star trek main room

Ship Interior

• VisualEditor

The Galaxy Class interior is a faithful recreation of the Enterprise-D

Ship interiors in Star Trek Online provide some added flavour to starships roughly analogous to housing in other MMOs. However, the functionality and customization of interiors is limited and unlikely to be developed to what is typically provided as housing in other games. Console players only have access to the bridge section of interiors, not the lower decks.

• 1.1 Access and navigation
• 3.2 Sick bay
• 3.3 Captain's Cabin
• 4.1 Main Engineering
• 4.2 Engineering Lab
• 4.3 Transporter Room
• 5 Onboard Amenities

Customization [ | ]

In major hubs such as Earth Space Dock the same NPC that customizes the ship's exterior can customize the interior as well as the size of the interiors themselves. The player is free to choose any interior that's available for their ships, so long as it belongs to their factions, including special interiors unlocked from certain ships.

Within certain maps there are some limited customization options to place or hang trophies or Gold-Pressed Latinum .

Access and navigation [ | ]

You can access your currently selected ship interior by selecting the down arrow to the bottom right of the minimap and clicking "Visit Starship Bridge".

From the bridge the player is allowed to do the following;

• Bridge Invitations: The player is allowed to invite other players to visit the ship. The player must know the name@handle format to use this option. Bridge invites are not available on Console.
• Leave the Ship Interior: Returns the player from where they initiated the Visit Starship Bridge option.

When the ship interior consists of areas beyond the bridge, access is given via the turbolift network.

Bridge [ | ]

An example of a ready room

The Bridge is typically Deck 1 on a starship. It is the focus of the ship's operations and is typically centered on the captain 's chair.

Beside the bridge there is often a ready room. The captain's Ready Room is where the captain of a starship waits until he is needed while on-shift, but not needed on the bridge. It contains a desk for the captain to get work done on, a couch upon which the captain may rest, a few trophies of past deeds or mementos to starships gone by - generally speaking, it is the captain's business office.

The computer on the captain's desk allows the player to access diplomatic and military assignments . In the absence of a ready room, this computer will be located elsewhere in the interior.

Crew Deck [ | ]

The Crew Deck is an abstraction for any number of decks upon which the crew of a starship might reside. This Crew Deck contains three main areas: the Lounge, Captain's Cabin, and Sickbay.

Not all custom interiors have a dedicated crew deck.

Lounge [ | ]

The ship's lounge.

A gathering place for the crew in off-hours, the Lounge may at times be used for some official functions, such as weddings performed by the captain, yet is also frequented by more civilian duty officers, such as counselors, chefs, and bartenders. Certain interiors will have unique variations of the Lounge, such as Ten Forward on a Galaxy class interior, or Mess Hall on an Intrepid interior.

Trophies wall - the Lounge has a considerably larger trophy wall available compared than the Captain's Ready Room, with space for four wall trophies and a floor trophy. To add or change a trophy, click the Setup Trophies button which appears near the central ground pedestal.

Counselor - offers three variations of the “Schedule Counseling Session” therapy assignment for the medical and development CXP.

Bartender - offers a ship drink menu (vendor), and a duty officer assignments:

• “Pour a Drink”
• “Special Reserve”
• Extreme Bartending (chain)

Chef - offers a ship food menu (vendor), and a duty officer assignments:

• Culinary Credentials (chain)

Cooking chain assignments are available by the chef, plus bartending chain assignments by the bartender.

Sick bay [ | ]

A row of biobeds along the rear wall, with more biobeds available in the rear

The sick bay of a starship is where medical personnel care for sick or injured members of the crew, and is also where medical assignments can be undertaken. It includes chief medical officer's office, and a surgical/intensive care area with around a dozen biobeds.

Doctor - provides the following duty officer assignments:

• “Assemble Hypo Pack” , which rewards a Hypo Pack .
• “Assemble Medical Regenerator” , which rewards a regenerator , needed to treat an Injury status.
• Assignments available from the Medical tab of the duty officer menu.

Captain's Cabin [ | ]

The rear of the Captain's bedroom, with ensuite repicator.

The Captain's Cabin are the quarters which the captain calls their own.

Engineering [ | ]

Main Engineering

The Engineering sections of a starship are vital for a starship's operation; they contain the Main Engineering bay, an Engineering Lab and a Transporter Room.

Not all custom interiors have a dedicated engineering deck.

Main Engineering [ | ]

The throbbing heart of any starship, it is within Main Engineering that the starship's Warp Core (or Singularity Core on Romulan starships) is installed, providing primary power generation for all of a starship's functions.

The Chief Engineering officer gives access to engineering assignments, some of which can reward components, Mk XII consoles or turret prototypes. Colonial and some trade assignments are available by the Operations officer, and this also goes for assignments of the Colonial chain.

Engineering Lab [ | ]

The view from the lab's rear.

The Engineering Lab — formerly known as the Science Lab — is focused on many pursuits of knowledge in general, science included, and offers many unique assignments. This includes things like tribble breeding, adapting Strange Alien Artifacts for various purposes, and using large quantities of data sample types for purposes other than crafting.

Transporter Room [ | ]

A transporter room

A ship's Transporter Room is where crewmembers, including the captain, are converted to energy and re-materialized to another location, be it a starbase or the surface of a planet or another ship. Occasionally, crewmembers will walk onto the transporter pad and beam themselves elsewhere, and sometimes crewmembers will likewise materialize on the pad from parts unknown. The player who owns the ship will also find an NPC in this area that will let them switch to a shuttle .

Onboard Amenities [ | ]

In addition to the standard Account Bank access and Duty Officer Assignments, some ship bridges will include features typically found on starbases or other hubs, such as the Tuffli Class Freighter , Suliban Cell Ship and Ferengi D'Kora Marauder . Other players invited onto the bridge of said ships can also make use of these services.

Said features include-but-are-not-limited-to:

• A Trader NPC (similar to the one at Deep Space Nine ) who offers Trade Assignments .
• A Quartermaster who sells commodities at Specialized Commodities Broker rates.
• Bank , Exchange , Mail , and Crafting terminals.

Layouts [ | ]

• 2 Playable starship
• 3 List of canon starships

Star Trek: 10 Secrets Of The Next Generation Main Bridge

Read for directions to the bathroom on the bridge of the USS Enterprise.

Star Trek: The Next Generation has been off the air for almost 30 years, yet its iconography remains some of the most recognizable in the Star Trek franchise. The sleek USS Enterprise-D, the bold Starfleet uniforms , and, yes, even the main bridge are indelibly etched into many of our minds as a very specific vision of the future – a comfortable, brightly lit, carpet covered utopia.

Designed by Star Trek: The Next Generation production designer Herman Zimmerman and veteran illustrator Andrew Probert, the main bridge of the Enterprise-D retained the simple and efficient layout of Star Trek: The Original Series' Enterprise bridge, but with a sleek 24th-century slash 1980s makeover. The old "jelly bean" manual controls were replaced with advanced touch screen graphics, the plain "cardboard" walls adorned with high-tech details and built-in lighting, and those old deck plates covered up with the finest gray and taupe airport carpeting Hollywood and the Federation had to offer (seriously there was a lot of carpet in this show).

The Enterprise-D's bridge may be as recognizable as your own family living room, but behind the deceptively simple layout and plush Federation furnishings lie a few untold stories. Step into the turbo-lift and head up to deck one, here are ten secrets of the Star Trek: The Next Generation main bridge that you need to know.

10. Hilton In Space

To convey Star Trek: The Next Generation's place in the future of the future, nearly a century after the events of Star Trek: The Original Series, creator Gene Roddenberry requested the bridge of the Enterprise-D be as streamlined and comfortable as possible. The show's season one writer's bible (developed before the sets were designed or constructed) described the bridge as a control AND conference center:

The features of ship control, briefing room, information retrieval area and officers wardroom. In other words, much the same kinds of things happen here as in the old bridge, but with less emphassis on the mechanics of steering the starship.

With that directive, early sketches of the main bridge were developed by starship designer Andrew Probert and featured couches, a conference table and chairs, even a balcony looking out on a massive viewscreen. According to Probert in an interview with Forgotten Trek:

The couches were my idea, to provide more of a face-to-face conference environment for the main characters. The table idea (generated by the producers) I hated, because it wouldn’t be logical to furnish a table where everyone would gather to discuss their situations.

Ultimately, the hotel lobby-esque designs were abandoned in favor of a more straightforward reinterpretation of TOS' bridge configuration, though retaining the plush elements (comfy, laid back seats, soft uppoulstery on the walls, and all that carpeting) to indicate that the Enterprise-D was as much a living city in space as it was an exploratory, quasi-military vessel.

I played Shipyard Bar Patron (Uncredited) in Star Trek (2009).

Galleries - Enterprise-D Interiors

Drawings Photos

Starfleet Bridge Illustrations

Original Enterprise Interiors - incl. refit and Enterprise-A

Other Starfleet Ship Interiors

Re-Used Starship Interiors - Enterprise refit interiors, other starship interiors

Commercially Available Chairs in Star Trek - off-the-shelf office chairs, lounge chairs or car seats on screen

Thanks to A Call to Duty , Tadeo D'Oria and Angie's List for some pictures. Special thanks to BobyE .

https://www.ex-astris-scientia.org/gallery/interiors2.htm

Last modified: 24 Feb 2024

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Star trek: the original series main engineering section.

