DISCOVERY UPDATE THE GORN!
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THE OFFICIAL MAGAZINE
WE NEED TO TALK ABOUT CHAKOTAY
INTERVIEWED:
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STARFLEET'S FINEST:
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MAKING INTO DARKNESS : PROPS
144.7
Stardate: 71
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he Klingons, the Bo Borg, the Gorn, the Zindi... Starfleet’s ongoing mission to seek out new lif life and new civilizations (and exist peacefully alongside them), t em), hasn’t always th alwa gone according to plan. Let’s not even mention sentient ggass clouds with God complexes. ga way, humanity has encountered friendlier aliens – But along the w some some helpful, and one or two of a more dubious some m kind, some brave, b disposition. Characters like Guinan, Quark, Ro Laren, and even Garak di Cha have have become bec ecom ome close cl (if not always trustworthy) allies, adding to the rich diversity diveersity of the di th Star Trek universe. This issue iss ss we focus on those alien allies, and a few less savory extraterrestrials too, including an exclusive chat with the Gorn extraterre himself hims m elff – actor and stuntman Bobby Clark. We also speak to Jill Sayre, Saayr y e,, the t Bajoran Dabo girl who caught Jake Sisko’s eye in Deep Space and find out how Oscar-winning make-up artist Spac Sp acee Nine, N Greg created the ferocious Klingon Jackal Mastiff for The Greg Cannom Ca Undiscovered Country. Undisco The The big news since our last issue has been the official announcement that Sonequa Martin-Green will lead the cast of anno an noun unc Star St Trek: Tre rek: k: Discovery, and we’re happy to finally welcome her to the Star Starr Trek Tre rekk family. famil You can find out more about Martin-Green and her new castmates castmaate tes in our o Discovery Supplemental on page 12. It’s Itt’s another ano noth jam-packed issue, so buckle up, and Engage…
26 DOMINIC
KEATING INTERVIEW
EDITORIAL • Editor: Christopher Cooper • Senior Editor: Martin Eden • Designers: Amazing15 • Contributors: Michael Clark, Chris Dows, Chris Gardner, John De Gruyther, K. Stoddard Hayes, Pat Jankiewicz, Rich Matthews, Larry Nemecek, Ian Spelling, Bunny Summers, Timothy J. Tuohy, Adam Walker, and Toby Weidmann. STAR TREK: THE OFFICIAL MAGAZINE • Exclusive cover artist: Dusty Abell with Lovern Kindzierski VOL #1, ISSUE #61 (UK #169) • 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
HAILING FREQUENCIES OPEN! Email us at startrekmagazine@titanemail.com about anything Star Trek-related, t d or write to Star Trek Magazine, 144 Southwark Street, London SE1 0UP
TITAN MAGAZINES • Editorial Assistant: Tolly Maggs • Senior Production Controller: Jackie Flook • Production Supervisor: Maria Pearson • Production Controller: Peter James • Art Director: Oz Browne • Senior Sales Manager: Steve Tothill • Direct Sales & Marketing Manager: Ricky Claydon • US Advertising Manager: Jeni Smith • Brand Manager: Lucy Ripper • Circulation Assistant: Daniel Downes • Commercial Manager: Michelle Fairlamb • Publishing Manager: Darryl Tothill • Publishing Director: Chris Teather • Operations Director: Leigh Baulch • Executive Director: Vivian Cheung • Publisher: Nick Landau
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STAR TREK STAR MAGAZINE TREK MAGAZINE 3
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CONTENTS REGULARS
INTERVIEWS
6 STATUS REPORT Star Trek news from across the Alpha Quadrant.
72 TREKNOLOGY Is science catching up with “Spock’s Brain”?
“I LOOK BACK ON THOSE YEARS WITH NOTHING BUT FONDNESS, LOVE, AND GRATITUDE.”
26 82 TRICORDER Star Trek cover art, and the latest books and comics reviewed.
92 QUARK’S BAR Celebrating the creativity of Trek fans everywhere.
93 FISTFUL OF DATA Trexpert Larry Nemecek answers your Star Trek teasers.
97 STARSHIP TREKKERS
DOMINIC KEATING
38 BOBBY CLARK 64 DOUG DREXLER 76 JILL SAYRE
Going badly where no-one has gone before, in “Where No One Has Gorn Before.”
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CONTENTS
Regular R l N Newsstand t d Editi Edition d
EXCLUSIVE Comic Store S ore Edition St Editi Ed diti ition ion n
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FEATURES 12 DISCOVERY SUPPLEMENTAL Sonequa Martin-Green joins the crew.
32 SUITED AND BOOTED Keeping track of Starfleet’s ever-changing uniforms.
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44 A NOVEL APPROACH Take a seat at The Captain’s Table.
50 WE NEED TO TALK ABOUT... Our panel of Trek Talkers turn their attention to Chakotay.
54 TIME’S ARROW Tracing the Soong dynasty through the generations.
60 DAY OF THE JACKAL MASTIFF Creating The Undiscovered Country’s Klingon hound.
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18 STARFLEET’S FINEST:
ALIEN ALLIES
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status report Voyager's Robert Picardo (right) with the Final Frontier Medical Devices team
TREKNOLOGY WINS XPRIZE makes the Tricorder a reality
Photos: startrek.com
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aunched by XPRIZE and the Qualcomm Foundation way back in 2012, the race to design and build a fully-functioning, real-world Tricorder has finally found a winner. The Final Frontier Medical Devices team, led by Philadelphia brothers Dr. Basil Harris (an emergency room doctor), and network engineer George Harris, took home the $2.5 million prize for their entry, snappily named “DxtER”. If you’re wondering how they chose the name, Dx is medical slang for diagnosis, the T namechecks the original Tricorder, and ER is a reference to Dr. Harris’ Emergency Room (so, not after Lieutenant Commander Dexter Remmick, the alien-parasite-infested Starfleet officer from TNG episodes “Coming of Age,” and “Conspiracy.”) DxtER is an “artificial intelligence-based engine that learns to diagnose medical conditions by integrating learnings from clinical emergency medicine with data analysis from actual patients.” It uses non-invasive sensors designed to collect data on vital signs, body chemistry, and biological functions, which is then synthesized by the device’s diagnostic engine to make fast and accurate assessments of a patient’s condition, accessed by the user via a smartphone app. More than 300 teams took part in the competition, and the winner was determined by 21 judges who evaluated reams of clinical data to validate each entry’s claims and functionality. Speaking after his team’s winning device was announced, Dr. Harris told reporters, “It’s really empowering for people to have a device like this in your home, that’s giving you information that’s real, reliable, that’s giving you answers to questions you have... This has been an incredible, incredible journey, and I’m so proud of what we’ve created, what my team has done.”
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STARSTATUS TREK COMICS REPORT
IDW BOLDLY GO BRITISH Final volume of UK Trek strips due
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DW Comics look to the future while delving into the the past during the coming months, completing their collection of rare UK Star Trek comic reprints and continuing to strike new ground with ongoing titles, miniseries, and collections. Star Trek: The Classic UK Comics, Volume 3 is a compelling compendium of comic strips, rarities, and oddities from 1972 to 1979, featuring the creativity of writers and artists including John Stokes, Jim Baikie, John Canning, Ron Turner, and Frank Bellamy. Of particular interest are the bonus materials, which include ultra-rare strips from one-shots and annuals, and some created especially for toys and other items of Trek merchandise. The volume also contains the second part of an encyclopedia covering all aspects of Star Trek in British comics. Star Trek: Boldly Go, Issue 10 continues the adventures of the Kelvin Timeline, with Mike Johnson’s latest tale in this ongoing series focusing on Scotty, who returns to Yorktown starbase to oversee construction of the
ew Enterprise – a more perilous assignment than you might miight ht th thi hinkk new think. Over in a more reflective timeline, The Next Generation crew continues its sojourn into the Mirror universe. Written by Scott and David Tipton, with art by J.K.Woodward, “Mirror Broken” (part 3 of 6) finds Picard and his mutineers engaged in a battle for control of the Enterprise-D. Star Trek: Waypoint reaches its sixth and final issue with two short stories focused on Nurse Chapel and Captain Kirk, embracing both the o original series and never-before-seen Phase II eras. Finally, two collections of left-field Trek goodness also find their w into comics stores, in the forms of Star Trek/Green Lantern, Vol. 2: way S Stranger Worlds, and Star Trek: New Visions, Volume 5. The Trek/Green Lantern crossover collects every issue of Mike J Johnson and Angel Hernandez’s Starfleet-meets-superheroes sequel in o 152-page volume, while New Visions: Volume 5 collects issues 12 one t 14 of John Byrne’s photo-manipulated comic book, featuring the Trek to t Face, “Sam,” Sam, and the short story “More More the tales “Swarm,” “Thee Hidden Face,” S ove.” Serpent Than the Dove.”
ENIGMATIC ALLIES? New DS9 novel from Pocket Books
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f you’ve ever dreamed of pairing up Star Trek characters from Deep Space Nine and The Next ski. Generation, the dynamic duo you’d envisaged probably wasn’t Elim Garak and Dr. Katherine Pulaski. ep It’s no surprise, then, that the pair don’t exactly hit it off in Una McCormack’s latest Star Trek: Deep Space Nine novel, “Enigma Tales.” en Now Castellan of the Cardassian Union, Garak is a conflicted leader, treading a fine line between bright hopes for Cardassia’s future and the dark secrets still buried in its past. When Pulaski and hey former Starfleet Intelligence agent Dr. Peter Alden arrive on Cardassia Prime to accept an award, they become embroiled in a tense political game, with Garak at its center. The 368-page novel is out in paperback, eBook, and audiobook formats from June 27th, and is available for pre-order now. STAR TREK MAGAZINE
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SUMMER STYLE FOR TREKKERS POOL TREK The Trekini is back!
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ust in time for summer, ThinkGeek are bringing back the Trekini – with an upgraded and improved Star Trek: The Next Generation Trekini Swimwear line, plus a brand new range of swimsuits inspired by the original Star Trek series’ uniforms. The Star Trek: The Original Series Trekini Swimwear line features a stylish two-piece, retro-inspired design, available in the brash primary colors of the original uniforms. The tops retail at $29.99, with the bottoms available at $29.99. The refreshed Next Generation Trekini Swimwear line, costing $59.99 each, has been reimagined to be more comfortable and offer an even better fit than before. Both ranges come in a variety of sizes, from Small to 4X, and are available now.
TO BOLDLY DRINK (RESPONSIBLY) The perfect mug for an Iced Raktajino If you’re planning on spending your day relaxing in the hot summer sun, then you must remember to keep hydrated. Thankfully Beeline Creative have the perfect receptacle for vacationing Trek fans to take on some liquid, with their range of collectible ceramic Geeki Tiki mugs. Styled after some of the most iconic characters and aliens from the original series, including Kirk, Spock, Bones, a Klingon, the Mugato, and the Gorn, these 8-inch tall tikis can hold about 14 ounces of the beverage of your choice, and they should be available before summer’s out. Visit www.GeekiTikis.com to find out more.
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STARSTATUS TREK COMICS REPORT
THE LATEST NEWS FROM THE MMORPG Familiar Star Trek cast members, new playable episodes, and the introduction of Competitive Wargames scenarios make this summer a thrilling time to get involved with Star Trek Online.
CROSBY RETURNS Trek actors return to the STO universe
FANSETS LOOK IN THE MIRROR New pins take TNG into another reality They may never have made the jump to Star Trek’s original alternate reality on screen, but Fansets have now taken Picard and his crewmates where they’ve never gone before* – into the Mirror Universe! Featuring alternate takes on the crew of the Enterprise-D, and assorted Mirrorthemed Next Generation ships, insignias, and characters, Fansets’ 16 new pin designs are set for release later this year. (*As far as canon is concerned.)
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eturning to Star Trek Online once again, Denise Crosby reprises her role as the infamous Sela, in the new Featured Episode “Survivor.” Crosby is joined by fellow Trek alum Matt Winston, who returns to the game as Temporal Agent Daniels. The episode is available for PC players at level 10 and above. Meanwhile, a new mystery unfolds in “Mirrors and Smoke,” in which players will join forces with the intrepid Lukari captain, Kuumaarke (played by Kipleigh Brown from Star Trek: Enterprise episode, “The Forgotten”), and journey to the edge of known space to explore the secrets that lie within the newly-discovered nebula. As the Lukari continue their initial space exploration efforts, a curious discovery is made. Life signs have been spotted within an artificial nebula – life signs that are very similar to their own. Is there a lost tribe of Lukari on the edge of the frontier?
SELA RISES AGAIN Empress. Traitor. Daughter. Warlord. Sela of Romulus has worn many titles in her life. While her name lives in infamy in the hearts of many, she is also feared, honored, and even adored. She is a woman haunted by her own past and her legacy. When the consequences of a past temporal encounter conspire to push her once more into the spotlight, Sela stands ready to push back.
PREPARING FOR THE UNKNOWN New Competitive Wargames scenarios will introduce several types of queue events to Star Trek Online. In three challenging new simulations, two teams composed of five captains each will compete to overcome tricky puzzles, dangerous obstacles, and devious opponents! Reputation rewards for the Wargame scenarios include class-specific gear for space combat, including offense, defense, and combat support.
STAR TREK MAGAZINE
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THINGS TO DO DURING SHORE LEAVE
LOCK PHASERS ON VEGAS The Perennial Star Trek Convention Returns
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Photo: CarlaVanWagoner / Shutterstock.com and Creation Entertainment
tar Trek Las Vegas will take place from Wednesday August 2nd to Sunday August 6th, returning to the Rio Suites Hotel that has been its home for the past couple of years. A massive line-up of guests has been announced, including a number of Star Trek faces appearing at the official convention for the first time. One of the biggest Hollywood names to join the Vegas line-up is Sons of Anarchy, Beauty and the Beast, and Hellboy star Ron Perlman. Perlman played the Reman Viceroy in Star Trek Nemesis, and Creation Entertainment cofounder and co-COO Gary Berman was happy to welcome the actor to the event, telling startrek. com, “We know Star Trek fans will make this talented actor behind almost 30 years of screen appearances feel at home at his first Trek event.”
Other previously announced guests include luminaries from the original series; William Shatner, Nichelle Nichols, George Takei, and Walter Koenig. Karl Urban – McCoy from the Kelvin timeline movies – will also be on hand to represent the alternate Enterprise crew, while members of the casts from every other TV iteration of Trek will be appearing on stages throughout the five-day event, including Kate
STAR TREK LAS VEGAS August 2-6, 2017 Rio Suites Hotel, Las Vegas, NV creationent.com
BEAM ME UP! FEDCON June 2-5, 2017 Das Maritim Hotel, Bonn, Germany www.fedcon.de/en/
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Mulgrew, Robert Beltran, Linda Park, Alexander Siddig and many more. There will also be a host of behind-the-scenes guests, and numerous events and photo ops to enjoy. The biggest news for the 2017 event is that many of The Next Generation cast will be reuniting in Vegas to celebrate the 30th anniversary of their series, including Sir Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Gates McFadden, Marina Sirtis, Michael Dorn, and Denise Crosby. In addition to a TNG panel announced for the event, Creation Entertainment have also lined up a special evening event featuring the cast. General and Reserved Seating day tickets for Star Trek Las Vegas 2017 are now on sale. Please note that all guests and scheduling are tentative and subject to change, and that a full, hour-by-hour schedule will be revealed on the Tuesday before the event opens.
Here’s where some of your favorite Star Trek stars will be transporting to this summer:
SHORE LEAVE July 7-9, 2017 Hunt Valley Inn, Hunt Valley, MD www.shore-leave.com
BOSTON COMIC CON August 11-13, 2017 Boston Convention Center, Boston, MA bostoncomiccon.com
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S U P P L E M E N T A L Filming on the new Star Trek television series has already been underway for several months, and although little has been revealed as to the premise of the new show, there has been much excitement over casting announcements made since the last issue of Star Trek Magazine hit newsstands. With some big names joining the crew roster of the U.S.S. Discovery, and the surprising return of another popular original series character, here’s our refresher course in all things Discovery. Words: Christopher Cooper
Cameras roll on Star Trek: Discovery
A rack of costumes
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A look behind the scenes on set (above), and the smart new Starfleet uniform
Photo credit: DFree / Shutterstock.com
SONEQUA MARTI MARTIN-GREEN as FIRST OFFICER MICHAEL The long-rumored casting of SSonequa MartinGreen as the lead of Star Trek Trek: Discovery was finally confirmed on April 3rd 3rd, 2017, the day after the actress made her exi exit as regular zombie-buster Sasha William Williams from AMC’s The Walking Dead. Martin-Green, who will bbe playing First Officer Michael Burnham in D Discovery, had already shot her Walking Dea Dead finale before being cast in the new Star Tre Trek series. Burnham will be the central protagonist of the show, rather than the ship’s captain, in a firrst for the 50-year old franchise. This shift in foc focus promises to bring a fascinating new dynam dynamic to the series that offers up a wealth of new storytelling opportunities, and Martin-Gre Martin-Green is on record as wanting to do justice to the le legacy of Star Trek. Born on March 21, 1985, Alabama native Martin-Green originally consi considered pursuing a
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BURNHAM career in psychology until she caught the acting bug in the tenth grade. After graduating from the University of Alabama with a degree in Theater, she moved to New York and then to California, where she made her film debut in Not Quite Right (2005). Other movies followed, but by 2009 Martin-Green was becoming a familiar face on television, with recurring roles in Army Wives, The Good Wife, and NYC 22. Martin-Green’s biggest break came when, in 2012, she was cast as Sasha Williams in the third season of hit zombie apocalypse drama, The Walking Dead. The character exited the show in the Season 7 finale, “The First Day of the Rest of Your Life,” leaving Martin-Green free to boldly go where no first officer has gone before. You can follow Sonequa Martin-Green on Twitter, @SonequaMG.
MARTIN-GREEN IS ON RECORD AS WANTING TO DO JUSTICE TO THE LEGACY OF STAR TREK STAR TREK MAGAZINE
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DISCOVERY SUPPLEMENTAL JASON ISAACS as CAPTAIN LORCA In a break with Trek tradition, Jason Isaac’s role as the captain of the U.S.S. on’t Discovery doesn’t make Lorca the center of attention in the show, but he won’t lose out on getting the best chair on the bridge. Isaacs seemed keen to takee his seat when he tweeted, “Nice chair. Hope it’s comfy,” shortly after his casting was announced. Perhaps most widely recognized as the devious Lucius Malfoy from thee Harry Potter movie series, Isaacs is no stranger to science-fiction, having scored his first Hollywood movie role in 1997’s Event Horizon, starring Laurence Fishburne. English-born actor Isaacs also played the scientist whose clever plan saved planet Earth from certain destruction in the Bruce Willis disaster movie, Armageddon – and isn’t saving our planet the perfect qualification for any Starfleet captain?! Most recently starring as Doctor Hunter Aloysius Percy on supernatural Netflix series, The OA, (which also features Star Trek: First Contact’s Borg Queen, Alice Krige), Isaacs’ upcoming feature film roles include Hotel Mumbai and The Death of Stalin.
"Nice chair. Hope it's comfy"
RAINN WILSON as HARRY MUDD Emmy-nominated actor Rainn Wilson made his name in the U.S. remake of Ricky Gervais’s hit Britcom, The Office, playing the uptight and socially inept Dwight Kurt Schrute III – a character several star systems away from the ebullient intergalactic criminal, Harcourt Fenton Mudd. Rainn joins the Discovery cast as that charismatic conman, known to friends and enemies alike simply as “Harry.” First introduced in the original Star Trek series episode, “Mudd’s Women,” Harry was first played by comedian and actor Roger C. Carmel. The character proved so popular that he was bought back for two further appearances, in the Season 2 episode “I, Mudd,” and in the Animated Series adventure, “Mudd’s Passion.” Harry is now set to make multiple appearances during Discovery’s first season. Wilson’s movie debut was in Galaxy Quest, the Star Trek spoof that has occasionally placed higher in lists of “Best Star Trek Movies Ever Made” than some of the official films.
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NEW RECRUITS The latest castmembers announced for Star Trek: Discovery
STARFLEET
TERRY SERPICO as ADMIRAL ANDERSON The highest-ranking member of Starfleet yet to be announced, Terry Serpico will play Admiral Anderson. Serpico has gueststarred in numerous TV crime dramas, including Law & Order, CSI: Miami, Criminal Minds, and Elementary.
REKHA SHARM SHARMA MA DER LANDRY as COMMAND COMMANDER Rekha Sharma joins the cast as Command Commander der Landry, the Discovery’ss security officer. Sharma’s television cre dits include credits Battlestar Galactica, an nd The 100. and
MAULIK PANCHOLY as DR. NAMBUE Every starship needs an effective Chief Medical Officer, and the U.S.S. Shenzhou’s medical needs will be seen to by Dr. Nambue, as played by Maulik Pancholy. Pancholy’s credits include Jonathan in 30 Rock, and Sanjay Patel in Weeds.
SHAZAD LATIF as LIEUTENANT TYLER Shazad Latif will star as Lieutenant Tyler, a Starfleet officer in the Federation. Latif is best known for his role as Dr. Henry Jekyll in the television series Penny Dreadful. Latif was originally cast as Kol, the role now played by Kenneth Mitchell.
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MARY WISEMAN as CADET TILLY Tilly is a Starfleet Academy Cadet who, during her final year of study, is assigned to the Starship Discovery. Mary Wiseman, a recent graduate of The Juilliard School, has appeared in the long-running TV Western Longmire, and also in the FX series Baskets.
SAM VARTHOLOMEOS as ENSIGN CONNOR A Junior Officer in Starfleet Academy, assigned to the Starship Shenzhou. Sam Vartholomeos’ other credits include roles in The Secret Life of Walter Mitty, and The Following.
STAR TREK MAGAZINE
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DISCOVERY SUPPLEMENTAL
KLINGONS KENNETH MITCHELL as KOL Kenneth Mitchell will play Kol, a commanding officer in the Klingon Empire. Mitchell’s television credits include the popular CBS genre show Jericho, The Astronaut Wives Club, and Frequency.
CLARE MCCONNELL as DENNAS Clare McConnell joins the ranks of the Klingon Empire as Dennas. McConnell’s film credits include Dim the Fluorescents, due for release in the fall of 2017.
DAMON RUNYAN as UJILLI Damon Runyan has been cast as Ujilli, another leader in the Klingon Empire. Runyan’s television credits include Supernatural, Suits, and Gangland Undercover.
A vast set und under der constr c uction
W WHERE TO SEE IT T series will premiere on the CBS Television The N Network with all subsequent episodes aavailable on CBS All Access, the Network’s ddigital subscription video on demand and live st streaming service. SStar Trek: Discovery will be available on Netflix in 188 countries, and in Canada on Bell Media’s SSpace channel, and OTT service, CraveTV.
