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Star Trek: Enterprise Theme Song Lyrics

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Star Trek - Enterprise - Theme Song

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Star Trek opening title sequences

Primary title screen for seasons 1 and 2

The opening title sequences for Star Trek: The Original Series featured the USS Enterprise flying through space and past planets , narrated by William Shatner : " Space: the final frontier. These are the voyages of the starship Enterprise . Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. "

As ITV is a commercial channel, the advert break for Star Trek: The Original Series featured a still screenshot of James T. Kirk, Spock, Montgomery "Scotty" Scott, Pavel Chekov, Christine Chapel, Uhura, Dr. Leonard "Bones" McCoy and Hikaru Sulu are all sitting inside USS Enterprise . Also, there's no music.

As Robert H. Justman explained to Star Trek: The Magazine , footage of the Enterprise for the opening titles was expected to be produced by the Howard Anderson Company in Summer 1966 . By August 1966 , Gene Roddenberry and Justman were running out of time to get the footage, and insisted on a viewing, where most shots "jiggled and joggled" to the point of being nearly unusable. Roddenberry and Justman took what they had, along with footage from the two pilots (" The Cage " and " Where No Man Has Gone Before ") and cobbled together the sequence. Justman considered his major contribution to be the suggestion that the Enterprise "deliver" the cast credits as the ship zoomed by, rather than the names just pop on the screen as suggested by Roddenberry. ( Star Trek: The Magazine  Volume 1, Issue 1 , pp. 10-11)

• Main Title Theme (Season 1)  file info (composed by Alexander Courage )
• Main Title Theme (Season 2-3)  file info (composed by Alexander Courage )

Gene Roddenberry wrote lyrics for the " Theme from Star Trek " in order to secure a partial writer's credit for the song. These lyrics were never recorded as part of the original theme song, and thus were never aired. ( citation needed • edit )

The opening tagline of Star Trek includes a split infinitive : " To boldly go where no man has gone before. " This fact was memorably highlighted by Cambridge-educated sci-fi writer and satirist Douglas Adams who wrote in his Hitchhiker's Guide to the Galaxy that, " all dared to brave unknown terrors, to do mighty deeds, to boldly split infinitives that no man had split before, and thus was the Empire forged. " The pilot episode of Star Trek: Enterprise , " Broken Bow ", has Zefram Cochrane delivering that phrase without the split infinitive as "to go boldly." The English rule forbidding split infinitives appeared in the mid-19th century; however, modern reference books do not include this rule, and the "to boldly go" from Star Trek is a prime example of where a split infinitive is perfectly acceptable. ( citation needed • edit )

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Why Star Trek: Enterprise Had THAT Terrible Theme Song

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Among Star Trek: Enterprise ’s more contentious quirks was its opening theme song: a reworked version of Rod Stewart’s “Faith of the Heart” entitled “Where My Heart Will Take Me.” It’s very much a product of its time, and in the ensuing years has become something of a guilty pleasure among the Star Trek faithful. It’s the kind of infectious earworm that takes days to get rid of, and it’s definitely an anomaly among Star Trek themes. Fans at the time did not take it well.

Before Enterprise , Star Trek shows stuck resolutely to classic orchestral themes. That started with Alexander Courage’s iconic introduction to the original Star Trek , and was emulated by The Next Generation, Deep Space 9 and Voyager. Star Trek: The Next Generation appropriated Jerry Goldsmith’s theme from Star Trek: The Motion Picture, which is telling: all of them aimed for an operatic sound indicative of epic theatrical films. When Enterprise began, the producers wanted to break from that tradition in a big way.

RELATED:  Star Trek's Longest Running Series, Revealed

It Was Supposed to Help Enterprise Bridge Our Present with Trek’s Future

Enterprise was posited as a prequel to the original series: detailing the early days of humanity’s exploration of the stars, and the eventual formation of the Federation. Producer Brannon Braga told Starlog magazine that he felt the era had more unexplored dramatic potential than something closer to the original series, and that the characters would respond to challenges differently than the characters in other Trek series had. The song was intended as part of that principle: a firm break from what Trek had become, but also a link between the present day and the bright future the franchise promised.

That, however, could have found better expression elsewhere. The song adopted a soft-rock power ballad format, presumably in order to reach as wide an audience demographic as possible. But the supposedly inspiring lyrics fell flat against Enterprise’s impressive visual title montage of real-life heroes like Amelia Earhart and Gus Grissom. And while the orchestral scores from earlier Trek shows felt evergreen, this one dated itself almost as soon as it had dropped.

