star trek 3 enterprise bridge

‘Star Trek’ Fans Can Now Virtually Tour Every Starship Enterprise Bridge

An interactive web portal explores the vessel’s evolution over nearly six decades

Daily Correspondent

For decades, many “ Star Trek ” fans have imagined what it would be like to work from the bridge of the starship  Enterprise , the long-running franchise’s high-tech space-exploring vessel. Through various iterations and seasons of the series, created by  Gene Roddenberry in the ’60s, the bridge has remained a constant, serving as the backdrop for many important moments in the show’s 800-plus episodes.

Now, die-hard Trekkies and casual watchers alike can virtually roam around the Enterprise’s bridge to their heart’s content, thanks to a sophisticated and highly detailed new  web portal that brings the space to life.

The site features 360-degree, 3D models of the various versions of the Enterprise , as well as a timeline of the ship’s evolution throughout the franchise’s history. Fans of the show can also read detailed information about each version of the ship’s design, its significance to the “Star Trek” storyline and its production backstory.

Developed in honor of the “Star Trek: Picard”  series finale , which dropped late last month on Paramount+, the portal is a collaboration between the Roddenberry Estate, the Roddenberry Archive and the technology company OTOY. A group of well-known “Star Trek” artists—including Denise and Michael Okuda , Daren Dochterman, Doug Drexler and Dave Blass—also supported the project.

“Through new technology, we can bring audiences back in time as if they were there on set during the making of ’Star Trek,’ providing a window into new dimensions of the ‘Star Trek’ universe,” says Jules Urbach, OTOY’s CEO, in a  statement .

The voice of the late actress  Majel Roddenberry , who played the Enterprise ’s computer for years, will be added to the site in the future. Gene Roddenberry  died in 1991 , followed by Majel Roddenberry  in 2008 ; the two had been married since 1969.

The portal’s creators also released a short video , narrated by actor  John de Lancie , exploring every version of the Enterprise ’s bridge to date, “from its inception in  Pato Guzman ’s 1964 sketches, through its portrayal across decades of TV shows and feature films, to its latest incarnation on the Enterprise-G , as revealed in the final episode of ‘ Star Trek: Picard ,’” per the video description. Accompanying video interviews with “Star Trek” cast and crew—including William Shatner , who played Captain Kirk in the original series, and Terry Matalas , a showrunner for “Star Trek: Picard”—also explore the series’ legacy.

The interactive, 3D bridge models contain a surprising level of detail, right down to the consoles and turbolifts. The site, however, has so far been hit or miss for users, suggesting that the team behind it may still be working out a few of the technical kinks, reports the  Verge ’s Sean Hollister. And as Kyle Barr writes for  Gizmodo , one big downside is that the models don’t contain any “Star Trek” characters, who he says are “the beating heart of the show and its ideals.”

“Sitting in the captain’s chair, with all the stations empty beside you,” he writes, “is enough to make one wistful.”

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Sarah Kuta is a writer and editor based in Longmont, Colorado. She covers history, science, travel, food and beverage, sustainability, economics and other topics.

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The restored star trek enterprise-d bridge goes on display in may, the bridge is going on display at sci-fi world musem in santa monica, california..

Jonathan M. Gitlin - Mar 22, 2024 4:48 pm UTC

More than a decade has gone by since three Star Trek: The Next Generation fans first decided to restore the bridge from the Enterprise-D . Plans for the restored bridge morphed from opening it up to non-commercial uses like weddings or educational events into a fully fledged museum , and now that museum is almost ready to open. Backers of the project on Kickstarter have been notified that Sci-Fi World Museum will open to them in Santa Monica, California, on May 27, with general admission beginning in June.

It's not actually the original set from TNG , as that was destroyed while filming Star Trek: Generations , when the saucer section crash-lands on Veridian III. But three replicas were made, overseen by Michael Okuda and Herman Zimmerman, the show's set designers. Two of those welcomed Trekkies at Star Trek: The Experience , an attraction in Las Vegas until it closed in 2008 .

The third spent time in Hollywood, then traveled to Europe and Asia for Star Trek: World Tour  before it ended up languishing in a warehouse in Long Beach. It's this third globe-trotting Enterprise-D bridge that—like the grit that gets an oyster to create a pearl—now finds a science-fiction museum accreted around it. Well, mostly—the chairs used by Riker, Troi, Data, and some other bits were salvaged from the Las Vegas exhibit.

Unlike the actual set, which was made from wood, the replica is made of metal and fiberglass. The restoration was originally supposed to take up to two years , but the project ended up being a far bigger challenge.

When Ars checked in with the Enterprise-D bridge restoration in 2014, the science-fiction museum plan had taken shape. But that change of plans did not sit well with some of the project's original supporters, particularly after an imperfect re-creation of the captain's chair—which remained lost until recently—was sold on eBay.

Things got even uglier in 2018 when Huston Huddleston, who led the project, was arrested and then convicted for possessing child pornography. Although Huddleston still appears listed as the project's CEO on its Kickstarter page , that appears to be an artifact of its creation, and John Purdy is listed as the CEO of the Sci-Fi World Museum on its About Us page . However, Huddleston's mother remains as the museum's Chief Financial Officer.

The Enterprise-D isn't the only bridge you'll be able to find at the museum —there's also a replica of the bridge from Star Trek: The Original Series , which previously lived in a wax museum in Buena Park, California. Other exhibits include a hall of robots, as well as the "Bubbleship" and a drone from the movie Oblivion .

It's also not the only recent re-creation of the Enterprise-D's bridge. Okuda and his wife Denise both helped Paramount re-create the iconic set for the third season of Picard . The new Enterprise-D set can even be explored on Google Maps .

And earlier this month, it looked like Jean-Luc Picard's long-lost chair might be sold at auction. However, the day saw an agreement between CBS Studios and the auctioneer Propstore, which will return the chair to CBS's Star Trek Archive, which plans to restore and display it in the coming year.

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How ‘Star Trek: Picard’ Resurrected an Iconic Set

By Scott Mantz

Scott Mantz

• ‘Star Trek: Picard’ Team Built a ‘Museum Quality’ Enterprise D to Make Things as ‘Cinematic as Possible’ 10 months ago
• How ‘Star Trek: Picard’ Created the High-Tech Bridge of Its Newest Starship 1 year ago
• How ‘Babylon’s’ Cocaine-Snorting Opening Sequence Came Together 1 year ago

SPOILER ALERT:   This story discusses major plot developments in Season 3, Episode 9 of “ Star Trek: Picard ,” currently streaming on Paramount+.

All season long, the producers of “ Star Trek: Picard ” have boldly pulled out all the stops to make the third and final season one for the books. To that extent, it seemed like only a matter of time until we finally got to see the Enterprise — that is, the Enterprise-D, the Galaxy-class starship that made its first appearance in 1987 with the premiere episode of “ Star Trek: The Next Generation .”

Executive producer Terry Matalas went through hoops to make sure history never forgot the name Enterprise. Speaking with Variety, and sharing photos of “The Next Generation” cast on the ship, Matalas says, “Everyone tried to talk us out of doing this, because financially it’s a nightmare, and the timing was tight. To the moment we started filming, we were still gluing pieces together. But you can’t have a ‘Star Trek: The Next Generation’ reunion without one of its major characters, which is the Enterprise.”

As for how it was even possible for the Enterprise-D to exist after it was virtually destroyed in 1994’s “Star Trek: Generations” (only the top saucer section was still intact after crash-landing on the planet Veridian III), it turns out Geordi La Forge took it upon himself to completely restore it for the Starfleet Museum.

However, despite the prominent presence of the Enterprise-D bridge on seven seasons of the TV series that ran from 1987 to 1994 (as well as the 1994 “Generations” feature film), construction guidelines were scarce for production designer Dave Blass and art director Liz Kloczkowski, who spearheaded the project.

Blass pivoted to another invaluable resource when he recruited “Star Trek” legends Mike Okuda and Denise Okuda (from Herman Zimmerman’s “Next Generation” production design team) as consultants.

“The Enterprise from ‘The Next Generation’ was the first Enterprise on which I was the principal graphic designer,” Okuda says. “I got to work with [‘Star Trek’ creator] Gene Roddenberry on making that bridge come to life.”

But even with that deep-dive knowledge and experience, finding the source materials to reconstruct the bridge still proved to be a daunting challenge.

“The first thing we did was to go in the garage and dive into boxes and see what we still had,” Okuda says. “We had some original drawings and art, but large chunks of it disappeared. You realize you’re going to have to reconstruct a lot of this from scratch.”

It took three months and a team of around 50 people to completely rebuild the bridge, which was a physical build and not done on a green screen or in VFX. It measured exactly the same as the original set: 50 feet wide and 100 feet long.

All this work was in addition to every other set built for Seasons 2 and 3, which were shot back to back. “We were doing all the interiors of the starship Titan – like the bridge, the transporter rooms, the crew quarters, the hallways and sickbay – as well as [the enemy ship] the Shrike, Daystrom Station and the Borg,” says Blass. “So, all that all on top of each other.”

The goal was to re-create the look of the LCARS panels, as closely as possible to their appearance in “Star Trek: The Next Generation.”

“We took advantage of the huge advances in real-world computer display technology to make a few subtle upgrades to the displays,” Okuda says. “In a scene where one of our officers is using the science equipment, if the director wanted to show the scan itself, we would have had to insert the animation in post-production, back in the day. Now, it’s easy to do the animation and have it play back on the set, so the cast could see it in real-time.”

When it came to challenges, Blass says, the wood archway was one of the hardest pieces to recreate. “It’s a complex curve that arches and changes thickness,” he explains. “You can only get so much information off a blueprint. The construction team printed out a full-size paper plan to lay it out and then used a number of templates to shape the final piece.”

The chairs were another set piece in recreating the Enterprise-D that needed to be taken into consideration. “We had to sculpt the right shape based on the basic form, then do a deep dive on the right materials that have the right color and texture,” Blass says. “Each chair has four different materials.”

Blass adds that the infamous carpet, referenced by Patrick Stewart’s Jean-Luc Picard in the episode, “was very hard to find as it’s a pattern that has been out of stock for decades.”