EXECUTIVE PRODUCERS Alex Kurtzman, Bryan Fuller, Heather Kadin, Gretchen J. Berg & Aaron Harberts, Akiva Goldsman, Rod Roddenberry, and Trevor Roth. Star Trek: Discovery is produced by CBS Television Studios in association with Alex Kurtzman’s Secret Hideout, Bryan Fuller’s Living Dead Guy Productions, and Roddenberry Entertainment.
STAR TREK MAGAZINE
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STARFLEET’S FINEST
FRIENDS OF THE FEDERATION When we see Starfleet crewmembers from unfamiliar races, we usually assume they are from some Federation world that just hasn’t been featured yet. But from the earliest days of Starfleet, there have always been officers who come from beyond the Federation’s boundaries – sometimes far beyond. Words: K. Stoddard Hayes
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he very first non-human to join Starfleet is T’Pol, who leaves her service under the Vulcan High Command to accept a Starfleet commission even before the Federation is formed, making her the first Vulcan in Starfleet as well. Other notable firsts throughout Starfleet’s history include its first Klingon officer, Worf; the first Ferengi, Nog; and possibly the first Bajoran, Ro Laren. Non-Federation citizens working with Starfleet are not limited to Starfleet personnel. Several important characters who were born outside the Federation have come to serve vital functions beside Starfleet officers, without ever putting on the uniform – even though Neelix in particular would have loved to. In the 24th Century, Guinan is the first crewmember we meet who is not from the Federation – inevitably, since her species is so old and long-lived that she was born centuries before it was founded. The other important non-Federation character on the Enterprise-D is the aforementioned Ro, a refugee from the Cardassian occupation of Bajor. Her story introduces to the Star Trek universe the bitter history of Cardassia and Bajor, as well as the Maquis.
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“DO THESE REPLICATORS MAKE CLOTHING AS WELL?” “YES.” “WILL IT MAKE ME A UNIFORM LIKE YOURS?” “NO. IT MOST CERTAINLY WILL NOT.” NEELIX AND TUVOK, “CARETAKER” STAR TREK MAGAZINE
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Michelle Forbes as Ro Laren
WHAT BRINGS THESE PEOPLE TO STARFLEET? FOR SOME, IT’S AN ENCOUNTER WITH STARFLEET P PERSONNEL AT A CRITICAL POINT IN THEIR LIVES. Voyagerr gains a large complement of noncrewme Federation crewmembers right at the start of vo her seven-year voyage. Some of the Val Jean’s Maquis cre crew, given provisional Starfleet comm commissions by Janeway, are Bajo Bajorans; and this crew probably inc includes others from nonFed Federation colonies. Arguably the most “alien” additions are not from the Val Jean, but Neelix and Kes, who leave behind their De Quadrant homes and Delta spe species to join Voyager’s quest for Earth. However, it’s Deep Space 9 tha wins the “non-Federation that alli prize. First Officer Kira, allies” the station’s security force, and
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many other station personnel are Bajoran militia or civilians, while the Security Chief, Odo, is an orphan from the Gamma Quadrant. Quark’s family forms a whole Ferengi delegation, who start as reluctant tenants of the Federation, before circumstances and relationships push Rom into the ranks of station maintenance, and Nog into Starfleet itself. And finally, there’s Garak, the former Cardassian spy, who becomes a mysterious but essential ally in the Dominion war.
PERMISSION TO COME ABOARD What brings these people to Starfleet? For some, it’s an encounter with Starfleet personnel at a critical point in their lives. Guinan sought refuge in the Federation when the Borg assimilated her home world. She works on the
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STARFLEET’S FINEST
Guinan (Whoopi Goldberg) serves drinks and wise counsel from behind the Ten Forward bar
"Yesterday's Enterprise"
Enterprise-D because of her friendship with Picard, which began, at least for her, nearly 400 years earlier. Ro has a similarly traumatic history. Born under the Cardassian occupation, she is forced as a child to watch Cardassians torture her father to death. She spends much of her youth in a resettlement camp. Her reasons for joining Starfleet are not clear; it may have been the only opportunity she saw to get out of the camp and to fight the Cardassians, who were also enemies of the Federation. Deep Space 9’s non-Federation allies don’t come to Starfleet; Starfleet comes to them, when the Federation takes charge of Terok Nor at the end of the Cardassian occupation. Kira is assigned as a very reluctant Bajoran liaison; and Odo stays because of his position, and because the station is the only home he knows. Garak, too, becomes a Starfleet ally by the accident of his exile on Deep Space 9 after the occupation. He stays loyal to this alliance – more or less – because he finds Starfleet indispensable for his ambition to defeat his many enemies and the enemies of Cardassia
"The Next Phase"
(Dukat, the Romulans, the Dominion, the Obsidian Order), and end his exile. Quark, Rom, and Nog stay on, at first only because Sisko uses Nog’s arrest to blackmail Quark into keeping his bar – the anchor of the Promenade’s civic and commercial activity under Starfleet – open for business. While Quark remains true to his Ferengi identity, Rom, and especially Nog, eventually find their way into Federation service. Despite having no lobes for business, Rom tries often and in vain to take over his big brother’s bar, but always ends up back in the position of underling. However, living under the Federation’s ideals of fairness (and his brother’s harassment) finally gets to him. He organizes a strike of Quark’s employees for better wages and conditions – an outrageous action which Liquidator Brunt blames on the corrupting influence of Federation ideals. And the moment the strike is settled, Rom quits the bar and applies for a job working under Chief O’Brien as a diagnostic and repair technician. Here his genius for engineering finally begins to shine.
Ten Forward Hostess, U.S.S. Enterprise-D PLAYED BY: Whoopi Goldberg SPECIES: El-Aurian BORN: Possibly 19th Century, place unknown PERSONAL: One of an extremely long-lived species, Guinan spent much of her early life exploring different planets and cultures, including an extended stay on 19th-Century Earth. She had a large family and many children, but most of her people were wiped out by the Borg in the late 23rd Century, and it’s unknown how many of her family escaped. HOBBIES: Marriage (she’s had 23); Getting Ten Forward customers to try new drinks. PET PEEVE: People who won’t listen to each other. CONTRIBUTION: Guinan’s extra-temporal intuitions tell her that the Enterprise-D should not be a warship in “Yesterday’s Enterprise,” and she convinces Picard to restore the peaceful timeline by helping the Enterprise-C return to its own time, thereby ing. g preventing a Klingon war from ever startin starting.
LIEUTENANT RO LAREN U.S.S. Enterprise-D PLAYED BY: Michelle Forbes SPECIES: Bajoran BORN: Bajor PERSONAL: Ro’s experiences as a child, seeing the Cardassians dominate and torture Bajorans including her father, made her ashamed to be Bajoran. The occupation gave her little opportunity for a normal childhood either. Before serving on the Enterprise, she had difficulty trusting herself, her fellow officers, and even traditional Bajoran beliefs. She finally overcame this weakness by earning the trust and confidence of Guinan, Picard, and her fellow Enterprise officers. HOBBIES: None known. PET PEEVE: People trying to make friends with her, at least until Guinan succeeds in breaking the ice. CONTRIBUTION: On an undercover mission to a Bajoran refugee settlement, Ro exposes a Cardassian plot to make the Federation believe the Maquis were responsible for terrorist attacks carried out by Cardassians.
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QUARK Owner of Quark’s Bar, Deep Space 9 PLAYED BY: Armin Shimerman SPECIES: Ferengi BORN: Ferenginar PERSONAL: Though he inherits good business acumen from his mother, none of Quark’s getrich-quick schemes ever quite work out, and neither do his love affairs. Keeping his business operating when Terok Nor becomes Deep Space 9 finally gives him a little luck; and “Quark’s Bar, Grill, Gaming House, and Holosuite Arcade” makes him comfortably successful, and even respected by almost everyone. HOBBY: Keeping Odo busy with endless illegal schemes to smuggle, swindle or con the unsuspecting out of their latinum. PET PEEVE: His family’s refusal to conform to traditional Ferengi values. CONTRIBUTION: Despite his determination to stick to business during the war, Quark helps Odo, Rom, and Kira break out of Cardassian detention so they can sabotage the station and force its Cardassian occupiers to abandon it before a Federation fleet arrives.
ROM Diagnostic and Repair Technician, Deep Space 9 PLAYED BY: Max Grodenchik SPECIES: Ferengi BORN: Ferenginar PERSONAL: Rom was always his mother Ishka’s favorite, although he has no lobes for business. After he learns that he can be happy pursuing a non-traditional career and making a non-traditional love match with Leeta, Ishka influences her lover Zek to retire and appoint Rom the Grand Nagus in his place. HOBBY: Trying to cheat big brother Quark out of his bar, or at least out of some of his profits. PET PEEVE: Being bullied, exploited, and belittled by Quark. CONTRIBUTION: Rom invented the selfreplicating mines that blocked the Bajoran wormhole for months at the height of the Dominion War, thus preventing a Dominion invasion. Without this delay, the Dominion would have overrun the Alpha Quadrant and won the war.
Quark and Nog discover life on Earth, in Deep Space Nine episode, "Little Green Men"
DEEP SPACE 9’S NON-FEDERATION ALLIES DON’T COME TO STARFLEET; STARFLEET COMES TO THEM. Living under Federation ideals also has its “corrupting” influence on Nog. The young Ferengi develops such an admiration for best friend Jake’s dad, Captain Sisko, that he asks to become Sisko’s “apprentice” (in Ferengi terms) so he can join Starfleet. However, the biggest influence on his decision to join Starfleet is his own father’s personal failure, trying to be a successful businessman when his only real genius is for engineering, and the unhappiness this causes. As Nog explains to Sisko, in “Heart of Stone”: “All [my father] has to live for is the slim chance that someday, somehow, he might be able to take over my uncle’s bar. Well, I’m not going to make the same mistake. I want to do something with my life, something worthwhile.” Neelix encounters Voyager by chance near the Caretaker’s Array, and quickly realizes that the ship has the means to help him rescue his sweetheart, Kes, from the Kazon. Even after Voyager’s officers realize Neelix has offered his help only to trick them into helping him, they still take the two under their protection aboard Voyager. Perhaps Neelix and Kes intended originally to go on their own way in Neelix’s little ship, but they are so impressed by Voyager and
her officers that they ask Janeway to let them become part of the crew. For Neelix, this will provide two benefits he clearly loves: a congenial and convivial community, and many opportunities to be helpful. For Kes, Voyager provides the answer to her growing desire for adventure and challenge. One of a small minority who is frustrated by the passivity and stagnation of Ocampa culture under the Caretaker, she is eager to join a mission of exploration, which will help her to grow to her full potential.
CODE OF DISHONOR Despite their cooperation, not all of these nonFederation allies embrace Federation values. Ro has a complex and adversarial relationship with Starfleet. Her early life in the refugee camps has made her reluctant to trust or to rely on anyone but herself. She questions and even disobeys orders, and spent years in the stockade for causing the deaths of a landing party. Picard and especially Riker are opposed to having her on board at all, even for one mission, and it takes Guinan’s support to persuade them to give her a chance.
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STARFLEET’S FINEST
Garak (Andrew Robinson)
The values of Deep Space 9’s Ferengi contingent seem light years apart from those of the Federation and Starfleet, especially in the early years. Though Rom and Nog eventually realize they are not cut out for a life of larcenous profiteering, Quark never relents. His eternal cynicism about Federation do-gooders and their opposition to making a fair (or unfair) profit, provide a big slice of Deep Space Nine’s humor. How can a Ferengi get rich in a society that doesn’t even use currency? Not to mention the Federation insistence that females be clothed, and worse, treated as equals! However, even Quark finds that Federation values have a way of sneakingg upp on the most dassian, as revealed when he jaded Ferengi or Cardassian, w cynic, Garak, to taste Nog’s persuades his fellow ge, root beer. new favorite beverage, “It’s vile!” Garakk says, gagging. “I know! It’s so bubbly and cloying and happy,” says Quark. ederation!” “Just like the Federation!” “But you know what’s really frightening?” ou drink enough of it, you Quark pursues. “If you begin to like it!” “It’s insidious!”” says Garak. ederation!” Quark “Just like the Federation!” wo know “insidious” agrees – and these two better than anyone. While Quark is always loud and cantankerous in his complaints about Federation morality,, it’s enigmatic, eversmiling Garak whosee moral code is most tarfleet ideals. The incompatible with Starfl er operative is former Obsidian Order tive, and utterly secretive, manipulative, committed to a code of “the end justifies the means.”” He is willing to ally himself with whoever is is most helpful for his al purpose, even the Tal Shiar or his personall nemesis, Dukat. He has no scruples hods, about unethical methods,
Quark and Garak sample root beer
including sneak attacks, assassinations, and even attempted genocide, when he tries to wipe out the Founders with the Defiant’s weapons. When Sisko expresses outrage that Garak’s plan to bring the Romulans into the Dominion war has made Sisko an unwilling accessory to the assassination of a Romulan Senator, in the DS9 episode “In the Pale Moonlight,” Garak is quick to prove that Sisko’s wartime ethics are no better. “That’s why you came to me, isn’t it, Captain? Because you knew I could do those things that you weren’t capable of doing. Well, it worked. And you’ll get what you wanted: a war between the Romulans and the Dominion. And if your
Lieutenant Junior Grade, Deep Space 9 and U.S.S. Defiant PLAYED BY: Aron Eisenberg SPECIES: Ferengi BORN: Ferenginar PERSONAL: Though abandoned by his mother, Nog was raised by a loving father and grandmother. His adolescent years were spent working in his Uncle Quark’s bar and getting into petty crime. However, his friendship with Jake Sisko, the only other youth his age on Deep Space 9, gave him the impetus to turn away from the traditional Ferengi business career in favor of Starfleet. HOBBY: Sitting with Jake on the Promenade’s second level, watching travelers arrive. PET PEEVE: Being ignored by Klingons when in uniform. CONTRIBUTION: Nog serves with distinction in a number of battles and special missions during the Dominion War, including the liberation of Deep Space 9, “The Siege of AR-558,” and the Second Battle of Chin’toka.
ELIM GARAK Tailor shop owner, Deep Space 9 PLAYED BY: Andrew Robinson SPECIES: Cardassian BORN: Cardassian Union PERSONAL: From childhood, Garak’s strongest wish was to win the approval of his unrelenting father, Obsidian Order head Enabran Tain – an approval he only gained when Tain was dying. Though Garak nearly always presents a smiling façade on Deep Space 9, he found his exile there to be almost unendurable. HOBBIES: Growing Edosian orchids, spinning elaborate lies. PET PEEVE: Federation moral values. CONTRIBUTION: Garak’s assassination scheme brings the Romulan Empire into the alliance against the Dominion, which finally tips the balance in favor of the Alpha Quadrant. In the last weeks of the war, he helps Kira and Damar train and lead a successful resistance to the Dominion occupation of Cardassia.
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NEELIX Trade Negotiator, Guide, Morale Officer, and Chef, U.S.S. Voyager PLAYED BY: Ethan Phillips SPECIES: Mainly Talaxian, one-eighth Mylean BORN: Rinax, Delta Quadrant PERSONAL: Neelix lost his home and his entire family, including his beloved sister Alixia, when Rinax was devastated in a war. He bounced around the Delta Quadrant doing various jobs until he fell in love with Kes and joined Voyager with her. Their relationship saved his life when Vidiians stole both his lungs, and Kes donated one of hers to him. HOBBIES: Cooking; trying to get Tuvok to crack a smile. PET PEEVE: Seeing his crewmates experience bad moods or any kind of unhappiness. He just has to try to make them feel better. CONTRIBUTION: Neelix’s extensive knowledge of the Delta Quadrant and its many cultures and navigational hazards, plus his undoubted abilities as ambassador and trade representative, are essential to Voyager’s survival, especially in the first couple of yyears.
KES Botanist and Medical Assistant, U.S.S. Voyager PLAYED BY: Jennifer Lien SPECIES: Ocampan BORN: Ocampa, 2370 PERSONAL: Child of a short-lived species and a stagnating society, Kes believes that her people’s dependence on the Caretaker has caused them to lose the remarkable mental powers innate to their race. She disobeys the Ocampan leadership and sneaks out of their underground habitat in search of new horizons, adventure, and a chance to grow. PET PEEVE: Seeing The Doctor being treated with disrespect by Voyager’s crew. HOBBY: Growing edible plants and trying out new hydroponic growing techniques. CONTRIBUTION: Kes is the first to see that the EMH is more than just a piece of technology, and persuades Janeway to recognize him as a senior officer. She also encourages the Doctor to stretch the limits of his programming and his personality. Long after Kes departs, he continues to acquire skills and abilities that sometimes prove essential.
Jennifer Lien as Kes (Voyager, "Scorpion")
IN THE END, ONLY A FEW OF THESE NON-FEDERATION ALLIES MAINTAIN THEIR FEDERATION ALLEGIANCES FOR THE LONG TERM. conscience is bothering you, you should soothe it with the knowledge that you may have just saved the entire Alpha Quadrant, and all it cost was the life of one Romulan senator, one criminal... and the self-respect of one Starfleet officer.”
WHAT THEY LEAVE BEHIND In the end, only a few of these non-Federation allies maintain their Federation allegiances for the long term. Guinan seems to have made a permanent home in the Federation. Quark may never embrace Federation values, but after Bajor joins the Federation, he chooses to keep operating his business on Deep Space 9, and vows to uphold traditional Ferengi values. And Nog earns a promotion from Sisko at the end of the war. It seems likely that the newly minted Lieutenant is on his way to a distinguished Starfleet career. Perhaps he’ll become a senior quartermaster someday, because even a Ferengi with no lobes for business is still a master at navigating the Great Material Continuum. However, Ro finds that the call of defending her people from Cardassian oppression is stronger than her Starfleet oath. When another undercover mission brings her into contact with a Maquis cell where she feels valued, she forsakes her Starfleet uniform to join them. Rom, the most unassuming of Ferengi, might have been content to keep working as a mechanic and engineer, but when Grand
Nagus Zek decides to retire, he names Rom his successor in the confidence that Ishka’s favorite son will carry on the radical social and economic reforms that Zek initiated. Garak was never going to stay on Deep Space 9 if he ever found a chance to end his exile and go home. With the final defeat of the Dominion, that chance comes at last, and he returns to Cardassia to help rebuild his world and his society after the Dominion’s devastating occupation. Kes is the first to leave Voyager, when her innate Ocampan mental abilities bloom into extraordinary powers after her telepathic contact with Species 8472. Her mind is so powerful, she becomes a danger to ship and crew, and departs in a shuttlecraft to transform into a non-corporeal entity. Her last contribution is to teleport Voyager 9,500 light years closer to home. Like Rom, Neelix might have been content to stay where he was, a member of Voyager’s crew until she reached Earth. Then Voyager encounters an asteroid-dwelling Talaxian colony on the edge of the Delta Quadrant. After helping defend the colony from an attempted takeover, Neelix decides to settle there, in part because he is falling in love with Dexa, one of the colonists. Regardless of whether they stay or go, all of these non-Federation allies make a profound difference to the lives of the crews they join, and exemplify the Federation’s core purpose of bringing the citizens of the galaxy together.
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By-the-book Malcolm Reed was the perfect fit for the Enterprise armory, and a perfect foil to Tucker’s homespun charms. Star Trek Magazine caught up with the ever-entertaining Dominic Keating during the celebrations for Trek’s 50th anniversary. Words: Ian Spelling
SPITAND POLISH DOMINIC KEATING
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INTERVIEW: DOMINIC KEATING Mayweather (Anthony Montgomery), Malcolm (Keating), and Tucker (Connor Trinneer) ponder the next step in their Starfleet careers ("The Breach")
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ominic Keating is no small part of the Star Trek phenomenon, having starred as Lieutenant Malcolm Reed for all four seasons of Star Trek: Enterprise. It’s an infinitesimal group, really, those actors who’ve been a regular on a Star Trek television series. To date, it numbers around 50 people in total, and the observation puts Keating at a rare loss for words. “It’s a huge honor,” Keating agrees, absorbing the notion. “It’s humbling in many, many ways.” The LA-based actor, born in Leicester, England, in 1962, discovered Star Trek when it hit British TV screens in 1969, and he was instantly struck by the series’ colorful storylines – despite only having a black and white TV set. “I grew up watching Star Trek as a kid,” says Keating. “As a tender seven-or-eight-year-old, I nagged my dad rotten to get one of the first color televisions on our street, to watch Star Trek in color. This aircraft hangar with a wooden door arrived one day. ‘Wow, what could that possibly be?’ I thought. ‘Isn’t that a coffin there in the corner of the sitting room? It’s surely not a television.’ I was just in wonderment.” In New York City for a convention celebrating Star Trek’s 50th anniversary, Keating has had an extraordinary, globetrotting year. “I had the most momentous year, mate, this 50th anniversary year,” Keating smiles, before listing an impressive array of international destinations. “I’ve been home to England twice, and to Germany. I’ve crisscrossed North America, from Atlanta to Dallas to Minneapolis. Up to Canada. Connor (Trinneer, a.k.a. Trip Tucker) and I stayed in Harlem for a week before doing this gig in New York. I’m looking out of my window now at the Empire State Building. It’s all been pretty cool.” A fellow traveller on the convention circuit is one William Shatner, whose Captain Kirk first captured the young Keating’s imagination all those years ago. “Fifty years later, to count Mr. Shatner as an acquaintance, a friend… He knows me by name, and he likes me. To have traveled around with him, it’s amazing,” says Keating. “We did a seven-city tour, Connor and I, with Mr. Shatner and Leonard Nimoy, on Leonard’s last hurrah before he packed
“I NAGGED MY DAD ROTTEN TO GET ONE OF THE FIRST COLOR TELEVISIONS ON OUR STREET, TO WATCH STAR TREK.” STAR TREK MAGAZINE
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Reed, armed and dangerous ("Regeneration")
in the conventions. I got to know Leonard very well, too. What a beautiful man he was, and his dear wife as well. It was a huge loss for all of us. So, it was humbling, an honor, and I’m proud and excited that we get to travel the world together.” A LONG ROAD As proud as Keating is of his Star Trek connection, it’s not always been cheering fans and beautiful sunrises. A perfect storm of bad circumstances (UPN’s schedule never found the right home for the series) and poor timing (the oft-quoted “franchise fatigue” that also hit the Next Generation movies) led to the early demise of Enterprise after just four seasons. There are those who suggest that the show didn’t measure up to its predecessors, and took too long to find its space legs, but Keating still feels the show was shortchanged. “I blame Voyager,” Keating jokes, adding, “Only facetiously. It was unfortunate for our cast.