RELATED:  Star Trek: The Next Generation - Why the Beloved Series Ended

The Song Itself Had a Difficult Background

The choice of song was strange too. Rather than commissioning their own, the producers simply reskinned the Stewart song with new lyrics, giving it the air of a cheap knock-off. Stewart himself – a notorious womanizer – left his second wife less than a month before the song hit the charts, rendering its heartfelt tone disingenuous from the start. A few hastily added lyrics weren’t going to change that. Furthermore, Stewart wrote it for Patch Adams , the infamous Robin Williams tearjerker reviled for its excess sentimentalism.

In short, it felt very corporate: assembled for reasons that had little to do with Star Trek and presented as a change of pace that went badly off the mark. Trekkies responded as Trekkies sometimes do: with anger, rejection and organized demands to replace the song with something else. Enterprise stuck with it, however, and kept it as part of the opening credits for the whole of its run.

The song has since attained a kind of scruffy charm among the Trek faithful, and an apt companion to Enterprise, which similarly took some time for parts of the Star Trek community to warm to. Today the two are intertwined, and the high quality of the show itself lends the comparatively clunky theme song an affection it might otherwise merit. It even earned a playful dig on Star Trek:  Lower Decks   -- as sure a sign as ever that Trekkies are ready to forgive if not forget.

KEEP READING:  Why Star Trek: Enterprise's Series Finale Is So Hated by Fans

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Which Star Trek Opening Sequence Is The Best?

A totally unbiased opinion...

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The discussion of which  Star Trek series is the best  Star Trek series is a contentious debate. Even when I am the only one in the discussion, I have a hard time coming to a firm conclusion. ( The Next Generation …  No!   Deep Space Nine … Forget it. I can’t decide.) 

This is when I turn my mind to a much easier debate: which  Star Trek series has the best opening sequence. Sure, it’s still a tough, emotionally-complex question, but the stakes are much lower. 

Just like in the discussion of favorite  Star Trek TV series, we all have different things we prioritize and look for in our opening sequences. Are you a sucker for the song? Do you look for an intro that best reflects the values and interests of the series it represents? Or do you shamelessly just pick the opening sequence for your favorite of the TV shows? 

Whatever your criteria (and you know you have a biased one), one thing is certain: All of these  Star Trek opening sequences are pretty great…

6. Star Trek: The Animated Series

Confession? I find the opening sequence for  The Animated Series pretty adorable. The way the animated Enterprise moves horizontally across the screen as if its mom is in the front row telling it what to do? So cute.

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However, when it comes down to it,  The Animated Series opening is really just a re-tread of  The Original Series opening. This makes sense, given the timing of the show and the fact that it shared so many of the same cast. But it’s nothing to captain’s-log home about.

5. Star Trek: Deep Space Nine

Sorry,  Deep Space Nine. You know I love you, but your opening sequence is just, well, fine. Sure, you have a great first five seconds as we follow a rogue comet through the blackness of space only to come upon a little space station on on its own in the middle of space-nowhere. Then, you lose your momentum a little with shot after shot of the stationary space station doing what it does best: just sort of floating there.

Don’t feel too bad,  Deep Space Nine . Between you and me, you can stand to lose this opening intro contest — because, unlike some of the other series ranked higher on this list, you are in the running to be the best series of  Star Trek when it comes to narrative. And, really, isn’t that the contest you would rather win?

4. Star Trek: The Next Generation

As someone who both grew up on  Star Trek: The Next Generation and who loves Patrick Stewart’s voice, it pains me to rank  The Next Generation ‘sopening sequence so low on this list. Hearing this theme song still wakes a giddy childish inside of me.  However,  it just doesn’t have the ambition to beat out most of the inspired  Star Trek openings.

The Next Generation   opening sequence has some good moves: Stewart’s killer delivery of “The final frontier…” spiel as if it were a Shakespearian monologue. Some shots of some beautiful space wonders. The Enterprise zipping past the screen in-between cast members, just like in The Original Series’ introduction. It’s all good, it’s just not going to make me sign up to the trip to Mars or anything.

3. Star Trek: The Original Series

How could we not put the intro from  The Original Series near the top of this list? After all, it was the opening that started it all — that influenced and shaped so many of the  Star Trek opening sequences that would come after it.