“That was tricky because you’re talking about lighting that was much more intrinsic to the 1990s,” Matalas says. “Now we have different cameras in a different cinematic style to the show. We had to find a hybrid of the old style and the new with our director of photography, John Joffin, and I think we found a really great sweet spot.”

When the cast saw the bridge for the first time, they got right down to business.

“This season was so ambitious, and we only had two days to shoot on this thing,” Matalas says. “It was literally, like, get everybody on, you got your four minutes of nostalgia, and then we have to boogie. But it was all very natural for them. It was like being back on Stage 8 at the Paramount lot. Patrick Stewart even did the ‘Picard maneuver,’ which he was very proud of.”

And what of the ship today?

Their work remains intact. “There were lots of interested parties who wanted to save the set,” Blass says. “Luckily it has a home in the Star Trek archives.”

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Star Trek Enterprise Bridge: A New Interactive Web Portal Created by The Roddenberry Archive">Take Virtual Tours of Every Star Trek Enterprise Bridge: A New Interactive Web Portal Created by The Roddenberry Archive

in Sci Fi , Television | May 8th, 2023 1 Comment

It’s a rare young Star Trek fan indeed who does­n’t fan­ta­size about sit­ting on the bridge of the star­ship Enter­prise . That has gone for every gen­er­a­tion of fan, every Star Trek series, and every Enter­prise , whose bridges you can see in the new video above from the Rod­den­ber­ry Archive . It begins, nat­u­ral­ly, with the orig­i­nal Star Trek , the show with which cre­ator Gene Rod­den­ber­ry start­ed it all — and for which art direc­tor Matt Jef­feries designed a bridge that would become a mod­el not just for all sub­se­quent Enter­pris­es , but real-life com­mand cen­ters as well. As the nar­ra­tor says, “Jef­feries’ bridge made such an impres­sion that engi­neers from NASA, the U.S. Navy, and pri­vate indus­try have stud­ied it as a mod­el for an advanced, effi­cient con­trol room.”

That nar­ra­tor hap­pens to be John de Lan­cie, whom view­ers of Star Trek: The Next Gen­er­a­tion and sub­se­quent series will know as the all-pow­er­ful extra-dimen­sion­al being Q. He’s not the only famil­iar per­former to par­tic­i­pate in this ret­ro­spec­tive project: in the video above appears a cer­tain William Shat­ner, who as James Tiberius Kirk occu­pied the cap­tain’s chair of the very first Enter­prise .

Even those who pre­fer the lat­er, more com­plex Star Trek s have sure­ly won­dered what that posi­tion would feel like, and now they can get a vir­tu­al sense of it at the Rod­den­bery Archive’s web site , which is now offer­ing vir­tu­al tours of the bridge of every series’ cen­tral ship .

“ T he site fea­tures 360-degree, 3D mod­els of the var­i­ous ver­sions of the Enter­prise , as well as a time­line of the ship’s evo­lu­tion through­out the franchise’s his­to­ry,” writes Smithsonian.com’s Sarah Kuta . “Fans of the show can also read detailed infor­ma­tion about each ver­sion of the ship’s design, its sig­nif­i­cance to the Star Trek sto­ry­line and its pro­duc­tion back­sto­ry.” All this comes online to mark the end of Star Trek: Picard , the recent series built around Patrick Stew­art’s Enter­prise cap­tain from The Next Gen­er­a­tion , whose final episode went up last month on the stream­ing ser­vice Para­mount+. For that grand finale, pro­duc­tion design­er Dave Blass “recre­at­ed the bridge of the Enter­prise D ,” and “Picard’s tri­umphant return to his beloved ship brought nos­tal­gic tears to the eyes of more than a few fans,” no doubt regard­less of gen­er­a­tion. Take the vir­tu­al tours here .

via Smith­son­ian

Relat­ed con­tent:

Watch Star Trek Con­tin­ues : The Crit­i­cal­ly-Acclaimed, Fan-Made Sequel to the Orig­i­nal TV Series

Watch Star Trek: New Voy­ages : The Orig­i­nal Fan-Made Sequel to the 1960s TV Series

How Isaac Asi­mov Went from Star Trek Crit­ic to Star Trek Fan & Advi­sor

William Shat­ner Nar­rates Space Shut­tle Doc­u­men­tary

The Ency­clo­pe­dia of Sci­ence Fic­tion: 17,500 Entries on All Things Sci-Fi Are Now Free Online

Star Trek: World-Build­ing Over Gen­er­a­tions — Pret­ty Much Pop: A Cul­ture Pod­cast #42

Based in Seoul,  Col­in M a rshall  writes and broad­cas ts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter   Books on Cities ,  the book  The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les  and the video series  The City in Cin­e­ma . Fol­low him on Twit­ter at  @colinma rshall  or on  Face­book .

by Colin Marshall | Permalink | Comments (1) |

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Comments (1), 1 comment so far.

All the web por­tal links just bring me back to the Rod­den­ber­ry web­site. Am I doing some­thing wrong? I was able to pull up the site with the dif­fer­ent bridges of the Enter­prise but I can’t now. If you could pro­vide me with any infor­ma­tion I would great­ly appre­ci­ate it. Thank­ing you in advance,

Luis Rosa­do

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The web portal will allow fans to virtually explore the many dozens of evolutionary iterations of the famous Starship Enterprise bridge, across every epoch of Star Trek‘s history, with each bridge made accessible in the timeline as a 1:1 scale, “in-universe,” 360 recreation. De Lancie, who has portrayed extra-dimensional being Q since 1987’s Star Trek: The Next Generation, narrates a supplementary documentary, offering a deep dive into the evolution and legacy of the bridge — from its inception in Pato Guzman’s 1964 sketches, through its portrayal across decades of films and TV series, to its latest incarnation on the Enterprise-G, as revealed in the final episode of Star Trek: Picard.   This combined documentary and exploratory online experience brings the legacy and history of the starship Enterprise to life through meticulous recreations of the filming sets used for production as well as the aforementioned “in-universe” life size, functional immersive virtual interiors. The recreations were produced for the Gene Roddenberry Estate, and overseen by veteran Star Trek artists including Denise and Michael Okuda, who authored The Star Trek Encyclopedia, as well as Daren Dochterman, Doug Drexler and Dave Blass.   The Archive will also, for a limited time, allow fans to try an experimental technology preview through the web portal, enabling them to walk onto the bridges of the Enterprise (boasting working turbolifts and consoles) and explore them in every detail, all from an instantaneous livestream.

You can find out more about this engrossing project at the Roddenberry Archive website and through the OTOY YouTube channel.

• The Roddenberry Archive

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Star Trek experience lets you virtually walk around every Starship Enterprise bridge

The roddenberry archive team is working to launch more star trek virtual experiences in the future..

The USS Enterprise has gone through several iterations across TV shows and movies, and now Star Trek fans can explore them as much as they want to online. As Deadline reports, the latest update to the Roddenberry Archive adds 360-degree virtual recreations of the famous Starship Enterprise bridge as depicted in various Star Trek properties. It has the bridge from Star Trek: The Original Series , Picard , Discovery and Strange New Worlds , arranged according to timeline in the new web portal . Fans can click on the version of the Enterprise they want to see and then expand the virtual bridge, which they can drag around and explore to see its beeping panels and displays.

The Roddenberry Archive is a multi-decade collaboration between the estate of Star Trek creator Gene Roddenberry and cloud graphics company OTOY. This is their largest set of digital archive works to date, and it was launched with accompanying videos, including a William Shatner interview with a holographic version of the 1979 USS Enterprise bridge as a background. John de Lancie, who has portrayed Q since 1987’s Star Trek: The Next Generation , also narrates the history of the Starship Enterprise bridge across decades of shows and movies.

The Roddenberry Archive team is working to add more virtual set recreations fans can explore in the future aside from the ones already available. One of the projects they're working on is a 1:1 scale recreation of the entire Starship Enterprise from the 1979 film Star Trek: The Motion Picture .

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‘The Bridge Is Yours:’ You Can Now Virtually Visit Every Star Trek Enterprise Bridge

Save for Star Trek: Deep Space Nine , and — obviously — Star Trek: The Lower Decks , most of the action for Star Trek takes place upon the fabled bridge. Over the course of Star Trek’s over-five decade runtime, there have been more than one fan who has imagined themselves working under lights at their station. You can close your eyes and imagine yourself among a crew of like-minded people sharing in that optimistic hope for the future that the show was known for. Finally, there’s now a way to truly put yourself into the captain’s chair of whatever version of the show was your favourite   and watch through the viewscreen at all the twinkling stars and imagine where you too might boldly go.

To commemorate the end of Star Trek: Picard ’s third and final season , on Thursday the Roddenberry Archive created a new web portal that includes dozens and dozens of accurate 3D models of the famed Starship Enterprise alongside an inside look at its bridge. A timeline at the bottom of the page shows each Starship in chronological order from an early version of the Enterprise featured in early production artwork for Star Trek: The Original Series all the way to the Enterprise-G from Picard.

According to a release from the Roddenberry Archive and the cloud graphics company OTOY, the recreations were produced for the Gene Roddenberry Estate. This included input from Star Trek artists including Denise and Micheal Okuda, who created the series’ famed computer interfaces (both are also part of the Archive leadership team). The authors of The Star Trek Encyclopaedia also assisted bringing the Enterprise bridges to live.

Alongside the navigable bridges, the Roddenberry Archive and OTOY also released a few videos describing the process bringing these original Star Trek sets to life in a digital format. Another video describes the development of the Enterprise over time narrated by John de Lancie who played series extra-dimensional character “Q” which first appeared in The Next Generation .

Though there’s been some amazing professional and fan-made content exploring the ins and outs of Star Trek’s spaceships , this timeline easily one of the most detailed and carefully-crafted dives into the entire breadth of Star Trek history, at least one you can actually experience.

Users can not only strut around inside each bridge, but every Enterprise rendition includes small interactable features, even a few working turbolifts. Want to sit in the captain’s chair? Absolutely. Want to feel giddy as you fold in the side consoles on The Enterprise-C from Star Trek: The Next Generation? Go right ahead, as few Star Trek fans have any reason to judge. The actual cockpits are surprisingly detailed, from the blinking screens and control consoles to the real time reflections on the glass panels.

