Trek trivia, then here’s a fascinating fact: No one has worked on more episodes of Star Trek than graphic designer Michael Okuda. “I worked for 18 or 19 years at Paramount,” says Michael. His work on the franchise ended in 2005, at least as far as TV and ﬁlm production goes, with the cancellation of Enterprise – having worked on every Star Trek production since Star Trek IV: The Voyage Home. “I noticed that a lot of the Enterprise screens were round, and that started me thinking,” says Michael, relating how he ﬁrst got involved in the show. “Obviously you would have graphics designed to take advantage of that, so I sketched up some notions and sent them to Paramount, not really expecting a reply.” Back then, in the early 1980s, Michael had only worked on local television commercials in Honolulu. “One day I came home and found a voicemail on my answering machine, from producer Ralph Winter. He said, ‘We’re already staffed up on Star Trek III, but if we ever make a Star Trek IV I’ll give you a call.’ I thought that was the nicest brush-off I have ever got.” But Winter was as good as his word. “To my utter shock, two years later he called and said, ‘Hey, we’re starting Star Trek IV, do you want to work on it?”

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The ﬁlm included 23rd Century Vulcan, Klingon, and Federation iconography and computer interfaces, and Michael is happy to admit that he took inspiration from the work of Star Trek’s original art director, Matt Jefferies. “There’s no other word for it. The man was a genius,” Michael says. “He had to show this futuristic starship, but he had a tiny budget. Instead of buying toggle switches, meters, oscilloscopes and whatever else, he came up with this peculiar style, panels with blinking icons, desktops with what we call jelly beans. There was a visual consistency to them, and because you believe what the characters are doing, you believe the ship, and it reinforces the believability of the show. A testament to Matt Jefferies’ genius is that, 50 years later, the original Enterprise still holds up brilliantly, because he chose a style and he stuck with it.” Michael soon found himself jumping ship and working alongside Gene Roddenberry on his 24th Century vision of Star Trek: The Next Generation. “Our techniques weren’t that different to what Matt Jefferies had done, yet Gene had tasked us with coming up with a look that was 100 years [further] in the future. How do you do that? I did what Matt did, and came up with a speciﬁc style that I hoped looked interesting, and tried to be consistent throughout the ship.”

SCREEN TIME The look of Captain Jean-Luc Picard’s U.S.S. Enterprise-D started off going in one direction, but quickly headed down another path as pre-production progressed. “The original concept for the control panels of the Enterprise-D was that there was essentially nothing moving on them,” Michael recalls. “Most of the panels on the bridge would be off most of the time, and the panels would only light up in a crisis situation. “You see some of that in the ﬁrst episode,” Michael continues, “After we started shooting ‘Encounter at Farpoint,’ we had two weeks to make changes to the sets so that they were on all the time, and put some little swirly motion on some of the panels.” Michael had to come up with a graphic user interface that looked like it belonged in the 24th Century but didn’t take the viewer out of the story. “You want it to be visible, you want the audience to believe that this is a real starship, but at the same time you really don’t want to draw the viewers’ eye, unless the director calls for it. You want to draw them towards the actors, so you try to keep whatever activity – be it animation, blinking, swirling, or whatever – you want to keep that at a relatively calm level, unless there’s a reason not to.”

GOING GUI

THE STAR TREK ENCYLOPEDIA RETURNS Michael and Denise Okuda have done little else but pore over Star Trek scripts, watch episodes, and write about them for the past two years, in a marathon project to update their definitive guide to the Star Trek universe – the 300-page Star Trek Encyclopedia. “We were surprised at how much new material needed to be added,” says Michael who, with his wife Denise, has worked on several editions since its first publication in 1994. “We had covered up to about the first third of the fifth season of Voyager, and the first third of the last season of DS9. There was a tremendous amount of material.” The new edition includes the remaining episodes of Season 7 of Deep Space Nine, Seasons 5 to 7 of Voyager, and all four seasons of Enterprise. It also adds information from Star Trek Nemesis, and the Kelvin timeline’s Star Trek (2009) and Star Trek Into Darkness. That meant revising many entries, as well as creating many new ones. “A lot of times you’ll find out something happened to this character much later on that was very important to their life, and so that should really be reflected in the first paragraph, so we made a lot of those kind of changes. It took a while,” Denise admits. “We’ve poured a lot of blood, sweat, and tears into it. It’s a tremendous amount of work, but it’s done,” she cheers. When we mention Star Trek Beyond and Star Trek: Discovery, Denise smiles with resignation. They start by comparing the shooting script of each segment to the final filmed version “because that’s what we consider to be Gospel,” says Denise. “The general conceit is that Star Trek is a real universe,” agrees Michael, “and we find out what’s happening in it through the evidence that we see on screen.” “The first thing I thought was that it’s heavy,” says Denise of the two-volume publication, packaged in a luxurious, heavy-duty slipcase. “It’s a coffee table book for people who simply want to disappear into the world of Star Trek,” Michael adds.

Ironically, the state-of-the-art, 24th Century technology was realized using traditional 20th Century tools. “It was incredibly low-tech,” Michael remembers. “Most of the basic art I did with pen and ink, photostats, dry transfer letters, and typesetting. An outside contractor enlarged the art and made photographic negatives for panels. Much later, when we started doing Voyager, we started taking advantage of inkjet print technology. Things that used to be hugely laborious are now much, much easier. “We actually did very little actual animation, especially in the first season of The Next Generation. You had to make animation cels. Denise would drag them to a local animation facility, they’d shoot it, we’d get it back on film and transfer it to video. This was a hugely laborious process. We didn’t do it very often, but when we did it was very cool.” Later, Michael used a custom-hacked, high-resolution monitor, from which animation could be filmed. “Gary Hutzel would film the animation on the monitor and transfer it during postproduction, superimposing it on the screen. We did that for a couple of seasons. Then we transitioned to get direct video off of our computers, but most of the time we always said it’s not about being on the cutting edge, it’s about being consistent with your style.” So convincing was Michael’s vision of the Enterprise-D’s Library Computer Access and Retrieval System (LCARS) that actors would default to him for advice on how to operate the starship.

“There are a couple of occasions when Captain Picard had to sit at the helm and push buttons. Whenever that happened, Patrick Stewart would call me and say, ‘Come down to the stage and tell me what button to push.’” Michael grins. “I had a general idea, and I would tell him, and of course Patrick, a wonderful actor, made it look totally real.” Such calls were infrequent. “The thing I emphasized to the cast was that these panels needed to be easy to use. If you had to look like you are concentrating hard, and had to make a great deal of effort to make a command, then you were saying the panels were badly designed. Nowadays, people get that, because they use their laptops, phones, real devices with that kind of ease.” But there’s a tension between the needs of the script and how the functionality of the set will read on screen. “You start off by trying to imagine how things might be. But it’s very important to realize you’re not there to design a starship, ﬁgure out how warp drive works, how many fusion-ignition lasers you need, and what kind of cryogenic coolant you need. It’s nice if you have some approximate idea, because that informs the design, but at the end of the day your job is to do something that’s going to read on camera. “Much of what we did on the Enterprise was rather generic,” Michael continues, “If a story required us to go in close, then you put more thought into that, but our struggle was that schedules were extraordinarily tight.”

"Patrick Stewart would call me and say, 'Come down to the stage and tell me what button to push.'" Michael Okuda

SHIP TO SHIP As time went on, Michael found himself jumping between the 23rd Century movies featuring the original cast, and the televisual 24th Century. Michael describes it as “a little schizophrenic” working with the different design ethics. “At one moment you’re doing something for Captain Kirk, and then you run back upstairs and you’re doing something for Captain Picard.” Denise Okuda (née Tathwell) unofficially joined the Star Trek family while Michael was working on Star Trek V: The Final Frontier. “The first film I worked on, but not officially, was Star Trek V,” Denise says. “Mike and I were dating and, if I wanted to see him, I had to come to where he was.” Denise was hired by art director and production designer Herman Zimmerman as a production assistant on Star Trek VI: The Undiscovered Country, which led to her joining Deep Space Nine as video supervisor.

INTO THE BLU: STAR TREK REMASTERED Michael and Denise Okuda served as visual effects producers on all three seasons of the Star Trek Remastered Blu-ray release, celebrating the original series’ 40th anniversary. “We wanted to respect the original story-tellers and the original artists that created the visual effects,” says Denise. “That was our mantra. Believe me, we had people that wanted to jazz it up, and we were, like, ‘No.’” “CBS Line Producer Dave Rossi got us onto the project. His mantra was ‘we’re not going to have

the Enterprise do barrel roles,’” Michael adds. “That was kind of a touchstone for us.” Star Trek Remastered became the ﬁrst major Blu-ray project with branching (whereby viewers can select alternative video or audio streams while viewing). “You can watch with the new effects, if you want to see what we did,” says Michael, “Or if you’re a fan of the original work, and we include ourselves among them, you can watch them with the original effects. The programming was a huge task.”

Michael Okuda's Klingon display designs for The Voyage Home

“WHAT WE DID ON STAR TREK: ENTERPRISE WAS GO A LITTLE BIT BACKWARDS, AND SAID WE’RE NOT GOING TO BE AS CLEAN, BUT WE’RE NOT GOING TO BE AS SIMPLE… IT’S GOING TO BE A LITTLE MORE COMPLICATED, LESS USER-FRIENDLY.” MICHAEL OKUDA “Basically, I was responsible for all of the images that ended up on the screens, on the TV monitors on the sets. I was the intermediary between the art department and production. “Because we worked on television series that lasted usually chunks of seven years, you set forth a design that is consistent,” says Michael, “When you walk on the bridge of the Enterprise-D you have got a certain look, and there’s a consistency and a logic. When you

STAR TREK MAGAZINE

walk through Deep Space Nine there’s that same follow-through.” “The Enterprise is a character,” Michael explains, “Denise tried to take that approach with the video displays. So when the ship is happy you have normal displays. When the ship is anxious, hurt, or at a heightened level of awareness, the activity on the screens increases. Even if you can’t necessarily see exactly what’s happening there, the idea was always that those

computer screens should reﬂect the emotional state of the ship.” Denise, like Michael, found herself working on small and big screen Star Trek simultaneously. “With television you’re on such a compressed schedule. There’s no time. What you come up with has got to work well, and I think we probably achieved that. I prefer the pace of television to the pace of feature ﬁlms, which drove me crazy because they went so slowly.”