The Original Series’ intro is very much of its time — with the “ahhAHH!”s and the limited special effects — but it also has always had something slightly exciting, fast-paced, and imaginative about it. (Probably the starship doing its damndest to get you pumped up by repeatedly zipping across the screen.) If a TV’s opening sequence is a promise of what’s to come, then Star Trek ‘s promise was to never stop moving forward — both in terms of action and in terms of ideas. To never stop exploring and pushing the limits of what was possible in science fiction TV, and society, of the time.

2. Star Trek: Enterprise

Star Trek: Enterprise may be the quasi-black sheep of the Star Trek universe, but it’s not the fault of its opening sequence, which is is imaginative, inspiring, and filled with optimism. Sure, it has a cheesy pop song as its ballad, but it somehow works when accompanied with images from humanity’s exploration through the years.

It may be a controversial choice to put  Enterprise ‘s theme at the top of this list, but I think it’s well-deserved.  Enterprise might not have always struck narrative gold in comparison to some of the better-considered  Star Trek series, but it wasn’t afraid to take chances and try to do its own thing — as was demonstrated by the opening sequence that, unlike all of the other post-Original Series series, didn’t mimick the space-journey design.

By giving us images of real-life explorations from our past and present,  Enterprise made us believe that a future like the one Star Trek imagines is a possible, tangible outcome of our world in a way that none of the previous Star Trek sequences attempted. For that, this opening sequence will always hold a special place in my Star Trek -loving heart.

1. Star Trek: Voyager

Star Trek: Voyager could have snagged an impressive spot on this list based on its theme song alone. You hear the opening notes of the Jerry Goldsmith classic, you  are  hooked — and it only builds from there.

Though  Voyager didn’t always succeed in its storytelling execution, it had a great premise: a ship lost on the other side of the galaxy, trying to find its way home. And the opening sequence reflected that beautifully (emphasis on the  beautiful ). Sure, Voyager’s mission was daunting and, sometimes, disheartening, but the crew/family of this ship never stopped appreciating the beauty of the galaxy — they never stopped exploring. The opening sequence gets that, and it makes for a magical introduction into each episode, and into the larger  Star Trek universe.

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Your move,  Star Trek: Discovery …

Bonus: Enterprise’s “Mirror Darkly” Opening

Special bonus! This  Enterprise  opening was created specifically for the “In A Mirror, Darkly” episode, which saw mirror-universe versions of Captain Archer and his crew (a la  The Original Series episode “Mirror, Mirror”).

Rather than focusing on images of exploration over human history, the “mirror darkly” sequence instead highlighted militaristic themes. The result is a fun, twisted version of the  Enterprise theme song that  immediately  got you in the mood for this episode, as well as a reminder why  Star Trek is such a great narrative universe — because, unlike so many of the other franchises that have come and gone over the years,  Star Trek values exploration over domination. 

Do you agree with our ranking? Sound off in the comments below…

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Kayti Burt | @kaytiburt

Kayti is a pop culture writer, editor, and full-time nerd who comes from a working class background. A member of the Television Critics Association, she specializes…

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Star Trek: Enterprise

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

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Subcommander T'Pol : I'm not upset.

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

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Commander Tucker : Unless you're a little jealous.

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

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

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

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

• Crazy credits The opening credits video footage of the Sojourner rover approaching the "Yogi" rock, taken by the Mars Pathfinder lander, make Star Trek: Enterprise the first television show or movie in history to use footage taken on another planet.
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In the Star Trek series "Enterprise", what is the name of the astronaut, who is shown during during the singing of the theme song?

Question #126585. Asked by george48 . Last updated Aug 10 2022 . Originally posted Aug 14 2012 6:51 PM.

The American astronaut shown in the opening credits is Alan Shepard, the first American astronaut in space, and later commander of Apollo 14. There is also archive footage of: Charles A. Lindbergh next to his plane Spirit of St. Louis, Robert H. Goddard the father of modern rocketry writing his theories on a blackboard, Chuck Yeager and the Bell X-1 with which he broke the sound barrier and astronauts Neil Armstrong, Buzz Aldrin and Michael Collins as they board Apollo 11 to become the first men on the moon.

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Published Jun 21, 2024

How the Picard Season 3 Soundtrack Unlocks All of Star Trek

For World Music Day, let's look at how Picard's final score stretches across the entire final frontier, from familiar themes to deep sonic cuts.