The Star Trek timeline is a complicated web of alternate timestreams and universes. There’s the Enterprise-J from Star Trek: Enterprise season 3 episode Azati Prime and the lore-waffling mention of a U.S.S. Enterprise existing in the 32nd centuring from an episode of Star Trek: Discovery. Both of which get a biographical reference on the Archive site.

Fans can also walk through the Apple-brand white interior of the Enterprise from the recent Star Trek and Star Trek: Into Darkness movies (also known as the Kelvin Timeline). You can take a look around the bridge of the Mirror Universe I.S.S Enterprise displayed in the TOS episode Mirror, Mirror along with the bridge U.S.S Voyager for any lingering Star Trek: Voyager fans out there.

Jules Urbach, the CEO of OTOY and executive producer at the Roddenberry Archive, said the point of this attention to detail and fidelity “is an important milestone in preserving Gene Roddenberry’s vision for future generations to explore and see, through the lens of those that worked with him.”

Save the occasional glitch, the site is an amazing love letter to the series. The only thing lacking in all the set dressing and attention to detail is the people, the beating heart of the show and its ideals. Sitting in the captain’s chair, with all the stations empty beside you, is enough to make one wistful, wondering what it would truly be like to stand on the bridge of a U.S.S. starship, gazing out into the fabled horizon of stars and thinking of an endless horizon and unending possibilities.

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How The USS Enterprise Bridge Was Brought To Life For ‘Star Trek: Discovery’

| April 12, 2019 | By: TrekMovie.com Staff 183 comments so far

The most buzzed-about new set for the two-part finale of Star Trek: Discovery  season two is undoubtedly the bridge of the USS Enterprise. We’re taking a look at the design process behind the new take on the iconic ship, with more images and video of the bridge and the other areas of the Enterprise we saw in part one of “Such Sweet Sorrow.”

Designer discusses Enterprise bridge

Discovery production designer Tamara Deverell spoke to SyFyWire  and StarTrek.com about designing the bridge set. Here are some of the highlights:

Work started back in season one

I actually started designing the interior of the  Enterprise  in season one. There was some thinking that the writers wanted to [use those interiors] earlier, but then we revealed the  Enterprise  at the end of season one. Starting the design work way back then … was a good thing because when we came to the end of season two, they actually had concept illustrations and most of the bridge of the ship worked out.

USS Enterprise meets USS Discovery in the season one finale

Authentic TOS buttons were used for the controls

We actually got some reproductions of the original buttons on the console, the same exact size and color, and we used those as the basis of our buttons.

The buttons came from huge TOS fan and owner of the Official Star Trek Set Tour, James Cawley:

Wow! Do these buttons look familiar? They should! James sent hundreds of buttons to the @startrekcbs production team last year for their version of the Enterprise bridge for Star Trek Discovery! Come see our buttons @startrektour ! https://t.co/y1EYEEfAay pic.twitter.com/Q4szB4rSH7 — @startrektour (@startrektour) April 12, 2019

Getting that TOS orange-red color just right

There is a distinct “Enterprise Red,” I actually took that color from the CBS archives … and it was orange! In certain episodes of  TOS , the red became more of an orange. I went insane looking at different color tests. It is red. But, in canon, it’s also orange. In the end, I think it was fine and everyone was happy.

Deverell spent a lot of time dialing in the color for the red-orange railings and console accents

Respecting the classic design

I wanted to echo and be sensitive to The Original Series , so we were looking a lot at the original bridge and its geometry and where everyone was sitting. Still, while we remained true to the design, there’s a new methodology. It was exciting, yes. Terrifying, a little bit, for sure. You can’t worry too much about the history of  Star Trek  when you work on stuff like this. You can only look at canon and try to follow it with our vision and our  Discovery  world in mind.

A view over the shoulder of the captain’s chair

It was a new set built on an extra soundstage

The  Enterprise  set was completely new, we got a new stage and away we went. There was not one single element of it that was reused. What you’re seeing was really there.

The bridge takes a beating in the preview for “Such Sweet Sorrow, Part 2”

Watch: The Enterprise Bridge

CBS has released a new video today, with Rebecca Romijn and Anthony Rapp speaking about stepping on the bridge of the Enterprise.

More images of the Enterprise bridge and interiors

The Enterprise hallway complete with TOS-like grid

The turbolift has a new version of the moire pattern that lit up to show the lift in motion.

And the turbolift still has activation handles too

The conference room also features an iconic 3-sided viewer on the table

While it’s hard to make out from a still frame, the dedication plaque says “Starship Class” just like on TOS.

Looking from the captain’s chair towards Number One’s station

Star Trek: Discovery  is available exclusively in the USA on  CBS All Access . It airs in Canada on Space and streams on CraveTV. It is available on Netflix everywhere else.

Keep up with all the  Star Trek: Discovery   news at TrekMovie.

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The fact that the Enterprise bridge set is not a redress will fuel a lot of speculation.

Why? Because everyone wants a Pike show or something else.

Regardless of whether or not we get a Pike series, if DSC did nothing else right, the Enterprise inside and out was a beautiful interpretation of the classic. The effort spent on the sets is very well appreciated by this fan of Star Trek.

Only among those wanting another show on the Enterprise.

Which is EVERYBODY!!

Speak for yourself….

Okay – _almost_ everyone.

Which is a lot of people.

And includes me!

Me too!!! Bring on Pike, Number One, Spock.. and apparently even Colt!!

That is a better statement.

Hell yes. Pike, played beautifully by Anson Mount, saved Discovery and maybe the future of Star Trek on Tv. He represents the true vision Gene Roddenberry Trek.

L.p. is it just me but Pike being played by Ansun Mount reminds me of Pike in the Kelvin timeline in the movies? This guy brings a lot of depth to this character and makes you feel like you know him already

They can use it as the bridge of any starship. It is beautifully done, what the Abrams movies should have leaned towards. The quality of sets, effects, fight choreography, all of that production stuff has been mind-blowingly good.

The abrams movies were set in a different time line and it is possible that the designers of the enterprise in the different time line may have preferred blue as opposed to red. The original designers prob never joined star fleet or designed another ship and tech obviously progressed at a faster pace

Personally, while I was not a huge fan of the KU ship designs, (The Kelvin bridge itself I thought was REALLY good) those films were essentially reboots so the changes didn’t bug me at all. Easy to get past all that. Discovery, however, keeps telling us they are prime yet look more like the KU than the KU does!

If only the writing was a fraction as good! Instead it is like the CW in space after school special. I agree that the aesthetics are very well done. Props to the production team for that. It isn’t really what the show needs though to be embraced at this point.

I don’t find anything wrong with the writing to be honest.

It’s nothing like you described.

I disagree and here’s why:

The JJverse enterprise is a totally different enterprise that was never meant to look like the TOS original. It was meant to have some loose callbacks but it’s in no way the same ship. It’s a ship built in response to the Narada threat. There were some cut scenes and changes to the movie’s script, but essentially that ship was never meant to be anything other than loosely inspired by the TOS constitution class vessel were it built for different reasons (in response to a threat as opposed to just an evolution in space flight). It’s way bigger, and totally meant to be different. Personally I like the design of it for it being a different ship.

This is actually supposed to be the TOS enterprise. And I love it too. It’s definitely what the prime universe constitution would have looked like, or at least really similar, were the same designers and set builders building it today as opposed to the 60s.

I appreciate both designs with the understanding that they weren’t ever meant to be the same ship. One is a design that’s supposed to be an actual update of the original, the other is a ship loosely based on the original. And I’m fine with it.

The enterprise wasn’t completed the same year in the kelvin timeline as it was in tos so Spock was an instructor at the Academy and you never get that first mission with him and Pike. Number one was working aboard another ship imo. Yeah, the fact it looks different makes totally sense because it isn’t even the same ship. Just like the characters, the kelvin enterprise is her own unique ship influenced by the tech of that reality just like her tos counterpart was the result of events and influences from that reality.

This bridge looks a bit like Abrams version, but with a tos color scheme that I’m not even sure I like. I think neutral colors are safer than making it look like Saturday Night Fever. I don’t find dark bridges and contrast too realistic for what these people do there. I do get the vintage quality to it, but tos sets were the cute 60s flavour of what they thought looked futuristic. It was fun but it was the freaking 60s. Ostensibly trying to have the same thing now is illogical. Nice nod and all for those who care but it shouldn’t become the rule.

They look nothing alike to me. Abrams bridge literally looks like something from another universe. If he went just a bit more in this direction, I think more TOS fans would’ve liked the movies a bit (just a bit though lol).

Not me lol I prefer the look in the movies as I find it more polished, easy to the eyes and better quality design overall. I truly had no issues with it (and I have no complains about discovery as a ship either) I really don’t care about nostalgia, I prefer plausibility and creativity so I’m glad he went on another direction. I doubt those tos fans would’ve liked the movies more if the bridge looked like this, but I wouldn’t design sets according to what those people want anyway because it would be a waste of time.

I’ve wanted a Pike series since the first JJ movie. Anson and Ethan as Pike and Spock in a series would be awesome.

They can build sets and take them down just as fast. It means nothing.

it means they decided it was worth building them. For one episdode that ende up being two? Could be. But no other bridge so far in this series was built for a single use. Shenzhou was featured in the 2-part pilot and the Mirror universe segment. It was then redressed (and heavily modified) for the Section 31 ship, that was used in a handful of episodes this season and could still be getting a spinoff. And, of course, Discovery’s, featured in all episodes but the first two. So, if they built a whole bridge for 1 or 2 episodes only, that would be a first. Not to mention they had a meeting room built as well, and a turbolift. That offsets a lot of costs for a possible spinoff (we would still need at least sickbay, engineering and maybe a rec room, at least), and would allow for telemovies and/or Short Treks right away.

You know I’ve been thinking about those titles that CBS trademarked last year and Star Trek Destiny kind of works for a show focusing on Pike, Spock and the Enterprise…

They had no other choice but to build the set. It’s not like in TNG where they can just Kitbash a cheap bridge set in a day or two.