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We had at least another couple of seasons in us, if not the whole seven, but the network was in disarray and falling off a cliff, really. There was nowhere for us to go. “I think our show was really gathering steam and momentum when Manny Coto got given the reins,” Keating continues. “No disrespect to Brannon Braga and Rick Berman, but 17 years, man, writing a variation of a theme... They’d been to the well copiously with Star Trek shows. It’ll never be done [that way] again, that’s for sure.” Other shows had been given a reprieve by jumping to another network, and there had been talk at the time that Enterprise might be thrown a similar lifeline, but it was not to be. “There was some chatter we heard that maybe NBC or the Sci-Fi Channel was interested in picking us up, but our show cost between two and threeand-a-half million dollars any given episode. That’s not Sci-Fi,” accepts Keating. “The other thing you have to remember is that Scott Bakula had two small children at the time, and he wasn’t about to uproot his life and move to Vancouver or somewhere else. So, there you go. We got syndication, and that’s another very small club for any actor in L.A. to belong to. God bless.” If there’s a silver lining to the dark clouds that gathered in 2005, it’s this: a high percentage of fans who dismissed Enterprise back in the day now appreciate it, and fans new to the franchise are discovering – and enjoying – the show over a decade later. “I really got a sense of that this year, at the big, five-day Las Vegas convention,” Keating recalls. “I thought, ‘Wow, finally,’ because I
“IF DOMINIC THOUGHT SOMETHING WAS STRANGE, FUNNY, HILARIOUS EVEN, THEN MAYBE MALCOLM DID TOO.” Lt. Reed (Keating) at his station on the Enterprise
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INTERVIEW: DOMINIC KEATING walked through those corridors and everybody knew who I was. Not just some people, and not just Enterprise fans. People were coming up to my table, going, ‘So I finally saw your show and, actually, it was my favorite one.’ This year, I can safely say that we’ve arrived.” Despite the show’s truncated run, fans had more than enough time to come to like Malcolm Reed. The character proved to be loyal, honorable, brave, amusing, and a good friend – particularly to Captain Archer (Bakula) and Tucker (Trinneer). As Keating ever-so-Keating-ly puts it, he can’t complain about the opportunities his character was given to “put my flag in the sand.” As with the original Star Trek series, where the focus fell on a triumvirate of main characters (the “Holy Trinity” of Kirk, Spock, and McCoy), Enterprise led with Archer, Trip, and Jolene Blalock’s T’Pol (“our Vulcan vixen,” as Keating describes her.) However, Keating managed to “elbow my way into a pretty good showing” for Reed.
“I know the writers enjoyed writing for me,” the actor says. “I made a conscious decision to channel Dominic through Malcolm, and if Dominic thought something was strange, funny, hilarious even, then maybe Malcolm did too. That gave Malcolm a contradiction that Brannon liked. And the relationship that Connor and I forged together, as actors and friends and characters on the show, was really good mining for them. “When you’re writing 26 episodes, and we did do 26 for two or three years, they’ll grasp on anything, those writers,” Keating adds. “‘Give me something, show me something.’ I was very happy. Just as an actor, the workload that Scott, Jolene, and Connor put in weekly for those years was gargantuan. They would regularly pull 60-hour, 70-hour weeks, sometimes 80. I had five-day weekends, and the checks are still coming.”
"Fight or Flight"
AN EPIC ACHIEVEMENT Since Enterprise, Keating has continued to act. Among his post-Trek credits are TV big-hitters
ans who attend Star Trek conventions around the world know that they can count on laughs when Dominic Keating and Connor Trinneer team up. They play off each other beautifully, even when they’re only on stage together for a regular Q&A session, with Trinneer typically serving as the straight man to the more outlandish Keating. The double act is also a big draw during after-show events, giving some latenight comedy performances that would make T’Pol blush. Keating reveals that the pairing “just happened” and grew out of their chemistry on Enterprise. “We were doing a lot of Creation events, initially, and rather than trawl us out singularly to do Q&As, they’d put us together,” Keating says. “We’ve always been friends. From the minute we met each other on set for the first readthrough, we became buddies. We just enjoy each other’s work and each other’s company, and we’ve hung out ever since. Fifteen years later, it’s the same. We just spent four incredible nights in Holland, and were together for gigs in Cherry Hill and New York City. We are officially the new Odd Couple. We are so different. It is remarkable, our friendship, but we knock along together pretty well, and somehow that’s translated.”
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THE NEW ODD COUPLE Trek’s Favorite Convention Double Act
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Heroes, Prison Break, Beowulf, and Sons of Anarchy, and he’s been busy as a voiceover artist on projects including The Dragon Warrior, Diablo III: Reaper of Souls, and World of Warcraft: Legion. Most recently, Keating completed work on an upcoming cop drama, A Killer Walks Amongst Us, in which he co-stars with Eva La Rue and Michael Welch – the latter of whom Trek fans will remember as Artim, from Star Trek: Insurrection. La Rue and Welch play police officers, a veteran and rookie, respectively, while Keating portrays a man who may or may not be a serial killer. “Not to give too much away, but for all intents and purposes it looks like I’ve murdered a host of 17- to 18-year-old girls in a northwestern town, up in Oregon or somewhere,” says the actor. It s a cl clev ever ev er m ovie ov ie.. Th ie They ey aactually ctua ct uallllllyy ma ua made de LL.A. .A.. lo .A look ok “It’s clever movie. like rainy Oregon. It’s amazing what you can do with CGI and some colorization. It was a blast
WHO IS MALCOLM REED? s Trip Tucker once attested, “Malcolm can be a tough man to get to know.” So what makes the softly-spoken British lieutenant tick? Here’s what the Enterprise series bible had to say about the ship’s armory officer...
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“In the new age of humanity’s enlightenment, Reed is a bit of a throwback. He’s a 22nd-Century ‘soldier,’ all spit and polish and by-the-book. His hair is cut razor-short. He maintains a rigorous daily schedule; when he isn’t on duty, he’s working out on a futuristic exercise apparatus he keeps in his quarters, or toiling in the munitions lab, perfecting some new kind of torpedo. Reed is filled with contradictions. Despite his near-obsession with regulations and munitions, he’s also soft-spoken, shy, and awkward around women. When testing a new photon weapon, he’s liable to put on a pair of space-age ear-plugs because he doesn’t like loud noises.”
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Discussing tactical protocols is as romantic as things get for Reed, in "Cogenitor"
“WE HAD A REALLY NICE GROUP, HEADED UP BY THE NICEST AACTOR CTOR IINN HHOLLYWOOD, OLLYWOOD, HHANDS-DOWN.” ANDS-DDOWN.”” scrip and it’s rare making that. I’ve read a lot of scripts, for me to turn the page and go, ‘Oh my God.’ There was a moment in this script when I went, ‘Oh my, I did not see that coming,’ and that rreally grabbed my attention. a a healthy“Mike Feifer directed it, and ha had goodd Keating enough budget to make it look good,” adds. “I don’t suppose it’s going to get a theatrical release, but it might do festivals, orr find its way onto Netflix or Amazon.” l describes Another project Keating happil happily as “probably the thing I’m proudestt of in my whole acting career, other than Starr Trek,” is an unabridged translation of Homer’s eepic poem, sp five years The Iliad. Dr. Caroline Alexander spent translating the classic, and handhand-picked Keating to record its 17,500 lines in 10 days, followed by two days of additional re e recording. The now w audiobook is available now. “I’ve got to tell you,, it was without challenn a doubt the most challenging thing I’ve ever done, and the most rewarding. It took me to my knees on a couple of occasions. We’re getting five-starr reviews on iTunes,” Keating enthuses. “I get a little edgy watching or listening to anything I do myself, but I did listen to snippets. I’m thee fourth actor in all of human history to record th h thing, and this one of the other guys was Sir Derek Deree Jacobi. Nice company to be in.” The recording was a labor of love lov for all involved, including the young recording recorr engineer at the studio. “He had read ancient Greek at aan American university,” explains Keating. “His ttwo favorite things in all the world are dressing up as a pirate – it’s a brave new world (laughs) – aand The Iliad.
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Reed is never happier than when he has a phase-pistol in his hand ("Regeneration")
He wrote me an impassioned, three-page email expressing that this was his dream job as an audiobook sound engineer. I’d maybe gotten a little jaundiced in my acting career, and this thing changed my heart and head. We really went the extra mile with this.” GODFATHER ALLEY Returning to Enterprise, the joker in Keating shines through when he’s asked what he misses most about his Star Trek experience: the character, the cast, the money...? “Did you say the money?” Keating asks, laughing. “The last time I went home to England, someone asked me, ‘Dominic, what’s the difference between acting in London and Los Angeles?’ I quipped, ‘Oh, about $38,000 a week.’ The money was really good on Star Trek. I’m lucky; I was a smart actor. I knew to squirrel it away, and didn’t spend it frivolously on champagne and new boots. I drove my beat-up Ford Bronco to work for two years so that I could save up to put a down-payment on my house in L.A., which I still own. I look back on those years with nothing but fondness, love, and gratitude. And it was a joy working at Paramount.” Everywhere he trained his eye at the fabled studio, he says, history stared back at him. Alfred Hitchcock filmed Rear Window on Stage 18, one of the old Enterprise stages. From his trailer, Keating could peer up at the writer’s office that William Holden strode into when visiting the girl in Sunset Boulevard. “It was literally that office,” Keating marvels. “When I parked my car, every day I walked through
Dominic Keating as Lt. Malcolm Reed
an alleyway from the car park that’s called The Godfather Alley, because that’s where Robert Duvall’s character in The Godfather persuades a movie producer to put Johnny Fontaine in his picture. You’ve got to pinch yourself, man.” Joking and Hollywood trivia aside, it’s the Enterprise cast that Keating remembers with the fondest affection. “We had a really nice group, headed up by the nicest actor in Hollywood, hands-down,” Keating testifies. “Scott made those years just utterly beautiful. It’s not always that way, my friend. It’s like an army, on a film or a television show set. If the person at the top of the food chain is – how should we say this – skittish or not nice, that can filter all the way down through the ranks. I’ve
walked onto many sets and gone, ‘God, I can’t wait to go home.’ It was never like that on Enterprise. I enjoyed every second – the long days, and the short days. “I’m going to pat myself on the back one time,” Keating continues, laughing again. “There were some scenes on Fridays, when they knew they could work everyone to death because you didn’t have a turnaround on Saturday morning. We’d start shooting a scene at 4:45 in the morning, and it would be a three-page, big-ass, tough scene. I’d drive out of that lot having walked through The Godfather Alley at 7:20 AM and crawl into bed at 8:15 AM, and I’d pat myself on the back and go, ‘You’re a professional actor, mate.’ It felt good.” STAR TREK MAGAZINE
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SUITED BOOTED AND
THE T H COLORFUL HISTORY OF S T STARFLEET’S UNIFORMS Do y you know what a ‘skant’ is, and who in the name of Kah Kahless is meant to wear one? Discover that and more Fed Federation fashion faux pas, as Star Trek Magazine e through Starfleet’s bulging wardrobe of bellrifles bott bottoms, flannel tunics, skintight Lycra onesies, and Monster Maroons! Words: Rich Matthews
22nd CENTURY ENTERPRISE (2001-2005) In the future, there will be no belts. And you’d better look good in blue. Easily the most utilitarian of all Starfleet uniforms, everyone wore these in the 22nd Century. The divisions were denoted by colored piping on the shoulder pads. Being early Starfleet, technology wasn’t sophisticated enough to hide zippers (13 of them!), or pockets (LOTS of pockets), but at least the uniforms were flame retardant. Robert Blackman’s design was based on existing flight suits, early designs for Zefram Cochrane’s crew in First Contact, and the original series’ uniforms. There were small changes over time – the blue was lightened, and epaulets were added to the shoulder pads – but generally the base uniform remained the same across all four seasons. Plus there
were many chances on Enterprise to see the garments worn under the uniforms, ranging from mock turtlenecks and blue pants to Vulcan underoos. You also got a smattering of headgear (nice cap, Captain!), a dress uniform that added a white undershirt and divisional color cuffs, excursion uniforms, pressure suits, “active” wear, and even arctic gear.
IN THE FUTURE, THERE WILL BE NO BELTS. AND YOU’D BETTER LOOK GOOD IN BLUE. A costume design sketch from Star Trek (2009)
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STARFLEET’S UNIFORMS
23rd CENTURY THE PILOTS The uniforms in pilot episodes “The Cage” and “Where No Man Has Gone Before” were essentially prototype versions of what would follow in the main series – the main variations being lowerquality material (that made Starfleet look like it couldn’t afford belts even if it wanted to), a ribbed collar rather than the familiar black neckline, and larger open collars for the female crewmembers.
Most crewmembers wore greenish-gold, although the operations division was supposed to be more yellow. Science officers wore blue, although Spock wore gold in the second pilot. A range of practical suits were also used, but never seen again, and a seamed version was created for Spock, fitted with a zip in order to help Leonard Nimoy in and out of costume without dislodging his prosthetic ears.
IN-UNIVERSE, THESE UNIFORMS WERE COMFORTABLE AND ADAPTABLE FOR LONG STRETCHES OF DEEP SPACE EXPLORATION. STAR TREK Still no belts – elasticated waistbands held up those bell-bottom uniform pants. Gene Roddenberry’s desire to keep Starfleet ‘looseygoosey’ compared to military organizations of the 1960s meant the costumes were surprisingly simple, which is why they’re not laughable today. Templates were set; logos were defined; colors were… well, not as cut and dried as you might think! Kirk’s command shirt was actually meant to be an off-green tone, but showed up on-screen as a golden yellow. In-universe, these uniforms were comfortable and adaptable for long stretches of deep space exploration, and gave very clear
indications of departments and rank at a glance. The most notorious uniform choice ended up being the red of the security divisions, seeing as they tended to be picked off by malicious aliens. Sadly, for such a progressive show in terms of gender and race, the female crew-members wore go-go dress versions – it’s possible that only strict censorship rules kept us from glimpsing Uhura’s tush every episode. Again, in-universe canon states there was a version with pants for females, but good luck finding an example outside of The Animated Series. The Next Generation somewhat misguidedly attempted to redress this issue with the “skant” (see boxout – next page).
Notable divergences include McCoy’s short-sleeved medical tunic; a high-collared dress uniform, joined in the center by a gold stripe (hiding a zip), with a cluster of fancy medals on the breast; Kirk’s green wraparound number (two versions thereof); and the all-inone duty jumpsuit, which comes in the standard divisional colors. If you’re really a completist, you can throw in the hazard vest (which, aptly, proved to be a genuinely hazardous wardrobe choice); the orange-red protective suit (a day-glo Hazmat); the silver environmental suit, complete with big old helmet; and, finally, our personal favorite – red athletic wear (shirt optional if you’re Kirk, of course).
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23rd CENTURY THE MOTION PICTURE In the future there may not be belts, but there will be belt buckles. Well, biometric sensor units, actually, but in prime buckle-me-up position. Welcome to the dark days of Starfleet uniform design, the age of the pastel and beige jumpsuit, where extras prayed they’d get the two-piece version once they saw Stephen Collins’ tight blue onesie. Even the shoes were sewn into the suits, which meant the actors needed help taking them off to go to the bathroom. Only Shatner’s Kirk and Nimoy’s Spock came off unscathed, with the latter getting a stately, high-collared blue two-piece, and the Admiral arriving in a cool, two-tone flag officer design originally intended to be worn by everyone, until director Robert Wise decided otherwise. George Takei has claimed that the discomfort experienced by the cast – and their
subsequent reluctance to don them again – is what resulted in the next generation of Starfleet design for Wrath of Khan. No on-screen reason was ever given for Starfleet’s change of direction, but everyone was glad about it. Rank insignia was visible on sleeves or shoulder epaulets, with the standard general
Enterprise insignia now worn by every department in Starfleet. The one addition that stuck was the radiation suit worn in engineering, which endured throughout the movie series. (We’ll ignore the distinctly 70s duds that the bearded Bones turned up wearing, as it definitely wasn’t Starfleet issue...)
SKANT COVERAGE E
ither a bungled attempt to realign the oh-so-60s mini-dresses of the original series, or a late 1980s progressive commentary on shifting gender identities, the “skant” was a variation of the standard uniform in the 2360s. In short (ahem), it was a minidress with short sleeves that could be worn with or without (mainly without, otherwise why?!) trousers, and either knee-high or ankle-high boots. It was worn – somewhat heavyhandedly – by both genders. Obviously, the party line was that it was a logical reflection of the gender equality of the 24th Century, but if that were completely true, why was it limited mainly to background extras, and female cast regulars Marina Sirtis (Troi) and Denise Crosby (Tasha Yar), on just five occasions before disappearing entirely?
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THE WRATH OF KHAN – THE UNDISCOVERED COUNTRY The Wrath of Khan introduced the most militaristic uniform of the Star Trek universe – with belts! Popularly known as the “Monster Maroons,” the new togs were also the most enduring, in use from 1982 to 1991, with additional appearances in the assorted TV spin-offs (particularly The Next Generation, with or without undershirts). Out went Big Gene’s comfy pajamas and in came Horatio Hornblower formality, more in keeping with the ‘submarine warfare in space’ seen on-screen. And there’s nothing quite like a man (or woman) in uniform, because it undoubtedly made Trek sexy again. Whether it was the neat pull-down front (handy for expressing tension), or just its knack for keeping middle-aged spreads in check, the movie uniform became the visual identity of the franchise for a decade. Differentiation between the divisions came from colored undershirts (ribbed collars visible above the main jacket), bands around the wrists, and the strap for the tear-down on the right shoulder (white for command; green for medical; gold-brown for operations; grey for security, tactical and services); rank was represented by gold-plated insignia on the bands and strap.
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STARFLEET’S UNIFORMS
24th CENTURY THE NEXT GENERATION Roddenberry is back… and the belts are gone! Even when the series moved from jumpsuits to a woolly two-piece, once again they had to rely on elastic to maintain decency. Before we get to the tight-fit side of things, the first immediate and enduring facet of the next generation of uniforms was the shift to red for command, gold for operations, and blue for science and medical. This color-coding stuck right up until the Bad Robot movies revisited the gold/red/blue of the original series. For the first two seasons, the uniforms were form-fitting all-in-ones; black, with the division color in a prominent, oversized delta across the chest and down the arms. Rank pips were on the edge of the neckline, which also had a single edging of division color swooping up from the neck and around the shoulders. The cherry on the top was the new communicator badge, with its lovely ‘addedin-post’ chirrup sound effects. However, in the classic “never explained on-screen” tradition, season three saw a new uniform debut – a twopiecee consisting of a baggier sweater and black
pants. The pips were moved above the neckline onto a new, higher split collar. This style felt more formal yet classier than the jogging suit of yore, and gave Picard one of his signature motifs – pulling his sweater waistband down whenever he stands up. Of course, the real reason for the change was that the original uniform was incredibly hot and so tight that it caused the actors back pain. There was some intermingling of types for a while, and then combo versions surfaced that mixed the old jumpsuit with the top portion of the new uniforms. Notable changes included a jacket for Picard, with gray undershirt; a sleeveless undershirt for everyone else; and five (yes, five) different admiral variations. The dress uniform didn’t fare much better, with four versions, but it consistently utilized a flap design similar to the movie suits, simply changing in length and use of gold edging. There were also utility overalls, covert ops outfits, Wesley’s grey sort-of uniform, and the black cadet gear which was later retooled into Nine s fatigues. Deep Space Nine’s
BADGE OF HONOR T
he Starfleet Insignia, aka the “delta”, is described by the Memory Alpha brain trust thus: “A number of distinctive, slightly asymmetrical, arrowhead-shaped pennants used on starship hulls, installations, and uniforms.” There have been many iterations, including the more swooshy preFederation United Earth version, future and alternate variations, but there have been five main incarnations of note… 1. The early 2270s delta was seen in the original series (used solely aboard the Enterprise), and with an added circle background for The Motion Picture (Starfleet wide); during the five-year mission, the emblem on the left breast of the uniforms included icons representing the main divisions – a pointed star for command, a basketball outline for sciences and medical, and an angular swirl for security and engineering (pictured).
2. A more stylized “jewelry” version was pinned to the Monster Maroons of Khan, with only the command pointed star icon now in poin n the center. Also available as a belt buckle (pictured)!
DEEP SPACE NINE Yep, no belts because… the all-in-ones n-ones were back! fitting jumpsuit This time though, it was a loose-fi ders (like the old with division colors on the shoulders cadet outfit), usually worn with aann open collar over dershirt. It was a bluish-gray faux turtleneck undershirt. niform, but was originally only a space station uniform, led out across the considered cool enough to be rolled fleet. The cadets lost their swish black number as a result, having it replaced with a Wesley-like sual array gray variation. There’s also the usual of training, excursion, flight and medical variations, although notably lesss than previous incarnations.
3. The solid silver delta on a gold oval of The Next Generation Nex combadges. com 4. The slightly stockier delta, outlined in gold against out a tr trapezoidal gold bar as seen in Deep Space Nine see and Voyager. 5. 5 The “fractured” styling of tthe Discovery delta, featuring different finishes feat side of an offset on either e vertical division. vert
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24th CENTURY GENERATIONS Do you think Guinan wears a belt underneath her smock? Regardless, Generations is notable for being a bemusing combination of TNG uniforms and DS9 jumpsuits. There doesn’t appear to much rhyme or reason for the chop and changing – some tenuous link to away missions, we think – and when you add in the appearance of the classic burgundy movie tunics, it’s a smorgasbord of Starfleet apparel. This has the effect of exaggerating the already schizoid identity issues blighting the Next Generation as they transitioned from small to big screen, with TV-quality threads kinda upgraded. They would have to wait until First Contact for their moviebudget wardrobe.
GENERATIONS IS NOTABLE FOR BEING A BEMUSING COMBINATION OF TNG UNIFORMS AND DS9 JUMPSUITS.
VOYAGER Definitely no belts in the Alpha Quadrant. Unless you count Borg implants oriented across the waist… The crew of Voyager wear DS9 field suits throughout their tenure, resisting the urge to personalize them while they’re stranded so far away from the Alpha Quadrant. So, beyond B’Elanna Torres getting an engineer’s overcoat (with pockets!), there’s not much to add, really, unless you count the combadge change, the use of Maquis insignia in place of rank pips for the re-assimilated crew members (see what we did there?), or want a breakdown of the literal ups and downs of Captain Janeway’s hairdo.