GOING GUI STEPPING BACK The pace picked up for the Okuda’s during production of Enterprise, which – being set before the era of the originals series –added a unique new challenge for the designers. “When we started doing Enterprise, we were mulling around going ‘what will be on the bridge?’ Herman Zimmerman, our production designer, was very frustrated, because it was a considerable design challenge,” Michael says. The problem was, according to Michael, that Zimmerman felt that Matt Jefferies had done such a great job on the design of the original Enterprise, it left them little room to maneuver. “One of the things that Jefferies did was come up with a very simplified style of technology. Very clean panels, clean controls, simplified controls. On one hand, that was done because of budget, but also because it suggested immensely sophisticated technology. You look at the control panels on a Space Shuttle, or an Apollo spacecraft, with rows and rows of toggles, and clearly the U.S.S. Enterprise is vastly more sophisticated,” Michael says. “What we did on Star Trek: Enterprise was go a little bit backwards, and said we’re not going to be as clean, but we’re not going to be as simple [as the NASA ships had been]. We are going to have panels of buttons and switches, and maybe even a few dials. It’s going to be a little more complicated, less user-friendly, and possibly more prone to breaking, because we are dealing with a more primitive technology. Coincidentally, at the same time we had flat screens, which we had never had before because of the cost, and a lot of computer displays. The show looked really good.” Denise interjects, “If you look at the screens, you’ll notice that the little squares on the monitors were original series colors. Our plan, as the years went by on Enterprise, was to add rows, which we did. If the show had gone to seven seasons, you would have seen a lot more of the reflective look of the original series bridge. We started with one vertical column of blinking squares, and as the series went on we added more.” “If we were to do another Star Trek series, I couldn’t right now tell you what we would do, because it depends on the resources available, where film-making technology and computer technology is at the time,” Michael says of the variables that a designer faces, “What’s your budget? What does the writer want? What does the director want? What does the producer want? You try to find something that’s in the sweet spot in all of those things. “For example, when we started The Next Generation, you could not easily do on-set video playback. Later on, the technology evolved for

us to do that. Fast forward to Enterprise, we had 20-something computer monitors on the stage. Each one had its own dedicated computer, and that was possible because of the huge advances in technology. Who knows where technology will be tomorrow afternoon?” When Star Trek: Discovery premieres, the Okudas are looking forward to tuning in with little foreknowledge of the scripts, or the behind-the-scenes processes required to get the vision on screen. “They have an excellent team on that project,” Michael says. “They are going to do wonderfully. Star Trek is so lucky to have them.”

A Next Generation example of what has become known as an Okudagram

They hope that new Star Trek projects continue to inspire others, as the original show inspired them and many in today’s real-world space program. “We have been very fortunate to interact with a lot of folks from NASA who are big Star Trek fans, and we are big space geeks,” Denise smiles. “We’d go to Florida to big shuttle launches, and we would meet these people, and they would say to us, over again, that Star Trek inspired them. That’s wonderful. Star Trek has inﬂuenced our society greatly, and continues to do so. The fact we just celebrated the 50th anniversary, for crying out loud, it’s really darned amazing.”

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If a picture paints a thousand words, then how many words does a movie projected at 24 framesper-second conjure? And if you were to write them all down, how much more story could you tell? Star Trek Magazine caught up with the master of movie adaptations, Alan Dean Foster, to talk about the pressures of transforming a Star Trek movie into the written word. Words: John de Gruyther

BEYOND THE

SCREEN

Star Trek (2009)'s Enterprise crew

“I DON’T HAVE TO STOP AND GUESS HOW TO EXPAND ON SULU, OR SCOTTY, OR ANY OF THEM, BECAUSE I’VE LIVED WITH THEM FOR SO LONG.”

s Star Trek returns to television, and Star Trek Beyond approaches the first anniversary of its release, spare a thought for the humble movie novelization. It has evolved from a throw-away item of merchandise, hastily written and destined for the bargain bins, to an essential component of a movie’s merchandising campaign. The tie-in novel for a movie is now big business, but beyond that, it is an intriguing companion to any movie, adding depth to its characters, and sometimes throwing up a few surprises along the way, with additional scenes or even subtle shifts in plot. The Star Trek novelizations in particular have offered devoted fans some valuable background nuggets, such as Saavik being half Romulan in the Wrath of Khan novel and jokes about left-handed spanners. A veteran of tie-in novels, including the Alien series, Terminator Salvation, Star Trek (2009), and Into Darkness, Alan Dean Foster knows a thing or two about writing big screen adaptations, and he feels things have changed in terms of the studio’s attitude to the purpose of novelizations. “Prior to the last two Star Trek films, I never saw a screening of a film I was novelizing. The

most I ever had to work with was the script, and some still shots of sets or pre-production art,” Foster reveals. “I’d like to think that the public, at least, has a better view of novelizations than used to be the case. As far as the studios are concerned, if the film is a one-shot I’m sure they see the novelization as just another ancillary right to be exploited. But with franchises, it’s very different. Much more control over content is exerted by the studios now, because viewers can pick apart sequels, looking for contradictions. So, the studios are much more concerned that the books agree with the films.” You might imagine that writing a novelized version of a film with a budget as huge as Star Trek might heap additional pressure upon the writer. However, Foster’s commitment and focus is always on the reader, and making the story live and breathe, regardless of how well we may already know the franchise. “The only real pressure I feel is delivering for the reader. Of course, I have to first satisfy the editor, the folks at the relevant studio and so on, but as far as pressure, I just want to make sure the reader feels their money was well spent,” Foster says. “I treat every novelization project equally,

because it means exactlyy the same to whoever is behind the film, whether it’s a $200-million-dollar film or a $2-million-dollar film.” Attention to detail makes the difference between a good novelization, and one that merely ticks boxes as a merchandising exercise. Foster’s Star Trek (2009) and Into Darkness novelizations are full of additional exposition and intriguing insights, from ship descriptions to additional dialogue. These small specifics, and his commitment to getting them included in the manuscript, are what make Foster a master of his craft. “The greatest challenge in writing novelizations is usually a matter of disagreement over details, rather than characters,” the author explains. “Errors of internal logic, especially as they involve science in science-fiction films, drive me up the wall – mostly because they’re so easy

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DATACORE

FRONTIER Star Trek novelizations by Alan Dean Foster

Foster's Star Trek (2009) novelization sticks closely to the movie's plot, while adding subtle additions to its dialogue

STAR TREK LOGS – VOLUMES 1-10 Ballantine Books First published: 1974 to 1978. Adaptations of Star Trek: The Animated Series’ 22 episodes, across 10 volumes. The Logs were reprinted most recently in 2006 by publisher Del Rey, in celebration of Star Trek’s 40th anniversary...

STAR TREK (2009) Pocket Books First published: October 2010 Going back to the very beginning, we see how James T. Kirk, Spock, Dr. McCoy, Scotty, Chekov, Sulu, and Uhura ﬁrst came together as rookie Starﬂeet recruits. Alan Dean Foster plots a vivid course from screen to page, bringing the movie action to dynamic life in prose.

STAR TREK INTO DARKNESS Pocket Books First published: October 2013 Foster’s tightly crafted movie novelization sees the crew of the Enterprise called back home. They face hidden enemies, and an unstoppable force of terror from within their own organization. This time it’s personal, as Kirk leads a manhunt to the Klingon home world to stop a man who is a threat to the future of the entire Federation.

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to fix. And it’s just as easy to be scientifically accurate as it is to be nonsensical. In fact, it often makes the sequence under debate better, but it’s hard to get that point across.” BETWEEN STARS Foster has Trek in his writing DNA. It was his proposed Phase II storyline that evolved into Star Trek: The Motion Picture, and he adapted the entire Animated Series into the successful book series, Star Trek Logs. This experience allowed Foster to draw on what we know of Kirk and Co. from the original films and TV shows, and weave that into the pages of his Into Darkness adaptation. He is also prepared to fight for the integrity of the characters, allowing readers to connect with them in a more meaningful way, as Foster explains... “Having worked with the characterss for decades, I like to think that I have a pretty good idea of how each character is going to act in a given set of circumstances. I don’t have to stop and guess how to expand on Sulu, or Scotty, or any of them, because I’ve lived with them for so long. By the same token, if a script has one of those characters doing

something I disagree with, I am at least going to raise the issue. I may not win, but I’ll argue.” As well as his work on Trek, Foster is often associated with that other big space franchise with Starr in its title, and returned to a

A NOVEL APPROACH

Karl Urban as McCoy in Star Trek Into Darkness

“I HAVE A SOFT SPOT FOR MCCOY, WHO WOULD RATHER BE FISHING, BUT DOESN’T LET IT AFFECT HIS JOB.” galaxy far far away with his 2015 adaptation of Star Wars sequel, The Force Awakens. Trek now shares a close relationship with Wars, thanks to director J.J. Abrams’ work on both franchises, and Foster finds himself in a unique position to offer a rare insight into these two cinematic behemoths. With a number of additional scenes in The Force Awakens novelization that do not appear in the film, Foster is keen to explain why. “If the film is viewed as a one-shot I have more freedom, because there’s no canon to maintain. With The Force Awakens, whole scenes that are not in the film were either shot and not used in the final cut, or were in the script I worked from and were never shot. It’s an interesting experience, as expanding each scene is left up to me, and then vetted by the [Lucasfilm] Story Group. The sequence that shows how Poe got off Jakku was actually a request from the Story Group, who were aware that its absence in the film leaves a bit of a plothole, so they asked me to fill it in.” Foster’s Star Trek (2009) and Into Darkness adaptations also offer intriguing additional insights in character motivation. In the Into Darkness novel, we discover what the Nibirans really think about the crew of the Enterprise

after Spock freezes their volcano. We see Thomas Harewood’s pain in making a decision that will save his daughter but result in the deaths of hundreds of innocent people. Foster gives these minor characters personality, and makes us care, which is something he thrives on. “I love working with minor characters, and turning them into real individuals,” says Foster, “Sitting in the theater, watching a film, I always want to know more about them. Usually, I am allowed to expand on them as much as I wish, because their importance to canon is minimal.” CRACKING CONTINUITY As well as emotional depth and blockbusting action, the novels also offer the reader extra fun spotting the differences between page and screen. Foster gets to have some fun parsing continuity errors, too, such as how easy it is for Kirk to give Scotty a call across the depths of space. “My inner scientist felt compelled to address this,” laughs Foster. “One problem, in many major science fiction films, is that super science is way, way too easy. Dialing across the galaxy is just one example – does each system in the Federation have its own area code? Are you charged per

Chris Pine as Captain Kirk (Star Trek Into Darkness)

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DATACORE

OTHER WORLDS Alan Dean Foster’s notable works in other universes...

STAR WARS: SPLINTER OF THE MIND’S EYE Del Rey First published: 1978 Written two years prior to the release of the second Star Wars movie, The Empire Strikes Back, “Splinter of the Mind’s Eye” was devised by George Lucas as a cheap-to-produce sequel to A New Hope, had the ﬁlm performed better than expected at the box ofﬁce...

THE SPELLSINGER SERIES Warner Books First published: 1983 Probably Foster’s most well known work, this eight-book fantasy series follows guitar playing heroes and talking animals on their strange adventures.

OSHENERTH WordFire Press First published: December 2015 Going boldly where no man – nor ﬁsh – has gonee before, “Oshenerth” is Foster’s epic fantasy set in an underwater world of magic and demons.

THE DEAVYS Open Road Media Teen & Tween First published: February 2016 Harry Potter meets The Famous Five – or, in the case of The Deavys, a curious four with their talking cat, embark on a mysterious quest to defeat the Rat King. An imaginative tale for younger readers, conjuring up a vision of New York ﬁlled with secret alleyways, magic, and demons.

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The Into Darkness novelization allowed Foster to have characters contemplate the consequences of their actions

parsec? The little matter of time delay, etc... I strive my utmost to ﬁx these issues, or at least try to rationalize them when I am allowed to do so.” The novelization of Star Trek (2009) is almost a scene-for-scene match for the ﬁlm, but contains some wonderful moments of dramatic story-building, including emotional and extended depictions of the births of Spock and Kirk. Into Darkness rewards the reader with a more characterdriven story, y, and the novel spends pends extra time contemplating the consequences of their actions.