Even TNG built a partial Enterprise bridge set for that one scene with Scotty.

I have said from the beginning that this is headed toward a reboot of TOS.

This is my favorite thing about last night’s episode. The Enterprise bridge looks amazing! Good job to the designers and crew. They did a awesome job.

They really did. They also did a very good job with the featured crewmembers; they all seemed like people worth seeing more of.

Excellent insights in this article. There is something about the color red on the bridge that instills a unique energy to the bridge. Red alerts seem to become redder, for example.

I think the amazing quality of the reds on TOS owes to how they put some white light in to keep the red from flattening everything. TOS had great contrast with very rich blacks, which is something you don’t see much anymore in this post-Kodachrome era (not saying TOS was shot on Kodachrome, but I shot Kodachrome and TOS level contrasts is what I strove for on my zero-budget space epics.) In fact I think the Berman shows suffered from not handling alerts and intense colors right too (except for maybe TNG s1 & 2 — people complain about those seasons, but they at least had a sharpness that was in the right direction.)

Even when they’re in crisis alone without the red, like DAY OF THE DOVE when Scotty calls Spock a Freak, the lighting is just awesomely expressive.

As a graphic designer I loved the insight into the color research, since I know the effort that goes into color accuracy.

It looked Perfect. Exactly how I imagined it would. Stellar.

Haven’t seen the episode yet, and will probably refrain from commenting until the podcast thread. Still, am pleased to say that I’m prepared to eat some crow — not a full portion, perhaps, but more than a crow drumstick — regarding my initial negative impression of the Enterprise bridge set. Still way too many neon strips and other lighting to glare in your face, still too cluttered with bogus details that don’t add anything useful to the design, and the shiny reflections on the floor just make it all look more busy and uncomfortable as a workspace. Still, as an update of the TOS bridge into DSC’s aesthetic, it’s not bad, and infinitely superior to the Kelvinverse Enterprise iBridge.

(And, of course, the best-looking thing about that bridge: Rebecca Romjin. Hot damn.)

Interesting, too, that James Cawley and New Voyages provided TOS references for the DSC people. When I worked on NV about a decade ago Cawley told us a pretty funny story about his experience seeing the J.J. bridge, which I hope he won’t mind my repeating here. “I was on the Paramount lot for a meeting when I encountered J.J. Abrams, who offered to give me a tour of the sets. Naturally, I was eager to see them, but when he brought me onto that sound stage it was like I’d been kicked in the balls. J.J. was like a kid all eager to show-off his new toy, and when he turned to me and saw my expression it was like someone had kicked him in the balls. I told him that I thought it was a beautiful set, but for me it was just not the bridge of the Enterprise , and never would be, sorry.”

James, if you’re reading this, I hope you found this one more to your liking. :-)

The Enterprise bridge is incredible. I want to be on that ship!

sounds to me like JC and JJ should stop kicking each other in the balls…

the starship Discovery will be thrown into the future and the crew will return and get a Constitutional class starship named Discovery and the set gets to be used with maybe a different paint job.

Yes, this, exactly what I think.

Ties in with the abandoned Short Treks ship.

That’s new and interesting. Not a bad idea. Unfortunately the bulk of the bland characters that permeate Discovery will be there too.

…mehhhh, IDK. I don’t ever recall a Conny named Discovery in Star Trek canon. This might be a hard pill to swallow for devout Trekkers. Casual Trekkies, on the other hand, would probably eat that up.

I happened to catch “The Squire of Gothos” the other night. Kirk asked a crewmember to “notify the discovery.” The intent was probably for him to say “notify STARFLEET OF the discovery,” but I’d accept this as enough evidence of a “Discovery” during TOS. :)

There’s stuff in the role-playing games published over the years -= FASA’s material in particular – suggesting that a Constitution -class Discovery could have been built at some point. Not canonical, true, but they’ve already briefly played with FASA material for Talos IV’s appearances.

The original 12 Constitution Class ships were named in the TOS Writer’s Guide, but no one seems to have taken that seriously, including the third season producers when they gave us the Defiant . So it’s a moot issue at this point.

I’m a devout Trekker and/or Trekkie. I accept it. I also accept Michael as Spock’s sister bc I understand things happen off camera. So, whether or not you do recall (makes you seem like a Casual Trekkie there) the powers that be can make that call and “devout” Trekkers will accept it as they always do until Discovery.

As said before, as a devout Trekker I can accept Spock having an unmentioned adoptive sister. I just felt it was a bad creative choice. Never claimed it was a canon violation.

It doesn’t have to be a Constitution class ship. No more than the Reliant did.

We don’t have the names for all 12 Connies in canon.

I consider myself pretty hard core TOS Trekker. And I would have no problem with a Constitution Class Discovery. It’s only canon if it appears on screen, technically. Other non canon sources have listed the 12 Connies, but they have not all been con screen.

There was that display in Commodore Stone’s office in “Court Martial”, although it doesn’t specifically go into whether those are just those at Starbase 11 or they represent all Constitution-class ships.

I do not recall such a display. But Kirk did say there were 12 ships of the Constitution Class. We’ve only seen or heard of a handful.

Nope. I think they’re going to hit the future and stay in the future. Then they don’t need to build all new sets, and can give the show a clean fresh start, and hence why Spock never talked about Burnham and why Pike is not coming back next year. Also think Calypso — Disco is waaaay in the future and was still captained before being abandoned. I’ve been thinking this is the case for the past couple of weeks since we started getting into the red angel stuff, and if it’s the case it will have made all of this worth while, and i’m very excited about it.

And I was thinking Calypso when I posted this.

I still didn’t like the huge, wall sized, view screen, and I wish there were fewer touch screens, but those are minir nitpicks. Over all, I loved the new bridge.

Fewer wall lights in every direction you look would have been good too.

It makes no sense that the viewscreen wouldn’t be the entire wall. And likewise the touch screens. If modern airliners have touchscreens all over, why would a starship 300 years from now go back to buttons or viewscreens smaller than today’s TVs?

I can’t speak for tech 250 years from now but when NASA handed out contracts to design for the now defunct Constellation program they opted to NOT have touchscreens in the capsules.

Yes, I’ve said this elsewhere but is appropriate to say here. Given they were restrained by the new (rebooted but not rebooted) Discovery aesthetic, what they did with the Enterprise bridge was pretty darn good. I said the same thing about the outside design when we saw the Enterprise show up in last season’s finale. But I think it could have been a lot better had they not been beholden to the Discovery aesthetic. And no, that does not mean a 100% duplicate of the ’60’s sets. I mean something that can evoke the feel of those sets but still have a modern take on them.

That bridge does look very nice. It could maybe be a bit brighter (less Discovery-ish) but all in all, it does look very nice.

I’ve been wishing the lights were turned up for all 28 episodes of the show so far.

I have to admit, it’s the first set from any new Trek’s done in the past ten years that I thought looked great and yes a modern take on the old sets.

Why would you ‘hate to admit’ that you liked something?

Somebody’s doing some Freudian-slip-style misreading.

Nah, just a misreading brought on by a pair of eyes six decades old that were never all that reliable to start with. Sometimes a cigar is just a cigar.

This really was a wonderful interpretation of the Enterprise.

It’s a pretty set and all, but I have difficulties reconciling it with the TOS bridge due to the vastly different dimensions. In all of its incarnations, the original Enterprise’s bridge was a much smaller, more cramped space than this is. The Captain’s chair is supposed to be directly behind the helm. The ultrawide viewscreen doesn’t help things, either.

And the dimensions being different really is a killer. That was the one thing that remained consistent between TOS, TMP, Wrath of Khan and Search for Spock even as the bridge’s color scheme underwent major changes.

It’s still Discovery. ;) ALL their ships are pretty big and spacious. I’m not surprised this one is the same. I don’t mind it personally but I can understand why others might.

Yeah, I can’t believe all the praise this abomination is getting. There is still ZERO good reason to even bring the Enterprise onto this show…just let Discovery be its own thing!

Cause although I watch Disc , it’s still in trouble and by far the worst of all trek series. They need to do something to save it. And even the guest actors and characters like new Pike , Spock and #1 are better actors and far more interesting than 98% of Disc. Saru and Tilly are the ONLY ones worth a damn.

That is true. They needed something to bring in the subscribers they DIDN’T have last season. Hence, Pike, Spock and Enterprise. I still wonder what this show will do next season without them. It goes back to the bland crew from season 1 unless they are planning more surprise guests from established, and more popular Trek shows…

Not even the Sisko can save this turd of a series. What they did to the Enterprise is a crime.

Because those who praise it don’t see it as an abomination?

Oh no, someone likes something you don’t.

I’m not a fan of the extra square footage either. Nor that little mini hallway from the turbolift out to the bridge proper. There are elements that I like and glad designers incorporated but I concede that it has to fit withing the existing Discovery aesthetic more than it needs to evoke the feel of the previously established era producers claim their show is set in.

The weapons on Pike’s Enterprise are LASERS(like Lost in Space!), not Phasers at that point in time! The new show better get THAT right! – same with Discovery in the same time frame!

Nobody cares.

We haven’t seen this point in time, the Cage took place two years earlier so those that enjoy the minutiae can assume that phasers were installed on starships shortly after Pike’s mission to Talos IV.

That ship sailed with Star Trek: Enterprise. You’re late to the party.

How so? That show did a great job at paving the way to what we got in TOS. They called their weapons Phase pistols and the shipboard ones, Phase Cannons! One can easily see how 150 years later they became what we saw in TOS. Nothing in Discovery feels that way at all. (Except for 10 years rather than 150)

I loved all the little details like the trapezoidal alert light between helm and navigation. The “Sulu scope” was there. The grill shadows across the turbolift doors. The general shape of the captain’s chair, the railings, the shape of the outer ring consoles were all in the spirit of the original. I’m sure I am missing a bunch more. Bravo Discovery team!

Glad you brought up the Captain’s Chair. I loved it and it was nice that it is duplicated but it is one thing that just doesn’t fit in the aesthetic at all.