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FIRST CONTACT - NEMESIS Zero belts, but a new ship and swish new uniforms too! With plush felt shoulder pads and shiny new badges, these new uniforms ushered in a much more confident movie identity for Picard, Riker and company – in fact they’re a hybrid of the more militaristic movie uniforms and the comfier fatigues of the second generation of TV series. By banishing the color-coding of the undershirts, and having a single band around the cuffs, they are more formal, which makes them feel more at home in the movies – more no-nonsense, with the greater detail movies require, and fitting absolutely with the down-to-business actions of the crew as they tackle the Borg once more. Picard got a new grey waistcoat/vest for more action-packed duty, which was eventually bequeathed to Sisko (while the rest of the DS9 crew were issued with the movie’s uniforms). There was the usual array of undershirts, combat gear, and utility uniforms, but the dress uniform got a significant makeover – mostly white, trimmed with gold braiding, providing striking vertical and crossshoulder lines, with two dramatic points jutting below the main waistband. Oh, and it is worth noting an addendum to the opening comment – it turns out Starfleet saves the belts for flag officers, with a choice of oval or rectangular buckle. Now there’s a reason to climb the ranks…
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STARFLEET’S UNIFORMS
23rd CENTURY (AGAIN) KELVIN TIMELINE Spock has a belt at one point to hold his scanner doohickies and a ete phaser, but generally – as this is a diversion rather than a complete eling overhaul – this timeline saw swankier versions of the terry-toweling ms pajamas from the original series, along with flag officer uniforms that definitely reference Admiral Kirk’s Motion Picture outfit. ’re The female officers still wear relatively short dresses (they’re trying not to violate canon too much), but are more modest and ke less likely to be adopted in nightclubs. Plus, when a character like ed Uhura is so obviously empowered, she can wear what she damned well pleases! TS! However, by the time the crew went Beyond, some got BELTS! Kirk and Chekov wear a snazzy Starfleet version of biker gear (designated as “survival gear”), consisting of a dark blue jacket and ers. matching, belted legwear, with the division color on the shoulders. The primary uniforms also got an overhaul, with new fabricss w and noticeably raised collars, and the Starfleet emblem was now a badge rather than sewn into the top. Even though there are numerous uniform variations on show, including a new starbase-specific range for the Yorktown uniforms, the Kelvin timeline’s greatest sartorial gift to Starfleet is… the peaked cap.
ALL THE COLORS IN THE GALAXY… Three divisions (Command, Operations and the Sciences), 10 primary duties, and lots of red, gold and blue (plus, a little bit of green and grey)…
2140s
2160s 2230s 2250s 2260s 2270s 2350s 2360s 2370s
COMMAND HELM NAVIGATION OPERATIONS SECURITY ENGINEERING COMMS SERVICES SCIENCES MEDICAL
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GETTING TO KNOW
THE GORN
Big, green, and sporting a fashionable line in oral combatwear, the Gorn became a television legend the moment he lumbered onto TV screens. Star Trek Magazine caught up with Bobby Clark, the big personality inside that iconic costume. Interview by Ian Spelling Illustration: Matt Ferguson
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GETTING TO KNOW THE GORN
B
obby Clark, the stuntman and actor who helped bring the galaxy’s most notorious lizard-like antagonist to lumbering life in the original Star Trek episode, “Arena,” has been battling health issues over the past year or two, but it seems there’s no getting the Gorn down. Thankfully, the “old cowboy” is tougher even than the alien he so famously portrayed (uncredited, as per his performances in the three original series episodes he appeared in), and has been recovering day by day. He’s even found himself back in front of the cameras at a somewhat familiar location – but more on that later. Most fans, even those who’ve been following the series from the very beginning, aren’t aware that Clark’s Trek adventures extended beyond the classic fight scene in “Arena.” More than earning his place in Star Trek’s legion of honor, Clark also appeared in “The Apple,” “The Return of the Archons,” and “Mirror, Mirror,” but you’d be hard pressed to spot him, as the actor readily acknowledges.
“I LOOKED AT THE GORN AS BOTH A STUNT JOB AND AN ACTING ROLE. I EVEN HAD LINES, BUT THEY DIDN’T USE THEM.” “People are surprised. Gorn is the man, I guess,” Clark says, laughing. “I did ‘Return of the Archons,’ and I ran right up to the camera and hollered, ‘Festival! Festival!’ And in ‘The Apple,’ I came out and I was going to kill Kirk. The other one was ‘Mirror, Mirror,’ and I was one of Chekov’s henchmen in that. I had some dialogue, but none of it was face-on to the camera. That’s because I was always told, ‘When you’re working in this business as an extra or any kind of background, keep your face out of the camera, because you won’t work the next day!’”
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The Gorn (Clark) looks set to defeat Kirk (William Shatner)
“AT THE TIME, BILL SHATNER KNEW ABOUT SIX METHODS OF FIGHTING. ONE WAS HIS DROPKICK.” Playing by those rules may have kept Clark in work, but it’s the nature of stunt performing that denies many practitioners a visual record of their appearances on screen, and that’s something he regrets. “When I did ‘Return of the Archons,’ for example, I went there as an actor/stuntman, and I had a nice part in it as a Beta III townsman,” Clark explains, “but I made a mistake, and that was never jumping on anything in this business the way I should have. I worked with Clint Eastwood on several Rawhide episodes, and I’ve got a picture somewhere of Clint Eastwood and me, but I should have more. Same with Star Trek. I got to talking with the on-set photographer – great, great guy – but I didn’t go for posing and taking stills. I wish there was more representation of my work, and it’s partly my own damn fault that there’s not.” INTO THE ARENA Understandably, then, it’s “Arena” with which Clark is most indelibly associated. He calls it
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“the big one,” and it really is, featuring a fight that remains one of Star Trek’s most memorable scenes. Clark landed his gig as the Gorn thanks to a previous working relationship with the episode’s director, Joseph Pevney. “I did what Joe asked me to do. I looked at the Gorn as both a stunt job and an acting role. I even had lines, but they didn’t use them,” Clark recalls. “The set was out at Vasquez Rocks, in Agua Dulce, California. I had been there many, many times before that. I’m standing back in the opening shot, and Captain Kirk turns around and sees the Gorn – well, he heard the Gorn first, and then he turns and he sees me – and he doesn’t know what to do. I don’t really know what to do either, except for what the Metron said, which was ‘Kill him.’ And that’s what I was gonna do, because it was only the two of us on this whole planet. If I get killed, I get killed, but I want to live. So, I was doing my job as the Gorn.” Wah Chang, the legendary prop and creature designer on the original series, came up with
the rubber Gorn costume, the basis of which was a diver’s wetsuit. Perhaps inadvertently, the costume closely matched the requirements of the “Arena” script, which referred to the Gorn captain as “lumbering” and “sluggish,” describing the creature as moving “slowly, awkwardly.” Clark had to work hard to give it some life, but he enjoyed every laborious minute of it. “Shooting the chase was great,” the actor remembers. “I did the best I could, because that costume was very cumbersome. That was a hard costume to move in. You couldn’t really lift your arms, you couldn’t walk in it, you had to kind of lumber around in it, and you couldn’t really bend very much. And the feet! They were 16 or 17 inches long, and you don’t walk in brush with 17-inch shoes on. I got hung up in the brush and fell down, but I had to laugh about it. Joe got what he wanted, so that was that.” THE BIG FIGHT If there’s one Star Trek scene that seems to have captured the cultural zeitgeist, it’s the muchreferenced Kirk/Gorn grapple that forms the centerpiece of the episode, and features many of Kirk’s signature fight moves.
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GETTING TO KNOW THE GORN
William Shatner's dropkick... ...and "ear-popping" combat skills
Clark as the Gorn, on set at Vasquez Rocks, California
“It’s funny, people always ask me about fighting Shatner,” laughs Clark again. “At the time, Bill [Shatner] knew about six methods of fighting. One was his dropkick; one was where he grabbed you and popped your ears; the other one was when he gets two hands together and beats you with that. That’s Bill. That’s his repertoire of doing a fight. “Now, I’d known Bill a while. I knew him on a Western or two he did. He’s a pretty neat guy” Clark continues. “We talked about the scene and, him being the star of the show, there wasn’t much for me coordinate. I got a few words in because (Director) Joe Pevney wanted a few things in there where I looked like I was competitive with Kirk. Joe said, ‘I like that. Do this,’ and I’d do it. It was the director and me, and then it was myself and Bill. It all worked out. We got it all together. It’s 50 years later, and I’m still getting new fans and new likes on social media.” Among his many other credits, Clark can also count Gunsmoke, Invasion of the Body Snatchers, The 10 Commandments, Casey Jones, Lassie, and My Three Sons, most of which he worked on as an extra, stand-in, or stuntman – but Trek so dominates his career and his place in the minds of fans, that when he decided to write his autobiography, he gave it the title Gorn to Trek. It’s clear the fans mean a lot to him. “It’s really something. The fans are…” Clark struggles to find the right words. “To me, the fans are like the blood in my body. I need them, and they like me, and all I want to do is please the fans. Now, I’m not a big star, but
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people love the Gorn, so I can’t go on and please these people with any more than what I did on the show. And, of course, to be as nice and as polite as humanly possible when I meet them at conventions. I’m a big baby, I guess, because I’m thinking about these people that come to see eal easy. me, and I can tear up real ple that I’ve met have been “Some of the people handicapped, and God bless them, some of them I’ve seen at five or six different conventions, or s, “and they come up to more,” Clark continues, talk to me every time. I know them, their stories. one on Star Trekk and in They know what I’ve done
other things. They’ve heard my stories and gotten the autographs and taken pictures with me, so it’s unbelievable that they still come and see me. I run out of things to say, so we speak as friends. And I know a lot of it’s not just me, but Star Trek, my connection with this show and character. Whatever it is, for whatever reason they’re talking to me, it’s great. That can make you feel real fluttery in your stomach.”
TREK TRIVIA
While Bobby Clark k was the Gorn for the chase e and fight scenes, two other performers also donned the big green suit during filming. g. Stuntman Gary Combs was inside the costume for some e shots, and longtime background und performer William Blackburn sported the Gorn’s head for or its close-ups.
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STAR TREK SEASON 1, EPISODE 19 FIRST AIRED: 19TH JANUARY 1967 WRITTEN BY: GENE L. COON STORY BY: FREDRIC BROWN DIRECTED BY: JOSEPH PEVNEY
An attack by an unknown alien vessel on the Cestus III Federation colony draws the Enterprise into a dangerous pursuit across deep space – and into the territory of an advanced species called the Metrons. The Metrons, unhappy with the intrusion of these combative transgressors, transport the captains of both ships – Kirk and a creature known as the Gorn – to a deserted planet. There, they must resolve their differences through hand-to-hand combat, and the ultimate loser will be destroyed. Through ingenuity and sheer determination, Kirk is eventually triumphant, and proves to the Metrons that there is yet hope for humanity by sparing the Gorn, convinced that both races can resolve their dispute through diplomacy.
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Editorial credit: Chris Harvey / Shutterstock.com
DATACORE “ARENA”
Bobby Clark holds his head in his hands (the Gorn's head, that is)
BATTLING ON Recent years have seen tough times for the tough guy, who has faced a battle with cancer, but things are looking up. “I’m a little better,” Clark says, brightly. “My wife tells me I seem better. I ask my doctor, and he says I’m a lot better.” In fact, Clark has been well enough to guest at a few conventions, and reconnect with his many fans. “I was in England last year,” he smiles, “I was in St. Louis, in Louisiana, in Anaheim. I’ll be in Las Vegas in
August, so things are heading in the right direction.” Clark even shot a movie not too long ago, joining a host of former Star Trek actors in the upcoming sci-fi spoof, Unbelievable!!!!!, finally set to hit screens later in 2017. “I’d missed performing, so I was happy to do it,” Clark eagerly admits. “I enjoyed it, although I was still sick and couldn’t walk very well. One of my scenes was back at Vasquez Rocks, where we shot ‘Arena.’ I enjoyed the
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camaraderie with the director, the producer, the craft service man, the make-up people… everything! It’s just a whole other world, to make a movie and work with a group of people who are trying to make it happen. Nothing like it. I also went to a premiere party for it with many of the people involved – red carpet, the works. It was fun to experience all of that again.” And true to his action-packed past as a stunt performer, Clark is keen to keep living life to the full. “I’m not one to be sitting down on a damn couch at 12 o’clock in the afternoon saying, ‘I’m feeling good sitting on this couch,’ because I’d much rather be doing something else. If I’m sitting on the couch I’m losing time, you know? I’m thinking about wanting to go out and putt some balls at the golf course,” Clark laughs, a glint of determination in his eyes, “That’s only a thought right now, if I’m being honest, but I’ll be doing it soon!”
The constituent parts of the Gorn costume
“TO ME, THE FANS ARE LIKE THE BLOOD IN MY BODY. I NEED THEM, AND THEY LIKE ME, AND ALL I WANT TO DO IS PLEASE THE FANS.”
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Imagine an exclusive club where only the best of the best can become members, and that this club exists beyond the space time continuum… That’s the premise behind The Captain’s Table, a series of Star Trek novels that celebrates the storied lives of Starfleet’s top commanding officers. Star Trek Magazine caught up with the concept’s co-creator, Dean Wesley Smith, and writing team Karen Cercone and Julia Ecklar (AKA L.A. Graf). Words: John de Gruyther
A SEAT AT THE
CAPTAIN’S TABLE I
t’s the bar at the end of the universe, or – if you have an understanding of quantum mechanics – on the outside of the multi-verse. And it’s known as The Captain’s Table. Membership is free, so long as you’re a captain, and the drinks cost you nothing in terms of monetary value. The only currency at The Captain’s Table are stories, and time stands still as our favorite captains trade tales for companionship and liquid refreshment. Dean Wesley Smith and John J. Ordover were the adventurous writers that dreamed up the ambitious concept of The Captain’s Table, which went on to span six epic novels and a follow-up collection of short stories. As Smith explains, he first envisioned it as an intergalactic version of the drinking hole from long-running sitcom, Cheers. “The only real alien thing in the bar is how it sort of floats in time and space, and the entrance can move around,” Smith admits. “The rest of the bar I designed. I have a degree in architecture, so I laid out the plans: the back room, the entrance, the fireplace, the size, and so on. And then I basically put the cast of Cheers in it, with regulars and aliens. We changed the bartender and some of the characters before the first bible went out to the authors, because I had gotten a little too close to Cheers!”
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DATACORE STAR TREK: THE CAPTAIN’S TABLE Published by Pocket Books, 1998 Books 1-3 WAR DRAGONS by L.A. Graf (Karen Rose Cercone and Julie Ecklar) Captain James T. Kirk must join forces with Captain Hikaru Sulu to solve a deadly mystery and resolve an unusual civil conflict. The Nykkus and Anjiri are bonded, one previously subservient to the other, but now a deadly new sect has risen, and Kirk and Sulu must end the bloodshed before it rips apart the fragile peace between the Federation and the Klingons. DUJONIAN’S HOARD by Michael Jan Friedman For hundreds of years, archaeologists have dreamed of Dujonian’s Hoard, a collection of historical artifacts that may contain technology that will shift the galactic balance of power. But is the hoard more than a dream? One Starfleet officer thinks so, but he goes missing. Now everyone from Romulans to Cardassians are looking for Richard Brant, including Worf and keen part-time archaeologist Captain Picard, who have gone deep undercover on a secret Starfleet mission to rescue Brant. THE MIST by Dean Wesley Smith and Kristine Kathryn Rusch Dean Wesley Smith (co-creator of the Captain’s Table concept) and writing partner Kristine Kathryn Rusch bring their full-blooded contribution to The Captain’s Table. Do the mysterious people of the Mist have the ultimate cloaking device, or a gateway to another dimension? Captain Benjamin Sisko doesn’t know for sure, but the Klingons, the Cardassians, and the Ferengi Alliance will stop at nothing to obtain the device. Now Sisko finds himself in the middle of an epic struggle that could have lasting ramifications for the entire Alpha Quadrant.
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Janeway (Kate Mulgrew) must survive without her crew, in "Fire Ship"
“THE CROSSOVER ELEMENT OF THE CAPTAIN’S TABLE WAS FUN FOR ALL THE WRITERS.” Smith recalls that he and Ordover’s idea originated from a shared love of an Arthur C. Clarke short story collection. “John Ordover and I were talking one day about how we both loved Clarke’s Tales of the White Heart, and the bar (‘Callahan’s Place’ – Ed.) from Spider Robinson’s books” says Smith. “I’m not sure who came up with the idea, more than likely John, of doing a ‘magic’ bar like that in Star Trek. But since magic isn’t part of the Star Trek world, we had to come up with another way of making it happen, to make the bar worth reading about. It was out of that conversation that the idea of only captains being able to enter, or even see the entrance, came about.” ART WORKS “The premise – of a cross-dimensional bar that was only visible to captains – allowed us to have fun with both the Star Trek characters that we loved, and with other captains from history and literature,” says author Karen Cercone, summing
Captains Riker and Picard both visit The Captain's Table
up her experience of writing for the Captain’s Table. “It was a delightful challenge to think up dialog for our version of Captain Blood, for example, without giving away exactly who we were talking about. The premise also allowed us to have fun with a slew of other Star Trek writers, enjoying what they brought to the table, and getting feedback from them about what we did. That’s not normally something that happens when you write individual novels.” All of the writers involved shared a collective liberation, finding the experience to be a collaborative process as well as an opportunity to have some fun, as Dean Wesley Smith happily attests. “Kris (Kristine Kathryn Rusch, Smith’s regular writing partner – Ed) and I loved all the Trek television shows, and the crossover element of the Captain’s Table was fun for all the writers.” That sense of fun was typified by the cover art for each of the Captain’s Table books, which combined into a larger work that adorned the omnibus edition, collecting the first six novels.
Sisko must face "The Mist"
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A NOVEL APPROACH
Uhura (Nichelle Nichols) is given an enhanced role in "War Dragons"
“The big painting has all the captains sitting at a table in the bar, with a bunch of people around,” describes Smith. “The artist got pictures of all the authors, and put us in the background of the cover art. Kris and I are just over Janeway’s right eye.” The books weave epic tales of heroic derring-do that evoke the high seas battles of naval history, and speak to readers’ fascination with leaders throughout the ages. But it’s the enduring appeal of Star Trek’s captains that truly accounts for the popularity of the novels. “The Captain’s Table is popular because it can cross over into all series,” suggests Smith. “It’s the only place that Paramount allowed us to do that. We were not allowed to have captains from different shows in the room at the same time, but I think fans love it because of the feeling of a captain telling a story. As a fan, that’s what I loved about it.” DRAGONS DEN Karen Cercone and Julia Ecklar’s debut contribution to the first Captain’s Table series is “War Dragons”, an epic, well-paced action thriller featuring Captains Kirk and Sulu. The story starts at some
point during the original five-year mission, and ends around the time of The Undiscovered Country, at last giving fans a chance to see Sulu in full command of the U.S.S Excelsior. Cercone and Ecklar were excited to get the chance to show Sulu in his prime, as it allowed them to demonstrate Sulu’s leadership style as being distinctly different to that of his mentor, Captain Kirk. “We have always seen Kirk as an aspirational hero,” says Cercone. “What makes him a good captain are his one-in-a-million leadership skills, gut instincts, and absolute refusal to admit defeat. Those aren’t traits a lot of readers can identify with, even if they are cheering for Kirk because of them. On the other hand, we feel that Sulu is a good captain because of his work ethic, ability to adapt and learn from others, and his quiet, reflective nature. These are traits many more people can identify with, and we wanted to show that they can be just as heroic, in their own way.” As Cercone notes, they also wanted to incorporate the very premise of the Captain’s Table series into their story, using flashbacks. “We saw the overall series theme as ‘learning to become a captain,’” she explains,
“and thought we could show both Kirk and Sulu at critical points in their individual journeys.” LIFE CYCLES Doctor Karen Rose Cercone is a professor in the Geoscience Department at Indiana University, but by night she adopts her alter-ego as a Trek novelist. Writing under the pseudonym L.A. Graf (an acronym for Lets All Get Rich And Famous), she works with co-writer Julia Ecklar, herself a zoologist. Both Cercone and Ecklar bring a keen scientific eye to their Trek work, and this is most evident in “War Dragons,” with their creation of an intriguing new reptilian alien race called the Nykuss. “Although the Nykuss might seem similar to the Gorn from the original show, they are actually a new alien species we created for this book,” Cercone explains. “Their biology was based on known reptile species that Julia was familiar with, in her work as a zoologist. Julia enjoys creating realistic life cycles for aliens whenever she writes, such as postulating that sentient oviparous organisms would be affected by incubation temperature, for example. We were particularly inspired by our own pet
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DATACORE STAR TREK: THE CAPTAIN’S TABLE Published by Pocket Books, 1998 Books 3-6 FIRE SHIP by Diane Carey Captain Kathryn Janeway is suddenly separated from her ship and crew. Soon she is rescued, but not by Voyager. Alone aboard an alien vessel, Janeway finds herself in the middle of a war she cannot understand. Without her ship, all her quick wits and Starfleet experience may not be quite enough to save the Delta Quadrant from war. ONCE BURNED by Peter David Long before he took command of the Starship Excalibur, a young Starfleet officer named Mackenzie Calhoun served as first officer aboard the U.S.S. Grissom. Then disaster struck, and Calhoun took the blame, a court-martial leading to his own angry resignation from Starfleet. Or so it appeared. At long last, Captain Calhoun reveals the true story behind the greatest tragedy of his life. WHERE SEA MEETS SKY by Jerry Oltion Years before Kirk took command, Captain Christopher Pike guided the Starship Enterprise on a five-year mission. Join Pike on a perilous journey to a decimated star system where huge, space-faring lifeforms, vital to the survival of one inhabited star system, wreak havoc on the humanoid inhabitants of the other. Captain Pike faces many ethical dilemmas as he fights to save one innocent civilization without dooming the other.