Foster feels that one of the key strengths of the Bad Robot Star Trek films has been their pitch perfect casting, creating space for character moments, and opportunities for Foster as a writer. “I have a soft spot for McCoy, who would rather be fishing, but doesn’t let it affect his job,” Foster smiles, “and I think one of the real pleasures of the rebooted series is the opportunity for everyone involved (Abrams, the actors, the let writers) to le et tthe characters be more human, more individual, d less archetypal. Scotty’s drinking, U ura’s emotions, Chekov’s youthful u certainty – for a writer, these allow m re development, and also more tory options.” In Forster’s Into Darkness novel, e hear Spock Prime (Leonard Nimoy’s eld r-Spock) refer to Uhura as being thee “bbest communications officer in St fleet” – a line that didn’t feature

“THE ONLY REAL PRESSURE I FEEL IS DELIVERING FOR THE READER.”

A NOVEL APPROACH in the film. It’s a charming link to what fans already know about these characters’ original relationship, and the series’ previous history. It doesn’t need to be said, but with the new film series’ understandable and commercially successful decision to appeal to a wider audience, there is a danger that what made fans love these characters in the first place could be forgotten. The novelization is able to reference these long-term relationships, and Foster powerfully invokes feelings of nostalgia with such subtle dialogue additions. One constant in Foster’s work is his love of character, and that the reader believes in the interactions between people or alien races. It is a trait that brings enthralling life to his Trek novelizations, and Into Darkness clearly shows that Kirk and Spock are now firm friends. Theirs is an established relationship, formed over many missions together, and they’ve learnt to trust each other in spite of their differences. This makes their falling out over Spock’s dogged commitment to telling the truth in his reports (Spock has yet to learn how to exaggerate) all the more poignant. Foster is at the top of his game as he cleverly crafts their interactions, connecting us with what we already know about these individuals, and allowing us to read between the lines. “When doing a novelization, you’re always looking for places to expand,” says Foster. “Interpersonal relationships – not only Kirk and Spock but, for example, Spock and Uhura – provide good opportunities to do so. And it allows you to show aspects of characters that a two-hour film simply does not have time or room for.”

Movie novelizations have earned their place on every Trek fan’s bookshelf, because they offer added dimensions to the characters we see on the silver screen. They enhance our understanding of the characters’ motivations, and throw up the occasional insight into how the ﬁlm could have been, based as they often are on earlier drafts of the shooting script. Within the pages of all the Trek tie-ins, there is fan gold to be mined, and when it comes to the novels of Alan Dean Foster you can rest assured he has Star Trek’s best interests in his heart.

We discover what the Nibirans really thought of Spock's volcanic intervention in Foster's Into Darkness novelization

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HELLO, BENJAMIN NICOLE DE BOER

Taking a leaf out of Doctor Whoâ&#x20AC;&#x2122;s book of recasting lead actors, Deep Space Nine made a leap of faith when the time came to give Trill symbiont Dax a new host, in the form of wide-eyed innocent Ezri, played with charm and grit by Nicole de Boer. Words: Ian Spelling

NICOLE DE BOER

SISKO: “DO I KNOW YOU?” EZRI: “IT’S ME! DAX!” “IMAGE IN THE SAND” DEEP SPACE NINE SEASON 7, EPISODE 1

icole de Boer made an immediate impression as Ezri Dax, confidently sporting the Trill spots vacated by Terry Farrell, whose Jadzia Dax had exited Deep Space Nine in Season 6, following failed negotiations over a new contract. The role, which lasted for just the seventh – and final – season of the show, changed the course of de Boer’s life and career. “Certainly, there was much more recognition for me after doing Deep Space Nine,” de Boer notes, settling onto a couch to speak with Star Trek Magazine following a recent convention appearance. She still looks a decade younger than her age, and her eyes are as blue and inquisitive as ever. “It’s Star Trek. It’s an institution, and there are a lot of fans. I came to find that there are also a lot of filmmakers who are fans of Star Trek. It really did open doors for me, for sure. I’m so grateful for the experience. I learned so much.” INTO DAX-NESS Not wanting Nana Visitor’s Kira Nerys to be the show’s sole regular female character after Farrell’s departure, DS9’s producers settled on making the ninth Dax symbiont a contrast to her predecessor – even more youthful, and an untested innocent. Casting for a fresh-faced, 20-something actress, producer Hans Beimler reached out to de Boer, with whom he’d previously collaborated on a series called Beyond Reality, and on an episode of TekWar – the TV series based on the novels created by one William Shatner... At the time she was cast, de Boer was a young Canadian actress best known for her role in the hit indie sci-fi film, Cube. “I was asked by Hans to put myself on tape for this new role that they were adding to Deep Space Nine,” de Boer says, picking up the story. “Beyond Reality was shot in Canada, in Toronto. He had said to me at the wrap party that he was going to make me an alien on Star Trek one day, and I, being a Star Trek fan, said, ‘I would love that, Hans. That would be amazing.’ “But he had a couple of drinks in him, and I thought he was just saying that,” de Boer laughs, “I didn’t really think much of it. It was about five years down the road, and I got the call asking me to audition for the role of Ezri Dax. I sent in the tape, and then I met with (executive producers) Ira Behr and Rick Berman, and auditioned for them. Then I found out that I got the role. It all just happened so quickly. I had to move down to L.A., and I was on set almost right away.”

DEEP SPACE VHS Though she knew Star Trek, de Boer didn’t consider herself a Deep Space Nine expert by any means, so the producers sent a few VHS tapes of episodes over to her hotel room for her to watch. “That’s what we had, right? VHS?” de Boer marvels, shaking her head in amusement at the thought of such archaic technology. “I remember I was staying in a hotel at first, because it was before I found myself an apartment in Hollywood. They gave me a few episodes to try to catch me up. One of them was a Jadzia and Worf episode, just to get an idea of her character.” Ezri factored significantly into the Deep Space Nine mosaic, and enjoyed a full character arc over the course of her one season. That this new character was given such prominence surprised some viewers, given that numerous story threads required tying up, and more than a dozen regular and recurring characters needed to be serviced before the show ended. Yet de Boer received plenty of screen time, and Ezri not only meshed into existing storylines, but stood front and center in several of her own. Early episodes focused on Ezri feeling uncomfortable in her own skin while trying to fit in with the Deep Space 9 crew, most of whom had been close friends – or significantly more – to Jadzia. Subsequent installments found Ezri stronger, tougher, and in the thick of the action and intrigue of the Dominion War, facing off against Pah-wraiths, Cardassians, Jem’Hadar, and the Breen. Among the highlights: an intriguing love triangle with Worf (Michael Dorn) and Bashir (Alexander Siddig), as well as the Mirror Universe scenario, presented in “The Emperor’s New Cloak,” that featured the un-joined – and pretty much unhinged – Ezri Tigan romancing both Kira Nerys and Leeta (Chase Masterson). “I was very pleased with what I got to do,” confirms de Boer. “Since then I’ve spoken to Ira Behr, and I’ve heard him speak about Deep Space Nine, that last season, and the role of Ezri. As writers, they were excited to have a new character to write for, to give a new breath of energy to it. Of course, they were still totally into writing for the show, but it’s understandable that it’s fun to have a new character to write for. It’s a new toy. They really gave Ezri a lot. We got to know a lot about her. You met her family. I was so busy. “Certainly, I would love to do more of it,” she adds. “I would love to revisit it now, many years later, because she was so young and I was so young. I’m older, more mature, so Ezri would be more mature also. Ezri was young and new, and didn’t know how to deal with being joined. She wasn’t prepared for that.”

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Ezri (de Boer) ended up in the arms of Julian Bashir (Alexander Siddig)

DOUBLE DATING De Boer playfully grimaces when asked if there’s one episode that stands out above all the others. “My memory is not so good anymore,” she protests. “It’s difficult for me when people ask me these questions, so much time has gone by. But I did love the Mirror episode. That was super-fun to do, because I got to play a more confident character with the mirror image of Ezri. A badass. And Nana was a very good kisser. That was exciting too. There were so many things that I loved, doing that Mirror episode, and seeing the rest of the cast and their different characters.” As the credits rolled on series finale “What You Leave Behind,”

Ezri had elected to remain aboard the space station, and in the arms of Julian Bashir, discussing their future together. De Boer appreciated the closure, but hoped Ezri would romance someone else instead of the good doctor. “I would have actually preferred that she was with Worf, because I wanted to end up in the ﬁlms. I thought that if I dated Worf, then I would make it to the big screen,” she says, almost keeping a straight face. “I’m kidding. I was very happy that Julian and Ezri ﬁnally got together. I like the way it ended, where you see Kira on the bridge, and I had a mission. I thought it was just going to be Kira and me running that place, really.”

“I would have actually preferred that she was with Worf, because I wanted to end up in the ﬁlms” – Nicole de Boer

NICOLE DE BOER

AFTERIMAGE Ezri Dax may have appeared in just one series of Deep Space Nine, but she certainly made her mark, and Ezri’s history as Jadzia was an integral part of the character’s story arc. So what were Ezri’s standout stories?

“Afterimage” Season 7, Episode 3 Ezri has trouble coming to terms with replacing Jadzia, while Garak begins suffering panic attacks.

“Prodigal Daughter” Season 7, Episode 11 When O’Brien disappears while on a personal mission, Ezri returns to her home planet to seek help from her family to ﬁnd him.

“The Emperor’s New Cloak” Season 7, Episode 12 Quark and Rom head over to the Mirror Universe, where they meet a much wilder version of Ezri Tigan.

DEAD ZONE Deep Space Nine concluded its run in the summer of 1999, and de Boer went on to work steadily thereafter, amassing such film and television credits as Rated X, 5ive Days to Midnight, The Dead Zone, Stargate Atlantis, and Haven. The highlight, no doubt, was The Dead Zone, a genre series based on the Stephen King novel of the same name. The show, developed by Deep Space Nine cocreator and co-executive producer Michael Piller and his son, Shawn Piller, ran from 2002 to 2007. De Boer played Sarah, the former fiancée of Johnny Smith (played by Anthony Michael Hall), a man who awoke from six years in a coma only to discover that, just by touching someone, he can see into their past and/or future. Johnny would also discover that Sarah had married another man, with whom she’d raised their son. “The Dead Zone was a wonderful experience, because it was finally a series that lasted more than a year for me,” de Boer smiles. “I really had a long time to develop the character, and be part of that world, so that was exciting for me. It was a wonderfully written show. Of course, we lost Michael Piller (who died in 2005), and we had different show runners who were doing their best, but it just wasn’t the same. I mostly enjoyed the first two years of it. Near the end, it wasn’t quite what I felt like it should be.” And what’s life like now for de Boer? “A lot of TV movies, and almost getting a series,” she replies, candidly. “Now I’m on a show called Private Eyes. Jason Priestley plays a private detective, and I’m his ex-wife.

Shawn Piller, who I did The Dead Zone with, is the executive producer. The show shoots in Toronto, so I go between Los Angeles and Toronto. I kind of live in both places. I also did a movie in Vancouver last year. That was called Cradle of Lies, where I played a woman who wakes up from a coma and tries to piece together who she was before, and how she ended up in the coma. That was a total blast to shoot. “When I’m not acting, I’m a mom, and I thoroughly enjoy that,” de Boer continues, referring to her 10-year-old daughter, Summer. “I feel like my days are ﬁlled up a lot. I’m really happy it worked out that I was there for her, to take care of her. I feel I’m always growing and learning, and trying to be the best person I can be, trying to do things that really interest me.”