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The Ultimate Interior Room list

• Thread starter generalBLT13
• Start date May 15, 2014

generalBLT13

Scary grrrrr.

Ever wanted to build a ship with an interior that will have passengers exploring for hours on end? But you ran out of ideas after only building the core room! well assured i have the solution for your conundrum, i present the Ultimate Interior Room List, with everything i could think of as well as ideas from individuals who love interiors as much as me! DETENTION DECK -jail cells -interrogation/torture rooms -officer quarters -isolation rooms -control area MEDICAL ROOMS -surgery rooms -containment rooms -main medical room -Cryostatsis tubes -officer quarters -waiting room -general clinic -critical care -DNA/cloning room -psychiatric ward -long-term care ward -physical therapy facilities -X-ray/CAT scanner/other diagnostic graphing tools -blood/samples testing MILITARY -armory -training deck -firing range -officer quarters SCIENCE ROOMS -containment rooms -science labs -testing rooms -officer quarters ENGINEERING -shield generator -engines -power generators -power capacitors -main engineering -officer quarters -sewage -life support STORAGE BAYS -cargo bay -external access cargo bay -plex storage bay HANGAR -main hangar -vehicle bay -construction bay -repair bay -drone bay -officer quarters -civilian docking -refueling depot CIVILIAN -crew quarters[bathrooms included] -Mess Hall [could include restrooms male/female/tentacle] -lounge [ten forward] -Holodeck -guest quarters[bathrooms included] -VIP quarters -Embassy COMMAND DECK -bridge -Astrometrics/Navigation room -captain's ready room -conference room/Diplomacy room -hangar control -fleet control -command rooms (security grid control etc.) OTHERS -captain's quarters -transporter room -party room -escape pods -observation deck -spare rooms -Mobius chair docking -Computer core (logic)/Central server room -drop pod bay --Exercise room/gym SECURITY -Armory on every deck -security checkpoints -security HQ WEAPONS -weapons (this one is really up to you) -missile/ammo storage -weapon calibration room... for those people who can't afford computers to do it for them. PASSAGE WAYS -main hall -main elevator -elevators -halls -maintenance hulls -maintenance tubes -turret access tubes RANDOM -basketball court -Roller coaster -Hot tubs -bar -Ferris wheel -Merry-go-round -Civilian docking and promenade -Olympic size swimming arena -shops -mall -garden -Bowling alley -Trophy room -F1 track -Aborium -stripper pole... -pool table -auction house -throne room -zen garden -Large Hadron Collider -parade ground MOST IMPORTANT ROOM EVER!!! (yes, it is more important than the strip club...trust me) -cheese locker -wine cellar Special thanks to the following for their input for the list. :D -EricBlank -FlyingDebris -therimmer96 -Valan -Deadlis -Thadius Faran -Mauriux -Keptick -Nauvran -Nebulon-B_Frigate_FTW -_TheRealAmeRicA -Dalmont -Forge_Meiser  

therimmer96

The cake network staff senior button unpusher.

These look good, heres a few more that I have seen from Deadlis enterprise Party Deck, where the girls are Transporter rooms Main hall, the room that nearly every corridor and turbolift leads to, and looks awesome Obligitory basketball court And from vengeances list of planned rooms Rollercoaster Hot tubs Olympic size swimming arena and various others Ferris wheel Merry-go-round Civillian docking and promenade Olympic size swimming arena  

Deadlis told me to add Bowling alley Trophy room F1 track Aborium  

Engineering - water/waste, oxygen generation, carbon scrubbers, hydroponics = life support Recreation - shops, garden  

Valan said: Engineering - water/waste, oxygen generation, carbon scrubbers, hydroponics = life support Recreation - shops, garden Click to expand...

therimmer96 said: Why have life support when you can have ferris wheel? Click to expand...

Arana'Aethi

Valan said: Without gravity a ferris wheel is pointless it is just a floating astronaut masher Click to expand...

Ithirahad said: Floating astronaut mashers are a good thing to have, sometimes... :p Click to expand...

Le Chateau Autiste

How could you people forget THE SINGLE MOST IMPORTANT THING ON A STARSHIP?!?! Even more important than the ships core!... You uncultured swines forgot a stripper pole!  

Reilly Reese

#1 top forum poster & raiben jackpot winner.

Do not forget Security Control Room and an Armory on every deck. Also ODST Drop Pod Bay. Also you need bathrooms and Drone Control Rooms  

Thadius Faran said: Also ODST Drop Pod Bay. Click to expand...

but drop pods are cool anyway lol  

Missile/ammo storage?  

Convicted Lancake Abuser

Mariux said: Missile/ammo storage? Click to expand...

Lecic said: If you have a ship that has auxiliary disintegrator missiles on it, you could have this room have literal missiles in it, with a plex door leading outside for docking to the outside of the ship. Click to expand...

Building masochist

Central server room. Basically the logic room but made to look awesome instead of just functional. Blinking lights, blinking lights everywhere.  

Creeper__God

so who is going to go build a ship with everysingle room on this list? (do you think 800x200x100 is enough room?)  

Creeper__God said: so who is going to go build a ship with everysingle room on this list? (do you think 800x200x100 is enough room?) Click to expand...

whiterhino16

Don't forget the bathroom! Thats important. Also, if it wouldn't cause lag I would say to be able to jettison parts with docking things. But that will rea rea rea rea rea rea rea rea rea rea rea rea rea rea ERROR: It was really laggy EDIT: Turns out somebody already mentioned bathrooms...  

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One might expect a starship of the future to experience a number of upgrades and overhauls during its operational lifetime. In the fictional future of the original Star Trek television series, the USS Enterprise NCC-1701 would be no exception. As a creation for a 20th-century television production, however, the Enterprise 's features and appearance was governed primarily by dramatic and budgetary necessities rather than by technological advances. Perhaps no interior space within the Enterprise demonstrates this more clearly than the ship's engine room.

The engine room of the USS Enterprise NCC-1701 was where Lieutenant Commander Montgomery Scott minded his bairns and saved the ship from destruction countless times during the ship's historic five-year mission. Amazingly the engine room was seen in only 26 of the 79 episodes of the original Star Trek television series. During that time the engine room saw a number of changes, some minor, some not so minor. This article will document all observable changes in the engine room from Star Trek 's USS Enterprise .

Episode #5: "The Enemy Within"

In its first appearance, the Enterprise engine room was depicted as a large, almost cavernous facility. In addition to the room's high ceiling, clever camera angles, large foreground set props, and forced-perspective background elements added to the apparent scale of the room.

As seen in "The Enemy Within," the engine room had a grated window in the far wall, behind which was a set of tubes and conduits of various sizes and orientations. For the purposes of discussion, this article will refer to the area beyond the grated window as the pipe chamber. Assuming this grated window wall was oriented toward the back of the Enterprise , to forward and port of the grated window wall stood two large, seemingly identical contraptions that this article will refer to as transformers. The transformers were arranged fore-to-aft, and they were oriented in the same direction, with giant blue tubes facing inward, and plain, flat surfaces facing outward. The starboard side of the room featured a row of what appeared to be instrumentation.

Because the engine room scene in "The Enemy Within" required good Kirk, evil Kirk, and Spock to remain obscured from view at various points in the scene, the episode's set builders constructed a wall of screened panels for this episode. Among the screened panels is a "circuitry junction," constructed so that evil Kirk would damage it with his phaser. This circuitry junction never again appeared in the Enterprise 's engine room. Perhaps Scotty decided to relocate the apparently crucial hardware to a more protected area, such as behind a solid wall!

Somewhat off-topic, Thomas Sasser of Thomas Models pointed out to this author that the damaged circuitry junction set piece reappeared in at least two episodes: as the damaged machinery housing in "The Devil in the Dark," and within the USS Constellation engine room in " The Doomsday Machine ."

Thomas Sasser of Thomas Models has observed that the transformers seem to be of slightly different sizes. In the image above, it appears that the transformer farther from the camera is slightly smaller, and has differently sized pipes near the base of the unit. In other shots, particularly focusing on the back sides of the transformers, the transformers seem to be the same size. This would seem to suggest that the transformers were intended to appear to be of identical size and shape, as they are depicted in the soundstage diagram published in The Making of Star Trek .

Approximate plan of engine room set as seen in "The Enemy Within." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

To provide a sense of perspective to the diagram above, here's a run-down of the action from the engine room scene in "The Enemy Within."

Episode #7: "The Naked Time"

The engine room became the province of "Captain" Kevin Thomas Riley in "The Naked Time." The engine room not only gained a live musician -- it also gained a console, a chair, and what appears to be a contradiction.

In wide shots of the engine room, the two transformers can be seen to have been shifted about one foot to the right. In the wide shot from "The Enemy Within," the transformers slightly obscured the grated window; here, they do not. A new cylindrical item, which will be called a "fire hydrant" for ease of reference, has been added to the grated window wall, below and to the left of the window. The upper row of the two rows of horizontal pipes in the pipe chamber have been decorated with black text.