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Sulu (George Takei)
“THE NOVELS REALLY HAVE A UNIQUE ABILITY TO HELP FLESH OUT THE STAR TREK NARRATIVE.” leopard geckos, one of whom makes a guest appearance in the book’s introduction.” Both writers also share a love of the underappreciated characters of the Trek universe, and “War Dragons” allows Sulu, Chekov, and Uhura extra room to breathe, giving readers a chance to see these characters’ lives and skills fully realized. “As long-time Star Trek fans ourselves, we really enjoy using not just the secondary crewmembers, but also other incidental characters from the original series,” says Ecklar. “We always hope other fans get a kick out of recognizing guest-character names, and seeing them interact with the main crew.” Chekov received special attention from the writing duo, who use the freedom of the Captain’s Table format to explore brave and challenging subject matters, such as post-traumatic stress. They seek to invest the readers in themes that they themselves feel are important, which sits well with Trek’s tradition of allegorical storytelling. “We absolutely wanted to look at something like Gulf War Syndrome, or PTSD, in the context of Chekov’s past battle experiences,” Cercone affirms. “We understand why the original show and movies weren’t able to explore that kind of thing, since each had to stand on its own as a story. This is where the novels really have a unique ability to help flesh out the Star Trek narrative. In ‘War Dragons,’ both Kirk and
Chekov wrestle with guilt and regret over past events that were beyond their control. This struggle reveals so much more about their characters, and makes them feel more human. It also gives the novel a thematic resonance that connects the past and future storylines.” BRIDGE BUSTING Another character benefitting from the novels’ approach is Uhura. Brilliantly played by Nichelle Nichols in the original series and movie sequels, Uhura often felt sidelined to make room for the bridge-busting testosterone of Captain Kirk – a point famously parodied by Sigourney Weaver in Galaxy Quest. “War Dragons” was an opportunity to show what Uhura could really do, and she’s a character that Cercone and Ecklar feel a particular affinity with, as they explain. “Since we are both women scientists ourselves, we have always tried to show female characters in Star Trek doing their jobs in highly professional ways,” says Ecklar. “We want our stories to show that the crew of the Enterprise, especially those who had positions on the bridge, all had exceptional talents. The original television shows, and even the movies, were limited by time constraints as to how much they could really depict the strengths of the minor characters. Our trademark as Star Trek writers was always to pick up Uhura,
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A NOVEL APPROACH
DATACORE
STAR TREK: TALES FROM THE CAPTAIN’S TABLE Published by Pocket Books, 2015 Nine new captains get their place at the table, in a series of short stories featuring tales of captains William Riker, Elizabeth Shelby, Demora Sulu, Jonathan Archer and more: IMPROVISATIONS ON THE OPAL SEA: A TALE OF DUBIOUS CREDIBILITY by Michael A. Martin & Andy Mangels
Chekov (Walter Koenig) suffers from PostTraumatic Stress Disorder in "War Dragons"
Sulu, and Chekov where the show left off, and present them as heroes in their own right.” “For major roles such as Kirk, McCoy, and Spock, there is very little left to establish outside the official canon,” adds Cercone. “We were given much more latitude to establish backgrounds, friendships, hobbies, and other off-duty activities for characters who had not already been so thoroughly explored.” In Uhura’s case, we see Kirk recognize her abilities and promote her to the bridge crew, where she single-handedly communicates with a new species and is the difference between peace and disaster. Uhura is shown to be focused, funny, and fiercely intelligent – things we all assumed about Uhura but were rarely given time to appreciate during her screen outings. As well as compelling story-telling with great character depth, by the time you turn
the last page you are fully invested in the colorful, three-dimensional Trek world that Cercone and Ecklar’s attention to detail has created. Writing as L.A. Graf, Cercone and Ecklar pull no punches in their storytelling. The strength of the Captain’s Table premise is that it allowed perhaps the most creative freedom ever afforded to writers contributing to the Trek literary universe. As readers, we get to spend time with characters we may be less familiar with, while the authors are given space to do what writers do best – tell stories. Whether you think Sisko is the best thing this side of Deep Space 9, or prefer Janeway’s no-nonsense tenacity, or maybe you’ve always wanted to see more of the adventurous Pike, there is something for you within the pages of The Captain’s Table. So pull up a seat, and prepare to hear some truly amazing tales.
DARKNESS by Michael Jan Friedman PAIN MANAGEMENT by Peter David IODNL’PU’ VAVPU’ JE (“BROTHERS AND FATHERS”) by Keith R.A. DeCandido THE OFFICERS’ CLUB by Heather Jarman HAVE BEAGLE, WILL TRAVEL: THE LEGEND OF PORTHOS by Louisa M. Swann IRON AND SACRIFICE by David R. George III STAR TREK MAGAZINE
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WE NEED TO TALK ABOUT…
CHAKOTAY With a talented actor like Robert Beltran cast as Voyager’s first officer, combined with the character’s activist Maquis background and Native American roots, Chakotay should have been one of Star Trek’s most compelling characters. So what happened? We tasked our dedicated team of Trek Talkers to take on the eternal Chakotay Question: Did the Sky Spirits take a wrong turn somewhere? Contributors: Michael Clark, Bunny Summers, Rich Matthews, and Toby Weidmann
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MICHAEL CLARK & BUNNY SUMMERS Trek Bloggers, visionarytrek.com BS: Ah Chakotay. Something of a bland character, some might say, especially when put beside the incomparable Captain Janeway. I am never really sure what to make of the character. Do you like him, Michael? MC: I never disliked Chakotay. However, compared to the franchise’s other first officers, he just never stood out for me. While most had credible backstories, I always felt that Chakotay was ill-defined, that we were only given the bare essentials of a character. BS: The writers didn’t seem to know what to do with him when Janeway was leading an episode. But every time she needed rescuing, or the ship needed additional support, there was Chakotay, back in the ring. MC: I agree. After the opening episodes, where any sort of conflict between the Starfleet and Maquis crews was extinguished, I felt that Chakotay was suddenly relegated to the sidelines. Those early episodes could have been a perfect opportunity for Janeway and Chakotay to butt heads while the two crews learned to work together, and then we could have seen their friendship and mutual respect grow over time. BS: Look at “Timeless,” “Shattered,” and “Workforce,” some of my favorite episodes of
"Shattered" Season 7, Episode 11
Voyager. Those are key Chakotay episodes. He basically saves the day, yet still he’s nobody’s favorite character! It’s like it wouldn’t matter if he was written out of the series entirely, yet in those few episodes he was as essential as a crystal in a dilithium warp core. MC: Those episodes have some wonderful Chakotay moments, and highlighted his loyalty towards Janeway and the crew. But these Chakotay-focused episodes were too rare, or were set in alternate timelines that meant any character development was lost by the end of the episode. The worrying thing about Voyager was that, apart from Janeway, most of the characters seemed replaceable because the rest of the crew – especially Chakotay – were consistently overlooked.
BS: Voyager had the enormous responsibility of providing the audience with a female Captain for the first time, but the producers let the side down by not giving her someone to “play” against in Chakotay. For me, the only real drama between them came from their opposing opinions in “Scorpion,” but by that point we were already three seasons in. MC: The most memorable conflict between Chakotay and Janeway for me was in “Equinox,” where Chakotay stood up to her as she almost tortured a member of the Equinox crew. This was one of the few times where Chakotay fulfilled that first officer role of challenging his captain. BS: That was actually a great story. Maybe Chakotay is an amazing character, but the inconsistency of the writing for him is clouding our judgment? Was Chakotay really so bad? I don’t think so. Unsung hero pushed into the background more times than he should have been? For sure. MC: I think you have summed up the Chakotay problem perfectly. If only he’d been treated with the same care and attention as Riker, T’Pol, Kira, and Spock, then maybe this conversation would’ve have been completely different. I think Chakotay will always be overshadowed by Janeway, Seven, and The Doctor, and in all honesty I think that’s a shame.
“THOSE EARLY EPISODES COULD HAVE BEEN A PERFECT OPPORTUNITY FOR JANEWAY AND CHAKOTAY TO BUTT HEADS.” MICHAEL CLARK
"Timeless" Season 5, Episode 6
Chakotay (Robert Beltran) with Janeway (Kate Mulgrew)
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RICH MATTHEWS & TOBY WEIDMANN Star Trek Magazine alumni RM: When we were asked to do this, I thought, “Oh, that’ll be easy, Chakotay is a main character,” but then when I thought about it, I suddenly realized “What actually happened to Chakotay?!” TW: Exactly. As Voyager moved away from its initial premise, he became someone who mostly said “Yes, Captain.” RM: Or suddenly argued with her... TW: He had a really interesting character arc for the first couple of seasons, but then they didn’t seem to know what to do with him anymore. My memory of it is that they suddenly remembered how to write him again right before the end. RM: The romance with Seven of Nine revitalized him, but more by proximity to Seven, who was the most interesting character on Voyager. For me, Chakotay began to lose his way as soon as the show began to gloss over the mucky, difficult dynamic of the Maquis crew so quickly. TW: By the second episode they’re already part of the crew! I expected there to be more problems and clashes, with Chakotay at the heart of that. Seska was a more interesting character because she represented that. RM: But she made Chakotay look a little dumb. Any other Maquis anti-authoritarian sentiment came from Torres, for no better reason than her Klingon hot-bloodedness. I wonder how much stronger Chakotay could have been if they’d stretched that assimilation over a few seasons. Beltran is a great actor, and I think he would have relished it. TW: It’s well known that Beltran wasn’t happy with what was done with the character. He was a very serious actor before Voyager, and just wanted to be stretched. It was the Denise Crosby scenario all over again, but she made the decision to get out and he decided to stick with it. I read an interview a while ago where Beltran said he wasn’t particularly happy with the Seven of Nine romance, but at least it gave him something to do. They did play on the Janeway/Chakotay tension for a while, but I think it would have upset the Captain/First Officer dynamic. As a character he could have been really interesting. RM: If you look at his series bible entry, all the stuff about him being a displaced Native American who rejected his heritage to join Starfleet, but then embraced it when his father and tribe were slaughtered by Cardassians – it’s really strong, really interesting. They just never really explored it properly. Only in the occasional “spirit quest” type episode.
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Robert Beltran as Chakotay ("Tattoo" Season 2, Episode 9)
“CHAKOTAY BECAME A MINOR CHARACTER WITHIN THE MAIN CAST, AND THAT’S NOT WHAT IT SHOULD’VE BEEN LIKE.” TOBY WEIDMANN TW: Initially they didn’t want to assign him to any tribe, they wanted him to be some kind of universal Native American, and they were always very careful about how they treated religion with the Federation. Aliens could have a spiritual side, but the Federation mostly couldn’t, because that was how Roddenberry wanted it. RM: Science as religion. TW: So to have that kind of faith side to Chakotayy men entt at all was good, but the whole vision quest element felt very forced. Even his facial tattoo, what wass it? It seemed more Maori to me… They did pin down his tribe eventually (he was descended from the ancient Rubber Tree People of Central ed a America). And at least in “Tattoo” it was explored n d. ne bit. But then it was left again and he felt sidelined. ker er,, If you look at the other first officers – Spock, Riker, Kira – they’re all really strong. They should’ve made more of him, especially because they castt such a good actor. RM: It seemed like the only time Chakotay got ttoo do anything was when Janeway was acting like a ad! d!”” total ogre, and he would step in with “You’re mad!” he TW: When Janeway wanted to talk to someone ssh she verr went to Tuvok, then later Seven of Nine. You never hatt ha got the feeling you had with Riker and Picard, that re mutual admiration and trust. The producers were as too focused on making the first female captain as strong as possible. A great character and a greatt en actor let down by the showrunners. It wasn’t even the writing per se, because when he was given something to do he delivered. Chakotay becamee
a minor character within the main cast, and that’s not what it should’ve been like – he should have been Spock or Bones, Data or Riker, Kira or Dax... RM: Instead he was more of a Troi. TW: I can remember more about what Barclay did on Voyager, and he was only in it for, what, the last five or six episodes? What were Chakotay’s characteristics? He was calm under pressure… RM: He spoke with a soft voice. TW: He was reliable. RM: He had very short hair. TW: He had a tattoo! You just start going back to how he looked rather than what he was like. It feels like there should be lots to say about Chakotay, but sadly it was left unsaid.
YOU NEED TO TALK ABOUT… What did you think about Chakotay? Join the conversation on Twitter @StarTrekMagg and on Facebook @StarTrekMagazine
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TIME’S ARROW
REVISITING STAR TREK 'S PAST
TORCH SOONG TRILOGY D
ata was a gift of a role for Brent Spiner, and not just because the android is one of Star Trek’s greatest characters. Playing an artificial man meant Spiner could double up as Data’s mechanical doppelgängers Lore and the childlike B-4. Both, it transpired, had been molded in the likeness of their creator, Dr. Noonien Soong – also played, under varying degrees of old-age make-up, by the very same Brent Spiner. And we finally got to see Spiner without any prosthetics or face-paint at all when he later guest-starred on
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Enterprise, playing Noonien’s amoral ancestor, geneticist Dr. Arik Soong. The great irony of Spiner’s casting as Data was that such a versatile and expressive actor had to keep his performance so controlled, channeled, intricate, and small. Watching him unleash his full range in those other roles was always a treat, especially in the Season 4 episode, “Brothers.” It’s hard to imagine anyone other than Spiner channeling three such different characters as Data, Lore, and Soong with such clarity and
differentiation, with no-one else to play off except himself. He completely sold the revelation that the character of Data – so pure, so essentially good – stems from a line of deeply flawed monomaniacs who knew even less about being human than Data himself. It remains one of the great dramatic reversals of The Next Generation era. The Soong dynasty drove three storylines in The Next Generation, before the maverick family showed up again in Enterprise. So what were the key moments in Star Trek’s Soong saga?
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TIME'S ARROW Even Data has daddy issues, not to mention great-grandaddy issues – and his mommy isn’t everything she seems, either. Is it any wonder that emotion chip caused so many problems?! Time’s Arrow explores our favorite android’s family tree, to uncover the skeletons in the Soong dynasty’s closet... Words: Rich Matthews
“YOU KNOW WHAT MICHELANGELO USED TO SAY? THAT THE SCULPTURES HE MADE WERE ALREADY THERE BEFORE HE STARTED, HIDDEN IN THE MARBLE.” Noonien Soong, “Brothers”
Like father, like son? Doctor Noonien Soong (played by Brent Spiner) takes a closer look at Data (played by...Brent Spiner!)
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Brent Spiner plays three roles in "Brothers", including Data's creator, Noonien Soong
“BROTHERS”
DATACORE
STAR TREK: THE NEXT GENERATION SEASON 4, EPISODE 3 FIRST AIRED: 8TH OCTOBER 1990 EPISODE ORDER: 76 OF 176 WRITTEN BY: RICK BERMAN DIRECTED BY: ROB BOWMAN Data’s allegiances and priorities are tested when he receives a mysterious signal from his creator, Doctor Noonien Soong. This episode was penned by Next Generation showrunner Rick Berman, but it was Michael Piller who suggested adding Data’s “twin brother” Lore to spice up the episode’s threat levels. “Once Data goes back to see Dr. Soong, it’s basically a chat,” Piller would later reveal, “and without some jeopardy or another event to go on, I was afraid it was going to be flat. We talked about what we could do and, ultimately, the obvious thing was that we bring Lore back.” Spiner almost didn’t get to play all three parts, given production logistics, and several other actors (including Gremlins actor Keye
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Luke, who had previously played Donald Cory in 1968’s “Whom Gods Destroy”) were considered. Ultimately, according to Piller, the ayed by one concept of a three-hander played actor was too good to pass up:: “I knew, from the moment we came up with it, that Brent ng to make for an Spiner in three roles was going unforgettable episode, and I think it was.” Consequently, the crew spent a full three days rehearsing all the motionn control shots nd Soong onscreen required to put Data, Lore, and ed. together before cameras rolled. This episode features two behaviors that Data hadn’t repeated sincee the pilot, “Encounter at Farpoint”, namelyy mimicking ), and someone else’s voice (Picard’s), l.” whistling “Pop Goes the Weasel.”
IN THINE OWN IMAGE We all hate it when our parents try to control our lives, but Noonien Soong took it to extremes by activating a homing device implanted inside Data’s brain, allowing him to assume control of the android’s body. Noonien used Data to hijack the Enterprise-D and deliver his android “son” to his remote jungle home on Terlina III. All this would have been bad enough, but there was a sick young boy on the ship, in need of desperate medical attention – but that’s the B-plot. It’s the A-is-forAndroid-plot that we’re interested in... Once on the planet, a family drama of Shakespearean proportions unfolded. Noonien is initially disappointed in Data for joining Starfleet instead of following in his maker’s cybernetics footsteps (ignoring Data’s best efforts in “The Offspring”). Matters are further complicated by the arrival of Lore, Data’s malevolent older “brother,” last seen stranded in space in Season 1’s “Datalore”. Very quickly their interactions descended into bickering over who is superior, who is whose favorite, and who should get the new and improved emotion chip Noonien has developed – the very reason that Data (and inadvertently Lore) had been summoned by the scientist. Before the episode wraps up, there have been masquerades, double crosses, betrayal, and Soong dying at the hands of Lore. It’s quite the heady episode, beyond Spiner clearly relishing the acting challenge of playing his entire family, deftly unpicking the nature of humanity via this most dysfunctional of artificial families. Paternal love and disappointment, fraternal rivalry and jealousy, and adult allegiances in the face of family misbehavior, are all swirled in with the hubris of creating artificial life, the realities of harnessing human emotion, and the inevitable entropy and random
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factors that life in the real world brings to bear on all of us, flesh and blood or mechanical alike. As Soong lies dying, Data sympathetically assures him that a part of the scientist will live on in his memory banks as long as he is functional. Is there anything more human than living on in the memory of your progeny? Probably not, but Soong did have one more positronic ace up his sleeve…
Juliana Soong (Fionnula Flanagan), the mother Data never knew
“LET HER LIVE OUT HER DAYS AND DIE BELIEVING SHE WAS HUMAN. DON’T ROB HER OF THAT, SON... PLEASE.” Noonien Soong holodeck program, “Inheritance” ALL TOO HUMAN In the end, Noonien Soong realized that the only way to make an android that looked, sounded, and felt truly human, was for that android to not only believe that it was human but also to be mortal, to grow older, and have an in-built deactivation date timed to a normal human life span. In essence, it had to possess all of our flaws. The impetus for this realization was love… and loss. So it was that in Season 7 episode, “Inheritance,” Data met his mother. When Noonien’s wife, Juliana, was wounded fleeing the Crystalline Entity’s attack on Omicron TTheta, the Soongs got as far as Terlina III before JJuliana lapsed into a coma. Realizing she would nnever awaken, Soong crafted an android duplicate aand made a bid to perfect what he called his ““synaptic scanning technique”: the transfer of her m memory, her consciousness, to his construction’s ppositronic matrix. It worked. Too well. He began to take the m miracle of his creation (and therefore his wife) ffor granted. When Noonien reverted to past iinexpression of his love, the android Juliana lleft him. All this was only revealed after Data deduced tthat Juliana was an android, then witnessed visual eevidence (spotting altogether too-perfect concert vviolin-playing is one thing, but nothing beats a ssevered arm filled with robot bits), and Geordi ffound a hologram chip secreted inside Juliana.
Activated on the Enterprise’s holodeck, Data got to speak to his “father” again, albeit a younger version than he’d previously encountered. Noonien confirmed that Data did indeed have a “mother,” who’d helped with his construction, and that the Juliana android was the perfection of his technology, complete with an organic disguise
and bio-scan cloaking. He also revealed that a deactivation protocol was built into Juliana, set to go off if she ever discovered the truth behind her existence. Noonien believes that the core of the human experience is our greatest deficit: mortality. The only way to combat the megalomania evidenced in Lore and build in emotions was to place the limitations of life on an android. It is a massive irony that Data was asked to maintain Juliana's ignorance, to let her go and essentially allow her to “die” for her humanity to endure and triumph. Data learned more from Soong about the human race through the facsimile of his mother
DATACORE “INHERITANCE” STAR TREK: THE NEXT GENERATION SEASON 7, EPISODE 10 FIRST AIRED: EPISODE ORDER: WRITTEN BY: DIRECTED BY:
22ND NOVEMBER 1993 161 OF 176 DAN KOEPPEL AND RENÉ ECHEVARRIA ROBERT SCHEERER
When Dr. Juliana Tainer boards the Enterprise, Data’s understanding of his past is rocked when she is revealed to be the former wife of Dr. Noonien Soong, and helped him construct the android officer. Juliana Tainer wasn’t Irish actress Fionnula Flanagan’s only role on Star Trek. She first appeared as Enina Tandro in “Dax,” during the first season of Deep Space Nine, before
returning for a third role as Vulcan Ambassador V’Lar in Enterprise’s first season episode, “Fallen Hero”. Not only does the episode touch on every previous Next Generation episode featuring Data’s family, it also foreshadows Star Trek Nemesis, when Dr. Tainer reveals that three androids in Soong’s image were constructed: Data, Lore, and another that would turn out to be the as-yet-unseen B-4.