Nicole de Boer starred as Sarah in the Michael Piller-created Stephen King adaptation, The Dead Zone

“Field of Fire” Season 7, Episode 13 Ezri must call upon the memories of a previous Dax host after several crew-members are murdered. STAR TREK MAGAZINE

TOO COOL FOR SCHOOL De Boer also turns up at Star Trek conventions from time to time, although she did precious few for a long while. “I guess I thought I was too cool for school, in the very beginning,” she admits. It was actually her ex-husband who nudged her into attending her ﬁrst few cons. “He said to me, ‘Are you crazy? They look fun.’ He had more of an adventurous spirit about it, and I was like, ‘OK.’ And they are fun. They’re amazing. I’ve traveled the world doing them, and I’ve thoroughly enjoyed it. Who isn’t going to like showing up and having your fans telling you that you’re great?” de Boer asks, with a grin. “What actor isn’t going to enjoy that? We’re actors, after all. We are performers, and we love that. It’s been a super part of this whole thing.”

“TERRY (FARRELL) AND I ENDED UP IN AUSTRALIA TOGETHER ON A TRIP, AND WE REALLY BONDED.” NICOLE DE BOER And along the way, a new and unexpected friendship has blossomed with Dax’s previous host, Terry Farrell. De Boer recalls that Farrell, in the aftermath of her exit from Deep Space Nine, remained on the Paramount Pictures lot having joined the cast of Ted Danson’s sitcom, Becker. People assumed that there was some animosity there, but de Boer insists it was “certainly not on my end. I was happy to just get a job, and I didn’t know anything. Her feelings were not towards me. I think it was maybe towards the show, and how she felt about that.” Since then, the two former symbiont hosts have formed a solid friendship. “It was so wonderful, when we ﬁnally did our photo shoots together (at a convention in Las Vegas a few years ago), and then Terry and I ended up in Australia together on a trip, and we really bonded,” de Boer recalls, happily, “Now we’ve done several of them. We’ve been on stage together, and we’ve done ‘Dax Sandwich’ photo ops, so now we feel like sisters.”

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Ezri (de Boer) on the hunt for a murderer, in "Field of Fire"

Compiled by Chris Dows

TOMMOROW’S TECHNOLOGY TODAY

WHERE NO MACHINE HAS GONE BEFORE? Booting Up “The Ultimate Computer”

Daystrom's M-5 computer takes wireless control of its power supply, in "The Ultimate Computer"

The IBM System/360 Model 91 operator's console, in a NASA photograph taken in the late 1960s.

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hrough a combination of dramatic license, inspired guesswork, and the extrapolation of contemporary science, Star Trek has often suggested answers to how future technologies might support us in our daily lives, and allow humanity to push boundaries in our quest for knowledge. The series has made some remarkable predictions, with many episodes introducing technologies that not only serve the story, but tackle themes that continue to resonate for years to come. One of the very best examples of Treknological prediction – and the presentation of thought-provoking issues – can be found in the original series episode, “The Ultimate Computer.” The introduction of Dr. Richard Daystrom’s M-5 Computer brings with it a far greater peril than

ARTIFICIAL NEURAL NETWORKS

The main interface of the M-5 computer

“WE’RE ALL SORRY FOR THE OTHER GUY WHEN HE LOSES HIS JOB TO A MACHINE. WHEN IT COMES TO YOUR JOB, THAT’S DIFFERENT. AND IT ALWAYS WILL BE DIFFERENT.” DR. MCCOY an out-of-control machine threatening the lives of the U.S.S. Enterprise crew. It directly challenges the role of the individual in the face of ever-evolving Artificial Intelligence, presenting machines as the key to man’s future in space, and beyond. We also shouldn’t forget that M-5 isn’t the only automaton in the episode – the ill-fated ore freighter Woden, which M-5 destroys, was a fully automatic vessel, plying its trade through the cosmos without any need for human intervention. The future of galactic shipping had evidently already dispensed with the need for a crew. For the first third of the episode, Dr. Daystrom and, to a certain extent, Mr. Spock, see nothing but benefits from M-5. With its revolutionary Artificial Neural Network based on the Doctor’s own (sadly unstable) memory engrams, its ability to learn, think, and problem-solve far faster than any human, is impressive. In addition to its revolutionary AI, M-5 has the ability to directly control all aspects of the U.S.S. Enterprise’s systems, improving the efficiency of everything from power consumption to navigation. Unfortunately, during its trials aboard the ship, it also evidences the ability to defend itself, by generating its own force-field. It also

The M-5 initially draws its energy from the Enterprise power banks

surprises everyone, Daystrom included, by circumventing its hard-wired power supply and switching to a form of wireless transmission – killing an engineer in the process. M-5 is a machine capable of realizing a threat and overreacting to it, representing themes common in storytelling since Mary Shelley’s Frankenstein – of the created becoming superior to its creator, and its instinct to survive.

INDUSTRIAL AUTOMATION The original story for “The Ultimate Computer” was conceived by mathematician Laurence N. Wolfe, who was fascinated by the relatively new and revolutionary ﬁeld of computing. However, it was D.C. Fontana’s teleplay that fully realized M-5 as a symbol of how Artiﬁcial Intelligence

Are We Getting Close to Building a Real M-5?

sing the human neural network as a pattern for artiﬁcial systems is the basis of a recent demonstration by the Prodromakis Group at the UK’s University of Southampton. The group have successfully employed a series of memristors (electrical components capable of remembering data, even when switched off) to create an Artiﬁcial Neural Network (ANN) based on the synapses of the human brain. Their nanoscale device showed that it not only mimics human learning patterns but, under certain conditions, it can do so unsupervised. The plan is to scale-up the ANN to such an extent that it can instantly process “big data,” and generate accurate conclusions in real-time – exactly the same function as M-5 during its trial (apart from the accuracy, that is). Going beyond a set of examples fed into an ANN is the focus of a team at the University of Toronto’s Faculty of Applied Science and Engineering. They claim their newly designed algorithm performs 160% better than previous methods of ANN training, and by applying a heuristic model that tends towards wider, more experiential definitions of training samples, it allows the Artificial Intelligence to learn by trial and error – and therefore expand its understanding beyond what it has been taught.

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UN-PLUG AND PLAY Wireless Recharging Beyond the Smartphone

ne of the most remarkable abilities that M-5 exhibits – drawing energy from the U.S.S. Enterprise’s power supply without a direct connection – has remarkable parallels with two very recent technological breakthroughs. Working with flying drones, scientists at the UK’s Imperial College London have developed a prototype inductive coupling system, that allows the wireless transfer of power while the drone hovers over a charging platform. While the charging distance currently has to be within ten centimeters, the team are confident that further development of an up-scaled charging port could allow energy transfer over much greater distances, significantly extending the time that drones can remain airborne. Induction is not the only method of wireless power transfer; Germany’s Fraunhofer Institute for Biomedical Engineering recently demonstrated their work on powering electroceuticals (battery-driven implants inside the human body) using ultrasound. In existing tech, a battery can constitute up to half of a device’s size, and must be replaced through invasive surgery when it is drained. This external recharge approach would allow for a smaller battery, and significantly reduce the size of implants. Again, the distance between device and ultrasound transmitter are relatively small, but researchers claim several advantages over induction, particularly as it allows information to be transmitted back to the charger, helping to regulate the device and monitor its performance.

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IBM reference data for programming the System/360 computer mainframe Photo: Claudio Divizia / Shutterstock.com

Kirk and McCoy discuss the likelihood of their future obsolescence

might become smarter and quicker than humans, with M-5 representing the seemingly unstoppable rise of machines in the workplace. Redundancy on a society-changing scale is, perhaps, the real message – and warning – of “The Ultimate Computer.” Industrial machines were, of course, nothing new in the 1960s – the Industrial Revolution, which began 200 years earlier, had brought about huge advances in manufacturing technology. However, there is a difference between mechanization and automation. Humans work with machines, while automation removes the need for human involvement. While processes might become more efﬁcient and safer, the rise of automation has had a direct relationship to a rise in unemployment. Mechanization gave rise to true automation from the early 1950s, which saw the development of Numerical Control, a system whereby punched paper tape could control a machine’s movements in repetitive manufacturing jobs. American businessman and automation pioneer John Diebold is attributed to deﬁning the very word in

relation to manufacturing in 1953, which led to the creation in 1954 of the Unimate – the world’s first programmable industrial robot – by American inventor, George Devol. Realizing more sophisticated programming techniques could lead to a wider range of applications, scientists such as Allen Newell, Marvin Minsky, and John McCarthy founded the field of Artificial Intelligence during the late 1950s. Early programming languages, such as ALGOL and Lisp, paved the way for all future programming languages, while also helping to accelerate automatic manufacturing techniques into the next decade. By 1962, General Motors began using Devol’s Unimate on the production line to replace certain processes, and the world gradually realized the potential threat to employment that mass automation might pose.

JOBS ON THE LINE Meanwhile, IBM launched the 360 Mainframe, the ﬁrst computer capable of running machinelanguage programs in a relatively compact, standalone system (M-5 is far smaller, predicting the trend for devices reducing in size as technology develops). With AI laboratories set up at Universities in Scotland and the US, the pace of progress increased. 1969 saw the introduction of Programmable Logic Controllers, and another seismic change in robotic control, before the 1970s saw the introduction of Intel’s ﬁrst microprocessor, bringing computing within the reach of virtually everyone on the planet within two decades.

TREKNOLOGY

Daystrom's computer is compromised by its reliance on his own, damaged memory engrams

Even today, robotization continues to be a topic of great debate. The spread of automation within industry has not quite brought with it the dystopian reality that many thought likely – jobs have been lost, but even on the most modern, sophisticated production lines, machines tend to work alongside rather than entirely replace human workers. However, there is a new focus on automation outside of manufacturing. With The World Bank warning that 50% more food will have to be produced by 2050, automated tractors reacting to data from ground-based sensors are being trialed across the world, so that farming can operate 24 hours a day – adopting the early “lights out” philosophy of automation in manufacturing. A recent report, published by a team at Germany’s Technische Universität Darmstadt, suggests that up to half of jobs in ofﬁce and service professions are at risk of being replaced by robots, their inﬂuence clearly spreading beyond traditional boundaries of automation. It is intriguing that the very same criticisms leveled at M-5 in “The Ultimate Computer” – a clear commentary on the fears of the time in which it was broadcast – still hold true today. Of the people interviewed as part of the Darmstadt research, over 80% of respondents

“MEN NO LONGER NEED DIE IN SPACE, OR ON SOME ALIEN WORLD! MEN CAN LIVE, AND GO ON TO ACHIEVE GREATER THINGS THAN FACT-FINDING AND DYING FOR GALACTIC SPACE, WHICH IS NEITHER OURS TO GIVE OR TO TAKE!” DR. DAYSTROM saw the value of robots in supporting and taking over day-to-day routines. Many felt that AI will eventually lead to robots that are capable of acting independently and directing their own learning. Surprisingly, 21% felt that they could trust a robot more than a person, and a staggering 75% would be happy to be served by a robot as a customer, in contexts as diverse as retail and catering. However, 80% preferred to deal with people when it came to medical or psychological care and, perhaps most signiﬁcantly, only 15% of Americans and 8% of

Germans would accept a robot boss – and even then, it would have to be humanoid in form. “The Ultimate Computer” expresses feelings that seemingly remain unchanged, after five decades of advancement in Artificial Intelligence and automation. Even Spock has concerns that border on an emotional response, telling Captain Kirk, “Computers make excellent and efficient servants, but I have no wish to serve under them. Captain, the starship also runs on loyalty to one man. And nothing can replace it, or him.”