Kevin Riley commandeers the Enterprise from within the engine room, seated at a console newly added beneath the "circuitry panel wall display." The console resides in a corner of the room, and it seems likely that the wall perpendicular to the wall with the circuitry panel wall display was added for this episode. This is because, if extended for more than a few feet, this wall would seem to occupy roughly the same location as the screen wall from "The Enemy Within."

"The Naked Time" is also the first time that the audience sees the entrance to the engine room. It is possible that the entrance was constructed for "The Enemy Within," but this seems unlikely, as it was never featured in the episode, and the expense of the engine room elements seen in "The Enemy Within" already seems high, given the large size and complexity of the set.

When one observes how much space there seems to be for the new console and Riley's chair, and how little space there was between transformer #1 and the circuity panel wall display in "The Enemy Within," it seems likely that transformer #1 was moved throughout the filming of "The Naked Time." In wide shots, transformer #1 was positioned in line with transformer #2, similar to the configuration in "The Enemy Within," and in closer shots of Riley seated at the new console, transformer #1 was probably moved out of the way.

Approximate plan of engine room set as seen in "The Naked Time." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode. Note that transformer #1 and the new console, chair, and wall segment seem to occupy the same space.

It should be noted that in this episode, Spock is seen to walk to the entrance to the engine room, and the surroundings during his walk suggest that the engine room's entrance lies along a curved corridor, and that the engine room lies immediately outboard of the corridor. This author has doubts that the entrance as seen from outside the room is the entrance as seen from within the engine room set. In later episodes, the engine room has a foyer between the main area and the curved corridor, and the dimensions of the main engine room area do not appear to have been changed. The only ways that both the pre-foyer and post-foyer versions of the engine room set could be adjacent to a curved corridor would be if the entire curved corridor were later moved in order to accommodate the foyer, or if the entire engine room were moved were later moved in order to accommodate the foyer. The curved corridor was adjacent to a variety of other sets, so moving it would have been impractical. The engine room would have been more easily moved in order to accommodate the foyer, but it also seems impractical to move. The grated window wall is enormous -- seemingly twenty feet or more in height. Because of this, it is likely that the wall and the ceiling of the set were both anchored to the rafters of the soundstage. Moving these structures in order to accommodate a tiny foyer would seem to be cost-prohibitve. It is more likely that the engine room set's entrance in early episodes was not adjacent to a curved corridor, and that scenes showing the entrance from outside the room actually made use of an alternate doorway.

Episode #13: "The Conscience of the King"

In this episode, Riley seems to have made his accommodations in the engine room more comfortable. Where there was once a wall, there is now sufficient space for a table to hold a tray of food. Three chairs have been added along the instrumentation panels.

The engine room seems to have undergone three additional changes:

• The fire hydrant from "The Naked Time" has disappeared.
• The pipe chamber now contains a third row of horizontal pipes. The uppermost row of pipes remain labeled as they were in "The Naked Time," the other rows remain unlabeled. Thomas Sasser of Thomas Models has stated a belief that the pipe chamber always had three rows of horizontal pipes. Observation of the pipe chamber in various episodes can neither validate nor invalidate this belief; however, it seems that the pipe chamber set piece was positioned at a lower elevation in earlier episodes. If three rows of horizontal pipes did exist in earlier episodes, then the bottom-most row of horizontal pipes would have been obscured by the wall below the grated window.
• A more subtle change is that transformer #1 has been rotated ninety degrees. The camera never reveals whether transformer #2 is present in the engine room during the events of this episode.

Approximate plan of engine room set as seen in "The Conscience of the King." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

Episode #15: "Court-Martial"

In "Court-Martial," the transformers return to their normal orientation, although they are again shifted to the right. The transformers are also positioned closer together. These movements were done presumably to allow room for the console that was added in "The Naked Time." The three chairs from "The Conscience of the King" have vanished, and there also seems to be no sign of the table or Riley's food tray.

Interestingly records officer Finney's technical know-how seems to know no bounds. In addition to tapping out the ship's primary energy circuits, he can also remotely operate the ship's transporter. When Kirk enters the engine room, a corner near the entrance is empty, but when Kirk and Finney fight shortly afterward, a small table appears with a wrench lying on top of it. Finney uses this wrench to threaten the good captain.

Approximate plan of engine room set as seen in "Court-Martial." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

Episode #21: "Tomorrow Is Yesterday"

In "Tomorrow Is Yesterday," the two transformers are nowhere to be found, and the console that resided beneath the circuity panel wall display is now in the middle of the room.

Approximate plan of engine room set as seen in "Tomorrow Is Yesterday." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

Episode #24: "Space Seed"

In "Space Seed," the center instrumentation panel now houses seven removable "billy clubs."

The console that normally resides beneath the circuitry panel wall display has moved back to that position. Two indicator lights have also appeared on the wall to the right of the console. The lower, green light appears to indicate normal status, while the upper, amber light flashes to indicate an overload in progress.

The two-paneled, angled wall just inside and to the right of the main entrance appears to be wider than in previous appearances. A wall detail visible in "The Naked Time" has vanished. There is also now a prominent, rectangular "support column" at the corner of the angled wall and the wall containing the circuitry panel wall display. This column may have been present in previous stories like "The Naked Time," but it appears to be more prominent in this episode.

Due of the increased width of the angled wall, it seems unlikely that both transformers would fit in the length of the room between the circuitry panel wall display and the wall with the grated window. Except for some insert shots of Khan, the transformers appear to be absent during much of the fight between Kirk and Khan. In the insert shots, only a single transformer is seen. This suggests that there is only one transformer, located farther away from the instrumentation panels than in previous episodes.

Approximate plan of engine room set as seen in "Space Seed." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

Episode #35: "The Doomsday Machine"

Technically the Enterprise 's engine room wasn't featured in this episode. The engine room set was, however, redressed to serve as the engine room of the Enterprise 's sister ship, the USS Constellation .

"The Doomsday Machine" was not the first time that the engine room set was redressed to represent locations other than the Enterprise 's engine room.

• In "Charlie X," parts of the engine room set were used to represent a gymnasium aboard the Enterprise .
• In "Balance of Terror," parts of the engine room set were used to represent the forward phaser control room aboard the Enterprise .
• In "The Menagerie," the engine room set was redressed to represent a computer facility on Starbase 11.

For this episode, the engine room set underwent its first major "persistent" upgrade. It is probably no coincidence that the change occurred while the set represented a room other than the Enterprise 's engine room. As described in the Wikipedia , "in film, a redress is the redecoration of an existing movie set, so that it can double for another set. This saves the trouble and expense of constructing a second set." Some of the money saved by redressing the existing engine room set for the Constellation 's engine room rather than building a new set from scratch would seem to have been used to upgrade the set for subsequent use as the Enterprise 's engine room.

Major Upgrade #1: Redesigned "Instrumentation Panels" Wall

Prior to this episode, the Enterprise engine room's "instrumentation panels" wall was a continuous bank of hand controls and data displays. This bank of consoles was comprised of three adjacent units.

Also prior to this episode, the area above the wall was basically a fancy-looking flat. The best glimpses of the old version of the wall above the data displays are in "The Naked Time" and in "The Menagerie," when the set was redressed to represent a Starbase 11 computer facility.

Beginning in this episode, the "instrumentation panels" wall has lost one of its three adjacent units. The former position of Unit #2 is now occupied by a steep staircase with handrails. The data displays that once belonged to Unit #2 now belong to Unit#3, and the data displays that once belonged to Unit #3 are no longer present in the set. The remaining data displays have been redecorated, and a new plant-on detail has been added to each data display. The hand controls of the remaining instrumentation panel units have either been heavily altered or entirely replaced. New "greeblies" have been added below the hand controls.

(Note: Many of these images have been contrast-enhanced, since the set was minimally lit in this episode.)

Note that the stairway seems to be narrower than the instrumentation panel unit that it replaced. This might imply that the engine room has been compressed in length. Since the grilled wall was very tall and was likely anchored to the soundstage ceiling, if the engine room's length was in fact compressed, the opposing wall area -- including the entrance to the engine room -- was probably moved.

The area above the instrumentation panels' data displays has also changed radically. The somewhat bland former wall details have been replaced by an inset walkway with handrails that join with the handrails of the new staircase. A "booth" now exists at the end near the grilled wall. The booth has twin rectangular windows that overlook the bulk of the engine room. A single-pocket door provides access to the booth. Subsequent episodes make clear that there is also a single-pocket door along the back wall of the booth, suggesting a never-seen room beyond the booth.

Major Upgrade #2: New Set Prop

The engine room now has a new set prop -- a two-lobed gizmo with a box-shaped center connector. For discussion purposes this prop will be referred to as "floor binoculars."

Each lobe of the floor binoculars has a "clipped-corner triangular" plan outline. A basketball-sized sphere is located at each corner, as well as on the top center of one of the lobes. A coaster-like object is located on the top center of the other lobe. A blue topper is mounted on the top of the center connector.