The chair got a subtle update. It’s still got those Danish Modern wooden armrests, but the control surface is a wraparound white U-shape with small displays where the buttons used to be. Feels like there are many nods to Scott Chambliss’ designs for ST 2009, but nicely integrated.

I love this incarnation of the helm console, a nice nod to the Cage variant but with the color update of the post-Cage era. And the bridge stations have those ‘arcs’ of controls.

It’s easy to look at this bridge and imagine a few updates to take us to 2265 in the show’s aesthetic, in terms of even more simplified and streamlined shapes, less bulky massing, more subtle lighting etc – but I say this not to diminish the great job Deverell and her team have done.

I think there would have been fewer complaints had the Discovery bridge looked more like this. This is spectacular.

My problem with Discovery is less with aesthetics and more so with character development.

One of the parts that stood out to me in “Such Sweet Sorrow” was the roundtable of bridge officers discussing solutions. Regardless of the inane technobabble, it was reminiscent of classic Star Trek. It was not focusing on one individual.

Some have criticized the moment where Stamets and Culber “kinda” confront their relationship in a very tense moment of separation. But to me, again that was Star Trek. They were being separated by choice, duty, circumstance, whatever, it was still a character development moment…. and it made me empathize with them.

And that is what Star Trek does. It has never focused on one character, it develops all primary characters. It creates a connection between the primary characters and the viewer.

I have no such connection with Michael Burnham and that is my complaint, not aesthetics.

Yeah , Burnham really hurts this show. A new Pike series (with new Pike , Spock and #1) , this great new bridge , somehow save Suru and Tilly… Stammets too maybe but not his partner. Throw everything else out , develop a few more good characters and then we might see some truly great Trek again. Without the guest actors on Disc now season 3 isnt going to be any better than season 1 was Mirror Georgio and this new Section 31 show coming could be great too. Maybe with some better writers and Frakes directing as many as possible.

I wouldn’t bring anyone from Discovery over to a Pike Enterprise show with the exception of Jett Reno. She should be their chief engineer.

I’m with you and not with you here. I agree that I would prefer good characters over good sets. While the sets were nice and looked good they did NOT evoke the era they were supposed to be in. However, if we had great characters the set problems would be very minor. They wouldn’t go away. They would just be minor.

Sure, the Culber-Stammets relationship talk while there was a crisis with a ticking clock going on was a nice character moment. (except I still can’t accept that Culber is Culber which pretty much takes me 100% out of the moment) But it was TOTALLY the wrong time to do such a thing! Can anyone imagine Bones complaining to Kirk about something as petty while the ship is at crisis? No way no how. Even Tom Paris wouldn’t use a critical moment where time was of the essence to hash out some relationship issue with B’lanna. It just felt wrong for two professionals to act that way. Which also took me out of the scene. One of them should have said, “Really? You want to talk about this NOW?”

But that is also the thing about Discovery characters. There are so many issues that I get taken out of any meaningful moment for nearly all of them. Trek is about the people. This is something Discovery has totally missed the mark on. Which is unfortunate.

TNG also missed the mark when it came to characters. But they made up for it with the occasional good piece of sci-fi writing. Again, something Discovery writers have had a very difficult time with.

I don’t recall the original precisely, but thought red. In my initial work in ancient (90s) computer video, I was advised to stay away from red, as it was very tricky to do justice. So, this episode…I see red, Georgio enters and says, “ugh, ugly orange”. I laughed.

Good looking bridge. Only a minor problem I have, and that’s the super shiny floors and the lighting along the edge of every surface. Reminds me too much of the glossy, overwrought sets on cable news programs.

But I dig the retro Sixties bits incorporated into the design. Nicely done.

As so many have said, this is such a beautiful interpretation of the TOS bridge. It remains true to the spirit of the TOS bridge, unlike (again, as has been pointed out) the JJ bridge.

And yet the JJ bridge was much easier to accept. Why? Because that was a reboot!

This is amazing and I wish we would see more of the set. So much better that jj’s Apple store.

Not sure it was worth the colour-matching given that the end result looked nothing like the interior of an old multi-screen cinema rather than Minority Report, and the original bridge was a bright and cheery grey workspace not a gloomy space full of health and safety tripping hazards due to poor lighting.

Poor lighting? Where?

All over. Do you not see how dark the Discovery show aesthetic is? Not just in tone. But in lighting.

Wouldn’t it be something if the new ‘Picard’ series has all been a ruse and Discovery ends up in his post TNG era with Picard as lead for season 3? Stranger things have happened…..I have often wondered how exciting a new Picard series could really be, but if they tied in Disco in the 24th century they could use a bunch of actors from TNG, VOY, DS9, and they’d all be about the right age. Really tie up all the series (except ENT)

I doubt that Patrick Stewart would agree to return to TREK only for Picard to be a guest captain on the Michael Burnham show for 1 season.

This is how bad things have sunk when I would actually welcome a bore like Picard to take command of Discovery. At least Stewart has charisma and we are pretty sure he isn’t the MU version.

I would be so in for this.

The oddly anuglar screens are just not practical (not talking about the viewscreen). Keep the angles at 90 degrees.

I’d watch the TMP era movies then. This bridge also borrows from them.

I had a quick glance at the various bridges and the screens are predominantly rectangular or circular. No odd impractical angles. The consoles might be angular, but they have pretty much a fixed button layout, so that’s a slightly another story.

That color looks nothing like orange. If anything this particular red gravitates towards the other side of the color wheel (purple rather than orange). I’m not complaining about the look achieved, it’s simply NOT orange.

J.S. we can’t tell what colour it is from a screencap on our mobiles or a production still.

What I’m seeing depends on which device I’m using and what its settings are.

This is the whole issue Deverell was getting at.

The Enterprise red-orange colour is particularly variable dependent on the lighting, but also the recording media and what its looked at on.

What colour it was originally in reality was not how it appeared on film and then it was further changed by video transmission and people’s TV sets.

I suspect Deverell was trying to make sure that she got it right in reality and on HD….

Not to forget, back in the 60s shooting on soundstages tended to use far harsher lighting setups than is common nowadays. Camera technology got more and more sensitive over the years, which enabled filmmakers and TV show producers alike to shoot in darker and darker conditions without loss of image quality – not to mention that this enabled more creative choices about when and where to shoot, and how to light.

In the lighting that was used in the episode, on several screens that I saw either the episode or the stills it looks nothing like orange, and even the peeping at RGB color values can prove that. That’s why I was put off by Georgiou’s comment about it being “orange”. They might have tried to make it orange but in the lighting used it looks nothing like orange.

love the pic of the bridge crew tossed to one side by enemy fire or turbulence (?). classic OS move.

Trek’s long-term, Sci-Fi & visual design reached rare, iconic success. People so positively influenced that they became engineers & scientists. I ended-up in animation, set design & video game gigs. So I’m glad to see this great work /dedication continued in this production set. ..HOWEVER..

*The Starfleet uniforms are terrible.* Give the designers freedom to craft bold, iconic uniforms. The current uni’s are not futuristic; they look contemporary, like chic Nike exercise or UnderArmor athletic gear.

HOW does a massive project, of a legendary & trendsetting production, manage to reboot bold adventurous characters by deflating the forward thinking designs that were the ethos of Trek’s visual success?

To the point that their style defined much of the show’s tone as a cultural icon?

Ok- we know the Legal department will not allow them to make classic Trek uniforms, but it’s NO reason for these corny “zip-up excercise-coverall fashions.”

C’mon.

Evoke some (even a tiny bit) of that TOS style which embodied [pardon the pun] the sense of strong contrasts of dark, mod punky pants & boots, contrasted against great textures & colors that represent the character’s station or assignment, etc..

The current uni’s project NO forward thinking, nor does it evoke the classic “Boldly Go” that set an expanding tone for every Trek series.

The Fans & the Star Trek phenomena deserve better.

“Ok- we know the Legal department will not allow them to make classic Trek uniforms, but it’s NO reason for these corny “zip-up excercise-coverall fashions.””

This is flat out false.

Some Speculation – maybe the upcoming Section 31 series has the Enterprise in it?

The Section 31 show is still not greenlit. There is no date for season 1. My guess is that it has been put on the back burner because CBS as soon as they saw rough cuts with Anson Mount’s Pike that they started considering a Pike series then. All Section 31 stuff slowed down, and they broke the finale into 2 parts at that time.

They are probably gearing up for Pike series, and Section 31 might be in that (probably would), but the Section 31 show is likely not happening.

I would hope Kurtzman would put the brakes on the S31 show and focused on Pike instead. I just woldn’t bet on it happening.

Yeah, I have a feeling they might mix the two shows. The problem is they want Michelle Yeoh for a lead role and I wonder if they could consider or if it is possible to have two leads with Yeoh and Mount together or would they just relegate Mr Mount to a recurring role.

Michelle Yeoh really stinks up the place. Her “acting” is wooden and amateurish in tone. I’ve seen high school plays with better actors! Get her off the show and NEVER allow her to star in a new Star Trek series.

Sheesh, just how stupid are the producers?

“You can’t worry too much about the history of Star Trek when you work on stuff like this” More clues that the idiots are in charge of the franchise and don’t give a crap about it at all.

Baxter, Deverell is not an idiot. And she absolutely does care.

You are cherry-picking to validate your prejudice.

You’re taking one comment – wherein she’s saying that at a certain point she has to do her job and be a creative and not let herself get too bogged down in researching the production archives.

Basically, she’s saying that she cares a lot, and had to rein in her perfectionism while ensuring the new bridge respected canon

Deverell watched TOS in first run, and it helped shape her as it did many of us. She has spoken about how its images shaped her childhood dreams and nightmares (Talos).

She wouldn’t have sought out evidence of the original colour or reproductions of the plastic buttons if she didn’t care.

And yet isn’t she also the source for the latest ‘cardboard’ reference to TOS?

Yup, kmart she did call them cardboard.

Because it’s a fact that they were made of cardboard.

She’s done the research. And she’s honest enough to put it out there. She’s challenged her own nostalgia about those sets.

Deverell’s noted that cardboard was inexpensive worked for black and white and early colour low definition but would be unacceptable to today’s younger audience. It also had durability issues.

Discovery’s bridge and corridors, which were designed by the original production designer have wood cores and wood framing. We’ve heard that they’ve also had durability issues.