ABOUT CHRIS DOWS Chris Dows has been involved with Star Trek for over 18 years, writing for Deep Space Nine comics, the Star Trek Fact Files, StarTrek.com and TokyoPop’s Star Trek: The Manga. A regular contributor to Star Trek Magazine for a decade, he gained his PhD in 2007, and lectures in writing at the University Centre, Grimsby.

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BEAMING INTO BIRMINGHAM DESTINATION STAR TREK EUROPE NEC Birmingham, UK, 7th-9th October, 2016

Setting course for the National Exhibition Centre in Birmingham, England, Destination Star Trek Europe beamed into the venue’s cavernous Hall 4 to celebrate the 50th anniversary of the evergreen franchise. With backstage access to the event’s guest stars, Star Trek Magazine went on a mission to ﬁnd out why the fans had made Birmingham their destination… Words: Mark Newbold

DESTINATION STAR TREK

1,137 record-breaking costumed fans gather in the Enterprise stage auditorium

Marina Sirtis (TNG's Deanna Troi)

ouching down at its fourth destination, having previously landed in London and Frankfurt, Massive Events (in association with Showmasters and Media 10 Ltd.) continue to evolve their grand-touring Star Trek convention, now with multiple Enterprise bridges and impressive digital backdrops. The 2016 event delivered an admirable breadth of talks and topics across its three days, giving fans of all ages plenty of opportunity to express their love for Trek, in a friendly environment that offered everything from cosplay to Klingon ale. An impressive line-up of stars was on hand, sharing their Star Trek experiences with fans across a variety of stages. Some high-proﬁle panels, like Walter Koenig’s, were ticket-only affairs, while others accepted all-comers, but the organizers had ensured that there was always something going on somewhere for everyone.

William Shatner takes command of the Enterprise stage

T THE ENTERPRISE E STAGE With each stage named after a famous Treek starship, the main stage was, ﬁttinggly, named Enterprise. Reserved ffor the opening ceremony on Friday evening, e for the rest of the weekend itt provided the forum for a cavalcadee of Trek faces, starting with Leonaard Nimoy’s son, Adam, speaking w with David Zappone on the makingg of his deeply affecting documentaary about his father, “For The Loove Of Spock.” Actor Greg Grunberg (who can be seeen defending Starbase Yorktown in Star Trek Beyond) hosted maany of the panels, which included a Next Generation reunion off Marina Sirtis, Gates McFadden, and Wil Wheaton, special appearances by George Takei and W Walter Koenig, an auction, a gleeful look back at Deep Spacce Nine, and a world record cossplay attempt. The hottest ticket of the weekend w was surely Saturday

evening’s debut UK performance of William Shatner’s one-man show, “Shatner’s World,” but the actor was on-hand earlier in the day for a Q&A with fans, during which the subject of age came up. “I said at the end of Star Trek II that I felt young. Do I still feel young?” Shatner wondered, joking “Not as young as I felt back then, with the jet-lag!” “I’ve been asked to write a book on ageing gracefully,” he continued, “I think part of the theme of getting old is don’t deny it, or be in denial about age.” Shatner suggested the key is to stay active, which in his case “has a great deal to do with horses, so I compete in several horse disciplines. One of them is what’s called reining. It’s sliding stops, and fast and slow circles and turns. It’s a very athletic, visual, and physical sport. I’ve been doing it for many years, and I’ve gotten fairly good at it. Good enough to think I can win in a competition.” Indeed, Shatner revealed that he’d come “3rd and 4th in 114 people”, in one of the biggest competitions in the United States, against riders who “were about the age of 18, and born on a horse. Here I was, this broken-down actor competing against them, and I did fairly well. Part of what I think is ageing gracefully is to be involved. I think it’s kept me vital.”

DESTINATION STAR TREK

BACKSTAGE PASS TERRY FARRELL

Enterprise and Voyager Stages, Saturday Meeting Terry Farrell is a treat. Not only does she instantly give you her full attention, but she has that same mischievous twinkle in her eye as Jadzia. Was that twinkle something that was written in for the character, or did it come through as Dax developed?

A FAN’S-EYE VIEW Cosplayer Mark as Mugato, War” from “A A Private Little War

“It’s just a Terry Farrell thing, but thank you, I appreciate it,” Farrell smiles. “I was always trying to find a way to make it funny, because Jadzia was so much older, it was a way of finding who she was. Jadzia Dax, Dax in particular, was 350 years old, and part of what I was trying to get connected with, as an actress, was playing that everybody is younger than I am, and I ‘get’ it. They don’t get it, but I get it.” The opportunity for a part in Star Trek doesn’t come knocking for every actor, so how did its arrival 24 years ago change Farrell’s life? “It changed my life when I was a kid, watching the original series,” she answers. “I felt out of place, growing up. I was always very tall and skinny, and my clothes never fit right. I had a different desk, because I was taller than

BACKSTAGE PASS ROBERT O’REILLY Enterprise Stage, Saturday

STM: Why did you choose the Mugato to cosplay? Mark: He’s one of the most popular monsters in Star Trek. Everybody knows it. It’s great fun, and you can do monkey antics to amuse everybody. He’s a little goofy. STM: What went into making the costume? Mark: Well, the original series was made on a tight budget, so it’s basically a gorilla suit sprayed white, with a horn stuck on its head. It’s very simple, but it made a real impact. It’s one of the deﬁnitive monsters of Star Trek. STM: What’s it like, being inside Mugato? Mark: It’s tough work. Because it’s a very hot costume, I can generally only do 2 or 3 hours at a push before I get dehydrated. I have to go and shower, and drink a gallon of water!

As Gowron, charismatic Chancellor of the Klingon High Council, Robert O’Reilly made an instant impact when he debuted on The Next Generation in Season 4. So, just how delicious a character was Gowron to perform? “He was wonderful. A wonderful character to play. He was the outsider originally, the bastard child, and it all seemed to ﬁt,” says the 66 year-old New York actor. “I was lucky enough to have Jonathan Frakes as my director. He was also the man who hired me, and that worked out really well.” When Frakes directed O’Reilly to “Do the eye thing”, the actor didn’t know what he meant, but the signature glare became his trademark. “I did that,” O’Reilly bulges his eyes in full Gowron fashion to illustrate, “which

everybody else in my class,” reveals the 1.82 meter-tall actress. “Spock was my favorite character, because he was the outsider, and I felt like the outsider. Everybody in my family was short, because my father had gone, and that was the tall side of the family. So I related to the land of misﬁt toys, which I felt like I was, and if I were in Star Trek then I would be accepted. Years later, not only am I a part of it, but I’m playing the science ofﬁcer.”

“IT CHANGED MY LIFE WHEN I WAS A KID, WATCHING THE ORIGINAL SERIES.” TERRY FARRELL

helped sell the character. It was just a great job, and it lasted for nine years. That’s very rare in our business, to last nine seasons in anything, but particularly for a Klingon leader. I ﬁgured, when I got the job, that the half-life of a Klingon leader would be maybe a year and a half.” You could be forgiven for thinking that O’Reilly would be unfazed by the arrival of Star Trek in his life. That said, the show has a way of changing the landscape of most actors who perform in it. “I was an original fan of Star Trek. I never had a date on Friday night in college – I always stayed home and watched Star Trek in my dorm room,” O’Reilly laughs. “My generation was struggling in America with the civil rights movement, and I was very pro-civil rights,” the actor continues, on a more serious note. “I was just so enthralled about what was going on in that show. The writing was so brilliant, and I was so happy and pleased that it was on our public television, showing what our generation was really feeling. It was time to demand a change in the United States. It had occurred partially in the Civil Rights Bill of 1964, but it needed to go much further. It needed to be part of our culture, and Star Trek was really a big inﬂuence for the US nation.”

“I FIGURED, WHEN I GOT THE JOB, THAT THE HALF-LIFE OF A KLINGON LEADER WOULD BE MAYBE A YEAR AND A HALF.” ROBERT O’REILLY

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Trekkie Girls Sarah Prideaux, Carole Malson, and Sam Darragh (Left to right)

THE EXCELSIOR STAGE The Excelsior Stage featured a number of fun, fan-orientated activities, including a cosplay competition, quizzes, and more. Trek Gamers looked at the evolution of Star Trek gaming, while the “Redshirt Fight Off” gave fans of

RECORD-BREAKING TREK COSTUMES Exactly 1,137 people crammed themselves into the Enterprise Stage area of Hall 4, in a frantic attempt to break the World record for the most costumed Star Trek characters in one place – and break it they did. Overseen by ofﬁcials from the Guinness Book of Records and Star Trek expert Richard Arnold, the previous best was comfortably surpassed.

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cannon-fodder cosplay the chance to show off their best deaths. Trek Trivia tested the participants’ knowledge of the galaxy, while “Kirk-O-Oke” encouraged singers to perform hit songs in the inimitable style of William Shatner. Hosting a selection of panels on this stage across the weekend were Destination stalwarts, the Trekkie Girls. Sam Darragh, Carole Malson, and Sarah Prideaux have become increasingly proliﬁc at Trek events over recent years, even discussing the shows on TV and radio. They were between hosting panels on the Excelsior Stage when we asked them what had been their favorite moment so far. “Meeting people who had watched and read our blogs, during and after the panels,” Carole responded, effusively, “Especially the adorable little superfan Beth, a young Star Trek fan who won the Best Redshirt Death panel.” Not everything had gone exactly to plan, however, and Sam couldn’t help but cringe as she recalled her worst moment, during a panel they’d hosted on how Star Trek has achieved the status of pop icon. “We knew this was an important subject, so had practiced hard,” she insisted, “It was funny, there were well placed jokes, video and animations… but everything that could go wrong did go wrong! As the technology didn’t cooperate, it meant we had to skip entire segments. We wanted an emergency beam-out!”

A FAN’S-EYE VIEW Peter Paul as Adam, and Stefﬁ as Girl Number One, from “The Way to Eden.”

STM: Why did you choose these costumes? Peter: We love the characters, the space hippies. And we love the episode because it’s so terrible, even though it was meant to be serious. Stefﬁ: It’s just a great episode, a parody on the cults they had in the 60s.