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The music of the Final Frontier is one of the most grounding aspects of the entire Star Trek phenomenon. Rather than sounding overtly futuristic, the musical world Trek has always been the opposite — old-fashioned and classic. When Nicholas Meyer hired James Horner to compose the music for The Wrath of Khan , he asked for a score that was "nautical, but nice." This single phrase perhaps best describes a large swath of famous Star Trek scores; the music is rooted in an antique style, combined with a buoyant sense of optimism. The music of Trek looks forward, partly, by looking back. In real life, Star Trek scores have been played at the commissioning of space shuttles, at least one U.S. Presidential Inauguration , and on March 11, 2024, Jerry Goldsmith's themes from Star Trek: First Contact were played during a ceremony in which Sweden was inducted into NATO.

Sometimes, it seems the classical music of Star Trek is oddly more pervasive in everyday life than Star Trek itself. Yes, there have, of course, been examples of non-classical music in Star Trek ; from Steppenwolf's "Magic Carpet Ride," to Enterprise 's "Faith of the Heart," Kirk blasting The Beastie Boys' "Sabotage," and, in 2023, musical theater and pop stylings throughout " Subspace Rhapsody " in Strange New Worlds . But, for almost six decades, classical scores have been the sonic glue binding the Trek universe together. From Original Series composers like Alexander Courage and Sol Kaplan, to Jerry Goldsmith and James Horner in the classic films, to Dennis McCarthy in The Next Generation era, Michael Giacchino 's scores for the Kelvin Universe films, to Jeff Russo in Discovery and Chris Westlake in Lower Decks , Nami Melumad on Strange New Worlds and Prodigy , each Trek score often contains a piece of another. But, perhaps more than any orchestral Star Trek event to date, the soundtrack for Star Trek: Picard Season 3 bridges various eras simultaneously, but also created edgy, new directions for Trek scores that had never been tried before.

The Picard Season 3 score — composed by Stephen Barton and Frederik Wiedmann— is a rosetta stone of nearly all of Star Trek music, ever. Here's your guide to why this 2023 score is so unique, how it's the perfect place to start your Star Trek musical education, and why, if you haven't already, consider spinning this one on vinyl .

"All Good Things…Must Come To An End"

"The Last Generation"

While it's somewhat obvious that Star Trek: Picard Season 3 is a direct follow-up to Picard Season 2, a huge thrust of the series is also a coda to the era of The Next Generation TV series and four feature films. So, throughout this score, there are various musical references to the hugely famous main theme from Star Trek: The Next Generation composed by Jerry Goldsmith. But, within this musical cue, there's an Easter egg to 1979. As many fans know, the immortal TNG main theme was actually first composed by Goldsmith for the film Star Trek: The Motion Picture . And while the bombastic march opens that film, and every episode of TNG, a slower more ballatic version of the theme was created for the classic track "The Enterprise ," in which Scotty and Kirk view the newly refitted ship for the first time.

'The Next Generation'

In Picard Season 3, this dreamy arrangement of the TNG/TMP theme is on full display in the back-to-back tracks "Hello, Beautiful" and "Leaving Spacedock," in which Picard and Riker take a shuttle to the U.S.S. Titan -A, and we hear the gentle strings of "The Enterprise " from 1979. However, as this musical moment continues, and Commander Seven takes the Titan out of spacedock, a new musical theme emerges, which showrunner Terry Matalas has called " The Titan Theme, " since it plays in many instances in the series that focus on the scrappy starship itself. And yet, by the end of Picard Season 3, the Titan becomes a new version of the Enterprise . So, when Riker and Picard roll-up on the Titan and hear the TNG/TMP main theme, it's not just a neat Easter egg, the music becomes a foreshadowing element that helps tell the story.

Deep Cuts Reveal Myriad Star Trek Legacies

"The Next Generation"

Just as Beverly Crusher sends Picard a transmission as a myriad codec, the Picard Season 3 soundtrack contains a myriad of references to all sorts of other Star Trek music. Some of these cues are somewhat obvious. The end-credits for the series borrows from the First Contact main themes, first introduced in 1996, while Jeff Russo's arrangement of the TNG main theme, crafted for Picard Season 1 and Season 2, still exists as part of the brief title card at the top of each episode. But, once you start digging into the episode-by-episode tracks, deeper cuts start to reveal themselves, ever so slowly.