Major Upgrade #3: New Foyer

A new reddish grill acts as a divider between the main area of the engine room and a new "foyer." The ever-moving console now resides in a more or less permanent position, along one of the walls of the foyer. Although not clearly visible in this episode, the circuitry panel wall display has likely moved to one of the walls of this foyer, because it is seen there in all subsequent episodes.

Other Changes

In addition to the major changes, a variety of minor changes took place, not all of which necessarily persisted from episode to episode.

• Facing the grilled wall, to the left of the grill are a new wall decorations: a "street light" greeblie, two "Doomsday boxes," a "Doomsday grill," and three vertical pipes.
• Standing roughly in a typical location of one of the Transformers is a damaged circuitry junction, recycled from " The Enemy Within ."
• The area opposing the grilled wall has changed significantly. In addition to the new foyer, new greeblies can be seen near the instrumentation panels. In the usual prior location of the circuitry panel wall display is a new wall with an "inset tool cabinet." To the right of the cabinet is an inset control for the cabinet door. The door control is covered by a removable cover plate that has a handle.
• The transformers seem to have vanished once again.

Recycled Footage

Three shots featuring the Constellation engine room is recycled footage that was originally filmed for "Tomorrow Is Yesterday." Following a newly filmed shot of Scotty standing at an instrumentation panel, Kirk orders Scotty to send the damaged Constellation "full ahead." After the acceleration sends Kirk flying around auxiliary control, the first recycled shot occurs, showing Scotty being tossed from the instrumentation panel wall to a console in the middle of the engine room. The second shot follows shortly afterward, with Scotty clinging to the console as the engine room shakes. The third shot shows Scotty clinging to the grill on the grilled wall as the room shakes. All subsequent shots are newly filmed for the episode. Although the "Tomorrow Is Yesterday" Enterprise engine room differs in layout from the Constellation engine room, the context of the new and recycled shots indicates that Scotty is supposed to be in the same room throughout the sequence.

Set Redress - Auxiliary Control Room

Parts of the ehe engine room set serve double-duty in this episode. "Unit #3" of the instrumentation panels appears in the background of the Constellation 's auxiliary control room.

Coming Soon: Approximate plan of engine room set as seen in "The Doomsday Machine." Based on plan in Stephen E. Whitfield's The Making of Star Trek , supplemented by inspection of television episode.

Episode #37: "The Changeling"

Coming soon... er... or later...

Episode #39: "Mirror, Mirror"

Works Cited

• "Redress." Wikipedia, The Free Encyclopedia. 5 Nov 2005, 02:09 UTC. 30 Dec 2005, 02:33 .
• Star Trek . Paramount Pictures Corporation, 1966-1969.
• Whitfield, Stephen E. The Making of Star Trek . New York, NY: Ballantine Books, 1968.

Acknowledgments

The author wishes to thank Thomas Sasser of Thomas Models for his February 28, 2005 comments about this article, and for his observations of the Enterprise engine room.

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In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets.

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• Trivia In the hallways of the Enterprise there are tubes marked "GNDN." These initials stand for "goes nowhere does nothing."
• Goofs The deck locations for Kirk's Quarters, Sickbay and Transporter Room vary (usually between decks 4-7) throughout the series.

Dr. McCoy : "He's dead, Jim."

• Crazy credits On some episodes, the closing credits show a still that is actually from the Star Trek blooper reel. It is a close-up of stunt man Bill Blackburn who played an android in Return to Tomorrow (1968) , removing his latex make up. In the reel, He is shown taking it off, while an off-screen voice says "You wanted show business, you got it!"
• Alternate versions In 2006, CBS went back to the archives and created HD prints of every episode of the show. In addition to the new video transfer, they re-did all of the model shots and some matte paintings using CGI effects, and re-recorded the original theme song to clean it up. These "Enhanced" versions of the episodes aired on syndication and have been released on DVD and Blu-Ray.
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Designing The Motion Picture’s Recreation Deck

The recreation deck of Star Trek: The Motion Picture grew out of Director Robert Wise’s desire to show the scale of the new Enterprise .

“When I came on the show, I saw a number of the old episodes,” he told Cinefantastique in late 1979, “and I was struck with the fact that they were always talking about having a crew of 460 or something, but all you ever saw were the main characters and a few extras walking around the back. They didn’t have any scope.”

So I felt it was very important that there be one place in the picture where we would have a big rec room and see a good part of the 400 people in one group, so we illustrate the size of the Enterprise and that it’s manned by all these people.

The question for the design team was where on the ship this reaction deck could be.

Illustrator Andrew Probert’s suggestion was to put it below the officers’ lounge. He submitted a concept art that showed how Spock’s arrival could be dramatized by observing his shuttle through the enormous windows of such a new facility.

Today such a scene would be shot on a blue-screen stage. At the time, Production Designer Harold Michelson’s problem was that he couldn’t possibly get glass in the required size to build that set.

He proposed to put the recreation deck in the back of the saucer section, next to the impulse engines. There were already windows on the model there, and Michelson felt he could build the right set for it.

Probert saw a problem, though: the saucer curves downward at the edges. He submitted a concept art for a terraced recreation room that would both maintain visual continuity and make the scene more interesting.

But Michelson rejected this as too complicated. Probert remembered him saying: “No one goes to a movie with a slide rule in his hand.”

Michelson defended his decision in an interview with Starlog in January 1980, arguing that there was a danger in being too logical about designing sets.

“We were bamboozled by technical advisors, people from NASA and other scientists,” he said. Michelson felt they were apt to lose sight of the drama in their insistence on accuracy.

And there was always a time element — no way we could do everything anybody might want us to do.

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5 Star-Trek-inspired home theaters that even Picard would be jealous of

Any orthodox Trekkie will tell you building a shrine means one thing: a badass home theater. We’ve assembled five of our favorite Star-Trek-themed home theaters. From DIY projects to state-of-the-art home installations, Star Trek home theaters boast some pretty impressive features. We’re not alone after all.

The USS Bell

• Star Trek: Picard’s pilot is available free on YouTube and Pluto TV

Within one ultra-exclusive gated Florida community exists a 35,000-square-foot mansion that feels a little like your very own private resort. The owner is Marc Bell, a producer and former owner of FriendFinder Networks (parent company to Penthouse), who happens to be a verifiable Trekkie. His home theater, named USS Bell, features a movie theater, full bar, and a Ready Room. This is just one of the standouts of Bell’s “complex” that also has a Call of Duty  gaming room, nine-car garage, and its own personal arcade.

The Bridge: DIY Star Trek home theater

This Philadelphia-area home takes the Star Trek home theater idea to a new level. Not only does this look and feel like the Starship Enterprise, it’s a completely DIY project of homeowner Gary Reighn, who spent two years designing and building this 19-by-14-foot theater. The entire project cost around $15,000. Not bad for a space ship, right?

The Evergreen Ultimate Home Theater

Next up is one of the most expensive Trekkie home theaters out there. This one seats nine and even has an official name: “The Evergreen Ultimate Home Theater.” That word u ltimate seems appropriate, but we wouldn’t go so far to say that this one aspires to replicate the specs of the Starship Enterprise. It does, however, provide plenty of A/V brawn, including a horde of monitors along the perimeter and ultra-plush chairs. They’ve even outfitted this home theater with concert-type lighting and motorized entryway doors.

Mike Schroeder’s videophile Star Trek shrine

Mike Schroeder didn’t skimp on the tech when he built his 20-by-50-foot home theater. The Star Trek home theater includes a $130,000 projector from Digital Projection and soundproof wall panels borrowed from airplanes (thus the Starship vibe). The bottom line here is this: It’s better than almost anything else out there, including most professional theaters. Schroeder also hung the ceiling on two-inch springs to completely soundproof the room and provide a killer interstellar ceiling design. We say, turn it up.

Trekking out an entire apartment

It took 10 years for Tony Alleyne to build the Trekkie apartment of his dreams. When the former DJ lost his job, he became an interior designer and used his own apartment as an example of just how far a little elbow grease can take you. He transformed this Leicestershire, UK apartment from average to Starship Enterprise, but not without conflict. The entire project cost an estimated $150,000. Even worse, when Alleyne divorced his wife (who owned the apartment), she ordered him to take down all the glorious Trekkie designs.

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From the moment the Samsung S95D OLED made its first appearance at CES 2024, I’ve called its anti-glare, anti-reflection technology a game-changer for OLED TVs. But the moment those words left my mouth, concern that this technology might somehow degrade the picture quality started up.

Since then, I’ve seen the S95D in a couple of other settings, but I’ve always said I would reserve my final opinion until I properly review the TV. And I'm prepared to be proven wrong.

It should come as no surprise that when McIntosh releases a new product, there are already tons of far less expensive devices that do more or less the same thing. But it's also the case that when McIntosh releases a new product, it's designed and engineered to the kind of specifications and tolerances that have earned the American hi-fi brand such a loyal following among die-hard audiophiles. Such is the case with the company's latest gadget, the MB25, a $600 Bluetooth transceiver (a transmitter and a receiver in one device) that can connect to a vast array of hi-fi components.