DESTINATION STAR TREK

A FAN’S-EYE VIEW

Convention Veteran Richard Arnold Having traveled the globe for decades as a Star Trek expert and well-known super-fan, DSTE attendee Richard Arnold has seen conventions come and go, and experienced a multitude of amazing moments during the 1,000 plus conventions he’s visited. If pushed, is there a single moment that stands out above all the others? “Certainly, the first all-Star Trek convention in 1972, at the Statler Hilton Hotel in New York, where I met Gene Roddenberry for the first time,” Arnold recalls, fondly. “Bjo and John Trimble’s Equicons and Fantasy Film Fans International events, and some of my first international conventions come to mind. But for a single standout moment? Perhaps being on stage with Gene for his last public

appearance, in front of 6,500 fans at the Shrine Auditorium in Los Angeles, in 1991, with Gene and the entire original series cast for Star Trek’s 25th anniversary.” It’s the Kobayashi Maru of impossible questions, but what does Arnold think has kept Star Trek strong and healthy for all these years? “I think Gene said it best, when he said that Star Trek gave us a future where we survive with dignity,” replies Arnold. “That it’s not all over in a ﬂash with a bomb, that we go into space to explore peacefully, and that we all work together for a better future – which is an unusual theme for science ﬁction, even to this day. In the 1960s we needed that optimism, what with Vietnam and the Cold War at their peaks, and all good Star Trek stories since have continued with that optimism and future vision.” Richard Arnold with Leonard Nimoy at a previous convention

“I THINK GENE SAID IT BEST, WHEN HE SAID THAT STAR TREK GAVE US A FUTURE WHERE WE SURVIVE WITH DIGNITY.” RICHARD ARNOLD

BACKSTAGE PASS ALICE KRIGE

Voyager Stage, Sunday

Few villains can claim to have made quite as electrifying an entrance as the Borg Queen did in Star Trek: First Contact, but how did actor Alice Krige get into the right headspace to portray the icy Borg matriarch? “Brent Spiner was very helpful,” Krige says, not nearly as terrifying in real life. “The whole company had gone off to the Angeles Mountains, and Brent was the only one who didn’t go. He and I spent time together just talking, and he was enormously insightful and really helpful.”

Another source of inspiration came from a book by Professor Stephen Hawking, that had already become a popular-science classic. “I re-read A Brief History Of Time, and somehow that was helpful,” reveals Krige, “but probably the most helpful thing was the costume and the make-up, because I felt as if I had gone through a portal and come out the other side as the Borg Queen. She was created by a brilliant guy called Scott Wheeler. I always speak of it as a collaborative performance, because you can’t imagine her without the way she looked. It was like a conduit for me. What’s extraordinary about the character is that you just never quite get to the bottom of her. She just keeps unfolding.”

BACKSTAGE PASS MARTHA HACKETT Voyager Stage, Sunday

Seska was one of the most duplicitous and devious characters ever to appear in a Star Trek series. Did actress Martha Hackett enjoy playing the villain? “There’s pretty much nothing better,” Hackett responds, “Goody two-shoes are dull. It was great fun, I loved it. If you need to be duplicitous, you have so many places to go. You have to play many characters.” Seska manipulated the crew for a number of episodes, as the Maquis and Federation crews struggled to integrate aboard Voyager. Which episode did Hackett enjoy the most? “I think it’s the episode where I go back to being Seska, Cardassian Seska, and I’m revealed. That was a fun one.”

Martha Hackett

Alice Krige

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BACKSTAGE PASS CASEY BIGGS

Double Dax: Terry Farrell and Nicole de Boer share a stage with Voyager's Garrett Wang

A fascinating Deep Space Nine recurring character, Cardassian Damar altered his outlook and way of thinking throughout the course of the show, going from zero to hero. When he took on the role, did actor Casey Biggs ever have an inkling of Damar’s eventual destiny? “No. I thought I was going to do one episode. I ended up being on the show for ﬁve years,” Biggs laughs. “I started off as a lackey, and ended up the leader of the Empire. They liked the way I was playing the part, so they kept writing more and more, and more and more. So that was fortunate. They could have killed me off many, many times, but they didn’t!” Of those episodes, which did Biggs enjoy the most? “The one where I stopped drinking that damn Kanar. It was horrible,” he grimaces. “It was Kero syrup. I want you to go out right now, grab a big bottle of Kero syrup, take a swig, and pretend like you like it. That shows you what a good actor I am, because I can pretend like I like Kero syrup. It was horrible.”

STAR TREK MAGAZINE

GREG GRUNBERG Enterprise Stage Host

There can be few actors as well liked as Greg Grunberg, whose roles include good-cop Matt Parkman in Heroes, Resistance pilot Snap Wexley in Star Wars: The Force Awakens, and Commander Finnegan in Star Trek Beyond. He is an enthusiastic, good-natured, and engaging man, who clearly loves his profession – and his geek ticklist is notching up big hitters. “Yeah, it’s crazy, especially this year. In a one-year span I did Star Wars and Star Trek,” the genial LA-born actor grins. “I’d done a voice in Star Trek before, but that’s not the same thing as being in the movie. I love the role of Finnegan, and protecting Yorktown, it was wonderful. And this is such a great family to be a part of. This is a big one to check off my list.”

We all have our own entry points for Star Trek. Some have been on the ride since the original show ﬁrst aired, some since the J.J.Abrams’ 2009 reboot. How did Grunberg ﬁrst enter the worlds of Star Trek? “I remember, in my early teens, discovering the series in syndication, and being absolutely mesmerized by Spock. George Takei I always thought was amazing, and Kirk – forget about it! And to know now the history of it, that Lucille Ball had a hand in it, and that they recast the entire pilot. You don’t realize how hard it is, all the steps, all the places something like this could have fallen apart. It’s amazing it got to where it is, and none of these actors can be replaced. It’s amazing.”

“I REMEMBER, IN MY EARLY TEENS, DISCOVERING THE SERIES IN SYNDICATION, AND BEING ABSOLUTELY MESMERIZED BY SPOCK.” GREG GRUNBERG

DESTINATION STAR TREK THE VOYAGER STAGE With its own hugely impressive animated LCARS backdrop, the Voyager Stage journeyed from the Alpha Quadrant of Friday to the Delta Quadrant that was Sunday. Saturday saw Terry Farrell and Nicole De Boer compare notes on their portrayals of Dax, while Connor Trinneer, Dominic Keating, and Vaughn Armstrong gathered to look back at Enterprise, alongside host Garrett Wang. Wang was back on the same stage on Sunday, with Robert Duncan McNeill, Eric Pierpoint, Jeffrey Combs, and Martha Hackett, as host Michelle Johnson took the Voyager actors on a fun-packed voyage of jokes and anecdotes.

Sunday brought Marina Sirtis, Alice Krige, and Christopher Lloyd to the stage to discuss the Trek movies, prop master Michael Moore gave a rundown of the most collectible Trek merchandise ever, and The Wand Company’s Chris Barnado talked enthusiastically about the development of their Bluetooth-enabled, original series communicators. As a European cousin to the hit Mission New York a few weeks earlier, Destination Star Trek offered its own blend of elements that hung together well, despite the impersonal scale of its venue, succeeding in its mission to bring the magic of Star Trek to European shores.

Christopher Lloyd (Kruge in Star Trek III: The Search for Spock)

A FAN’S-E

Cosplayers Aarran as a Borg, and Aid Leathead as an as Federation Ofﬁcer. STM: Why the Borg? Arran: Because they’re brilliant characters. My favorites. I said to Aiden, my brother, ‘I need a Borg costume,’ and the poor chap had to make it all. STM: What goes into making a Borg costume? Aiden: A bit of a ﬂask, a bit of a Hoover… it’s bits and bobs from the garage. This is the third time Arran’s worn it. Each time we add a bit more. It’s about a year old now. Arran: We want to display them in our lounges, but I don’t think that’s going to happen. Our wives aren’t going to let us.

STAR TREK

INE

OKS - COMICS - COLLECTIBLES

INTERVIEW In 1997, Simon & Schuster tried e something that had never been done before with a major franchise: The publisher, through its imprint Pocket Books, opened a writing contest that invited Star Trek fans to submit s their own short stories, the winners of which would be published in an anthology entitled Star Trek: Strange New Worlds. In celebration of the showâ&#x20AC;&#x2122;s 50th anniversary, 2016 saw Pocket Books relaunch the much-loved writing contest giving fans an opportunity to add their voice to the Star Trek universe. Derek Tyler Attico, one of this yearâ&#x20AC;&#x2122;s successful entrants, spoke to three of his fellow winners.... Words: Derek Tyler Attico

A RETURN TO STRANGE NEW WORLDS 84

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TRICORDER "Strange New Worlds" affords new writers the chance to contribute to Star Trek's expanded universe

NEIL BRYANT “DILITHIUM IS A GIRL’S BEST FRIEND” Star Trek Magazine: Where did your relationship with Star Trek begin? N.B.: My dad was always a Star Trek fan. I liked Star Trek, but as a kid I was more of a Star Wars fan. Interestingly enough, I know the exact moment I started liking Star Trek more than Star Wars – as I was walking out of the theater after seeing Star Trek IV: The Voyage Home. I was probably nine years old at the time. I can’t say precisely why the movie was so appealing. I think it was the “fish out of water” aspect of the story. It takes all these advanced 23rd-Century aspects of humanity, and puts them in the middle of the 1980s. The movie is as much a comedy as anything. Also, there’s that scene at the end where Kirk and crew fly past the Excelsior, and see the Enterprise-A for the first time. I got goose bumps. What is it about Star Trek that you identify with? N.B.: At first, it was the technological aspect, and how well the technology was fleshed out. I had so many technical manuals and ship schematics. I lived off of them. While other kids were out playing football, I was reading Mr. Scott’s Guide to the Enterprise for the umpteenth time, although I probably could’ve used the exercise. My friends and I spent so many hours debating whether or not the Federation could beat the Empire. Now, it’s more the social and philosophical issues brought up

by Star Trek. How does the Federation work without money? What’s a post-scarcity society like? I broach some of those issues in my story.

Neil Bryant's story was inspired by the Genesis Device from The Wrath of Khan

Was there a particular motivation, beyond fandom, for entering the contest? N.B.: I love to write; I love Star Trek. Win-win. Also, I want a career as an author. What better way to get yourself noticed than writing for one of the most recognizable franchises in the world? What inspired the idea for your story? N.B.: I wanted to write about the Genesis Device, and have it pose some threat to Federation history. Were there any other storylines you considered? N.B.: I wrote two stories, and I submitted the second one. The ﬁrst one was a traditional, original series adventure. I was moments away from sending it when I managed to get hold of some past editions of Strange New Worlds. I read through them, and realized my story probably wouldn’t work. It didn’t seem to be

what they were looking for. So I wrote a second story featuring secondary characters from the original series. That seemed to be more in line with what they wanted. How did you learn you were among the winners? N.B.: A phone call. I knew exactly what it was before I even listened to the voicemail. I just knew. Like some Vulcan intuition. If you could take any aspect of Star Trek and place it in today’s world, what would it be? N.B.: Replicators. It seems they would be the ﬁrst step to that post-scarcity society.