Rumour (or leaks…) about the new Enterprise bridge is that she had it built with a metal frame.

She clearly has high expectations for what they put on the screen.

Isn’t that the attitude we want for a franchise to endure another 50 years?

No, it’s not a fact they were made of cardboard. Plywood, yes. That said, the assertion about cardboard sets on TOS has been an enshrined as a bit of false hyperbole for ages now. Repeating it doesn’t mean that Deverell didn’t love the show growing up, or that she didn’t do the necessary research to perform her job.

I was about to say the same thing. They were NOT cardboard. They were backed with plywood. The same thing the Discovery sets are backed with. This falsehood seems to be as prevalent as the incorrect cliche of “Kirk was a space horndog”.

I think they care. They just don’t get it, though this bridge shows they get some things. The design is pretty close to perfect. What they don’t get are the philosophical underpinnings of a trek story. If they can wrap their head around it, they can fix a lot if what is wrong with discovery. Nothing they can do about annoying characters at this point though. Every trek had one or two but Discovery has really forged an identity based on bad characters nobody likes (excluding Pike and Saru).

Thanks Trek fan…

It sounds as though they get part of it – positivity, science-based solutions, characters drive story…

But haven’t really listened to Roddenberry’s critique of 1950s TV and his motivation for creating Trek…

He very specifically said that he was tired of writing for shows where the last 10 minutes were always a gunfight.

He wanted to create a show where the problems and solutions weren’t always rooted in violence.

It’s as much a problem in the era of peak television as it was in the 50s.

So, Trek can and should stay true to offering something else.

Yes, sometimes Trek historically has gone there, but not just for a weekly quick, cool hit of sensationalism.

But season 2 of Discovery has had as many skirmish or horrific death endings as not.

Note to TPTB – no more than 25% of episodes should have violent or horrific the key dramatic moments.

Otherwise we stop believing that the crew are looking for other solutions.

Right. It isn’t star wars. I like star wars and space operas in general but that isn’t really what trek is about. trek had us reflect on our human qualities while pondering various possible futures. Religion, politics, science, diplomacy, and ethics were dealt with fairly regularly during various challenges faced and interactions with the wider universe. I hope they can get back to including these characteristics. There have been hints of it here and there. The planet with the community that was moved by the red angel and their aversion to tech, or the debate over Ripper and it’s value to the mission versus the value of life itself. These examples are few and far between though. Unfortunately.

Just who are you to speak for everyone, i.e. “nobody likes”?

I’m just a guy. Perhaps I was lazy articulating my thoughts. How about characters most long time Trek fan’s dislike? Or perhaps even more accurately, every trek fan I know personally which is an admittedly small sample yet nevertheless very passionate group? I am fairly certain the dislike extends beyond that though based on rotten tomato rankings and countless other online reviews.

Maybe going forward it would be best just to speak for yourself, and what you like.

It’s called hyperbole. Where one exaggerates on purpose to make a point. It’s quite common and quite easy to spot.

I love that they even got the sounds of the original bridge right. Noticed it immediately and actually got goosebumps. I think Discovery is one of the better Trek iterations so far and I really want more!

Abrams Enterprise bridge looked nothing like TOS. Plus, with added overhead desk lamps at every station the set was blinding,and not as aesthetically pleasing as the Discovery series Enterprise.

For some reason my favorite part is all of the bright lights running along the top of the stations. I’m not a huge TOS fan, but I’m glad they put those in. It also reminds of how more color was added to the NX-01 bridge during the last season of Enterprise.

So when we first follow Pike from the turbolift to the bridge, it seems there is a hallway or open area to the left and right of the turbolift going behind the bridge duty stations. I remember this was a thing seen in the blueprints, but never shown on screen. IF those areas are indeed access to behind the bridge stations then that is extremely cool.

I also think there are too many lights, but other than that this is an amazing bridge set.

Yes, there’s definitely a hallway, at one point there’s even a yellowshirt walking into it.

Hopefully there’s an emergency stairway hidden behind one of those walls. It was a design blunder that the TOS bridge could be blocked by one malfunctioning (or sabotaged) turbolift.

I think the updated bridge set looked amazing. I also appreciated the offset turbolift placement, even though it STILL makes no sense related to the outside of the ship. :)

Here’s hoping we see more of this marvelous set in future seasons (or on other iterations of the franchise—hint hint!)

I still like the idea that the lift travels a short distance to the left, then down, to justify the bridge facing forward. In fact that has to be the case in this situation, given the “window” on the exterior CG model.

I remember when Trek Remastered was being discussed on these forums, and there was one guy who couldn’t get over that they didn’t show the offset in that really cool shot establishing Pike’s bridge.

Since the 2009 etc. movies, the interiors and outsides of the ships have little to do with each other.

Also on the blueprints was a head. Which made sense to me and I understood why it was overlooked on the show. ;)

Seriously would a future Star Ship not be an organic self-healing Artificial Intelligent Craft that instead of the inhabitants connect to all and every device on the Ship via the Helm but a completely open area with no light distractions run by telepathy, minimal controls and with semi-transparent walls to provide total visuals to the outside deep space. If you want to at least break out of light speed it would make sense that the place we imagine would be our destination in a microsecond with no inertia.

Would’ve preferred grey floors and better lighting, but I loved the homages.

I love when Georgiou goes “orange? yechth.”

Especially when it doesn’t look orange in the lighting that they used…

EXCELLENT episode! Very happy to see the Enterprise bridge.That’s how you modernize the looks without disrespect to the past. That’s hoylw I’d like to see the Enterprise in movies … I’d very happy to see a Cap Pike/Number One miniseries, it would be awesome.

The past was totally disrespected and shat on.

Wasn’t the Pike-era bridge predominantly greys and blacks? The red/orange was a Kirk era thing. I know the Enterprise has just been in for repair, but I think I’d prefer the more understated – almost Star Wars Imperial – feel of the bridge (and corridors) in The Cage. Somewhat easier on the eye.

I tend to agree, though I could argue it either way.

This bridge is still predominantly grey and black. The railing is really the only splash of color until the ship goes to red alert.

Looked kinda cool but it also looked cramped and dated compared to Discovery

It reminds me of the bridge of the Enterprise-A in ST: TUC.

Love it! But at the same time, it is kind of cruel to put so much effort in creating the Enterprise bridge and not giving us a Pike series.

Yes, though with the exception of the single offset turbo lift that bridge was actually closer to the original than this one. But of course this bridge design also had to tie-in to the established DSC aesthetic, which it does quite nicely.

I loved how they updated the bridge, I wish they did that for the kelvin films

PLOT TWIST: The Picard series is set on an old Constitution class starship! #whatatwist

The Picard series will be shot in California while Discovery is shot in Canada. So they would need to dismantle, ship and rebuild the set if they wanted to use it on the Picard show.

It was a joke

I love Star Trek. Can’t wait to be able to watch this new take

Love the new interpretation of the Enterrprise bridge. With Captain Pike, Spock, Number One, and the Enterprise along with its interiors, we just have to imagine what a Pike spin-off would be like.

Why is it that all the bridges that I’ve seen from Discovery remind me more of a set from Tron than from Star Trek? Even with the Enterprise, take out the handful of TOS elements they threw in, and it’s all black with blue and red neon outlines. Nothing like anything else we’ve ever seen in any incarnation if Star Trek. And I hate that it’s an actual window that spans the entire width of the bridge rather than a more centrally focused view screen. Doesn’t fit in cannon at all.

Yes, thank you. I was just thinking that it looked like Tron threw up in here. There are too many lights in the wrong place. Impossible place to work.

TMP got it the most right-Illuminated work surfaces with even Mid- to Low- key general lighting.

They did an amazing job creating a “new” TOS Enterprise. When I watched Part 1 on Thursday I was awestruck looking at that bridge. I too, hope to see an episodic Pike/Enterprise Series come to fruition.

It looks terrible with only the slightest resemblance to the original. The people producing this show continue to arrogantly shit on everything that came before.

The bridge set is simply fantastic. First thing I noticed was the integration of the colored light panels just above eye level which really nails it down for me. Yep, this should have been the bridge for the movies. KUDOS to the design team. They got it right and this is coming from a purist.

Looks an Abramsverse bridge with a few TOS-esque doodads tacked on. And did they grease the camera lenses? Every light looks like a smeary glarey blur. Not impressed. But it doesn’t have to look like the TOS Enterprise bridge, since ST:Discovery is an alternate universe. But couldn’t they stop the flares and glare? Or maybe my eyes are just sensitive to light.

Your eyes and mind are simply demonstrating classical tastes, instead of an unhealthy love for bad visual trends that had overstayed their welcome a decade back.

What I would give for Amy Vincent to shoot TREK. Look at THE CAVEMAN’S VALENTINE sometime (it is often streaming), the picture quality is astonishingly clear and sharp and it makes everything so much more inviting and therefore involving, instead of having to look through what amounts to being screen doors, which seriously distances a viewer.

Really like the PD on the show overall, much more successful than the JJ films. Only criticism would be the use of led tape everywhere which may well date it to this decade.

I found it funny when the bridge exploded and there were rocks all over the floor. Why do they have Rocks in computers?

They came from the alternate future, Yesterday’s E, where they were everywhere, especially in Riker’s neck.

In jest, starships had geologists. When they explored new planets, the geologists collected rocks and stored them in the ceilings of the bridge.

I remember when I was a kid building a plastic model of the TOS bridge and having to mix the old Testors red and orange paints to get the right look of what I saw on TV. It is funny that with all of today’s modern tech used to create the exact pantone and colour, they still had a hard time recreating the exact blend of red and orange needed to appear just right taking into account the lighting and post production effects. All and all, I think they did a great job with the colours and with the re-creation of the beautiful classic TOS bridge. Also loved the sound effects when they entered the bridge.

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Star Trek fantasy: step aboard every Starship Enterprise with this website

The bridge is yours..

By Sean Hollister , a senior editor and founding member of The Verge who covers gadgets, games, and toys. He spent 15 years editing the likes of CNET, Gizmodo, and Engadget.