What sets the MB25 apart from the mass of $60 to $100 Bluetooth transceivers on Amazon is its comprehensive set of connections. Whether you're sending audio to the MB25 over Bluetooth, or receiving audio via Bluetooth from the device, you run those connections over analog unbalanced stereo RCA, balanced stereo XLR, or two flavors of digital: optical and coaxial.

Amazon TV deals and Walmart TV deals have a lot to offer right now, but if you really want to ensure you land one of the best TV deals available Best Buy has a lot more to choose from. All of the top TV brands are in play at Best Buy, with Sony TV deals, Samsung TV deals, LG TV deals, and TCL TV deals leading the weekly charge. We’ve rounded up all of the Best Buy deals you need to take a look at if you’re on the hunt for a new TV, and you’ll find all of those details below. There numerous OLED TV deals and QLED TV deals among them, as well as plenty of 65-inch TV deals, 70-inch TV deals, 75-inch TV deals, and 85-inch TV deals to choose from. Insignia 55-inch F30 4K Fire TV -- $220, was $260

A 55-inch 4K TV is a good size to suit most rooms, and the Insignia F30 has almost everything you could hope for in a TV this size. It presents all of your favorite content in breathtaking 4K resolution, and HDR technology provides a wide range of color details and sharper contrast, making movies more immersive and things like sports more impactful. Versatile connectivity ports make it easy to connect home theater peripherals. This TV also offers smart features like Alexa voice control, DTS Studio Sound, and Apple AirPlay. And because the Insignia F30 is a Fire TV, it will give you instant access to over 500,000 streaming movies and TV episodes, and access to thousands of channels and apps.

• June 14, 2024 | Podcast: All Access Shares Its Pain With Laurence Luckinbill From ‘Star Trek V: The Final Frontier’
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Podcast: All Access Shares Its Pain With Laurence Luckinbill From ‘Star Trek V: The Final Frontier’

| June 14, 2024 | By: All Access Star Trek Pod Team 50 comments so far

[Laurence Luckinbill interview starts at 22:07]

Anthony and Laurie are celebrating the 35th anniversary of  Star Trek V: The Final Frontier by chatting with Laurence Luckinbill, who played Spock’s half-brother Sybok. But first, they cover the news: the latest on who may or may not be buying Paramount, the addition of Paul Giamatti to the  Starfleet Academy cast, Alex Kurtzman’s thoughts on the future of the franchise, the upcoming release of  Prodigy  on Netflix, excitement from one of the stars of Section 31 , the Discovery box sets coming our way, Star Trek at the Peabody Awards, and the new podcast coming from  Enterprise ‘s Connor Trinneer and Dominic Keating.

Then they settle in to talk with Laurence Luckinbill about the making of the Star Trek V , his feelings about it now, his interest in bringing Sybok back somehow, and more, plus he reads a section of his new memoir,  Affective Memories .

They wrap up with a closeout sale on Eaglemoss ships from Master Replicas—with a chance to win one!—and a poetry book from the Delta Flyers.

Affective Memories by Laurence Luckinbill [Amazon]

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Rex Holman [Memory Alpha]

Anthony: Everything Must Go In Final Master Replicas Sale Of Eaglemoss Star Trek Ship Models

Laurie: The Delta Flyers poetry book

Let us know what you think of the episode in the comments, and should you be so inclined,  please review us on Apple .

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The role of Sybok (especially as Spock’s never heard-of half-brother) was misconceived, but Luckinbill took what he was given and ran with it. He was absolutely one of the best things about that movie.

He was great in the part and I loved the dynamic between him and Nimoy. There’s a lot to explore here.

The script was not developed properly due to a writers strike at the time

Given that fact, it could have ended up a lot worse without an actor of Luckinbill’s caliber in the role.

‘You are mad!’

‘Am I….we’ll see…’

I get that but wow. We’re searching for God. In our galaxy because we are so conceited that we think God must live in our galaxy instead of the billions of others? And the center of the galaxy where there is a supermassive back hole and no planet? I mean I know this is SciFi but I expect better from Trek than that.

He was very good in the role, but I think everyone here knows that they originally wanted Sean Connery for the part but he couldn’t commit because of the Indiana Jones flick and they ended up naming the planet ShaKaRee in his honor.

Apparently casting Connery was never an option, as he just wasn’t interested in the role. It must be interesting, to have lived a life so blessed by fame and goodwill that people go out of their way to honor you even when you turn them down.

Luckinbill was absolutely superb in the role — one of the most underrated performances in all of Star Trek, if you ask me.

And Star Trek V is hands-down the most underrated Star Trek film. It was the first to introduce the concept of (modern) Vulcans that reject logic. It explores themes such as the nature of revolutions, exile, and religious belief. It gives us actual character development. I also love the set design, particularly the bar with its ship’s wheel centerpiece.

And even if some of the film’s criticisms are justified, many are not. The humor sticks out like a sore thumb? Perhaps, but it’s not even approaching the way it does in LOWER DECKS or SNW. And a lot of that humor is bantering between friends (Kirk-Spock-McCoy, but also Sulu-Chekhov, for instance), which makes the context important — note that they instant they return to duty, they drop the banter (or in the case of McCoy, use it, Hawkeye-Pierce style, as black humor to diffuse a grim situation in the turbolift). (And “too many decks” notwithstanding, that turbolift is more realistic than the fantasy we saw on DISCO.)

Korrd was unrealistic? Hate to say it, but I’ve met my share of local politicos who display exactly the same kind of ennui that Korrd did. They often keep getting elected somehow, even if young reformers — Caitlin Dar! — try to shake things up.

The journey to the center of the galaxy was unrealistic? No more so than the Caretaker or “The Nth Degree” aliens, of which “God” might have even been one.

The Klingons may not have featured the finest actors we’ve ever seen playing Klingons, but I thought the concept of a young, headstrong, almost adolescent captain with a chip on his shoulder learning something was still a worthwhile theme.

Yes, I’d like to see better special effects. But special effects have never been the hallmark of Star Trek. Indeed, all the FX in the world couldn’t rescue the Abramsverse films.

I’m glad you enjoyed the film. I honestly can’t agree with many of your defenses of it, but at the same time have never felt it was entirely without value.

I’ll say this much for the film. The Yosemite scenes with the trio were the best the three ever had in movies or TV.

I still think the best ‘trio’ stuff is them in THE EMPATH (and some choice bits in BREAD AND CIRCUSES), but rate TFF right behind that.

Great interview, Luckinbill brought one of the greatest Trek characters to life. Star Trek V is a great movie for all its flaws. This is great Trek

Fantastic show, as always! I felt absolutely NO pain listening to your fun interview with Mr. Luckinbill.

Loved the interview Laurie.

Luckinbill is so well spoken, and I was genuinely surprised to hear how highly he thought of Shatner as a director (a rare opinion indeed).

I must say, while Prodigy’s imminent return brings me joy, the looming end of Lower Decks causes me great pain.

He had such a good take on Shatner. Acknowledged his ego, appreciates him anyway!

I might be wrong but I think I heard a lot of ST V was not what Shatner wanted and the Studio or *someone* over rided his decisions??/

If you dig up a copy of CAPTAIN’S LOG, which is the making of TREK V, you can get some idea of what happened behind the scenes, from a teamster’s strike to the writer’s strike and the studio’s obsession with matching TVH’s humor quotient, as well as their concern over the whole God business (can you imagine if Barry Diller had still been running things at Paramount? He’s the guy who took one look at THE GOD THING and killed it.) There are various other stories, too, including how Ralph Winter has admitted that the production team let Shatner down in certain ways. I talked with the physical fx supervisor, Mike Wood (not a vfx guy!), and he said that Shatner was having to deal with shortcomings and limitations every day in a way he hadn’t seen on a major movie (and this was a guy who had done POLTERGEIST and INNERSPACE and would later do a killer job on ALWAYS!) If you read CINEFEX 42 (the one with a TREMORS cover), you can get a pretty good idea about what happened with Bran Ferren’s VFX, though the American Cinematographer mag on the film is also a good source of info on this and other aspects of the shoot. Personally, I still have a lot of unanswered questions about the production. Like how and why, after doing what looked like the world’s coolest transporter beam effect in ALTERED STATES, couldn’t Ferren reproduce his work a decade later for TFF? The transporter effects were not done by Ferren at all, but farmed out to VCE, which also did the hand phaser animation (VCE did the TWOK phaser stuff and similar work on TUC as well.) I understand the studio not wanting to throw good money after bad once the writing was on the wall after shooting wrapped. But I really do not understand why they were so hell-bent on releasing the movie into a summer that was probably as competitive as the summer of 1982, one that saw Karate Kid and Bond both tanking and Trek taking a bashing as well. If they’d eaten a bit of interest cost and held it over to winter (which is when the original TREK movies did their best, going by TMP and TVH), it would have had less to deal with at the box office, plus the film could have been tinkered with in the meantime. Maybe they could have gotten a young excellent company in to redo some of the ship and God VFX, like DreamQuest or the Skotak Brothers. Also (and I got this from a serious trek scholar, somebody who knows more about TMP than most of the people who worked on it), there was another writer on that ‘making of TFF’ book who basically got paid off to abandon it, and it was hastily rewritten and credited to Shatner’s daughter. Now I think the book is pretty fair in showing mistakes made on all sides, but it does make me wonder if there was worse stuff that got suppressed. One last point: Shatner’s inexperience in dealing with studio higher-ups hurt the final product. I like to point out that when Nicholas Meyer needed to reshoot an explosion on TWOK (I think it was the part when the bridge gets blitzed during Khan’s first attack), the studio refused to pay (300K?) for it, so Meyer said to take it out of his director’s fee. Chagrined and maybe ashamed, the studio caved and ate the cost of the reshoot. That took balls and savvy on Meyer’s part. Compare that with early 1989, when Shatner needs more money to throw at the VFX, which are being funneled through a narrow pipeline at Ferren’s setup where there is only one optical printer. He asked for more $, didn’t get … and then didn’t throw a tantrum or issue an ultimatum over it. What if he had? Might he have gotten something more out of the studio, like Meyer did? He certainly had more of his own money to spend on it than Meyer did, if he had chosen to do so (and this is true years later as well, when he pestered the studio to spend $ to fix TFF for homevid … he could have spent the money from his chump-change at that point.) Now that I finally got a decent modern TV, I guess I gotta buy TFF on UHD 4K. All this keyboarding has got me fired up to watch it for what, the 65th time (that’s a low estimate, from years of watching laserdisc, dvd and bluray, plus several in-theater viewings.) I really only love three of the trek movies: TMP, TWOK and TFF. All have their failings, but these are the ones I will always dig in spite of …  Read more »