In "Old Communicator," ominous woodwinds play as Picard riffles through his stuff, to find his TNG-era red uniform. These notes are reminiscent of Ron Jones' music for " The Best of Both Worlds " in The Next Generation , reminding us of that time Jean-Luc lost a uniform just like this when he was assimilated by the Borg. But, for composers Barton and Wiedmann, this is just the first of many musical cues from the past.

"The Bounty"

When the Titan arrives at the Fleet Museum in the sixth episode, " The Bounty ," we get a track called "Legacies," which has rapid-fire sonic Easter eggs like no other piece of Star Trek music before or since.

As Seven and Jack observe the various ships in the museum, each one gets his own theme; for the Defiant , we hear Dennis McCarthy's main theme for Deep Space Nine , for the movie-era Enterprise -A, an arrangement of the Alexander Courage TOS theme, and as Seven waxes nostalgic about the U.S.S. Voyager , a triumphant and bittersweet rendition of the Jerry Goldsmith main title from Star Trek: Voyager plays. Impressively, these musical cues are packed into three minutes and fifteen seconds, meaning "Legacies," tells the story of four starships, through music, in a very short amount of time.

Did we say four ships? Yes! Because in addition to the Defiant, Enterprise -A, and Voyager , the medley of "Legacies" eventually concludes with Leonard Rosenman's 1986 themes from Star Trek IV: The Voyage Home . And that's because Jack realizes that the captured Klingon Bird-of-Prey, which Bones christened the H.M.S. Bounty all those years ago, has a cloaking device that the crew of the Titan can use. And so, this wonderful nod to Rosenman's music not only references The Voyage Home , but also moves the present tense of the story forward.

That Cinematic Feeling

A Musical Legacy: Scoring the Final Season of Star Trek: Picard

On the liner notes to Picard Season 3, Terry Matalas specifies that the score for this season was designed to remind fans of the big, epic music from the films. Even though this was a season of a TV series, the sound of Picard Season 3 is cinematic. "I knew early on that Picard Season 3 needed to sound like the great Trek film scores that came before it," Matalas writes in the liner notes. "[When] I was five…the track 'The Enterprise ' was imprinted onto my brain."

And so, in collaboration with composers Barton and Wiedemann, Matalas steered the music of Picard Season 3 into a massive tribute to the entirety of previous Star Trek film scores. This was accomplished by the sonic Easter eggs we've just pointed out, but this feeling also exists more broadly throughout the entire soundtrack. The dark track "Dominion" isn't one that contains any sonic Easter eggs, but is unique to this soundtrack, as is the heroic hero theme for the Titan , heard in "Leaving Spacedock" and throughout the all ten episodes of the season.

But, the brilliance of the Picard Season 3 soundtrack isn't that it simply checks-off various Star Trek musical boxes. Instead, it seamlessly blends the old with the new. In "Legacy and the Future," longtime fans will be reminded of Denis McCarthy's tender music from 1994's Star Trek Generations , but as the track builds, we move from the immortal Alexander Courage fanfare, and into the new , future-facing music created for the Titan , which is destined to become Captain Seven's ship, the Enterprise-G , boldly headed into the future.

And so, the Picard Season 3 soundtrack isn't just a series of nostalgia hits. Its music allows us to revisit stories from across the whole timeline of Star Trek , but, also, imagine an unfolding new future, full of wonder, hope, and adventure.

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Ryan Britt is the author of the nonfiction books Phasers on Stun! How the Making and Remaking of Star Trek Changed the World (2022), The Spice Must Flow: The Journey of Dune from Cult Novels to Visionary Sci-Fi Movies (2023), and the essay collection Luke Skywalker Can’t Read (2015). He is a longtime contributor to Star Trek.com and his writing regularly appears with Inverse, Den of Geek!, Esquire and elsewhere. He lives in Portland, Maine with his family.

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.

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After refusing to cooperate, Captain Kirk watches as the miniature Enterprise is encased in an “impenetrable force field” represented by a clear plastic block. While that original prop may live today in the Smithsonian’s National Air & Space Museum archives, Factory Entertainment has developed a brand new replica for fans to bring home this summer.

Retailing for $100 USD each and available for preorder now, this limited-edition 1:1-scale “Catspaw” prop replica contains a machined-aluminum miniature  Enterprise model inside a block of clear acrylic, all of which hangs from a metal chain matched as closely as possible to the surviving prop.

In addition, the company is also rolling out another one of their popular  Star Trek bottle openers Following their Original Series Type I phaser opener, Factory Entertainment his week debuted their Star Trek: The Next Generation ‘cricket’ phaser bottle opener as the second exclusive for the 2024 convention season.