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TIME’S ARROW
Captain Archer (Scott Bakula) and Arik Soong (Brent Spiner) in Enterprise episode, "Borderland"
“BORDERLAND”
DATACORE
STAR TREK: ENTERPRISE SEASON 4, EPISODE 4 FIRST AIRED: 29TH OCTOBER 2004 EPISODE ORDER: 79 OF 97 WRITTEN BY: KEN LAZEBNIK DIRECTED BY: DAVID LIVINGSTON In order to prevent the outbreak of war with the Klingons, Captain Jonathan Archer seeks the help of jailed criminal Dr. Arik Soong. The concluding part of this three-episode story arc, “The Augments,” was directed by Spiner’s TNG crewmate LeVar Burton, aka Geordi La Forge. “Borderland” also features the last Star Trek appearance of actor J.G. Hertzler (recurring Klingon General Martok), here playing another Klingon captain some 12 years after his first Trek appearance in 1992’s “Emissary.” The Enterprise NX-01 got a small refit before this episode, with a redesigned transporter, new
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doors in sickbay, a new color of paint on hatches, plus new light panels and blue carpet on the bridge. However, the most notable addition is a “new” captain’s chair – actually Picard’s chair from Star Trek Nemesis (with seatbelts). The events of the story tie-in to original series episode “Space Seed,” and movie The Wrath of Khan, referencing the Eugenics War, the role of genetic engineering in Star Trek history, and even the DS9 reveal of Julian Bashir being genetically enhanced. Plot points aside, watch out for a prop consisting of two glowing red tubes, previously used in Soong’s lab in “Datalore” and, originally, on Regula One in The Wrath of Khan...!
and his father’s holographic ghost than he ever did from the man himself. Specifically, that the argument for artificial life, the pursuit of creation, is circular – to harness life and create it ourselves, death is the key ingredient, alongside the essential flaws that dog us all. It was a lesson hard-learned by generations of genetic tinkering then positronic exploration. A lesson at the heart of Star Trek – be the best person you can be, and be true to yourself. If only the Soongs had learned it sooner. Much sooner. Which brings us to… HOME IMPROVEMENT If you’re thinking the name Noonien sounds familiar, then you’re not wrong. Data’s father was named after a wartime friend of Gene Rodenberry’s – Kim Noonien Wang – as was another, legendary Star Trek character: Earth’s most notorious tyrant, the genetically engineered despot, Khan Noonien Singh. And it’s no coincidence. Back in the 21st Century, before the Soong family ventured into the artificial life business, they were heavily involved in the murk of genetic engineering that saw humanity’s bleakest apotheosis in Khan’s rampages and the Eugenics Wars. In the Enterprise Season 4 mini-arc that began with “Borderland,” we met Arik Soong,
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whose own attempts to better humanity were far darker than those of his descendant, rooted in our own misguided attempts to thwart nature, cheat death, and play God. Arik (played by Brent Spiner) was out to prove that abandoning genetic engineering altogether was a mistake, that the tyranny of the Wars was an aberration, and that genetic manipulation itself wasn’t the problem. It was how it was used by the rest of humanity that was the error. This being Star Trek, with its unerring moral compass, inevitably Arik was shown the error of his ways. Using Spiner’s return to Star Trek to the fullest, Arik not only got a three-episode arc on Enterprise, but he also received the Hannibal Lecter treatment – the sinister, genius prisoner being used by the good guys as the last resort, to help capture a worse and more pressing threat. In this case, rather than a serial killer it was Soong’s “children,” the group of Augment embryos he stole from Cold Station 12, and raised as his own before being captured when they were 10 years old. After numerous escapes, recaptures, and rebellions, Arik
Brent Spiner as Arik Soong
“I’VE BEEN THINKING. PERFECTING HUMANITY MAY NOT BE POSSIBLE. CYBERNETICS, ARTIFICIAL LIFE-FORMS... I DOUBT I’LL FINISH THE WORK MYSELF. MIGHT TAKE A GENERATION OR TWO.” Arik Soong, “The Augments” was shown the undeniable reality that even his own Augment brood were violent and tyrannical. Hellbent on killing Klingons to start a war between the Empire and the Federation, Arik’s own children finally turned on him when they realized that their plan to grow 1,800 new Augments (from the remaining cold storage embryos on Cold Station 12), was being tempered by Soong’s intention to make the DNA mix less “aggressive.” Forced to help Captain Archer defeat them, Arik ended up back in jail but with a new outlook – that the future lay in artificial life. In a way, it’s sad that Soong never got to meet Julian
Bashir, the walking, talking, heroic embodiment of his theory that the right upbringing could produce a good Augment. However, Julian started out with a standard deck of genetic cards that was then redealt and added to, rather than being manipulated from gametes to embryo and beyond. So, the search to improve on life turned out to follow the same rules that already applied to natural-born beings. However, on a dramatic level, the circularity of having Spiner himself start the Soongs on the path that culminates in Data is pleasing and poetic. You might even say it is “intriguing.” STAR TREK MAGAZINE
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Photos courtesy of propstore.com
THE DAY OF THE
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JACKAL MASTIFF
CREATING THE UNDISCOVERED COUNTRY’S KLINGON GUARD DOG STAR TREK MAGAZINE
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THE JACKAL MASTIFF
Sentenced to the hellish Klingon prison planet of Rura Penthe, James T. Kirk and Leonard ‘Bones’ McCoy witnessed the horrors of “The alien’s graveyard” up close. The most unpleasant of the thugs, aliens, and creatures they encountered were the Klingon’s vicious Jackal Mastiffs. It fell to Academy-award winning make-up artist (and dog-lover) Greg Cannom to make the beast a reality. Words: Pat Jankiewicz
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hree-time Oscar winner Gregg Cannom had a simple goal when he came to work on the final frontier: “I wanted to do a cool, realistic, ice-planet Star Trek dog,” he says with a grin. “It was just one of those things where I thought, ‘Oh god, wouldn’t it be great to do a cool alien suit on a real dog?’” Referred to as “jackal mastiff” and “alien dog” in both the script and the end credits, the shaggy, snarling canines were among the most memorable alien species to be created for Star Trek VI: The Undiscovered Country – the original cast’s final movie installment. Trek had attempted using make-up and costuming to turn a living dog into an alien before, in the original Star Trek’s first season episode, “The Enemy Within.” Unfortunately, the alien dog we saw back then wasn’t entirely successful – as the episode’s director, Leo Penn, once wryly noted: “I had an alien that was a poodle in an alien suit,” he admitted, “and it looked just like a poodle in an alien suit!” The opportunity to do better was what attracted make-up wizard Greg Cannom to the project. No stranger to revamping monsters, during his illustrious career he’s revolutionized the look of movie vampires through his work on The Lost Boys, Blade, and Bram Stoker’s Dracula; designed the horrific Mason Verger of Hannibal; aged and de-aged Brad Pitt for The Curious Case of Benjamin Button; and even appeared on-screen as the curly-haired zombie in Michael Jackson’s Thriller video. Cannom, who would go on to win a Best Make-up Oscar for turning Robin Williams into Mrs. Doubtfire, took on the Star Trek job having always watched the series. And he’d always had his own ideas about how it should be done. “I wasn’t a Trekkie,” says Cannom, “You couldn’t call me a giant Star Trek fan, but I liked it. Growing up, of course I watched Star Trek, and I watched the movies too. I always wanted to change the make-ups and do cool aliens for Star Trek. STAR TREK MAGAZINE
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PETS CORNER
The rear view of the headpiece, showing the mechanics behind its animatronic ears
MONSTER DOG A species of ferocious, barely domesticated lizard-dog. Kept as pets,Klingon monster dogs are something of a status symbol among warriors. Commander Kruge kept one of these vicious brutes by his side aboard his Bird-of-Prey. The Search for Spock novelization named it a “Warrigul.”
TARG A boar-like animal, kept as livestock and often hunted for sport. Despite having a nasty bite and an ugly row of spikes along their backs, Targs were popularized in the Federation thanks to the Toby the Targ g children’s books. Molly O’Brien even has a Targ plush toy.
TRIBBLES We said don’t mention tribbles...! Klingons really don’t like them, and the feeling is mutual.
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Photos courtesy of propstore.com
Klingons may not be known as touchy-feely types, but they enjoy pets as much as humans do. Just don’t mention tribbles...
“They asked me to do this ‘Ice Planet Dog’ for Star Trek VI: The Undiscovered Country,” he continues, “and I said I would want to do it, but only if I could do the make-up effects on a real dog. It would be a real challenge, and I thought that would make it worth doing.” MECHANICAL MUTT It wasn’t the dog from “Enemy Within” that Cannom wanted to improve upon, but Commander Kruge’s Klingon mutt from Star Trek III: The Search for Spock. “They had that mechanical Klingon dog in the third one, and that dog bothered me because I didn’t think it was very good,” he says with a shrug. “That Klingon dog was such a muppettype thing. There’s a tendency to go a little too ‘muppety’ on aliens, and I like to do more realistic type stuff. “After the dog in Star Trek III, I just wanted to do a cool Klingon dog. I thought, ‘if you do a l like a puppet! But if you puppet, it’s gonna look use a real dog in a ssuit...!’ I don’t think anyone had ever really seen that before! So I said I wanted to do it, and got to do it on a real dog.” The dog in question ques was a Great Dane Can called Max, and Cannom’s first task was to make a a head cast of the animal to use as the basis for his sculpt. “Max was so well w trained and calm, he just cas sat there for his casting with a monster bandage C around his eyes,” Cannom says admiringly. sculpt the design, and Glen “From that, I sculpted
Hong finished it off. I designed it in hours, because it was so easy and fun to do on his head cast. I was really happy with it. It was a cool sculpture – I really loved the giant teeth we gave him – and we then sculpted a full-body suit for Max.” The distinctive white fur of the Jackal Mastiff wasn’t Max’s own coat, but fake fur covering a spandex fitting. Luckily, the dog seemed to be comfortable with it. “The back of it was fake fur, and then the legs were all hand-tied by Stuart Artiself. It looked beautiful. It had a giant Velcro strip in the back, so we could have Max out of that suit in seconds, in case something happened,” Cannom recalls. “When we put the suit on Max, he looked at us like ‘What are you guys doing?’ We thought he would immediately fling his head around, trying to get it off, but instead he just wore it. He was great. He was totally okay with it. “So Max got into the suit, and the first thing he did was droop his head down,” Cannom adds. “The trainer called out ‘MAX! MAX!’ and he snapped his head up and started barking through the Klingon mouth of the suit. We all started laughing, because this alien dog was barking at us! The director and producers loved him. A very good dog.” MASKED MAX Max would make his Star Trek debut beneath Cannom’s detailed and terrifying Mastiff mask, the animatronic ears of which would prove
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THE JACKAL MASTIFF Cannom was particularly pleased with the Jackal Mastiff's fearsome teeth
Max sprent two weeks on set, shooting his scenes as the Jackal Mastiff
an unexpected asset in eliciting the right performance from the Great Dane. “We made the Klingon dog face-piece out of airplane fiberglass, very lightweight,” Cannom explains. “I made the foam pieces for it as light as possible, so it wouldn’t bother Max, and I did some mechanics on the ears so that the ears would move when we wanted them to. “When he walked around, he just looked like a realistic alien dog, especially when we found we could control him through making his ears move,” continues the special effects artist. “If we moved his mechanical right ear a little bit, he would immediately look in that direction, and he would do the same with the left ear. He would turn around and look in that direction. The animal humane officer on the set was having a good time, because he saw how happy Max was. He looked amazing, walking around in this suit. Max was only supposed to work one day, but wound up shooting two weeks straight, because he looked so real as this alien dog.” After Max had wrapped his scenes on the ice planet, Cannom built a puppet version of the creature’s head for growling close-ups, more than satisfied that his approach had been the right one.
“Who knew putting an alien suit on a dog would actually work?! I did a whole alien suit on a giant Great Dane!” he laughs. “I started the movie wanting to do a realistic Star Trek alien dog, and I think I did that. It was one of those things where it worked so well you think, ‘I don’t have to ever do that again. I did it, and it worked.’ I was so happy that I got to put a real dog in the suit.” Cannom is happy to attribute a large degree of that success to the dog who made it possible. “Max was such a beautiful, well-behaved dog,” Cannom smiles. “I grew up around dogs. My parents brought home every stray, so I grew up with hundreds and hundreds of cats and dogs, and I really enjoyed working with Max.”
Photo: Pat Jankiewicz
“WHO KNEW PUTTING AN ALIEN SUIT ON A DOG WOULD ACTUALLY WORK?!”
Greg Cannom
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DEEP SPACE
DESIGN DOUG DREXLER: PART ONE
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Award-winning designer Doug Drexler began his Star Trek ek career as a make-up artist on The Next Generation, but his hip – life-long love of design and architecture saw him jump ship sign and career paths – when he left the Enterprise to help design the worlds of Deep Space Nine. Words: Chris Gardner
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t was the 1964 New York World’s Fair that first piqued Doug Drexler’s interest in technology, design,, and architecture. Coincidentally, it would also play its part in the look and feel of the original Star Trek – the show that would later define Drexler’s career. “The rest of the world was recovering from World War II, but the United States was pretty much untouched,” says Drexler, who was aged 11 when the famous event opened. “Companies like Generall Motors had money to burn.” pany, And they weren’t alone. Bell System, the Chunky Candy Corporation, Dinoland, Ford Motor Company, IBM, and Westinghouse all exhibited. Futurama was the name of the General Motors Pavilion show, where fairgoers on moving chairs were treated to 3D models depicting life in the future. The theme of the Fair was “Peace Through Understanding,” and Drexler visited nearly every day,, over two summers. ir. He “My father had a TV repair store in Flushing Meadow, which was two blocks from the World’s Fair. dropped me at the main gate at 10 in the morning, and he’d pick me up at 10 at night.” Drexler describes the Fair as “ground zero for the Star Trek design ethos.” “Starbase 11 in ‘Court Martial’ is the New York State Pavilion,” he points out. “It’s still there. Ass a nk God, matter of fact, it was just declared a national landmark, so it’s probably going to get restored – thank because they let it fall apart. It’s stupendous architecture.”
Doug Drexler
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Drexler adds detailing to the U.S.S. Voyager
On the lookout for hamsters...
Much to Drexler’s disappointment, after two years the Fair closed its doors for the final time, and the exhibits were dismantled. “I was crushed to see it taken apart,” Drexler admits. “I think that was the first time I’d looked at something and thought, ‘Hey, somebody’s making this stuff. Someone had to paint that, or someone had to build that.’ This physical stuff, right in front of me, including the architecture and the rides. Then Star Trek premiered, about a year later. For me it was my consolation prize for losing the World’s Fair!” Drexler became such a fan of the new sci-fi show that he eventually opened a Star Trek store in Manhattan, after graduating from New York’s
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School of Visual Arts. He even bluffed his way on to the Paramount Studios lot in Hollywood, during the production of Star Trek: The Motion Picture. It seems Drexler’s destiny was to be involved with Star Trek, and his dream became reality when he began working as a make-up artist on the hit TV revival, The Next Generation. CAREER CHANGE Drexler had already made a significant impact on Star Trek, aging Patrick Stewart beyond his years for The Next Generation episode, “The Inner Light,” when he decided to pitch for a transfer to new show Deep Space Nine’s art department. Bumping into Michael Okuda on the corridors of
thee En th Enterprise-D Ente terp te rpri rp rise ri se-D se D se sett on onee da day, y, Drexler made an h show’s h ’ lleadd graphic hi ddesigner. i appeall to the “I said ‘I’d really love to be in the art department. I love these designs. I can feel my DNA tingling,’” Drexler remembers telling Okuda. “Michael looked around like he was afraid, grabbed me by the arm, and dragged me down the corridor into a shuttlecraft. All the consoles were lit. He sat in the pilot seat and I sat in the co-pilot seat. Then he said, ‘you know, if you’re too fanlike, it could give the wrong impression to some people!’ I said. ‘Mike, do you realize that we’re reenacting that scene from 2001: A Space Odyssey, between the two astronauts? When they’re hiding from HAL?’ We both just burst out laughing. At that moment Mike and I knew we were kindred spirits. We were family, you know, right away. So that’s how I got in.”
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INTERVIEW: DOUG DREXLER Recreating the K-7 Space Station for "Trials and Tribble-ations"
“THERE’S A DIFFERENT KIND OF THRILL THAT GOES WITH TH STARTING FROM ZERO, IN A NEW ART DEPARTMENT.”” Drexler didn’t just sit on his hands while he waited to report for duty. Instead he spent an intense fortnight in training. “I had two weeks before I was going to start, and I didn’t even have a computer,” says Drexler. “I went out and bought myself one, and [installed] Photoshop and Illustrator, then did nothing but [learn] for two weeks solid, so that when I went in, I was able to use it. Mike told me later he was so impressed that I did that. He thought that was above and beyond.” STANDING START “There’s a different kind of thrill that goes with starting from zero, in a new art department,” Drexler says of joining the Deep Space Nine art department, charged with creating a distinctive new palette of environments for the show. It was a big task. “I felt most comfortable doing sketches with pen, pencil, and grey marker,” Drexler reveals. “I didn’t like belaboring the designs. I’d lose interest
ole once I had a concept out, so I would do whole duction bunches of other things. I remember [production designer] Herman Zimmerman walking byy and saying ‘you’re certainly prolific!’” “There were times when you might doo 30 ething, designs before the producers picked something, and then there were days when they liked the first end over thing you did,” he adds. “I would never send just one design. Usually Herman liked to take at least four over for approval. It’s an interesting ballet that you danced with the production designer and the producer. It’s almost always the producer. The director is not so involved with the design work on a TV series.” From the unique look of the former Cardassian space station to its computer interfaces, and the equipment used by the various races frequenting it, there wasn’t any aspect of the new show that escaped Drexler’s design input. “We did all of the interfaces, all of Ops, all the designs and consoles,” adds Drexler. “Michael Okuda had done a couple of basic, linear-looking
Cardassian chevrons, and when I saw those curvy, sharp, scimitar lines, I worked k d th the de desi designs sign si gnss fo gn forr Op Opss into those same organic-looking, almost skeletal shapes. Like vertebrae. When I think about what we could have done today, with the technology we have now...!” HAMSTER TIME In its early years, Deep Space Nine followed the production methods of The Next Generation, which often used decidedly low-tech 20th Century solutions in depicting 24th Century technology. Drexler recalls one of the set’s many secrets – a rodent-powered computer display. “In Geordi La Forge’s office there was a space where you could crawl through, and see behind STAR TREK MAGAZINE
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Drexler admires the original Enterprise miniature, on display at the Smithsonian's National Air & Space Museum, Washington D.C.
DREXLER ON THE BRIDGE O Revisiting The Enterprise
f all Drexler’s achievements designing for Star Trek, the one that means most to him was the opportunity to recreate some of the most iconic sets in television history. “There’s no doubt that Deep Space Nine’s ‘Trials and Tribble-ations’ was a high watermark, especially for original series geeks like Mike and Denise Okuda, and myself,” Drexler declares. The episode saw Captain Benjamin Sisko and his crew travel back in time to the original U.S.S. Enterprise, in pursuit of a Klingon hell-bent on revenge against Jim Kirk. While The Next Generation story, “Relics,” had seen a partial rebuild of the Enterprise bridge, the DS9 episode required more extensive sets to enable the characters to blend seamlessly with those from the 1960s. “I remember getting the word that we were actually going to rebuild and
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recreate that stuff, and it was a lot of work,” Drexler remembers, “especially when you consider that back then there really was no internet to speak of. You couldn’t just go online and get lots of reference, so it was whatever you had collected, personally, over the years. I had been collecting reference since 1966, and I had a huge slide collection because I’d been getting slides from Lincoln Enterprises since I was a kid.”
the panels. It was like looking under the hood of a car. I was like the ape in 2001 looking at the Monolith,” says Drexler, laughing at what he found there. “A graphic was stuck on the back of a piece of plexi (clear acrylic sheet – Ed.), and there was this hamster wheel – with a hamster running in it! – this big wheel with tinted acetate on it, and light was shining on it through fluorescent tubes, causing the polarized animation pattern on the graphic to move.” The graphics for Deep Space 9’s computer displays were similarly cut-and-paste basic, and produced on illustration boards. “It was a lot of spraying of spray glue. We used graphic tape, graphs, stuff like that,” Drexler reveals. “We would print out pieces from the computer, and an outside company would pick up the art and make a film negative overnight.” The result was a giant, black sheet of film, like an X-ray, with clear areas where the art department’s graphics had been positioned, the designer explains. “You’d take that, throw it on a white table with gels and spray adhesives, and apply pieces of colored gel, polar motion, and every piece of diffusion.”
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INTERVIEW DOUG DREXLER
Photo: Anthony y Conti, August g 1964
DREXLER DESCRIBES THE WORLD’S FAIR AS “GROUND W ZERO FOR THE STAR TREK DESIGN ETHOS.”
On both The Next Generation and Deep Spacee Nine, Drexler says, production art always started with sketches and marker drawings. But that began to change with Voyager and Enterprise, where he was always keen to try out the latest technology. “By the time we got to Enterprise, we may have been the first art department to use computers to design,” Drexler says. “When Herman Zimmerman would go over to a production meeting, he was able to bring animations of the ship in motion, with the light changing across the
surface. He was able to change it to any direction, to spin the ship and go, go ‘you know, know I think thi k it’s i’ a little too busy here.’” Video effects artist Gary Hutzel recognized talent in Drexler, after spotting his colleague working on a computer-generated design. “I heard this ‘ah,’ and I looked behind me, and Gary’s standing there,” Drexler reminisces. “He said ‘How would you like to make a ship for me?’ I said yeah, and I ended up doing a few things for him, plus a couple of things for [fellow VFX artist] Dan Curry as well.
“I remember saying to Gary Hutzel ‘that was rea really fun. I hope we get a chance to do really, tha again,’” Drexler laughs, “and I remember Gary that sm this wicked smile, and he said ‘Be careful smiled wh you wish for...’” what TIMELESS TRAVELS Drexler would go on to design Captain Jonathan Archer’s Enterprise NX-01 for Star Trek: Enterprise, as well as the 26th-Century incarnation of the Starfleet flagship, NCC-1701-J, for the episode “Azati Prime”. The long hours he had spent as a boy studying drawings by the original Enterprise designer, Matt Jefferies, had evidently paid off. “When I was 13-years old I used to draw all of his designs. I’d study them, and try and figure STAR TREK MAGAZINE
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NX TO J Past and Future Enterprises “I’ve had some really crazy stuff happen to me, Emmys and Academy Awards and stuff like that, but I’ve got to put getting to design the Enterprise right up there,” Drexler attests. “Actually, two Enterprises. I got to do the NX, and I got to design the J. To me that’s mindboggling. I mean, if I had to choose between them, I don’t know what I would do.”
“I THINK THAT WE HAD A GOLDEN AGE OF 18 YEARS OR SO, WITH STAR TREK: THE NEXT GENERATION, DEEP SPACE NINE, VOYAGER, AND ENTERPRISE.” out what it was that made them so interesting, so exciting. There’s definitely a little bit of Matt in everything I do, whether I am trying to do it or not. It’s part of my being.” To Drexler that means functional rather than overdesigned, blending technology with beauty. “There’s stuff that I try to do – to make sure that it doesn’t look like a fanciful design, that there isn’t stuff on it for no reason,” he adds. “When you get a starship with what I call ‘gingerbread’ on it, it doesn’t serve any purpose at all. A starship needs to be artistic and elegant. Being beautiful is also very important. But number one is the story. It must serve the story. To work within the confines of the story and still make it believable is the challenge, and that’s the fun of it.” Drexler remembers the late Jefferies being blown away by the art John Eaves produced for The Art of Star Trek, published in 1997. “Matt [Jefferies] was flicking through the book and saw some awesome stuff that John did, which was all very highly rendered and beautiful, all hand-drawn with markers, and
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he broke out laughing,” says Drexler. “He was, like, ‘holy crap, are you kidding me? Really?’ Because if you look at Matt’s drawings for the original series, they’re practically quick sketches. Matt Jefferies’ sketches are almost g like folk art. It’s got to be a really strong design to stand up to being roughly drawn and still be attractive.” GOLDEN AGE More than a decade since Star Trek: Enterprise ended, Drexler has remained busy in the effects industry. Most notably he teamed up with Gary Hutzel again, to produce the visual effects on Ronald D. Moore’s epic Battlestar Galactica series, and has edited the popular Star Trek: Ships of the Line calendars for the past 15 years. The calendars were celebrated in a glossy compendium, published in 2014. “That book’s got some heft to it,” Drexler beams. “I’m so proud of the cover. I’m a fan, and if I get giddy
looking at it then I know somebody else will. The 2017 calendar, if I do say so myself, was pretty kick-ass. There’s some great stuff in it.” “I think that we had a golden age of 18 years or so, with Star Trek: The Next Generation, Deep Space Nine, Voyager, and Enterprise, and some of the earlier movies,” Drexler opines. “You had a core of people who knew the show inside and out, studied it since they were kids, and they were with the series all that time. One of Star Trek’s great strengths is the continuity that we’ve had, until the new bunch of movies, where the whole box has been taken and shaken.” Drexler is optimistic that one day he might be asked back to work on Star Trek again. “I don’t know that my Star Trek is over yet,” he says, with a gleam in his eye. “There may be more for me in the future. I’m hopeful. I think there’s a good chance that there will be, a very good chance.” Next issue: In part 2 of this exclusive interview, Doug Drexler talks TNG make-up and more!