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Gene Roddenberry, creator of Star Trek , left us a long time ago — but his archive is slowly being digitized so it can live forever. The latest batch includes an official website that lets you set foot on almost every Enterprise bridge .

Spoiler alert: While this story won’t spoil anything, the website in question does contain a spoiler for Star Trek: Picard .

It’s not a particularly robust or mobile-friendly website at the moment, perhaps because of all the fans attempting to live out their dreams simultaneously — but if you navigate to roddenberry.x.io , click on Bridge View and then pick a ship, you might see a “Click Anywhere to Continue” message.

Click on the window and your desktop’s WASD keyboard keys and mouse should you walk around the bridge, let you sit in the captain’s chair or helm, check out Picard’s ready room , even pop into a turbolift, or open a panel or two. They’re fully decked out with flashing panels, labeled LCARS buttons and moving UI elements.

I’m not just talking Kirk’s bridge or Picard’s bridge, either — every single Enterprise seems to be represented here in some way, including those from the Kelvin Timeline and the Mirror Universe where Spock sported his infamous goatee . And while a few don’t have bridge views, like the Alternate Future Enterprise from the final episode of Star Trek: The Next Generation or the Enterprise-E’s slight modifications for Star Trek: Nemesis , you can also step onto the bridge of the U.S.S. Voyager to make up for it.

I’m hoping the Voyager contains some sort of Easter egg about its torpedo inventory , though I haven’t found it yet.

The incredible collection of digitized bridges comes through a partnership with graphics company OTOY , and it’s not the only fruit of their labors revealed this week. Below, you’ll find a series of videos (the first of which also has a Picard spoiler, I’m told ) featuring John de Lancie (Q) exploring the Enterprise’s bridges, William Shatner excerpting a longer “hours-long testimonial” he’ll add to the archive, and other Star Trek luminaries.

Here’s something else to look forward to: The Roddenberry Archive and OTOY say they’ll be adding the voice of Majel Roddenberry, who played several roles, including the ship’s computer, to the archive “in the coming months.” Her son Rod says that in 2008, Majel “meticulously recorded her voice phonetically, with the intent to preserve it for some future technology to bring it back to life.”

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Designing the Enterprise-E’s Bridge

After John Eaves had designed the new Enterprise for Star Trek: First Contact , the next thing on Production Designer Herman Zimmerman’s list was a new bridge.

The bridge of the Enterprise -D had consisted of a circular room enclosed by walls, with a prominent wooden arch. On the “E”, the walls were replaced by an open framework with gently sloping ramps and multiple levels.

“We left the framework, but removed the walls,” Eaves writes in Star Trek: The Next Generation Sketchbook — The Movies, Generations & First Contact , “so that you could see other stations beyond those [former] walls.” This was meant to add scope and function to the set.

We also built a main console in the back, with doorways on either side that lead to the right and left sides of the observation lounge. So if you were at the front of the ship looking back and those doors were open, you could see all the way through into the observation room, then out into space.

In the real world, the observation lounge of the Enterprise -D was actually next to, rather than behind, the bridge set, which is why there could be no continuous scenes between the two. That shortcoming was remedied with the Enterprise -E.

Next to the doors to the conference lounge were the turbolifts. Moving forward to either side of the screen, one finds a door leading to the captain’s ready room and another to an airlock.

Zimmerman took Eaves’ sketches and began drawing up construction plans. When all was finished and the set was built, it wound up being much larger than the Enterprise -D’s.

There was some hesitation about the size, as Eaves’ original idea was to have a smaller bridge to fit the sleeker ship.

[B]ut it wound up being a great thing; it was a beautiful set, with warmth and depth, and the colors Herman chose gave the bridge a sense of ballistic beauty and great function.

There had been other design concepts that did not work. Eaves explains that the script originally said all stations must face the captain’s chair. “When we did a rough pass on that, it just didn’t look right.”

Also, at one point, Troi’s and Riker’s stations are at something of a diagonal to the captain’s chair, so that Picard can read the displays on the backs of their consoles. But those were eventually eliminated, since they would [end] up being too enclosing on the characters.

One change that did make it was to raise the captain’s chair slightly above the others, allowing him to oversee the rest of the crew. On the Enterprise -D bridge, the three command chairs had been on the same level.

Although the new bridge was more functional, certain traditions remained.

“Doug Drexler, who is quite the Star Trek expert, took a look at one of my sketches for the bridge,” Eaves remembered, “and said, ‘Hey, you’ve got to have a row of blinkies blinking running lights under the viewscreen. It’s a tradition on every Enterprise . Those lights simply must be there.” Compliance was swift.

As time went on, Zimmerman decided that the “E” should have a new type of viewscreen. Rather than a projection-type screen, he wanted an image to form in midair. In response, the art team designed a “screen” that was in fact a light image projected from the floor and ceiling, rather like a two-dimensional holograph. The crucial issue of the traditional blinkies remained, though.

According to Eaves, the team “wound up designing a detailed area on the floor that acted like a holographic projector array,” and they attached the blinking lights to that.

So when the viewscreen came on, the lights on the back of the bridge would go down, and an image would appear on our new viewscreen — with, of course, Doug’s running blinkies.

Hi I would like to know if the E bridge set was rebuilt for each movie? I’ve noticed a few difference between the three movies, such as the lack of consoles in front of Riker and Troy’s seats in Insurrection . Thanks Craig

Not rebuilt, modidied. The First Contact set was on Stage 31, later moved to 15.

I suspect they simply made modifications to it for each movie.

Is the bridge still in storage?

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Things to do | wondercon 2024: star trek, spider-man, star wars fans and more assemble in anaheim, now in its 36th year, the comics convention, which brings together costumed fans, artists, authors and celebrity guests, runs through easter sunday..

With a large, lively gathering of Star Trek redshirts posing for a group photo, WonderCon kicked off at the Anaheim Convention Center on Friday, March 29. Now in its 36th year, the comics convention runs through Easter Sunday and brings together costumed fans, artists, authors and celebrity guests sharing their love and enthusiasm for pop culture.

The redshirts – who are renowned for often dying in “Star Trek” episodes – were among the throngs of Spider-Men, Batmen, pirates from the anime “One Piece” and Disney princesses who posed in front of the “Ocean Fountain” just outside the entrance to the convention center.

Miguel Capuchino, and his wife Lucy Capuchino, dressed as Vulcans, helped organize a Star Trek meet-up in front of during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Kasandra Higgins is dressed as Sun, the Daycare Attendant from Five Nights at Freddy’s, during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Photographer Kyle Matthew directs Troy Booth, dressed as Superman, outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. Booth traveled from the U.K. for the comic convention. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Adrian Ramirez, dressed as Spider-Man, cuddles with Gianna Barrera, dressed as Doc Ock, outsdie WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Marina Sharpe, dressed as Barbie, takes a video of Melissa Matteson, dressed as Thumbelina, during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Alec Zarate, dressed as Symbiote Spider-Man, balances on top of a trash can outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Andrew Dougherty is dressed as a Stormtrooper mashup outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

RIgby Ramirez checks out books at Phantom Zone Comics booth, during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Troy Booth, dressed as Superman, soaks up the sun outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. Booth traveled from the U.K. for the comic convention. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Sara Zitney and her daughter, Evelynn Zitney, 7, are dressed as Nimona, in different forms, from the movie of the same name, during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Morgan Summers is dressed as Queen of the Damned during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Joshua Turner is dressed as Super Saiyan 3 outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Tess Ramtohul, dressed as Supergirl, poses for photographers outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. Ramtohul traveled from the U.K. for the comic convention. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Octave Villar, dressed as The Riddler, Darius Villar, as Batman, Octavius Villar, as The Riddler and Elizabeth King-Villar, dressed as Poison Ivy, outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

David Sander dons a biker jacket from the 501st Legion during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Cosplayers outside WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Shari Haynes, dressed as Lt. Nyota Uhura from Star Trek, holds on to her communication device during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Bridget Arias, dressed as Wonder Woman, takes pictures of Morgan Summers, dressed as Queen of the Damned during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Armani Catlin, dressed as a samurai Miles Morales from the Spiderverse, during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Ezra Robles, 9, plays a Jaws pinball machine during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

The Robles family plays Jaws pinball machines during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Natalie Dodgen, dressed as Rey, wanders the aisles of WonderCon with R2-D2 in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Dinah Salas tries on a handmade leather mask at the Mad Masks booth during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Husband and wife, Rachel and David Quintana, at their Mad Masks booth during WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

Christopher Canole, 77, dressed as his own creation – Dude Vader, says he’s the oldest cosplayer at WonderCon in Anaheim, CA, on Friday, March 29, 2024. The three-day comic convention takes place at the Anaheim Convention Center. (Photo by Jeff Gritchen, Orange County Register/SCNG)

While waiting for more Spider-Men to show up for a prearranged group photo, Alec Zarate from Whittier, dressed as Spidey’s Venom symbiote, struck the superhero’s classic crouch position on the top of a garbage can by the fountain. A mask of the alien symbiote’s face sprang from the neck of Zarate’s black outfit on a wire, as a nod to Venom’s bond with Peter Parker.

“Venom’s really rowdy, but he’s friendly,” Zarate joked.

Zarate said he hopes to see a Saturday panel with Michael Cusack and Zach Hadel, co-creators of the animated series “Smiling Friends” from Adult Swim. This year, WonderCon’s panels will spotlight comic books writers and artists like Gail Simone and Dustin Nguyen , as well as the cast and crew of TV shows and movies such as “The Spiderwick Chronicles” with Christian Slater and “Boy Kills World,” with Famke Janssen.

Low-key con

Run by the same organizers as San Diego Comic-Con , the largest comics and pop culture convention in the world, WonderCon is known for being a friendly, more chill experience for attendees. There’s no nerves-shredding lottery system for badges, nor are the lines for panels and merchandise anywhere near as exhaustingly long as those at SDCC. At the time this article was written, badges were still available for sale on-site.

Inside the convention center on the exhibition floor, Barbara Robles and her family were playing pinball on a “Jaws”-themed pinball machine. Robles, her husband and stepdaughter were respectively dressed as Dark Phoenix, “Beast” and “Rogue” from “X-Men.” Her son Ezra, 9, was dressed as Sebastian from the children’s book, “The Impossible Quest.”