Available for preorder at $22 USD, the bottle opener is made from solid die-cast metal and is perfect for popping open a bottle of your local craft synthale.

While both convention-exclusive releases can be preordered at their website today (with shipping expected in August), those of you heading to San Diego Comic Con and the Las Vegas STLV Star Trek convention at the end of July can visit the Factory Entertainment booth where they’ll be on sale directly to event attendees.

You can also enter to win one of these collectibles directly from Factory Entertainment using the entry forms below.

Keep checking back to TrekCore for all the latest in  Star Trek collectible news!

• Factory Entertainment
• Star Trek: The Next Generation
• Star Trek: The Original Series
• Trek Merchandise

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“that pissed me off”: enterprise actor gives his honest take on star trek: discovery’s finale twist.

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I'm Glad Star Trek Is Showing More Love To Scott Bakula’s Enterprise

Star trek: discovery’s incredible scott bakula enterprise twist explained, star trek has a real life holodeck thanks to discovery.

• Dominic Keating was not happy with the twist in Star Trek: Discovery's finale, calling it "a slap in the face."
• Keating expressed resentment towards Enterprise's Temporal War storyline and the underuse of his character.
• Keating would have preferred a reference like Captain Sisko's baseball rather than the reveal that Doctor Kovich is Agent Daniels in Discovery's finale.

Star Trek: Enterprise 's Dominic Keating gives his honest reaction to Star Trek: Discovery 's finale twist, saying, "That pissed me off." Discovery 's series finale, "Life, Itself", saw the mysterious Doctor Kovich (David Cronenberg) reveal his true identity to Captain Michael Burnham (Sonequa Martin-Green): Kovich is really Daniels, the temporal agent played by Matt Winston, on Star Trek: Enterprise . The Kovich-is-Daniels bombshell didn't land with Dominic Keating when he watched Star Trek: Discovery 's series finale.

Kyle Hadyniak of TrekNews.net interviewed Dominic Keating and Connor Trinneer about their new podcast, The D-Con Chamber , which will soon host Star Trek: Discovery 's Sonequa Martin-Green as a guest. Regarding Doctor Kovich turning out to be Agent Daniels from Star Trek: Enterprise , Keating did not mince words, calling the reveal "a slap in the face." Dominic went on to explain his "resentment" over Enterprise 's Temporal War storyline. Read his quote and watch the TrekNews.net video (Keating's comments are at the 31:00 mark) below:

Dominic Keating: That pissed me off, I gotta say. Well, only the last bit. [Kovich] turns out to be f—ing Daniels. I mean, really? That was a slap in the face. I’m gonna be honest with you. I mean, he was a lovely guy, that actor [Matt Winston] who came on to play the timeline guy… He was a sweetheart and a very good actor. But if I’m gonna be honest, it kind of used to piss me off that they bring him back two or three times a season for really good episodes. And I’d get the ‘Yes sir, no sir, three bags full, sir’ lines. All right. I mean, I was surfing. But there was resentment there, I gotta be [honest]. I wasn’t as resentful as some. They underused us, I think. And Christ knows, I’ve watched Enterprise now twice, and if I can understand that temporal timeline storyline… I still haven’t got a clue what the f— was going on. But the fact that they referenced Daniels at the end of Discovery was like, “Whatever.” (laughs) There you go. I’m being honest. I’d have rather had the baseball.

The baseball Dominic Keating refers to is the baseball belonging to Captain Benjamin Sisko (Avery Brooks) from Star Trek: Deep Space Nine , which is one of the Easter eggs in Doctor Kovich's office in Star Trek: Discovery 's series finale.

Star Trek: Enterprise is now getting some long overdue recognition from new Star Trek and its heartwarming to see shoutouts to Scott Bakula's show.

Star Trek: Discovery's Kovich Is Daniels Enterprise Twist Explained

Discovery's homage to enterprise missed with dominic keating.

Doctor Kovich turning out to be Agent Daniels from Star Trek: Enterprise ingeniously answered the questions surrounding Star Trek: Discovery 's mystery man. Since his introduction in Star Trek: Discovery season 3, Kovich took a keen interest in the time-traveling crew of the USS Discovery. Kovich's expertise was the Temporal Wars and the dangerous effects of time and interdimensional travel. While Kovich kept nearly everything he knew top secret, he had a peculiar fascination with antiquities, like writing with a pen and paper. Kovich turning out to be Daniels pays off his mystery and nicely bonds Star Trek: Discovery with its immediate predecessor, Star Trek: Enterprise.