An actor I like listening to despite playing a character I can’t stand. I’ve grown to appreciate STV over the years because of the Kirk-Spock-McCoy aspect and the “I need my pain” bit is so perfectly Kirk that it’s almost a shame that it’s in *this* movie.

Please no more pain. Enough of that in the real world these days.

This pain has poisoned your soul for a long time

To be fair the pain of this world in the last few decades has hurt a lot of ppl. And I am not speaking of Trek per se.

The movie is about overcoming pain, not pretending it doesn’t exist, and not wallowing in it. I daresay Jonathan Haidt would approve.

I personally agree with the overall concept just not the execution.

As flawed as the movie was, it has some of the best Kirk-Spock-McCoy scenes. Especially around the campfire. The movie felt like an episode of TOS and not a big screen movie. But that was okay for me. After several viewings over the years, I have become quite fond of the movie. I didn’t mind the Sybok character, and I didn’t mind that Spock didn’t tell anyone about him. The only REAL issue I had was in the shuttle bay when Kirk screamed at Spock to shoot Sybok. I found that to be out of character for Kirk. But definitely not one of the worst Trek films out there when you have Into Darkness filling that role.

Yes, the Yosemite scenes are great fun. They really “got” the Kirk/Spock/McCoy dynamic. Whenever I rewatch the TOS films they kinda blur together for me (probably because I always watched them in order as a kid) and it still catches me off guard that this film starts so strongly.

Agreed, I saw it when it came out in theaters, and came away a bit let down. Sybok kind of came out of nowhere, and even as a young guy I thought the ‘long lost sibling’ choice to be bad and lazy writing, just like I did with Burnham). However, to me, the film has become a nice swan song for the Kirk/Spock/McCoy trio/friendship arc, the type of which we’ll never see again (no doubt someone will try, though). 🙄. I still watch TFF about once a year, and enjoy it.

(And will never watch STID again). Cheers.

Make that “half sibling.” Sybok was older than Spock, and it’s unclear how long they lived together, if at all.

Also, as I observed with Burnham, Spock just doesn’t talk about his family that much — as far bac as “Journey to Babel,” Kirk didn’t even know that Sarek, a famous diplomat, was Spock’s father, and his closest family weren’t even mentioned at the wedding scene in “Amok Time.” TFF is absolutely consistent with TOS in that regard.

The movie felt like an episode of TOS and not a big screen movie.

In some ways, it did indeed. But with the exception of TMP, it was also the most high-concept of the TOS films.

Delicious Interview!

I absolutely loved Sybok. He was truly mesmorizing. I had the privilege of telling Luckingbill on YouTube years ago how much I loved the character. He was like wouldnt it be great to revisit? I was like Hell yeah! And then Strange New Worlds hasn’t revisited that plot beyond a back head shot! Smh lol.

But SNW gave us musicals, hijinx, and Tawny Awesome. Ain’t life grand?

I’m hoping S3 will revisit that

Me too, bro!

As always, a pain free listening experience. I rewatched STV recently and was surprised how much I enjoyed it, and Sybok really is a standout.

If nothing else, Sybok’s final line always sticks with me, “I couldn’t help but notice your pain… It runs deep, share it with me!!”

Yeah, even the late rapper Tupac put that in the beginning of his song, “Pain.” Loved it!

Terrific interview, y’all! Mr. Luckinbill has always deserved all the kudos he gets for that role; he’s magnificent in the movie (which is a mess but a very fun one).

This interview made my Friday! I’m now convinced Star Trek needs a crossover event featuring Sybok, Michael Burnham, and any other as-yet-unmentioned Spock siblings all getting together for a family reunion.

And we can call it ‘The Sarek Bunch’

I would love to see them all together at least once. Somehow.

Listening to this interview definitely took the emotional pain of watching Star Trek V away.

(this is a joke, I actually don’t hate this movie, so therefore I do indeed need my pain)

No more pain. No more suffering. Sybok should take away all our pain.

Your podcast relieves my paid every week.

STV was an epic movie! The sets, the music, the actors all pretty terrific. VFX were clearly unfinished and Shatner & the producers thought they were temp shots NOT the final product with no time to fix them!

Great interview, his performance has grown on me over the years, what a guy.

V;’s best bits Yosemite, the music, the trio and the god cave,

Oh I almost forgot, the DVD gave us the press conference

And it all led onto the best Star Trek VI

Spock: Sybok. Sybok: This is my doing! This is my arrogance, my vanity… Spock: Sybok, we must find a way… Sybok: No! Save yourselves! Forgive me, brother. Forgive me. I couldn’t help but notice your pain. God: My pain? Sybok: It runs deep. Share it with me.

Exactly. Sybok is very much in the vein of the classic Greek hero. (I kinda regret not taking Nagy’s course as an undergrad and writing a term paper on the subject!)

How about a quote? It has been said that time heals all wounds. I don’t agree. The wounds remain. Time – the mind, protecting its sanity – covers them with some scar tissue and the pain lessens, but it is never gone. Rose Kennedy

I was in great pain watching The Final Frontier during its initial theatrical release. But I’ve enjoyed hearing the behind-the-scenes stories over the years. In a mirror universe, it’d be fun to see the film Shatner intended to make without all the compromises.

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Published Jun 11, 2024

Pitch a Space Tent: Why Every Star Trek Needs Camp

Star Trek would not be the Star Trek we know and love without embracing the camp.

StarTrek.com

James T. Kirk's first official episode captaining the Enterprise told the story of a Salt Vampire who used shapeshifting to seduce and devour men. No, seriously. She even stole the appearance of Dr. McCoy's dead ex-flame to try to lick the salt off Bones' bones. That is how syndicated Star Trek began.

When people talk about Star Trek , they often wax poetically about the episodes that changed them. The kind with drama, gravitas, and moving monologues — the kind of story that sticks with you. But no matter how many unforgettable episodes you've loved in the Star Trek universe, the episodes surrounding those stories can be a tad... outrageous.

"The Man Trap"

Star Trek has always leaned into the inherent absurdity of science, space, and the unknown, from the morally gray choices of wartime to alien-gremlins fornicating and multiplying in your vents. Fans absolutely love to make fun of those gremlin episodes. It's a time-honored Trekdom pastime. And yet, the truth is that for as many essays and think pieces we have about those serious, hard-hitting episodes, they would not hit as hard without the gremlin to balance them out.

Star Trek would not be the Star Trek we know and love without embracing the camp .

"The Naked Now"

Let's take a moment for some context. "Camp" is a cultural term that has been in the queer zeitgeist since the late 1800s. In her 1964 essay " Notes on Camp ," Susan Sontag describes the phenomenon as, "The hallmark of Camp is the spirit of extravagance — being 'playful' and 'anti-serious'." Most simply said, and based more on modern use of the word, Camp means a dedication to " a particular aesthetic or style characterized by being deliberately exaggerated, theatrical, ironic, and often kitschy/over-the-top ." While it began its life in the queer vernacular, it has since been adopted by popular culture throughout the past few decades. As any Star Trek fan will know, Trek fashion alone could qualify for top-tier camp. But Star Trek 's history of camp goes far beyond that.

It doesn't take long to find out that Star Trek has some delectably over-the-top offerings for campy episodes. " Take Me Out to The Holosuite ." " Threshold ." " Magic to Make the Sanest Man Go Mad ." " The Naked Time ." " The Naked Now ." Star Trek loves to put our favorite characters in absurd scenarios where they get to flex the lesser-known nuances of their personality. Sometimes in the worst cases of camp, said characters will look back at the episode they just survived and say "it never happened," a la "The Naked Now." But, of course, Star Trek fans will reference it for decades — even half-a-century. There's no avoiding Star Trek 's camp, not when even Star Trek: The Original Series was chock-full of it.