“WHAT BETTER WAY TO GET YOURSELF NOTICED THAN WRITING FOR ONE OF THE MOST RECOGNIZABLE FRANCHISES IN THE WORLD?” NEIL BRYANT

STAR TREK MAGAZINE

TRICORDER

JOHN COFFREN “LIFE AMONG THE POST-INDUSTRIAL BARBARIANS” With stories previously appearing in volumes 7 and 9 of the original Strange New Worlds series, Coffren’s winning story marks his third contribution to Star Trek. Star Trek Magazine: What is it about Star Trek that appeals to you? J.C.: I think it’s the message for the future. I know sometimes people laugh at the original series’ special effects, but it’s the stories that hold up. It’s not about the planet of the week, or the 11-foot model; it’s the story. For me, it’s always been the storytelling that’s very compelling. When you ﬁrst discovered the Strange New Worlds contest, what compelled you to enter? J.C.: I’m an English major, and “Plan A” for every English major is to write a novel. It’s

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like a suicide mission. Not many of us make it through, but that doesn’t stop us from trying. When I got out of college, the first thing I wrote was horror. I really enjoy the horror genre, but it wasn’t a great fit. The writing life is kind of like shopping for clothes. If it fits, if it looks good on you, do it; if it doesn’t fit, if it’s too tight, don’t. When Strange New Worlds came along, I thought this is something that I know, something that I love, and the opportunity to get published. What inspired your story? J.C.: It was really twofold. First off, I was really

Captain Braxton (Bruce McGill)

drawn to the character (Captain Braxton), so it was a character study. Also, some of the most interesting, tantalizing Star Trek episodes are when we get to see glimpses of their future. When we saw the Enterprise-J on Star Trek: Enterprise. It was like the shark in Jaws; you

TRICORDER doon’t see the whole thing, you just see the fin, annd your imagination fills in the rest. So writing abbout Captain Braxton, a Federation Time Ship captain (from the Voyager episode “Future’s Ennd” – Ed.), I wanted to explore that character. Also, Star Trek has always been a voice for social justice. My story doesn’t have the bug-eyed monster, the alien planets, or the starship baattles. That’s not what this is about. Without that window-dressing, at its heart, it is still a Sttar Trek story. You’ve now written three Strange New Worlds stories. Was there any difference in your writing process? J.CC.: It’s been a little different for each story in Sttrange New Worlds. The first story started off with a question. I wondered what happened to Captain Bateson, a man out of time, from the Neext Generation episode “Cause and Effect.” The second one was about the Kelvans, from the Sttar Trek episode “By Any Other Name.” For that onne it was about pushing boundaries, and more abbout telling stories outside the 23rd and 24th Ceenturies, so I set my story in the 26th Century. With this one, I was drawn in by the character.

“ONCE I COMMIT, I HAVE TO HAVE THE TITLE OF THE STORY. IF I DON’T, THEN I KNOW IT’S GOING TO GO SIDEWAYS.” JOHN COFFREN

Rogan (Warren Stevens) and Kelinda (Barbara Bouchet) from original series episode "By Any Other Name" were the inspiration for Coffren's previous Strange New Worlds entry

As far as my process goes, when I get the idea I really try to start writing right away. Once I commit, I have to have the title of the story. If I don’t, then I know it’s going to go sideways. I just do a little bit each night, and a deadline always helps. How did you ﬁnd out you were among the winners? J.C.: Going from how it had been done in the previous contests, I was expecting a call about

a week before the deadline. When that didn’t happen, I’m thinking I didn’t win. March 31st rolls around, no phone call, no email, so I’m really sure I didn’t win, but I didn’t have time for a pity party because I was working on another submission. Then April 1st comes, and I get an email telling me “congratulations, you’re a winner,” and I think someone is messing with me for April Fool’s day. How do you feel about scoring your third story win for Strange New Worlds? J.C.: It feels great; It’s awesome to get that third one in, and with this win to no longer be considered an amateur, to be a professional writer. If the contest were to run again, what advice would you give to prospective entrants? J.C.: To start off telling the story you want to tell, and remember your story is going to be one amongst hundreds, perhaps thousands. It needs to stand out. Write something risky, take a chance.

Frasier star Kelsey Grammer as Captain Bateson

What aspect of Star Trek would you like to see embraced in today’s world? J.C.: I think the vision of humans getting along as a race is still something that’s missing in the world. That idea of us embracing our differences, instead of them being a source of conﬂict, is something we need a lot more of. STAR TREK MAGAZINE

TRICORDER

NANCY DEBRETSION “THE MANHUNT POOL” Star Trek Magazine: How were you first introduced to Star Trek? N.D.: My family were all big sci-fi readers. Reruns of The Twilight Zone and The Outer Limits were household favorites. So it’s not surprising that when I was 11, we watched Star Trek’s premiere, “The Man Trap.” The combination of a scary monster, involving characters, and cool plot twists hooked me immediately. Have you always wanted to write a Star Trek story? T k and not N.D.: I think it’s hard to love Star Trek imagine the characters in new adventures. One of my earliest attempts at a novel, when I was 12, was a Star Trek knock-off with a Spockinspired hero. We both have Deep Space Nine stories in this SNW anthology. Your story has a great title; can you talk a little about what wass the impetus behind it? N.D.: When Deep Space Nine first aaired, work and kids kept me too busy to catchh more than a few episodes. After I finally caugght up with all seven seasons in late night re-runs, Garak became my favorite Trek character. I collected ideas for a murder mystery that Gaarak and Odo would solve through competing invvestigations. me, and I never Then everyday life overwhelmed m wrote it. When the contest opportuunity came up, I luckily found the flash drive ccontaining my “Manhunt Pool” notes, and that flaash drive holds outlines for two more DS9 mysteriees, which I haven’t written yet. How did you go about writing this story? s N.D.: First, I took way too long figuuring out a framing device – a con game Odo thhwarts with Dr. Bashir’s help. Then I took too loong paring

my novel-length concept down to a plot that could unfold in 10,000 words. So I ended up writing the draft over the last two weeks of the contest, polishing, and word-cutting as I went to make sure I had room for the rest of the story. To complete the final section, I took two days off work. During writing, Netflix and Memory Alpha were always open for reference. Two hours before the deadline, my sister (who’s a doctor) vetted three medical details, and saved me from a major error. The submission met the deadline with only 20 minutes and seven words to spare. How did you learn you’d won? N.D.: A nice woman named Sandra Powell sent me an email saying “Please contact me.” I grabbed my cell phone off my desk, hurried out of the office, and called. What will you take away from this experience? N.D.: Scoring a place in this anthology inspired me. Currently, I’m writing a sci-fi adventure called Human Variables, set in my hometown, Los Angeles, 100 years after my birth. The story involves global warming, genetic engineering, cloning, nanotechnology, and aliens doing field research on humans. I plan to live long enough to see if my ideas were far-fetched.

“ONE OF MY EARLIESTT ATTEMPTS AT A NOVEL, WHEN I WAS 12, WAS A STAR TREK KNOCK-OFF WITH A SPOCK--INSPIRED HERO.” NANCY DEBRETSION

STAR TREK MAGAZINE

Garak (above) and Odo (below) are the focus in Nancy Debretsion's murder mystery

If there was one aspect of Star Trek you could place in the real world, what would you choose? N.D.: Warp drive. I’m conﬁdent that the universe is ﬁlled with strange new worlds, new life, and new civilizations, but without a way to travel light years in a reasonable amount of time, we’ll never really know. All we can do is imagine.

REVIEWS

STAR TREK/GREEN LANTERN: STRANGER WORLDS – ISSUE 1 By Mike Johnson and Angel Hernandez • IDW and DC Comics

hen does a crossover between two ﬁctional universes become an alternative timeline in its own right? In the case of IDW and DC Comics, it’s when you join forces for a sequel that carries on as if superheroes are an accepted norm in the Kelvin Timeline. And if you haven’t read 2015’s The Spectrum War, then accept that you must, because issue 1 of Mike Johnson g Hernandez’s entertainingg follow-upp and Angel doesn’t take newbies prisoner. Set six months after the “Nekron Incident”

of its predecessor, we’re treated to a refresher of sorts in the opening pages, catching readers up on how this alternate alternate reality came to be via a Starfleet Academy lecture (consider yourself fortunate that you don’t share the universe from which the Green Lantern Corp hail, as it isn’t there anymore!) That’s right, Hal Jordan (he’s the Green Lantern, Trek fans...) and his ring-bearing group of powered heroes are now unofficial Starfleet affiliates, training cadets and defending the Alpha Quadrant alongside Kirk and his Enterprise compadres – Jordan is even an acting Captain, while Scotty is indulginng in a “little cross-reality rom mance” with Star Sapphire! The only problem is that the GLC seem to have left their universal chargers back hom me, as their power rings are running on emptty. Meanwhile, Green Lantern’s nem mesis, Sinestro, is having similar problems, annd becoming bored with being the Klingon Emperor (in crossovers, the super-baddy is alwaays in charge of the Klingons – it’s in the ruless!) It’s a recipe for fun, even if you’re a Trek fan unfamiliar with the mechanics of DC’s hugely popular Green Lantern books, althouggh there’s a chance you might feel like “our” charaacters are a little sidelined in this opening instalm ment. Still, open yourself up to an alternate, supeer-powered take on Star Trek’s other reality, and you’re y in for what looks like being a lively ride.. Christopher Cooper STAR TREK MAGAZINE

TRICORDER

STAR TREK: DEPARTMENT OF TEMPORAL INVESTIGATIONS “TIME LOCK” By Christopher L. Bennett • Simon & Schuster / E-Book Exclusive

ocket Books’ series of Department of Temporal Investigations novels began back in 2011, with new releases coming along on a pretty much annual basis ever since. The line follows the adventures of Temporal Agents Dulmer and Lucsly, who first made an appearance in the celebrated Deep Space Nine episode, “Trials and Tribble-ations.” “Time Lock” finds the duo protecting The Eridian Vault – a temporal equivalent of Fort Knox, containing valuable and dangerous temporal artefacts which, should they fall into wrong hands, could wreak havoc on the galaxy’s delicate balance of power. It’s a tempting target for the Vomnin, a group of mercenaries intent on seizing those relics for their own nefarious purposes... Like many Star Trek time-travel episodes, if temporal physics is your thing and you have a taste for scientific dialogue, then this is going to be a rewarding read. Otherwise, you might find yourself tiedup in knots at various junctures, as the author weaves a tangled web of temporal headaches with healthy doses of intesnse technobabble. “Time Lock” may be heavy going for some, but as with many of the previous Department of Temporal Investigations instalments, if you’re prepared to invest a bit of time and patience, it’s a whole heap of fun. Adam Walker

STAR TREK MAGAZINE

STAR TREK: LEGACIES BOOK 3: “PURGATORY’S KEY” By Dayton Ward & Kevin Dilmore • Simon & Schuster / Pocket Books

he final entry in Pocket Books’ remarkable Legacies trilogy, “Purgatory’s Key” brings the saga to a satisfying conclusion, and in some style. Marking Star Trek’s 50th anniversary with a yarn that spans the captaincies of all three of the original U.S.S. Enterprise’s commanding officers, it’s down to Kirk and his indomitable crew to wrap the whole thing up, while doing their best to avert an interstellar war. After some rather ingenious subterfuge, the Romulans have succeeded in obtaining the Transfer Key that has driven the three-book plot. It’s an artefact that allows the user to instantaneously transport to another dimension, and those nefarious Romulans have used the key to banish Ambassador Sarek and Councillor Gorkon to a mysterious other realm. Can Kirk find a way to bring them back and stop an interdimensional invasion in the process? You bet he will. The intrepid writing duo of Dayton Ward and Kevin Dilmore steadfastly refuse to rest on the laurels of the trilogy’s previous authors, stepping up their game while making a concerted effort to give every crewmember some time in the spotlight. Normally left lingering with leftover B-plots, Chekov and Uhura are both allowed to take center stage at various points, while the dynamic between Kirk, Spock, and Bones hits just the right tone in recapturing the essence of the original series. “Purgatory’s Key” is a tense, complex, and enjoyable finale to what has been an ambitious series. A fitting celebration. Adam Walker

THE STAR TREK ENCYCLOPEDIA: A REFERENCE GUIDE TO THE FUTURE REVISED AND EXPANDED EDITION By Michael and Denise Okuda • Harper Design

t’s been 17 years since Star Trek alumni Michael and Denise Okuda finished the previous update of their original 1994 work, but it’s been well worth the wait. Finally, factfans can dig deep into the 300-pages of added material that took the Okudas two full years to put together. This new edition comes in a duo of hefty volumes, both of which slip securely into a tough, protective slipcase sporting the iconic Starfleet delta emblem. Every detail of the five television series and 12 movies, all the way up to 2013’s Star Trek Into Darkness, are covered in awe-inspiring depth by the Okudas, with entries from the Kelvin Timeline tagged with bullet-points to distinguish them

from the Prime timeline. To honor the late Gene Roddenberry’s wish that it not be regarded as canon, Star Trek: The Animated Series is duly omitted, but we’ve always got the Blu-rays to fall back on. A look at the ﬁrst and last entries in each volume gives you some indication of the scale and comprehensiveness of the Encyclopedia’s reach. Volume One (A-L) begins with “Audet IX” from The Next Generation, and ends with “Lytasians” from Deep Space Nine. “M’Benga, Dr.”, from the original series opens Volume Two (M-Z), while the extremely quiet Zyznian church mouse (brieﬂy mentioned in a Voyager episode) is the very last entry. Let’s just say it’s expansive.