Kovich's true identity means a character from Enterprise has been part of Discovery since season 3.

It's disappointing that Dominic Keating doesn't see Star Trek: Discovery' s Kovich reveal as it was intended: a nod toward the importance of Star Trek: Enterprise to the franchise. Kovich's true identity means a character from Enterprise has been part of Discovery since season 3, and has been sending Captain Burnham and the USS Discovery on missions ever since. However, Keating's reaction seems tied to his deeper "resentment" over how underutilized his character, Lt. Malcolm Reed, was on Enterprise . If anything, Kovich turning out to be Daniels makes the 22nd century of Star Trek: Enterprise vitally important to the 32nd century of Star Trek: Discovery and unifies the two opposite points of Star Trek 's thousand-year saga.

Star Trek: Discovery's series finale dropped a bombshell about Doctor Kovich tying back to Star Trek: Enterprise and the Temporal Cold War.

Star Trek: Discovery Has Homaged Enterprise Since Season 1

There has been lots of disco love to archer and enterprise.

In 2017, Star Trek: Discovery became the very next Star Trek series to premiere after Star Trek: Enterprise ended in 2005, and elements of Enterprise were baked into Discovery from its beginnings since the two prequels were only separated by 100 years in the Star Trek timeline. The original blue Starfleet uniforms on Star Trek: Discovery were a visual nod to the utilitarian blue Starfleet jumpsuits worn by Captain Jonathan Archer (Scott Bakula) and the crew of the NX-01 Enterprise. The Vulcan logic extremists who tried to kill Michael Burnham as a child are also rooted in the hostile and xenophobic Vulcans depicted in Star Trek: Enterprise .

Star Trek: Enterprise introduced the Denobulans via Doctor Phlox (John Billingsley).

When Star Trek: Discovery jumped to the 32nd century, the United Federation of Planets introduced the Archer Space Dock to rebuild and refurbish Starfleet's armada. The Archer Space Dock's unveiling came complete with the sound of "Archer's Theme" from Star Trek: Enterprise . In Star Trek: Discovery season 5, a Denobulan scientist, Dr. Hitoroshi Kreel, was one of the six 24th-century scientists who found and hid the Progenitors' technology , with Kreel using his science to help the water-deprived people of Halem'no. Doctor Kovich's reveal as Agent Daniels is just the final link between Star Trek: Enterprise and Star Trek: Discovery .

Source: TrekNews.net

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Watch The 'Captain Sulu' Star Trek Fan Film That Put George Takei In The Big Chair

At the beginning of Nicholas Meyer's "Star Trek VI: The Undiscovered Country," Captain Hikaru Sulu (George Takei) is in command of the USS Excelsior, a prototype spacecraft with a newfangled transwarp drive allowing it to travel faster than any ship yet built. The Excelsior was first glimpsed in "Star Trek III: The Search for Spock," and Sulu, still serving on board the USS Enterprise at the time, stared at new the ship in utter awe. He couldn't have guessed at that moment that he would one day be its captain. 

Sulu's captaincy gave the character a satisfying arc. When audiences first saw him in the original "Star Trek," he was a helmsman bearing the rank of lieutenant. In "Star Trek VI," made 25 years later, he was finally in command. If one accepts expanded universe lore culled from ancillary books and the like, Sulu would eventually become an Admiral and Commander in Chief of the Starfleet Command. Sulu's arc inflamed a Trekkie's imagination, picturing a broad series of adventures for Captain Sulu that we simply never got to see. The closest we ever came was a trio of audio adventures produced in 1994 and 1995, each starring Takei. 

After the release of "Star Trek VI" in 1991, Takei announced openly that he'd like to star in a Captain Sulu TV series set on board the USS Excelsior, an understandable desire. Sadly, Paramount didn't have any serious interest in a Sulu series, and nothing was ever put into production. 

There was one "sort of" pilot episode for a Sulu series, however, which was released in 2007. The fourth episode of the high-end fan series "Star Trek: New Voyages" not only posited a possible future for Sulu, but secured the participation of George Takei, reprising his role.