Drexler models an Enterprise jumpsuit
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treknology TOMMOROW’S TECHNOLOGY TODAY
“WHAT IS BRAIN?” The Hidden Science in “Spock’s Brain”
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ven die-hard Trekkers have a problem with “Spock’s Brain.” Often an episode of derision, it frequently sits at the bottom of everyone’s list of favorites. But why is this? One reason might be that while Star Trek often pushes the boundaries of technological extrapolation to its limits, taking something as complex as a living brain out of its host, successfully integrating it into an artificial system then replacing it into the donor’s body, is going a quadrant too far. Despite frequent references throughout the episode to the concept being beyond all known medical and scientific knowledge, and the alltoo-believable self-doubt McCoy evidences once he forgets his temporarily attained surgical skills, no amount of self-aware dialogue is enough to save the story from attacks more
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savage than a gang of Morgs. But while many of the criticisms are more than valid, there are several scientific theories to be found in “Spock’s Brain” that should be considered far from absurd. Take as an example the reason Spock has to part company with the contents of his skull – the Eymorg’s Controller. Putting to one side the method by which Kara, the leader of the Eymorg, was able to steal Spock’s grey matter and then hook it up to their existing (failing) system, the Ancient Ones clearly designed a network not only capable of directly interfacing with a biological component, but also constructed it to operate in a very similar way to a human brain. It’s interesting that the combination of biological elements and electronic systems gains great credit in Star Trek: Voyager, with its innovative bio-neural gelpacks,
Words: Chris Dows yet “Spock’s Brain” is barely recognized for proposing something pretty similar. It’s only fair to acknowledge the comparison, as the basic idea of the Eymorg Controller is, at its core, the successful combination of living tissue and digital components. The Controller is an Artificial Intelligence system capable of linking directly to Spock’s brain; not only does it work for the Eymorg, but such bio-engineering is big business around the world today. A team at Japan’s Tohoku University have recently succeeded in creating an advanced device in their revolutionary AI network that acts in the same way as the brain’s synapses. Their use of microscopic magnetic materials to conduct information, modeled on the structure of the human brain, is a major step forward in increased processing speed, reduced
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treknology news
CONSCIOUS CRANIOTOMY
"Spock's Brain" has long been considered the most crazy of all Star Trek episodes, but is science beginning to prove otherwise?
Patient Feedback During Brain Surgery!
A brainless Spock in sick bay
Scotty's remote control box
“WHILE I MIGHT TRUST THE DOCTOR TO REMOVE A SPLINTER OR LANCE A BOIL, I DO NOT BELIEVE HE HAS THE KNOWLEDGE TO RESTORE A BRAIN.” SPOCK unit size and power consumption. After all, brains are incredibly compact units, can work faster than any existing computer, and require tiny amounts of energy to operate – just look at how big the Eymorg Controller is. Linking its electronics to Spock’s super-powerful biological component allows him to control the underground city’s temperature, water purification and air recycling systems. It might seem incredible, but there’s real-world science to back up the idea.
GET CRAMMING The method by which Kara and McCoy gathered the collective knowledge to remove and replace a brain in double-quick time leads us to another area of contemporary research: teaching approaches designed to increase the speed
and success of learning, which are being trialed all over the world. An excellent example of this is the work currently underway at Canada’s University of British Columbia. Their investigation into the development of problem-solving skills in University students has shown that traditional lectures do little to improve these abilities after the first semester of studies. Approaches such as “blended learning” – which rely heavily on online materials and self-study – combined with more traditional classroom techniques are improving results across many subject areas. It’s not quite the Teacher’s spiky helmet transferring three hours of revolutionary surgical skills in 30 seconds, but the notion of finding ways to make the learning as fast and efficient as possible is basically the same.
S
pock’s ganglion-by-ganglion instructions to McCoy in the latter stages of his brain replacement might be pushing the limits of believability too far, but the concept of having a patient fully conscious during brain surgery – and commenting on what they are experiencing – is a vital element in one radical surgical procedure. An article published by the Yale Cancer Center discusses the growing trend in Awake Craniotomy, an approach that, for specific brain tumor operations, can benefit greatly from the patient’s feedback on their surgery while it is underway. According to Smilow Cancer Hospital neurosurgeon Dr. Jennifer Moliterno, when operating on areas of the brain that involve speech or movement, the chances of removing a greater portion of the tumor while leaving unaffected areas of the brain intact are decreased with the patient remaining conscious. In the same way McCoy’s operating screen allows Spock to be awake, the Yale team use local anesthetic in key locations around the head, avoiding the risks of general anesthetic. What’s more, because a greater part of the tumor can be safely removed, the need for radiotherapy following the operation may also be reduced. Spock was up and about very quickly, and Dr Moliterno is working on her patients’ normal functions having a better chance of remaining unchanged too.
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THE FROZEN PLANET Star Trek Predicts Exoplanet System
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n their hunt for Spock’s brain, the Enterprise crew follow an ion trail to the Sigma Draconis system. Of its nine planets, three are inhabited, and while some unfortunate continuity errors put Spock’s brain on either planet six or seven, any question about finding so many habitable worlds in one system have been laid to rest by NASA’s infrared Spitzer Space Telescope. Spitzer has located seven Earthsized exoplanets orbiting a sun in the constellation Aquarius, around 40 lightyears away. And because this sun is an ultracool dwarf star, far cooler than our own, it is believed that all of the exoplanets have the potential to support liquid water. While the orbits of three of the seven are tidally locked (they keep the same side of the planet facing the star at all times), they are also in the so-called ‘habitable zone,’ meaning they may have the ability to support life. The Hubble Telescope has been tasked to search these three for “puffy” hydrogen-rich atmospheres. Astronomers think it likely six of the exoplanets have predominantly rocky surfaces, while the seventh, whose mass is yet to be properly estimated, is probably covered in ice. A frozen seventh planet...? Yet another example of unexpected scientific accuracy in “Spock’s Brain!”
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Bones takes a crash course in brain surgery
BRAIN DRAIN When it comes to the procedure Spock endures twice during the episode, it might surprise (and alarm) you to learn that elements of the procedure are far closer to the truth than you might think. Brain transplants have long been a staple of science fiction and horror (think Frankenstein and you get an idea of just how long), and even in the 23rd Century, McCoy expresses his astonishment at the removal of Spock’s brain with every nerve-ending neatly sealed – “nothing ripped, nothing torn, no bleeding”. He refers to it as a medical miracle, with the sheer complexity of the brain’s structure preventing even a surgeon with his great skills from attempting reconnection. And yet, a major step towards decoding how the brain transfers “digital” data through its neural networks in real time – and being
able to track how all of these connections work together - has just been accomplished by a group of neuroscientists at Princeton University, in association with the microprocessor manufacturer Intel. Their goal is to develop software that can reveal what a person is thinking while they are thinking it. By using an advanced form of MRI scanner known as functional Magnetic Resonance Imaging (fMRI), they have been examining how information is sent to and recalled from memory, how it connects to the learning process, and how it controls other functions of the brain. While the research is concentrating mostly on the treatment of brain disorders and how the mind works (rather than taking one out and putting one in again), it promises a revolution in understanding how the mind works. In two years, they have reduced the time to observe thoughts from a couple of days to within a second, and the results are proving to be a
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TREKNOLOGY
Spock somehow survives double brain surgery without getting a hair out of place
“WHAT AM I SUPPOSED TO DO?” DR. McCOY rich resource for neuroscientists and computer scientists alike. One of the most exciting things about this is the huge detail scientists are gathering on the brain’s structure; considering the fact Spock was able to talk McCoy through the last connections of his synapses because he knew the complexity of his mind better than McCoy, the good doctor would certainly have welcomed this additional information so he could have avoided the embarrassment of having Spock telling him how to do his job.
MIND CONTROL One part of Treknology that has even the most avid viewer reaching for their Romulan Ale is the remote-control unit hacked-together by Scotty and McCoy to get Spock moving. Notwithstanding the amazing flexibility that this ten-button controller seems to have, the sheer amount of information that would have to be transmitted and fed back to the box – including the calculations needed to keep the Vulcan
Kara, leader of the Eymorgs
upright, let alone walking – are heading towards the colossal level of data processing required by Transporters to break down then re-assemble particles in the right order. And yet, integrated circuit researchers at the University of California have unveiled a “radiator” microchip that can not only scan through solid surfaces in previously unheard-of detail, but can send and receive enormous amounts of data at very high speeds. The potential medical applications are huge, and could end up being used in exactly the
The Eymorg Controller
same way as a Starfleet medical tricorder – a quick sweep of the device takes the readings, then it sends the information to a database that allows almost immediate diagnoses and suggestions for treatment. Interestingly, wider applications include communication between driverless vehicles to improve collision avoidance. Perhaps Scotty threw together such a chip in the remote control unit and the headset, giving brainless Spock a built-in safety feature of his own…
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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Jill Sayre
Photo credit: s_bukley / Shutterstock.com
“WATCH THE
WHEEL WHEEL, NOT THE GIRL!” GIRL
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SHORT HOPS
JILL SAYRE Try telling young Jake Sisko to “Watch the wheel,” after his head has been turned by an older woman. Actress Jill Sayre reveals to Star Trek Magazine what it was like to play Deep Space Nine’s first Dabo girl with depth... Words: Pat Jankiewicz
B
efore Mardah, the beautiful Bajoran Dabo girl who stole “While Commander Sisko is suspicious of me at Jake Sisko’s heart in the Star Trek: Deep Space Nine first, by the end of the episode he ends up liking me episode, “The Abandoned,” the Dabo girls of Quark’s when it seems that Jake and I really love each other,” Bar had been more or less set dressing, eye candy for the she continues. “The initial scene, where you first see me denizens of the Ferengi’s drinking den. Memorably played tricking an alien out of his money by getting him to play by Jill Sayre, Mardah’s storyline transformed them into space roulette, was really challenging for me because I potential recurring characters with compelling stories to tell, was wearing these long, fake nails. There was so much setting the stage for Chase Masterson’s Leeta. going on. I like the follow-up scene, where Jake and I “I was a Dabo girl, so it was my job to lure men and laugh that the alien forgot the first rule of Dabo: ‘Watch aliens away from their money,” laughs LA-born actress the wheel, not the girl!’” Sayre. “I saw her as a ‘space hooker.’ I’ve been told I was EYES DOWN FOR A FULL HOUSE the first Dabo Girl who ever spoke on the show. I was really There were more eyes on Mardah than those belonging to honored when Mardah got her own trading card.” one lascivious alien, as the series’ producers had bigger Mardah proved to be a somewhat divisive character, plans for the character, and were watching closely. after the 20-year-old Bajoran entered into a relationship “Mardah was initially going to be a recurring role,” with teenager Jake (Cirroc Lofton). confirms Sayre. “They spent hours on my make-up and “Their age difference and her profession are what made costume. They made that costume for me from scratch, Mardah controversial,” Sayre agrees. “They wanted her to be because they were thinking of making her a regular.” older than Jake Sisko, that’s why Jake’s father is so skeptical. The potential importance of the role manifested itself The script called for her to be five years older than Jake, during the long and arduous audition process, which Sayre which I was. Jill Sayre as Mardah
“MY NOSE APPLIANCE WAS AWESOME. I WAS JUST HAPPY THAT I LOOKED GOOD WITH THAT NOSE!” remembers being “a lot more intense than for a regular guest role.” “I had eleven callbacks,” she says. “I was up against every up-and-coming young actress. I know this, because I saw all of them on the callbacks. My callbacks were with all of the producers and Avery Brooks, who directed the episode. During the auditions, he was impressed that I’d studied in Oxford in England, which I appreciated. My final callback was with Cirroc Lofton.” Ultimately, however, “The Abandoned” proved to be a one-off Trek gig for both character and performer. Sayre suspects that was down to a disconnect between the concept of the character and how she portrayed Mardah. STAR TREK MAGAZINE
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Jake Sisko (Cirroc Lofton)
A particular highlight was getting her bumpy Bajoran nose job. “My nose appliance was awesome. I was just happy that I looked good with that nose!” Sayre grins. “I would be in the make-up chair, sitting next to Quark (Armin Shimerman), and I never saw his real face. He was always in make-up when I came in, and was still being worked on when I left. Putting on my Bajoran nose only took an hourand-a-half, no big deal, but Armin told me he might come in literally to say one line, and he would be in make-up for six hours to do it! He said, ‘I have no complaints, I feel lucky to be on this show.’” And Mardah’s fate? The Bajoran temptress quietly left DS9 off-camera, having enrolled at the science academy on Regulus III.
“I THINK I WAS ONE OF CIRROC LOFTON’S FIRST KISSES!” “Filming the actual episode was interesting, because Avery wanted everything very exact. He was a perfectionist, in the best sense. Rumor on the set was that Avery wanted me to come off as less human and more alien,” Sayre reflects. “When I played it that way, I came off a bit more sophisticated, and maybe a little remote. People on the set were saying to me, ‘We can see you more with Commander Sisko than Jake.’ I think I came off as too fast for the kid, this worldly Dabo girl seducing a teenage boy! I think that’s why I didn’t come back; I was too sophisticated for this cute young boy. In real life, I think I was one of Cirroc Lofton’s first kisses!” Regardless of missing out on an opportunity to become a recurring character, Sayre has no regrets about taking a role in the legendary franchise, and she had a ball playing Mardah. “I think it’s more fun to play a sci-fi character than a dull human character,” she laughs. “Playing an alien, you can enjoy the universe it’s set in. As with any role, you have your intention and point of view, but it’s so much fun to put on that costume and disappear into fantasy. Deep Space Nine was one of the most fun roles that I ever had.”
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LEGENDARY JOURNEYS Sayre, it seems, was destined to work in the entertainment industry. Her father was a Hollywood executive, and as a child the Warner Bros. studio lot was pretty much her backyard. “It was amazing. I would literally wander onto sets,” reveals Sayre. “When I was four or five, my Dad had me signed to be an extra on The Waltons. I loved it – until I found out they were using me as a boy! “My babysitter was an actress, and Sharon Stone was a friend of my stepmother’s, so I was always around actresses. When I found out that my babysitter could cry on cue, I told my father that I wanted to act. I was very determined, so every day after regular school I would take the bus to acting class.” Eventually Sayre travelled to England, to study at the British American Drama Academy (BADA) in Oxford. There she was taught by Alan Rickman, the late actor best known for playing Professor Snape in the Harry Potter movies. Having acted alongside such big screen legends as Paul Sorvino, Seth Green, Kathleen Turner, and James
Mardah (Sayre) makes eyes at Jake (Cirroc Lofton), in "The Abandoned"
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SHORT HOPS There's more to Mardah than Dabo
Mardah (Sayre) distracts Quark's customers
Garner, Sayre played a part in launching a legendary She was the opposite of Mardah the Dabo Girl, who was journey on TV. Cast as Ania in the TV movie Hercules and more… worldly. How often do you get to play such a sweet The Amazon Women, the series that followed would go on character? I also had a good kiss on screen with Iolaus! to be one of the biggest syndicated shows of all time. Everyone was upset when she disappeared so quickly.” “It was the first pilot for Hercules: The Legendary When Hercules was commissioned as a series, Ania Journeys, but they didn’t intend it as a pilot, it was just was nowhere to be seen, but the role led to Sayre being a movie of the week,” recalls Sayre. “I remember being cast in another sword-and-sorcery show, as a villainess in the production office with Kevin Sorbo (who played in the short-lived Conan the Barbarian TV series. Sayre Hercules), this nice, quiet, sweet guy who had no idea he played “a bad guy in a loincloth,” in the episode was on the verge of being a huge star.” ‘The Labyrinth.’ Sayre starred as Ania, the fiancée of Hercules’ friend, “I had never done that before. I mean, how many Iolaus, played by Michael Hurst. times do you get to run around in a loincloth?” she laughs. “Ania can’t cook, and Hercules compares her “We shot that in Mexico. I was a total bad-ass in that, unfavorably to the Hydra,” explains the actress. “Hercules kicking butt in a loincloth! I even kidnapped Conan’s doesn’t like me, because he’s protective of Iolaus. sidekick, Otli (actor Danny Woodburn, who played Mickey “My Hercules featured myself, Anthony Quinn, Lucy Abbott on sitcom Seinfeld.) Lawless, and Roma Downey before she starred in Touched “The highlight for me was when I took on Ralph by an Angel,” Sayre continues. “Roma was the Queen of Moeller, who played Conan,” adds Sayre. “He was the Amazons, and we hung out all week and went shopping enormous! As I beat up Conan the Barbarian, I kept when we didn’t have to work. I remember meeting Lucy thinking to myself ‘I started out as this serious actress!’ Lawless, because I was originally cast as the Amazon she But getting pulled into all this genre stuff is a good played, and when they hired Lucy they made me Iolaus’ problem to have.” fiancée, Ania, instead. Lucy is like an Amazon already, tall, Sayre then swung with the ape man on Tarzan: The dynamic, and she was perfect for Xena. Because I guested Epic Adventures. “That was a lot of fun. We shot it in on Hercules, I wound up doing ADR (Automatic Dialogue South Africa, in an actual jungle – I had to pee in the Replacement) on all the Xena: Warrior Princess episodes. I jungle because there were no bathrooms! I now love did a lot of fighting, kicking, and grunting sounds for all of peeing outdoors,” she jokes. the female guest stars on that.” “I was Jane’s best friend on that. I show up and immediately find The Missing Link, that’s how good ANIA OF CLEAVAGE I am! Then I fall for the bad guy instead of Tarzan (Joe “After Mardah and Hercules, I got a reputation for Lara). It was a huge part, and my plane almost crashed cleavage,” Sayre laughs. “Cleavage was very big in ‘90s in Namibia on my way to do the show, so it was television! It’s the science fiction genre, and because I was very exciting!” a Dabo girl my cleavage was very important on Deep Space Sayre is rightfully proud of her career, and to have Nine. I wasn’t shy about it – that’s the sort of costume that been a Dabo girl on Star Trek: Deep Space Nine. “I’ll never gives you a fanbase – but when I get fan mail for those forget it,” she happily admits, “They took pictures of me shows, I always wonder, ‘Are they writing to me because of on the set, and they said, ‘For the rest of your life, you will my talent or, my talents?’ be signing pictures from this show,’ and that’s pretty much “I had a blast with the costumes, and the cleavage! I been true. But I still wonder, ‘Do they want this because of loved Ania, because she was fun, feisty, and very innocent. my acting, or...?’” STAR TREK MAGAZINE
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tricorder
BOOKS - COMICS COMICS -- COLLECTABLES COLLECTIBLES
INTERVIEW
THEY’VE GOT THIS COVERED
Cover art – It’s the first thing that catches your eye; and product managers, art directors, editors, and artists spend many hours coming up with a single image that they hope will take your breath away. Whatever the assignment, whatever the item, covers can potentially make or break a sale. So what inspires the talented artists behind the striking images that grace the covers of our Star Trek novels, comics, and model kits? Let’s find out...
Words: Timothy J. Tuohy
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STAR TREK COVER ART
BOOKS: DOUG DREXLER Doug Drexler is as close to a living legend in the Star Trek universe as one can get (see page 64 for our exclusive interview – Ed), and has been professionally involved with Star Trek since The Next Generation. Star Trek Magazine asked him about his work methods for creating covers for Pocket Books line of Star Trek titles. STM: How do you approach a new cover assignment? Do you read a synopsis of the story? DD: I usually get a copy of a “beat sheet” that summarizes the novel. Sometimes I’ll contact the author to get their thoughts about a pivotal plot point that might make a good cover. STM: What is your process? DD: I start by gathering the CG (Computer Generated) elements that I think I’ll need. At that point, I start moving stuff around, looking for that magical arrangement that entertains the eye. I will often use astronomical art by my dear friend, Ali Ries. She makes the most incredible nebula art – stuff from the Hubble Telescope is too identifiable. She gives the artwork that added crackle. When I was growing up, movie posters were usually incredibly electrifying paintings that were larger than life. They distilled in a single, mind-blowing image all the excitement that one motion picture could possibly contain. Artist Frank McCarthy was one of the all-time greats, and his work is seared into my brain. When I get the occasional cover assignment from Pocket Books, and loads of action is called for, I always think of McCarthy.
STM: What are your favored tools/techniques to complete your covers? DD: I use Lightwave to build the covers. Once I have the basic image, I’ll take it into After Effects or Photoshop to finish it off. STM: What is your favorite type of cover – static, action, or narrative? DD: I try to put as much action into a cover as I can. The challenge is to catch the eye on a crowded bookshelf. I’ll often reduce the cover to the size of a postage stamp, and blur it to see if it will hold up under the worst conditions – not unlike what we used to do when designing graphics for the television shows. Ultimately, if it is eye-catching and hits a great moment from the story, I’m happy.
THE RIES NEBULA
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rtist Ali Ries, Drexler’s partner in cover creation, reveals how the duo began working together: “Doug was on the Internet looking for nebulae,” she explains. “He was looking for something different, and came across a bunch of really unique nebulae, thinking they were real. It was pointed out to him that they were computer-generated images and not NASA pictures, and Doug decided he had to have them. Somehow they found me! “I spent the next few months working via email with Doug, creating nebulae images,” continues Ries. “He knew what he liked, and what he wanted for the covers, but gave me plenty of latitude for my own creativity.” Ries is also a proud Star Trek fan. “I was 12 when it first came on in 1966,” she says, “from that moment I was hooked. I had always been a Sci-Fi fan, but Star Trek gave me something to dream about. I read the books, went to the second ever convention in NYC back in 1972, and many more after that. I always wanted to be able to do space art along the lines of my heroes Keith Birdsong and Michael David Ward, but adding Star Trek ships to them is a dream come true.”
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TRICORDER
COMICS: TONY SHASTEEN Tony Shasteen, now widely known for his work on IDW’s Kelvin Universe Star Trek comics, has been creating comic art since 1995, when he worked on Top Cow’s Universe Witchblade title. Busy working in the comic industry for over 20 years, Shasteen has also been commissioned to create artwork for the likes of Coca-Cola, NASCAR, and Hasbro, among others. STM: Do you read completed scripts before starting on cover designs? TS: Each cover is different. With the Star Trek covers, writer Mike Johnson always throws me an idea. Usually I don’t know much about the story, because the cover is needed for solicitations so far in advance and the script hasn’t been written at that point. If I have a synopsis, I can piece together a concept or two. I hate doing generic covers with groupings of characters, so my goal is to push the cover a bit more towards the conceptual side. It makes it more interesting if I can try to tell a story with a single image, and not just show pretty pictures of actors. STM: Where do you start? TS: I’ll read the synopsis a few times, and then sit with it for as long as I have the time. That
usually isn’t much. I’ll have it in the back of my mind as I’m working on interior pages, thinking about it at the grocery store, or waking up with ideas at three in the morning. That part of my brain doesn’t shut off. Sometimes the ideas are flowing, sometimes they aren’t. I’ll knock out as many thumbnails as possible. These are just tiny ideas, not much larger than a postage stamp. They’re rough and illegible to most, but the information is there for me. I narrow it down to what I feel is the best, and do a full size rough. Once the concept is approved, I’ll gather reference and start refining my drawing, digitally. Reference is just another tool in the illustrator’s toolbox. It’s nothing to be ashamed of. Once I get a pencil layer that I’m happy with, I print out a copy of it on Bristol board and ink it.