But campy episodes don't just exist to be a funny anecdote or some space hijinks with our faves.

"Ship in a Bottle"

A notable phenomenon with Star Trek 's campy episodes is that they often precede or succeed those heart-rending, life-changing episodes that Trek fans idolize. For example, " The Chain of Command, Part II " — AKA where Picard gives his famous "there are four lights" line — is immediately followed by an episode where hologram Moriarty (AKA the Sherlock Holmes villain) takes over the ship because he wants to explore space (" Ship in a Bottle "). Yes, seriously. We get our most emotional highs right beside laughable, unbelievable camp. But why does this happen?

This leads us to another pertinent word to understand when discussing Star Trek camp — catharsis. In literature and creative spaces, catharsis is " the use of strong feelings to engage the reader in a type of emotional purification ." This often includes taking viewers on a sort of emotional rollercoaster. Letting them feel the highs of laughter and joy as well as the lows of drama, angst, tragedy, and heartbreak. It's why, in stories, characters often have a night of revelry before a big battle. Before the Battle of Helm's Deep, Aragorn, Gimli, and Legolas had a heartfelt drink. In Mass Effect , Commander Shepard and co. always have their night of camaraderie, peace, and romance before the suicide mission. The highs help the lows feel more powerful, and vice versa.

"Menage a Troi"

And when the drama can be so intense as in Star Trek , you can't reach true catharsis without serious camp.

This balance of camp-and-drama helps watchers feel like they're experiencing the full range of the characters' lives. They get to laugh and goof off with them, but also see them go through the worst of the worst emotional turmoil. For example, Counselor Troi is a serious psychologist who spends many episodes giving deep emotional insight, but then also gets kidnapped because a Ferengi thinks her mom is hot (" Menage a Troi "). Data has some of the most heart-rending episodes about what it means to be human, and then other times puts on a mask and pretends to be a sun god from a long-dead civilization (" Masks "). Proper catharsis makes even the fantastical, far-off characters of a futuristic sci fi adventure feel more relatable. More human. You see yourself in the people on-screen and love them all the more.

"Caves"

This is hardly a phenomenon of older Trek , either. Catharsis is important for Trek across all decades. In Lower Decks , the penultimate episode of Season 4 was the wonderfully goofy " Caves " — a light-hearted story exploring the main foursome's evolving friend dynamic through different classic Star Trek "trapped in a cave" scenarios. Then the episode right after, we're thrust into Mariner's deep-seated fears about dead friends and Starfleet success in " The Inner Fight ."

Similarly, wedged in between Elnor's heart-wrenching abandonment in " Absolute Candor " and Picard's struggles with Borg flashbacks in " The Impossible Box ," we have " Stardust City Rag ." Excluding some devastating moments for Seven of Nine and Raffi, this episode includes gems like Picard, Rios, and Elnor dressing up in ridiculous costumes to try to trick criminals at a nightclub. From Picard's eye patch to Rios' feathered hat and umbrella drink, it's camp all the way.

"The Elysian Kingdom"

Taking this concept even further, there are some episodes that do the seemingly impossible — they perfectly balance both drama and camp to make something better than both. In Strange New Worlds ' " The Elysian Kingdom ," Dr. M'Benga is thrown into the joyous absurdity of his crewmates acting out his daughter's favorite bedtime story. But at its heart, beyond all the princess singing and villainous queens, "The Elysium Kingdom" is a heartbreaking story about grief and letting go.

Given the beloved legacy and impact of these episodes, not only should we love Star Trek 's camp, but hope for more of it. More salamanders, more ghost boyfriends, more weird omniscient space entities throwing temper tantrums. Because the more we encourage Trek writers to explore the absurdity of space, the better its beauty, drama, and heartbreak can be.

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Stephanie Roehler (they/she/he) is a freelancer who loves to write about video games, books, movies, TV shows, comics, and especially Star Trek.

Star Trek: Lower Decks streams exclusively on Paramount+ in the U.S. and is distributed by Paramount Global Content Distribution. In Canada, it airs on Bell Media’s CTV Sci-Fi Channel. The series will also be available to stream on Paramount+ in the UK, Canada, Latin America, Australia, Italy, France, the Caribbean, Germany, Austria, Switzerland, Ireland and South Korea.

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

Star Trek: Strange New Worlds streams exclusively on Paramount+ in the U.S., U.K., Australia, Latin America, Brazil, South Korea, France, Italy, Germany, Switzerland and Austria. In addition, the series airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave in Canada and on SkyShowtime in the Nordics, the Netherlands, Spain, Portugal and Central and Eastern Europe. Star Trek: Strange New Worlds is distributed by Paramount Global Content Distribution.

Recreation room

Recreation room 6, on deck 3

A recreation room on deck 5

The recreation room , often abbreviated to rec room , and also known as a crew or crewman's lounge , was an area of a starship where crewmembers could go to enjoy games and other activities when off duty . They typically contained food synthesizers .

Constitution -class starships, such as the USS Enterprise , had several recreation rooms. Recreation rooms 3 and 6 were located on deck three. Another recreation room 3 was located on deck five. ( TOS : " Charlie X ", " Let That Be Your Last Battlefield ")

In 2266 , a bored Kevin Riley called the rec room in search of someone to talk to. ( TOS : " The Conscience of the King ")

A recreation room on deck five was also the place where Captain Kirk came to eat a chicken sandwich and drink coffee , in 2268 , only to discover tribbles had also gotten into the food delivery machinery. ( TOS : " The Trouble with Tribbles ", DS9 : " Trials and Tribble-ations ")

In 2268 , Pavel Chekov and two security guards attempted to arrest Kirk and Spock near recreation room E. ( TOS : " And the Children Shall Lead ")

A holographic projection of a rec room on a Constitution class ship

At least one type of recreation room was capable of generating a holographic simulation of environments . By 2270 , the Enterprise was outfitted with such a room in area 39 of the ship. This rec room was capable of creating pre-programmed illusions using holographic scenes , simulated weather including wind and temperature , and sounds played from audio tapes . The scenes it created included an 18th century European hedge maze , forests , blizzards , and a beach with seagulls . Even though the scenery extended beyond the room, one would still be able to walk up to and touch the walls during a simulation. ( TAS : " The Practical Joker ")

The location of crew lounges in the Enterprise-B

In the late 23rd century , the Excelsior -class starships had two crew lounges. There was a crew lounge in the bow of the primary hull and there was a crew lounge in the aft of the secondary hull . In 2293 , the location of these crew lounges were labeled in the USS Enterprise -B master systems display on the ship's bridge . ( Star Trek Generations )

• 1.1 See also
• 1.2 Appearances
• 1.3 Background information

Appendices [ ]

See also [ ].

• Briefing lounge
• Recreation deck

Appearances [ ]

• " The Naked Time "
• " Charlie X "
• " The Conscience of the King "
• " Court Martial "
• " The Alternative Factor "
• " The Trouble with Tribbles "
• " By Any Other Name "
• " Day of the Dove "
• " Let That Be Your Last Battlefield "
• " The Mark of Gideon "
• " The Way to Eden "
• TAS : " The Practical Joker "
• DS9 : " Trials and Tribble-ations "
• VST : " Holograms All the Way Down "

Background information [ ]

The holodeck-like technology seen in TAS : " The Practical Joker " was presumably considered distinct from later holodecks , as VOY : " Flashback " established that holodecks did not exist during this era.

In Star Trek: The Original Series , the recreation room was a redress of the briefing room set, built on Stage 9 at Desilu 's main Gower Street studio lot. ( These Are the Voyages: TOS Season One , p. 110)

In TOS : " Charlie X ", there is an off-screen area where some laughing crewmembers stand, their silhouettes cast on a nearby wall that is shown in the episode. The episode's final draft script made it clear that the off-screen area was recreation room 6.

In the final draft script of ENT : " In a Mirror, Darkly, Part II ", a scene description stipulated that the "rec deck" aboard the USS Defiant was to be "a redress of the briefing room ."

• 1 Daniels (Crewman)
• 3 Jamaharon

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Why Alice Eve's Carol Marcus Didn't Return in Star Trek Beyond

Here's why a key new character from Star Trek Into Darkness didn't return for the sequel.

Compared to its predecessor, 2013's  Star Trek Into Darkness , 2016's  Star Trek Beyond  (now available on the SYFY app ) is a somewhat stripped down affair. It's a straightforward planetary mission for the Enterprise crew, following their adventures as they find themselves stranded on a hostile world, facing down an unlikely and very dangerous enemy. That means the path is clear for all kinds of adventure, but it also means that some of the expansions to the franchise from  Into Darkness  were left behind. 

One such addition was the character of Carol Marcus, played in  Star Trek Into Darkness  by Alice Eve . A major character in Captain Kirk's original history, Marcus is a scientist who, in the modern timeline, sneaks aboard the Enterprise and joins the mission in  Into Darkness . Because the character is a big player in the lore of the original cast –– she has a love affair with Kirk that produces a son who's a big deal in  Star Trek II: The Wrath of Khan  ––  many fans viewed Marcus' arrival as a key piece of the growing  Star Trek  movie puzzle that emerged from the revived timeline. Then Star Trek Beyond  came out and Marcus just... didn't show up. 