A respectable set of appendices adds extra value, covering the likes of Federation Starships and Ships of Earth Registry, Ships of the Galaxy, Historical Events in the Star Trek Universe, and a Timeline of Star Trek Production, amongst other gems. This new edition is a great coffee table book to keep handy during your next Trekviewing marathon – in fact, with the addition of some legs, it could make for a sturdy coffee table itself! No doubt indispensable to anyone engaged with Star Trek in an ofﬁcial capacity, delivering chapter and verse to studio executives, producers, and writers alike, it’s also a perfect companion for a wet weekend. Chris Gardner

STAR TREK MAGAZINE

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MAKING SENSE OF THE FUTURE IN…

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Larry Nemecek Confused by a continuity conundrum? Lost in the Query Quadrant? Then our resident Trexpert, Larry Nemecek, is here to help. Contact A Fistful of Data at: startrekmagazine@ titanemail.com, via larrynemecek.com, or @larrynemecek on Twitter.

SIDEARMS AND ALARMS I thought you couldn’t fire a phaser on board a starship without an alarm going off, yet in The Next Generation episode, “Aquiel,” Geordi fired one? ALLAN HODGSON We’ve seen crewmembers fire sidearm phasers aboard ship since the first TV-aired episode, “The Man Trap,” so you’re probably referring to that moment when, in The Undiscovered Country, Valeris finds a phaser in the Enterprise-A galley and blasts a cooking

Janeway takes aim with a Compression Phaser Rifle

No need for alarm, Geordi!

pot to set off the distinctive alarm! She then explains that the alarm only sounds when unauthorized phaser units, or those set to completely vaporize a target, are fired. In other words: phasers on low settings, or assigned to specific security personnel, would not set off that alarm. However, you asked about Geordi in “Aquiel,” which is a whole century of technology and security protocols later. While not an on-screen, primary canon reference, a codified solution for the issue of on-board phaser security in the 24th Century is offered by series technical consultants Rick Sternbach and Mike Okuda, in their Next Generation Technical Manual. They specify two components

in a phaser’s beam emission process: a safety interlock, allowing overrides and the personalizing of a unit to any assigned personnel; and a subspace transceiver assembly that allows a ship’s computer interlink for remote power-monitoring, usually capped at “heavy stun” settings, unless overridden by an authorized user. A big concern with any phaser fire within a starship is unintended structural damage, especially piercing the hull. One solution, as employed aboard the U.S.S. Voyager, is the use of Compression Phaser Rifles, which fire a beam specifically designed to mitigate damage to a ship’s structural integrity without sacrificing its effect against targets.

STAR TREK MAGAZINE

DATACORE LARRY NEMECEK No replications: Quark serves real Romulan Ale

STORE TREK In “Charlie X,” Yeoman Rand gladly accepts a gift from Charlie, telling him that she’s not been able to ﬁnd anything like it in “the ship’s store.” Is this the only mention of a ship’s store in the history of Star Trek, and why couldn’t she have just replicated what she was looking for? Also, why would anyone pay Quark a gold-plated anything for drinks that they could replicate for free? JON BRUNETTE Brooklyn Park, Minn. In early 1960s Star Trek, replicators weren’t yet a thing – crews still took meals from “food slots,” while custom costumes and gear were made by the ship’s computer – so a ship’s store was the go-to location for sourcing anything aboard that might be a little out-of-theordinary or special. It’s also a great example of how Gene Roddenberry used present-day naval parlance for his Starﬂeet nomenclature. And yes, the term “ship’s store” appears across the follow-up series, even in The Next Generation – the series that introduced the term “Replicators.” In Season 1 of the 1987 Trek reboot, you hear of a ship’s store no less than three times – notably, it was the source of Tasha

Yar’s revealing nightgown that she slips into to seduce Data, in “The Naked Now.” Although we only heard about Deep Space 9’s ship’s store as the off-screen location of Quark’s robbery in Season 2 episode, “Necessary Evil,” the store was actually included in the description of the Promenade in the very ﬁrst Deep Space Nine Writer’s Bible. It’s even marked on the Promenade stage plan, between the Bajoran temple and Odo’s security ofﬁce! As for how Quark gets away with charging for drinks when there’s a replicator sitting in plain site behind his bar...? If we’re being generous, perhaps it’s his personal service and winning smile that visitors and crew are willing to pay a premium for? We could also ask the age-old question of why cultures visiting this crossroads still use currency at all – especially the cashless Federation? And while it seems that gold-press latinum is something of a galactic go-between in the cash-for-goods stakes, wouldn’t basic replicator technology make the idea of “precious” metals redundant anyway, when you could just, you know, replicate them? It’s a bigger riddle than smooth-headed Klingons – although the episode “Who Mourns for Morn?” makes a fair stab at resolving it!

The DS9 Promenade floorplan

STAR TREK MAGAZINE

Coming from a background in news and theater, Larry Nemecek now creates his TREKLAND blog and videos, alongside archives at larrynemecek.com, showcasing his longtime career as a Star Trek author, editor, studio consultant, interviewer, speaker, archivist, and even ﬁlm site tour leader. Producer of documentary The Con of Wrath, and his Trekland: On Speaker remastered interview archives, Nemecek’s Star Trek: Stellar Cartography book and maps set is available now from 47North/Amazon.

DRONE DEBATE In “Samaritan Snare,” Picard tells Wesley the story of how he came to have an artificial heart. Could his Cardiac Unit be one reason why the Borg chose to abduct Picard in “The Best of Both Worlds”? Did the Borg identify Picard as “one of their own,” even before he was assimilated? O. ADAMBERRY Gibraltar A really great theory, but remember that (in “Q Who?”) the only Federation commander that the Borg had ever encountered was Picard. That first-contact Borg cube’s drones would have shared their data with the collective, providing crucial intelligence – and a known point of contact – when the next cube came calling. Picard’s pre-existing technological enhancement was never a factor in the story or in its development, and was never mentioned during the episode, even as the senior staff desperately tried to find an a to retrieve or (as a last resort) destr y Locutus/Picard. Still, it would have been a great bit of continuity to throw into the mix!

CANON FODDER

ON FIRST NAME TERMS A. Gamble of Norwich, England, wrote in with a Canon Fodder query that requires deeper explanation than a regular FFoD question, covering not so much a single event but a broader trope in Trek storytelling. “Several characters in Star Trek only had one name,” Gamble notes. “In his autobiography, Leonard Nimoy recalled a convention he attended where a member of the audience asked why Spock didn’t have a ﬁrst name. Did that start the trend of giving some Star Trek characters one-word names?”

hat better way to reinforce an alien character’s “alien-ness” to TV audiences than by giving them a solitary, memorable, single-word alien spacename (even if people have been swapping Mister for Doctor ever since, thereby confusing our estimable Vulcan with real-life American pediatrician and best-selling author, Doctor Benjamin Spock)? You can also throw in Neelix, Kes, and Phlox as further examples of single-named aliens, all representing their species with names that sound very alien from the point of view of humans from Earth. I’d suggest that the legacy of “Spock” as a mono-naming convention was not so much an inspiration for all these cases to come, as it is an inevitable sensibility for a very Earth-centric audience.

However, we shouldn’t forget that Spock did indeed have another name, even though we never heard it on-screen: in “Journey to Babel” Spock’s mother, Amanda, tells Kirk that she’s ﬁnally learned to pronounce the Vulcan surname of husband Sarek and her son, “after many years of practice.” The mysterious Spock name haunted fans, so much so that story editor Dorothy “D.C.” Fontana wrote to Trek fanzine Spockanalia in 1968, revealing that she’d intended Spock’s family name to be “Xtmprsqzntwlfd.” “The family name is unpronounceable, and can only be rendered in the Earth alphabet as a long series of consonants,” Fontana explained, saying “The formal Vulcan language is not written with English letters. As in Hebrew, Arabic, Chinese and so on, the phonetic

Spock's full name is unpronounceable

rendering according to pronunciation has nothing to do with the written language.” The explanation gained traction in tie-in ﬁction and reference books, although novelist Barbra Hambly made so bold as to name him “S’chn T’gai Spock,” in her licensed but noncanon book, “Ishmael.” Despite the Great Spock Surname Hunt, the fact remains that single-word names continue to evoke an alien quality across all the spin-off series, and will likely also do so in Discovery. Even so, after years of spinning out character back-stories, some single-word names don’t always stay that way. Originally not much more than alien setdressing, by a few seasons in Worf had enjoyed enough added history to introduce himself as “Worf, son of Mogh” – the Klingon “son of...” being a virtual surname usage that performs the same familial lineage task as it does on Earth. Of course, had Worf chosen to do so, he could have used his adoptive human family name instead: Worf Rozhenko does have a certain ring to it. And if you’re in the market for baby names, then why not consider Odo’s full name: Odo’ital? They’re the Cardassian words for “unknown sample”, as written on the label of the beaker that his unformed gelatinous mass was ﬁrst stored in... Cute!

STAR TREK MAGAZINE

CAPTIONS W LOGGED Archive images, lost and found…

ith Nicole de Boer’s single year on Deep Space Nine being the show’s last season, there aren’t too many bloopers in the studio archives that catch the counselor Trill on camera with her guard down. But we’ve found a doozy... It’s Monday, January 25th, 1999 – day 6 of the “Til Death Do Us Part” studio shoot. As the Dominion War arc continues to dominate the ﬁnal season of DS9, de Boer struggles to contain her giggles as Jeffrey “Weyoun” Combs’ grins – and both are staring at their erstwhile co-star, Michael “Worf” Dorn. Has the Klingon actor dropped a line, or is the Breen in the background to blame?

Has there been an on-set faux pax, or are the laughs down to a Jem’Hadar? You tell us! Send your Trek caption to startrekmagazine@titanemail.com, and we’ll print the best in our next issue. SORRY – I HAD ONIONS FOR LUNCH!

PRE IOUSLY, PREVI IOUSLY IN IN

CAPTIONS LOGGED... Caption Logged by

SUSAN KOCH USA 96

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