I use a variety of old brushes and tech pens. I’m not particular about my tools – whatever gets the job done. When the inks are done, I scan them and bring them back into Photoshop for the colors. STM: So you use a mixture of traditional and digital tools? TS: Basic comic book bag of tricks: Pen and ink, and Photoshop. I’ve used Photoshop since 1993, so I’m extremely comfortable with it. STM: What do like best about creating covers? TS: I love telling a story or asking a question, and pulling readers in with that one image. If they think, “Hey, what’s going on here?” I’ve done my job. A cover should be intriguing, not just another pretty picture.
“A COVER SHOULD BE INTRIGUING, NOT JUST ANOTHER PRETTY PICTURE.” TONY SHASTEEN
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STAR TREK COVER ART
SHASTEEN STYLE
IDW’s Star Trek artist gives us a stepby-step tutorial on how he created the connecting covers to the final two issues of the Ongoing series...
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“I started with a sketch for the final issue of the ongoing Star Trek series. The sketch had to go to IDW, Paramount, and CBS for approval, since these two issues dealt with the original series crew and Kelvin timeline crew coming together. Two crews and two ships merging into one made this sketch a pretty easy one, and was luckily approved with no changes.”
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”Once the sketch was approved I tightened it up a bit, and printed it out to ink traditionally. I don’t always ink traditionally, but I like to do it for my covers. Some super-tight geometric areas, like the burst in the background, are drawn digitally and printed with a thin black outline. It just helps speed up the process and keeps those areas cleaner.“
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“After the inks were approved, I moved on to a gray tone stage. This is where my process differs from most colorists. My brain works better if I can work out the values first and then lay tints of color over it. It’s similar to doing a tight pencil rendering and laying in washes of water color and acrylic paint, like I did in the olden days. Then I add textures and page wide tints, to pull the piece together and give it a uniform look.”
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“Keeping my tones on one layer and my colors on another lets me experiment with the colors, until I land on something I’m happy with. These range from the more celestial to the realistic. The three below are the versions I submitted to my editor. The more realistic version was finally chosen.”
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PACKAGING: JAMIE HOOD As Senior Designer at Polar Lights and Brand Manager at Lindberg, Jamie Hood has not only played an integral part in the resurgence of Star Trek model kits, he can also take credit for many of the images that grace the packaging on these newly released kits. An artist in his own right, Hood’s cover work goes through a combination of traditional and digital techniques. STM: What is the key thought process behind designing a cover? JH: I am a huge proponent of an image telling a story. In most of my work I am using a single starship, seemingly floating in space. The fun comes in finding a way to transform so few elements into something that engages the viewer, and draws us into the image. A lot of times I’ll use the main image on the back of the package to imitate a key scene from one of the films or TV episodes, further driving home the storytelling aspect of the work. STM: How do you approach a new assignment? JH: I generally try to find the best angle on a given ship, weighing that it is instantly recognizable
while also filling the space well. I keep in mind iconic images that are already embedded in the viewers’ minds, and play with whether to try to emulate them or come up with an angle that hasn’t been seen before. STM: How do you achieve that? JH: I will grab a test shot build of the model and spin it around in my hand, bringing it forward and backwards to see if parallax distortion affects the sense of drama, or hinders the silhouette. Then I try and sketch that on a post-it note. I keep in mind the proportions of my frame of reference, knowing how logos will be placed etc., then I’ll send that sketch to Jim Small, who builds our display models. He takes photos and shows those
to me via instant messenger. I will approve the lighting and angles until we get exactly what we need. Once he sends me the final photos, I’ll take them into Photoshop, polish them up, and put them on a star field background, then add logos and tweak everything until it is all just right. STM: What are the main tools of your job? JH: In most cases I use photos, and play with them in Photoshop until they are polished into a very illustrative look, then combine them with the style guide star field. I do get to work in paint on occasion, and it is a special joy when I get to do that. I love doing art and making things. I prefer to do it by hand, but these darn computers make is so much easier to fix mistakes!
“THE FUN COMES IN FINDING A WAY TO TRANSFORM SO FEW ELEMENTS INTO SOMETHING THAT ENGAGES THE VIEWER” JAMIE HOOD
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STAR TREK COVER ART
FROM BRAIN TO BOX
To create the box art for Polar Lights’ original 1:350 scale Star Trek U.S.S. Enterprise model kit, Jamie Hood enlisted highly regarded artist Alex Ross to create the cover image. When the kit was reissued for Star Trek’s 50th anniversary, Hood was able to revisit Alex Ross’s painting for a new box design. Here’s how the process worked across the two releases:
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“Alex did sketches of his idea of the box art, and we agreed on one of them.”
”He did the finished pencils and we approved it, as did CBS.”
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”When we got the finished art, I played around with it in Photoshop to enlarge the ship, and adjusted the color of the characters to push them into the background.”
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“As I worked on the new box for the reissue, I found that with the yellow, gold, and orange tones in the 50th anniversary logo, I could make Alex’s original color scheme work.”
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”I also replaced his painting of the ship with the CG digital render we had given Alex for reference. This was done as a point of departure from the first release. I used the gold-edged delta shield to encapsulate Alex’s illustration, and the blue star field provided a nice counterbalance to the warm tones in the art and logos.”
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REVIEWS
STAR TREK CATS By Jenny Parks • Chronicle Books
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n space, no one can hear you meow. Or cough up fur balls. But they may be able to hear you purring away as you enjoy the book you never knew you needed until a review copy beamed onto your lap. Jenny Parks’ “Star Trek Cats” is, it has to be said, quite an odd idea (especially if you’re a dog lover), but somehow it works. From the early spread that casts different breeds of feline as Kirk and his crew – the cat playing Scotty is, quite honestly, the star of the show – to each exquisitely illustrated (if somewhat surreal) recreation of episodes from the original Star Trek series, you’ll find yourself wanting to see them actually realized on screen, complete with cat cast! Personal highlights include Scotty playing with some loose wires in a Jefferies tube, Scotty enjoying a bottle of finest Scotch Milk, and Scotty fighting a Klingon on the K-7 space station. He’s so cute! (Yes – I’m a cat person. Having said that, I wouldn’t say no to a Next Generation sequel starring dogs!) Christopher Cooper
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STAR TREK: PREY BOOK ONE: “HELL’S HEART” By John Jackson Miller • Simon & Schuster / Pocket Books
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e last saw the infamous Klingon Commander Kruge plummeting to his death, thanks to a swift kick from Kirk at the end of Star Trek III: The Search for Spock, but the legacy of Christopher Lloyd’s ruthless character lives on. “Prey” is a new trilogy of novels from the folks over at Simon & Schuster, chronicling the antics of the devious House of Kruge which threaten the Klingon-Federation alliance well into the 24th Century. John Jackson Miller’s first installment in the trilogy, “Hell’s Heart,” follows Korgh, the would-be heir of Kruge, whose desire for vengeance against the Federation seems to know no bounds. Korgh embroils Picard and the crew of the Enterprise-E in his deadly machinations, threatening the ever-fragile peace that exists between the Klingon Empire and the Federation.
Jackson Miller is never one to shy away from stories which span epic proportions, and “Hell’s Heart” is certainly no exception. The trilogy’s first volume encompasses 400 pages of intrigue, espionage, revenge, and betrayal, and more than its fair share of unexpected twists to keep even the most tuned-in Trekkie guessing. Like many of the novel offerings released to celebrate Star Trek’s 50th anniversary, “Hell’s Heart” spans multiple eras, with acts set on Kirk’s Enterprise-A and Picard’s Enterprise-E. Much of the genius behind this opus is how the author seamlessly links both eras with threads which promise to change your understanding of the Warrior Empire and its rich cultural history. An excellent read! Adam Walker
STAR TREK: PREY BOOK TWO: “THE JACKAL’S TRICK” By John Jackson Miller • Simon & Schuster / Pocket Books
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ontinuing with the three-part Prey series, John Jackson Miller’s second volume, “The Jackal’s Trick,” extends in scope to include an even wider swathe of the Star Trek universe, tying in characters from both the Voyager and Titan novel series. The hunt is on for the dangerous group of Klingon radicals known as the Unsung, who continue to terrorize the innocent. Captain Picard and the crew of the Enterprise join forces with Captain Riker of the Titan, along with some other familiar faces, to stabilize the rapidly disintegrating peace between the Klingon Empire and the Federation. “The Jackal’s Trick” paints a beautiful canvas across both Alpha and Beta quadrants, with the author taking us to a variety of vividly descriptive worlds that jump off the page in their realism. The peace conference planet of
H’atoria is a particular highlight, just as grand in concept as the Genesis planet which claimed the life of Commander Kruge, the progenitor of the villains in this 50th anniversary series. With much of the novel’s attention focused on fleshing out the villains of the piece, I found myself investing much interest and anticipation into the backstory of these new characters. With the extended page-count of a novel trilogy, Jackson Miller has been afforded the luxury of being able to introduce far more believable, three-dimensional characters, which really makes a difference when the galactic stakes are as high as they are in “The Jackal’s Trick.” If you can avoid giving the cover art much of a second glance (as it may tip off the more astute reader to a rather large plot twist), book two is every bit as good as the Prey series opener. Adam Walker
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TRICORDER
STAR TREK: NEW VISIONS #15 “THE TRAVELER” By John Byrne • IDW Comics
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mysterious stranger who travels through the universe in a spaceship that seems bigger on the inside than the outside? And he’s at war with a race of mechanical beings with domed heads and deadly appendages? Oh, and he dresses really weirdly too! Who is he? Literally, “Who?” The eponymous Traveler from John Byrne’s latest Star Trek: New Visions installment seems disconcertingly familiar, perhaps inspired by a certain Time Lord from another legendary, long-running sci-fi TV series? Byrne plays with our expectations here, leading us to trust in the character through subtle-ish association with the BBC’s Doctor Who, but it’s unlikely readers will be taken in as easily (and as uncharacteristically) as the Enterprise crew are here. And your sensors will see the story’s resolution coming a mile off. “Disconcertingly familiar” is the modus operandi of Byrne’s photomontage Star Treks, which take an unorthodox approach to comic book storytelling. A mash-up of screen-grabs, computer-generated images, and unusually composed panels create something that looks kind-of like Star Trek but doesn’t really feel like it, evidenced never more so than in the clunky, dense dialogue that sits as uneasily with the characters as their cut-and-paste, photoshopped heads often do. Disconcertingly, however, there is fun to be had with each New Vision, even if your eyes might need testing afterwards. Christopher Cooper
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O R T E R VIEW RE
DIE-CAST U.S.S. ENTERPRISE Dinky Toys, 1976
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his was a toy I’d coveted so much that, to keep me going until I’d saved enough pocket money to afford the real thing, I created my own version. Constructed from some cardboard toilet roll tubes, and a flat, circular carton that had originally contained segments of spreadable cheese, it wasn’t entirely adequate. Or accurate. Thankfully, Christmas rolled around not long after my creation fell apart, and I became the captain of my very own metal and plastic U.S.S. Enterprise. Dinky Toys, who crafted this amazing recreation of the iconic starship, were great.
The firm was famous for its die-cast metal cars, buses, and trucks, but young sci-fi fans like myself delighted in their cool toys based on vehicles from Gerry Anderson’s actionpacked puppet shows. Dinky’s Star Trek range also included a Klingon Battle Cruiser, fitted with the same projectile-launching system as the Enterprise, with which it was designed to do battle. Rotating the bridge section on the NCC-1701 would send tough yellow plastic discs hurtling towards said Klingons, or any unsuspecting pets careless enough to get in the way. It was carnage.
The last of those discs went astray decades ago, but somehow I’ve managed to hang on to the little orange shuttlecraft that nestled inside the Enterprise’s belly, accessed via a pair of metal doors that also served as a stable base on which to display the pride of Starfleet. The plastic of the primary hull is now a yellowy shade of off-white, the paint has picked up a few dings, and the engine nacelles droop in a way that only things over 40-years old can. But dammit, Spock, she’s my ship, and I’ll never give her up. Christopher Cooper
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WHERE EVERYBODY KNOWS YOUR NET WORTH
Share your Trek tales, photo memories, art, and creativity with fans far and wide. Email startrekmagazine@ titanemail.com, and we’ll find a corner of Quark’s Bar to showcase them.
VEGAS VOWS Dear Quark, In 2006, my husband and I celebrated our 26th wedding anniversary, and renewed our vows on the bridge of the Enterprise at the Las Vegas Hilton. My husband arranged the whole thing as a surprise. He just told me he wanted me to wear my blue uniform. Several friends were there and they knew all about it. It was such a wonderful celebration. I never want to know what it cost, but I’m sure we are still paying for it. Jay and Lori Straley
Jay and Lori Straley renew their wedding vows aboard the Enterprise-D
KIRK VERSUS EL CHUPACABRA Dear Quark, I wrote this sonnet about Kirk messing with women on other planets, and the anger that might cause for those already in love with them. Also, the possibility of something existing in a far away place that may look like another of my favorite subjects: El Chupacabras! Juan M. Perez, Texas exxas Juan M. Perez, with his wife iam and grandson, meeting Will Shatner in 2014
If you could eveer cro cross ss two t breeds A plain Mugato with a Gorn You would wind up with the creature That now serves as the Captain’s thorn For in this private little war In an arena far beyond Where Kirk with cause has stirred again Between a specie and its bond Don’t invest in other’s women A lesson Kirk has yet to learn So now it’s fight for what is right Passion will fuel what’s left to burn Where writers write a human win El chupacabra waits revenge By Juan n. Perez
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MAKING SENSE OF THE FUTURE IN…
With
Larry Nemecek Confused about canon? Struck by a continuity conundrum? Then our resident Trexpert, Larry Nemecek, is here to help. Contact us at: startrekmagazine@titanemail.com, or via larrynemecek.com com, or @larrynemecek on Twitter.
cast’s adventures in cinemas. By the time it was decided to fold the Next Generation’s movie tent with Nemesis, the perception in Hollywood was that neither Trek spin-off, nor the prequel Enterprise, was popular enough to support a movie, and Trek’s 18-year run on TV also ended soon after. The good news is that Ira and his team are producing a Deep Space Nine documentary, with many of the cast and crew involved. The doc will include a reunion of the writer’s room, hashing out ideas for a fictional “eighth season” for the show. It may not be a movie, but it’s as close as we’re going to get.
DELPHIC DILEMA Do you think it’s possible that the Dyson Sphere from the Next Generation episode, “Relics,” was constructed by the trans-dimensional beings of the Delphic Expanse we met in Star Trek: Enterprise? Lenny Ernquist, Via email Was a Deep Space Nine movie ever on the Dabo table...?
QUARK: THE MOVIE Was there ever a script put forward for a bigscreen version of Star Trek: Deep Space Nine? Tony Gamble, Norwich, UK Incredible as it may seem, given the series’ popularity, a DS9 movie was never on the cards. That’s not to say that showrunner Ira Stephen Behr and his writers never came up with a list
of movie ideas, just that no-one ever took them any further. During the 1990s, the Next Generation cast was seen as the marquee brand and the batonbearers for Trek on the big screen. However, despite the success and broad audience bases of DS9 and Voyager, Star Trek was not deemed a big enough property to sustain more than one
If you’re a player of Star Trek Online, you’ll know that the “fish monk” Solanae aliens (seen in TNG’s “Schisms”) are said to be Dyson Sphere builders, and have a historical relationship with the Delta Quadrant’s Sphere-Builders (transdimensional beings from Enterprise episode, “Harbinger”). But let’s start by looking at the differences in on-screen canon. What we do know is that all 78-plus spheres built by the Guardians were 19km in diameter, and were all destroyed in a chain-reaction in 2164 (dissipating the Delphic Expanse they had STAR TREK MAGAZINE
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"The Forsaken"
HAIR PLAY In Deep Space Nine episode “The Forsaken,” Lwaxana Troi and Odo are trapped in a turbolift. Lwaxana asks if Odo’s hair is real, and Odo replies that he modeled his hairstyle on that of the scientist who found him, Dr. Mora. Later on in the series when Odo’s people, “The Founders,” are discovered, their hairstyle is the same as Odo’s. Did the writing staff ever discuss this? Michael Raper, Grover, Colo. That all Founders were apparently taking their styling cues from a discredited Bajoran scientist was, indeed, very much on the minds of DS9’s writers. The script description of the Founders, first revealed in “The Search, Part 1,” very clearly states: “Their faces have the same ‘unfinished’ look that Odo’s does.” As to whether the look of his brethren followed Odo’s by design or by oversight, we need look no further than a comment made by writer Ronald D. Moore in 1997. “The Founders… did this initially as a compliment, and way of reaching out to their longlost Changeling,” he wrote in his pioneering AOL Q&A column, “Later they kept doing it as a dig, and a reminder to him of his own limitations.”
That's no moon, thats the Jenolan Dyson Sphere
The Builder's sphere network
generated in the process). The Dyson Sphere of Scotty’s crash-landed Jenolan was 200 million km across, and found intact over 200 years later. Of course, the large Dyson might not have been part of the Builders’ sphere network, or perhaps was built far earlier than the Expanse spheres (which were dated at around 1,000 years old), but that’s a long time to sit idle. Also, the Expanse was in fairly “local space,” between the Federation and Klingon homeworlds, whereas the Jenolan sphere was discovered much further out. Given those contrasts, I’m going to have to say no to your theory. Everything about the huge, complex, constructed interior environment of the Jenolan Sphere fits Class-M planet norms, whereas the Sphere-Builders found the very
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fabric of normal space uninhabitable. They built their Expanse spheres specifically to reconfigure space to their liking, ahead of a planned invasion. Could the Sphere-Builders have undertaken such a project before they were altered into trans-dimensionality? I’m with Captain Janeway: The idea gives me a headache.
DATACORE LARRY NEMECEK Coming from a background in news and theatre, Larry Nemecek now creates his TREKLAND blog and videos, alongside archives at larrynemecek.com, sporting his longtime career as 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.
"Harbinger"
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A FISTFUL OF DATA and look at the differencesS
CANON FODDER Putting Continuity in the Firing Line
A FIX OVER THE FRANKLIN D
ifferences between the Prime and Kelvin timelines have been known to cause confusion, especially in areas where events are referenced that predate the Narada Incident of Star Trek (2009). Reader Douglas Payne, of Sneeds Perry, NC, contacted Canon Fodder with the following such question: “Where did Star Trek Beyond’s U.S.S. Franklin NX-326 come from?” Douglas goes on to outline numerous canon clashes, including the Franklin’s warp 4 engines, the U.S.S. in her name, her high registry number for the period, and that the crew’s uniforms feature the Starfleet delta insignia. I’m sure we can iron this one out... Let’s start with Douglas’ first point – those warp 4 engines. Beyond film editor Dylan Highsmith confirmed that the intention was to place the ship at a point in time between the NX-Delta’s warp 3 flight in 2145, and the Enterprise NX01’s warp 5 breakthrough in 2150-51. Now, just because we hadn’t heard about the Franklin or her warp 4 breakthrough engine before Beyond, that doesn’t mean it didn’t happen. The treks of Star Trek were hardly all pre-ordained by Gene Roddenberry in 1964. The breadth of its universe, especially since
The Next Generation expanded it so vastly, means that there are many gaps to fill, where new stories can and should be told. That’s the way it has to be, or there’s a risk of stifling the creativity of writers, who need elbow room within the canon to surprise and delight us. We are creating and filling in a fictional future here, incarnation by incarnation – and by “we,” I mean those creators paid to do that job. We’ll see that in action soon enough, with new tales from the Discovery mythos that will no doubt cast a new light on existing canon. So, we’re just finding out about Edison and the Franklin, and that’s okay. But what about the details? How can a ship that predates the Enterprise NX-01 by a few years have a much higher registry number? One answer might be the outbreak of the Earth-Romulan war. Despite having the advanced NX-01 and her sister ships in the fleet, Earth will have needed many more vessels – quickly and desperately – for its unexpected war effort. Let’s suppose that Earth Starfleet pressed many older ships into service, upgrading their weaponry (the Franklin has phase-cannons, for example, which were retrofitted even to the Enterprise NX-01), and expanding the NX prefix to be a fleet-wide identification protocol.
Amid hundreds of quickie upgrades, the cargocentric Franklin could have been issued with a new wartime registry (NX-326 replacing some previous designation), which would explain the huge leap in numbering for a ship that was in service half a decade before the NX-01. With the formation of the United Federation of Planets, and amid the flux of merging and unifying all the founding worlds’ fleets, I suggest that the Franklin and ships like her simply retained their NX number, while new ships were issued with NCC numbering. So what about the Franklin using the familiar delta/arrowhead patch we know so well? For years, our understanding was that the delta belonged to Captain April’s Enterprise, until we saw the Kelvin’s Prime-timeline crew already using the emblem. As a retcon fix, writer-producer Roberto Orci endorsed my suggestion that by 2245 in the Prime timeline, the U.S.S. Kelvin was not only still intact but a ship of some distinction, so much so that April chose its insignia patch for his new command, the NCC-1701! However, since the first Kelvin-timeline movie was made, it was revealed that original series producer Bob Justman had originally intended for the arrowhead patch to be fleetwide – and that different emblems for the Constellation and Exeter crews were production errors. We could therefore presume that the delta emblem could easily have evolved from NASA’s elongated delta of today, and had always been the logo of Starfleet – except for a brief flirtation with other designs in the 2260s. From there we can retcon the 1701’s celebrated return home, intact after five years, as a return to that insignia shape in honor of the Enterprise.
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CAPTIONS W LOGGED Archive images, lost and found…
ith Quark among the friendly aliens in the spotlight this issue, here’s a candid look at the Ferengi barkeep (better known as his human alter ego, Armin Shimerman), in an especially circumspect moment. Taken on Wednesday August 3, 1994, Shimerman can be seen talking over the script for “The House of Quark,” with director Les Landau. And it’s no wonder he looks so serious – of the scenes going before the cameras that day, Quark is set to kill a Klingon (albeit a big, drunk one...)
YOU’RE THE ONE WEARING RED--YOU GO FIRST!
Is there a problem with Quark’s new cocktail menu, or is this an unexpected visit from the Interstellar Revenue Service? You tell us! Send your Trek caption to startrekmagazine@titanemail.com, and we’ll print the best in our next issue.
PREVIOUSLY, IN
CAPTIONS LOGGED... Caption Logged by
GARRY D. HICKMAN BALTIMORE, USA 96
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