For More on Star Trek : Dean Devlin Explains How  Star Trek  Inspired His Series  The Ark The 12 Most Disturbing Moments in Star Trek  Movies 9 Classic  Star Trek  Episodes You Should Check Out

Where Was Alice Eve's Carol Marcus in  Star Trek Beyond?

For the stripped down version of adventure in  Beyond , directed by Justin Lin and co-written by cast member Simon Pegg , the more expansive view of  Into Darkness  was largely left behind. The focus was kept tightly on the original crew as they tried to work together to battle a new threat and find their way back home. In an interview on the official  Star Trek  podcast (via Collider ) back in 2016, Pegg explained why that focus meant leaving Marcus behind, rather than leaving her to be a tiny part of the new movie.

“With this it felt like we would under-serve her if we included her, she might end up feeling like she hadn’t been given the amount of screen-time she deserves, so rather than bring her in and just have her be a supporting role, like, have her not be in this one, and when the time comes [bring her back]," Pegg explained. "The worst thing to do would be to have her in the film and have that character be killed, and that felt like a cynical thing to do. We thought rather than have Carol Marcus not be used to a reasonable capacity, let’s just not include her, have her be alive, in canon, and ready to come back at any time.”

The decision to keep Carol Marcus in the deep background for  Beyond  feels like a good one, at least in the context of that one movie. The issue now, of course, is that it's been more than a decade since she appeared on the big screen, we have no idea where the series will go next, and sometimes it feels like a fourth film might never arrive at all.

Still, for now we have  Star Trek Beyond  and its fast-paced space adventure to watch whenever we want.

Star Trek Beyond is now streaming on the SYFY app and the SYFY Movies hub .

• Star Trek Into Darkness

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Star Trek: Voyager Followed A Gene Roddenberry Rule That Left Little Room For Error

In the "Star Trek: Voyager" episode "Tuvix" (May 6, 1996), a transporter accident fused the stern, logical Vulcan Tuvok (Tim Russ) with the jolly hobbit-like chef Neelix (Ethan Phillips) into a single being. This new being, who says he's named Tuvix (Tom Wright) possesses memories and personality traits from both Tuvok and Neelix, which is a matter of great consternation from Captain Janeway (Kate Mulgrew) and the crew of the Voyager. Tuvix soon finds that he likes his new amalgam personality, finding happiness and agency as an individual. 

Soon, however, the Voyager engineers find a way to reverse the effects of the transporter accident and separate Tuvix back into his two constituent beings. Tuvix objects, of course. To do so would mean to murder him. Surely a newly created person has rights just as much as any other member of the crew, and Tuvix would like them to be protected. Notoriously among Trekkies, however, Janeway ordered Tuvix to the transporter room for execution, with Tuvix protesting all the way. Janeway figures that restoring two dead crewmates outweighs the pleas of a living one. Tuvix never returned. 

In addition to playing Tuvix, actor Tom Wright also played an alien named Ghrath who disguised himself as a Nazi in the "Star Trek: Enterprise" episode "Storm Front" (October 8, 2004). He also auditioned for the role of Commander Sisko on "Star Trek: Deep Space Nine." Back in 2014, Wright took to Reddit to answer questions from Trekkies . He revealed that "Voyager" had a stringent and difficult-to-follow rule on set that lingered from the days of "Star Trek" creator Gene Roddenberry (who passed in 1991). It seems that, on "Star Trek," actors are not allowed to forget lines or make flubs. Every scene must play all the way through. 

The Roddenberry rule

Wright began acting professionally in the late 1970s, first appearing in the film "Deadbeat." He appeared in supporting roles in films like "Underground U.S.A." and "The Brother from Another Planet," as well as in notable genre movies like "Exterminator 2" and "Creepshow 2," in which he played the increasingly mutilated hitchhiker. He had roles in "Matewan," "Reversal of Fortune," and "Marked for Death." He turned up in a 1991 episode of "Tales from the Crypt" and played the role of Mr. Morgan in four episodes of "Seinfeld." For many years, audiences of the '80s and '90s could count Wright as one of the more ubiquitous "hey, it's that guy" supporting actors; that is: an actor you love and instantly recognize, but who never gets top billing. 

Despite a thriving career, Wright saw his appearance on "Star Trek: Voyager" as a step up. He was grateful for his involvement in such a widespread phenomenon as "Star Trek," and was willing to play Tuvix to the best of his abilities. As he revealed, though, it also came with an additional Roddenberrian acting challenge. There was to be no "shooting around" any misreadings or forgotten lines. Wright wrote:

"It was my welcome to the BIG LEAGUES moment. I don't know about the other shows but Voyager was shot alongside the dictates of The Roddenberry Bible. You probably know all about it but for the sake of clarity, Gene Roddenberry compiled a set of 'Star Trek' guidelines and principles that governed the 'Star Trek' universe. One of the major tenets was that not only should actors KNOW their lines but if they were to make a mistake, there would be no continuing the scene." 

Perhaps Roddenberry wanted "Star Trek" actors to feel like they were involved in live theater.

The live theater approach to shooting 'Star Trek'

Wright didn't mind the live theater atmosphere on the set, as he had already appeared on stage many times before. He continued: 

"Normally if you flub a line you can stop, take a breath, and then restart from where you made a mistake. But Gene was old school and held his actors to a higher standard. We were not allowed to simply stop and pick up, We had to go back to the beginning of the scene and do it properly. Me, having been trained in the theater, LOVED THAT. He made us more responsible to the writing." 

Anyone who has worked on a TV set can tell you that the script is not to be deviated from. "Star Trek" famously filmed on a fast schedule, churning out an episode every week. Scripts had to be polished to a shine, and actors had to have their lines 100% memorized. This included the strange pseudo-science and multisyllabic technobabble that the franchise was famous for. Wright knew from working in film that an actor can mess up a line, but then merely re-read it on the spot, and not cause any interruptions. An editor could conceivably cut the flub out, and leave the re-read in. Perhaps the "once through" approach to "Star Trek" was merely to keep the editing process clean; it would be easier to assemble a scene in post-production if there was no worry about editing out flubs. 

Wright, ever a professional, seems to have rolled with the Roddenberry rule with aplomb. 

Wright continues to work to this day, having most recently appeared in "Daisy Jones & the Six" and the 2022 film "That's Amor." 

Paul Giamatti Joins ‘Star Trek: Starfleet Academy' as Main Villain

Set phasers to stunned. In another casting coup, the upcoming Paramount+ series "Star Trek: Starfleet Academy" has cast Emmy winner and multiple Oscar nominee Paul Giamatti in a recurring guest role as the first season's main villain, who has a sinister connection to the past of one of the (yet to be cast) cadets.

Giamatti joins Holly Hunter, who Variety exclusively reported in May is boarding "Starfleet Academy" as the Academy's captain and chancellor .

"Sometimes you're lucky enough to discover that one of the greatest actors alive is also a huge ‘Star Trek' fan, and meeting Paul was one of those miraculous moments for us," said co-showrunners Alex Kurtzman and Noga Landau in a statement. "The sheer delight with which he dove in on ‘Starfleet Academy' is only surpassed by the gratitude we feel about him joining our incredible cast."

While "Star Trek" shows have always featured an impressive array of acting talent, rarely has a "Trek" show launched with quite this much star power, underlining how much of a priority "Starfleet Academy" has become for Paramount+, CBS Studios and Kurtzman's Secret Hideout. When the show begins shooting in Toronto later this summer, it will include the largest contiguous set ever constructed for a "Star Trek" series: an academic atrium that spanning two stories, with an amphitheater, classrooms, a mess hall and an idyllic walkway lined with trees.

As the title suggests, the series will chronicle the lives of the Academy's cadets, from their academic and romantic pursuits to contending with the newest adversary to endanger the peace and prosperity of the United Federation of Planets. Producers are said to be seeking emerging talent for the younger cast.

Giamatti's prolific career launched in the 1990s with a series of supporting roles that often punched well above their weight in terms of impact vs. screen time, including "My Best Friend's Wedding" and "Saving Private Ryan." He subsequently won widespread critical acclaim for 2003's "American Splendor," 2004's "Sideways" and 2005's "Cinderella Man," which earned Giamatti an Oscar nomination for best supporting actor. Most recently, he earned an Oscar nomination for best actor for his seriocomic performance in 2023's "The Holdovers." Giamatti has also amassed a considerable career on TV - from 2008's HBO miniseries "John Adams" (for which he won an Emmy) to the recently concluded Showtime drama series "Billions" and HBO Europe's Spanish horror series "30 Coins."

Along with Kurtzman and Landau, "Starfleet Academy's" executive producers include Gaia Violo, Aaron Baiers, Olatunde Osunsanmi, Jenny Lumet, Rod Roddenberry, Trevor Roth, Frank Siracusa and John Weber. Violo wrote the series premiere.

Giamatti is represented by UTA, Kipperman Management and Sloane Offer.

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