Takei played Sulu again in Star Trek: New Voyages

When it comes to fan films, "New Voyages" is perhaps one of the best ever made. The series, created by James Cawley and Jack Marshall is not officially canonical, but it's fun to pretend. The productions were slick, and the budgets higher than most fan films, and "New Voyages" attracted multiple former "Star Trek" actors to appear in their various projects (there have been ten episodes to date). In addition to Takei, "New Voyages" boasted appearances from Walter Koenig, Grace Lee Whitney , and Denise Crosby. 

Legally, the fan series was allowed to persist thanks to a special agreement from Paramount, who said that "New Voyages" could use licensed characters and imagery, provided they make no money from the endeavor. It is truly a labor of love. 

The fourth episode of "New Voyages," "World Enough and Time," was co-written and directed by Marc Scott Zicree, who recently posted the hour-long adventure on his YouTube channel . In a brief introduction, Zicree said that he always considered "World Enough" to be an unofficial pilot — maybe more of a proof-of-concept — for a potential Captain Sulu TV series. Although it had been 16 years since "Star Trek VI," Takei was still game to play Captain Sulu, and clearly there were enough Trekkies who wanted to see him back in the role. 

Whitney also appeared as Janice Rand, and Majel Barrett's voice was used for the Starfleet computers, just like on the original shows. The episode also featured the character of Demora Sulu, Hikaru's daughter, previously played by Jacqueline Kim in 1994's "Star Trek: Generations." In "New Voyages," she was played by Mimi Chong.

Here's what we have instead of a Captain Sulu show

The story of "World Enough and Time" is a time-travel plot that involved two versions of Sulu, and was original conceived by co-writer Michael Reaves as a possible story for the stalled 1970s TV series "Star Trek: Phase II" (which would eventually morph into "Star Trek: The Next Generation" ). "New Voyages," it should be noted, takes place shortly after the events of the original "Star Trek" series, and featured a new cast of actors playing the familiar Enterprise crew. In "World Enough and Time," the young Sulu was played by John Lim.

The plot: The Enterprise encounters a trio of Romulan warships that attack one of its shuttlecraft. When the Enterprise retaliates and destroys the Romulan ships, it accidentally opens up a rift in time, and the young Sulu is sucked through. Scotty (Jeffrey Quinn) is able to beam Sulu back on board in moments, but wasn't fast enough, and Sulu appears back on the ship 30 years older. What was only a few moments for the Enterprise was a partial lifetime for Sulu on a distant planet called Caliban. Indeed, Sulu even has a new daughter, Alana (Christina Moses), whom he fathered on Caliban. She, too, is beamed through the space hole. 

The episode ends with Scotty learning how to restore the younger Sulu, but he would need the older Sulu's body to do it. The older Sulu understands what is required, and seemingly sacrifices the last 30 years of his memories in order to be made young again.

It was the sight of Sulu on the bridge of the Excelsior with Rand that Zicree liked, though. It wasn't so much a Sulu pilot as a tantalizing taste of what might have been. A Captain Sulu series? The network wasn't interested, but it would have been great. Unfortunately, "World Enough and Time" will have to do for now.

Smithsonian Voices

From the Smithsonian Museums

NATIONAL AIR AND SPACE MUSEUM

Get a Closer Look at the Star Trek Enterprise Model

The starship model used in filming underwent an extensive conservation

On  Star Trek,  a TV series that aired in the late 1960s, more than 400 crew members explored the galaxy aboard the USS  Enterprise,  which had a length of 947 feet and weighed 190,000 tons. In actuality, the starship was an 11-foot-long model made of poplar wood and vacu-formed plastic.

Film of the model appeared in all 79 episode of the original series (broadcast from 1966–69), and the model was donated to the National Air and Space Museum by Paramount Studios in 1974.  Forty years later, the Museum undertook a two-year project to restore the  Enterprise  to how it looked during the filming of the 1967 episode "The Trouble with Tribbles"—the last known modification of the ship during the show's production. Today the Enterprise is displayed in the Museum's location in DC.

Let's take a closer look at the model.

During filming, the model balanced on a single-point stand attached to a geared head made to hold heavy cameras—insufficient support for such a large model. Today, the model rests upon two stanchions built by Museum staff. 

Learn more about this artifact on the  Star Trek  starship  Enterprise  Studio Model Conservation page . 

This article is from the Spring 2024 issue of  Air & Space Quarterly , the National Air and Space Museum's signature magazine that explores topics in aviation and space, from the earliest moments of flight to today.  Explore the full issue.

Want to receive ad-free hard-copies of  Air & Space Quarterly ?  Join the Museum's National Air and Space Society to subscribe.