“He wanted to do his own thing this year,” Robles said with a laugh. “We all like to dress up, and usually we vote on the group costume we want to do. Last year, we dressed as Scooby-Doo characters, and we even had the Mystery Machine van.”

Regular WonderCon-goers, Robles said they traveled down from Lompoc to attend WonderCon, although they will head back home for Easter. “Even though we’re not here long, it’s a great family event for us.”

Droids from Star Wars roamed the exhibition hall, stopping every few feet for photos and videos with fans. Five-year-old Alison Yao from Pasadena struck a pose with R2D2.

“I’m a huge Star Wars fan,” said her father, Tony Yao. “So she recognizes R2 now.”

Yao hopes WonderCon sees good crowds this year, even with the rainy forecast for Saturday and Sunday. “I’m worried that the weather will put a damper on it a little bit. But it’s a fun weekend, so I hope folks still come out.”

A toy designer, Yao was attending WonderCon as both a fan and a creator of action figures. He works with some of the companies presenting merchandise on the floor, including Toynami.

Rather than the industry giants at SDCC, WonderCon’s floor tends to run to independent artists and small press. A couple of the bigger names this year are IDW comics, which will host a few of its artists for signings, and FiGPiN, which will have exclusive Star Wars Rebels , My Hero Academia and Scooby-Doo collectibles only available to con-goers.

Fans who needed masks for their cosplay could visit the “Mad Masks” booth run by Rachel and David Quintana of Mission Viejo. Rachel Quintana said they began making masks from their home 12 years ago.

“My husband was dressed as the Joker and I was doing Harley Quinn, but the mask that came with my costume didn’t fit properly,” she said. “So I made my own, and a couple extra, and sold them on eBay, and they were just snapped up.”

The couple have been selling their handmade leather masks at WonderCon for the last four years, and will also have a presence at San Diego Comic Con this July.

“I love WonderCon and Comic Con because I love seeing my customers in person, and just the buzz of the whole atmosphere,” Quintana said. “I look forward to it every year.”

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Star Trek: Strange New Worlds Season 3 First Image Reveals Spock In New Costume & Science Lab

• Lieutenant Spock debuts new space suit and Science Lab in Star Trek: Strange New Worlds, leaving fans thrilled for season 3.
• Production of next 10 episodes set to finish in May; Paramount+ likely to premiere season 3 in 2025.
• Creator Bill Wolkoff reveals Spock's location in new Science Lab, with unique set design and futuristic technology.

Star Trek: Strange New Worlds reveals a first look at Lieutenant Spock (Ethan Peck) in a new Starfleet space suit inside the Starship Enterprise's new Science Lab. Strange New Worlds season 3 is currently filming in Toronto , and is scheduled to complete production of its next 10 episodes in May. Fans eagerly anticipate Strange New Worlds season 3, which is likely to premiere on Paramount+ in 2025.

Variety' s cover story about the Star Trek franchise includes a first-look image of Spock wearing an updated version of the space suits from Star Trek: The Original Series. The photo also reveals the USS Enterprise's new Science Lab, a brand-new set that "boasts a transparent floor atop a four-foot pool of water that swirls underneath the central workbench, and the surrounding walls sport a half dozen viewscreens with live schematics custom designed by a six-person team." Check out the image below:

Star Trek: Strange New Worlds writer and producer Bill Wolkoff also confirms Spock wears a "hazmat suit" inside the new Science Lab in an X post:

Star Trek: Strange New Worlds Season 3 - Everything We Know

New reveals about star trek: strange new worlds season 3, jonathan frakes returns to direct a hollywood murder mystery.

Along with the Starship Enterprise's new Science Lab and Spock's colorful new hazmat suit, Variety 's Star Trek cover story has some tantalizing new information about Star Trek: Strange New Worlds season 3 . Jonathan Frakes will direct a Strange New Worlds season 3 episode described as a " Hollywood murder mystery." Frakes, who is one of Star Trek' s most beloved and prolific directors, calls it "the best episode of television I've ever done" - a remarkable statement considering Frakes directed Strange New Worlds season 2's comedic crossover with Star Trek: Lower Decks.

Star Trek: Strange New Worlds ' big swings have paid off handsomely, and season 3 ought to be no different.

Star Trek: Strange New Worlds co-showrunner Akiva Goldsman teased Variety about his show's versatility with genre: "Could it do Muppets? Sure. Could it do black and white, silent, slapstick? Maybe!” Indeed, Melissa Navia, who plays Lt. Erica Ortegas, told the audience at ST-SF: Trek to San Francisco that "incredible things" are coming in Strange New Worlds season 3 . Anson Mount also hinted that Strange New Worlds season 3, episode 7 is, "Something different, something I've never done before." Star Trek: Strange New Worlds ' big swings have paid off handsomely, and season 3 ought to be no different.

Source: Variety, Twitter/X

Star Trek: Strange New Worlds is available to stream on Paramount+

Cast Bruce Horak, Celia Rose Gooding, Jess Bush, Melissa Navia, Ethan Peck, Babs Olusanmokun, Rebecca Romijn, Paul Wesley, Christina Chong, Anson Mount

Streaming Service(s)

Franchise(s)

Writers Bill Wolkoff, Akiva Goldsman, Henry Alonso Myers

Directors Amanda Row, Valerie Weiss, Jonathan Frakes, Chris Fisher

Where To Watch Paramount+

Screen Rant

Star trek's next movie reveals shocking tng legacy character in section 31.

Star Trek: Section 31 will see Emperor Georgiou travel through time, and she meets a legacy character familiar to Star Trek: The Next Generation fans.

• Star Trek: Section 31 connects to The Next Generation through legacy character Rachel Garrett, played by Kacey Rohl in a shocking twist.
• Directed by Olatunde Osunsanmi and written by Craig Sweeny, the series uncovers the dark secrets of Starfleet's black ops agency.
• Michelle Yeoh's Georgiou time travels to confront the sins of Section 31, adding depth to her character's journey across the Star Trek universe.

Star Trek: Section 31 reveals a shocking connection to Star Trek: The Next Generation in the form of a legacy character who meets Emperor Philippa Georgiou (Michelle Yeoh). D irected by Olatunde Osunsanmi and written by Craig Sweeny, Star Trek: Section 31 recently wrapped production in Toronto. Yeoh's Georgiou, who was originally a popular part of Star Trek: Discovery, travels through time as she confronts the sins of Starfleet's secretive black ops agency.

A new Variety cover story about the Star Trek franchise reveals that Star Trek: Section 31 new cast member Kacey Rohl plays a young version of Star Trek: The Next Generation legacy character Rachel Garrett , the doomed future captain of the USS Enterprise-C. Check out the quote below:

Georgiou is standing with a young Rachel Garrett (Kacey Rohl), a character first introduced on “Next Generation” as the older fearless captain of the USS Enterprise-C.

10 Section 31 Things To Know Before Michelle Yeoh's Star Trek Movie

Who is rachel garrett in star trek: the next generation & section 31, the captain of the enterprise-c has a secret past.

Rachel Garrett only made one appearance in the classic Star Trek: The Next Generation season 3 episode, "Yesterday's Enterprise." The Captain of the USS Enterprise-C is a tragic character as she and her Ambassador Class starship were doomed to die in order to repair the timeline and ensure a dark alternate reality where the United Federation of Planets loses a war with the Klingons. Captain Garrett was played by Tricia O'Neill in TNG , and she has never been forgotten by Star Trek fans.

Star Trek: Section 31 revealing that the young Garrett encounters Emperor Georgiou and may even be recruited into Section 31 in the early 24th century is a compelling and fascinating twist.

Captain Rachel Garrett's sacrifice was referenced at the start of Star Trek: Picard season 3. A statue of Captain Garrett, known as ''The Red Lady' , stood in front of a Starfleet recruitment center on M'Talas Prime that was destroyed by Captain Vadic (Amanda Plummer). However, nothing was known about Rachel's past. Star Trek: Section 31 revealing that the young Garrett encounters Emperor Georgiou and may even be recruited into Section 31 in the early 24th century is a compelling and fascinating twist on this Star Trek legacy character.

Source: Variety

Spock Experiments on a New Set in First ‘Star Trek: Strange New Worlds’ Season 3 Image

Strange things are brewing in the Enterprise's new science lab.

The Big Picture

• Ethan Peck's Spock examines a strange lifeform in a new lab set on the USS Enterprise, in the first image from Star Trek: Strange New Worlds Season 3.
• Jonathan Frakes returns to the director's chair for Strange New Worlds , and calls one episode the "best episode" he's ever done.
• Season 3 will feature the classic Star Trek character Scotty, who made an appearance in the Season 2 finale.

Star Trek fans may have a while longer to wait for the third season of Star Trek: Strange New Worlds to air, but we have a first glimpse of the upcoming season, which is currently filming in Toronto, Ontario. The new image, courtesy of Variety , shows Spock ( Ethan Peck ) clad in a full-body environment suit, examining a strange lifeform in the new science lab set of the USS Enterprise. In the impressive new set, the translucent floor covers a four-foot pool of illuminated water, while the walls are bedecked with six viewscreens displaying live graphics.

Star Trek mainstay Jonathan Frakes , who will return to the director's chair for Strange New Worlds ' third season, also teased a bit of what we can expect. The third season will feature one episode structured like a Hollywood murder mystery that Frakes calls "the best episode of television I’ve ever done." This may be connected to a recent filming update from star Anson Mount , who noted that the upcoming season will feature something he's never done before.

'Star Trek: Strange New Worlds' Season 3 Resumes Filming With New Set Image

What can we expect from season 3 of 'strange new worlds'.

The third season of Strange New Worlds will continue to chronicle the 23rd-century voyages of the USS Enterprise and its crew, including Captain Christopher Pike (Mount), Spock (Peck), Una Chin-Riley ( Rebecca Romijn ), Nyota Uhura ( Celia Rose Gooding ), La'an Noonien-Singh ( Christina Chong ), Erica Ortegas ( Melissa Navia ), Christine Chapel ( Jess Bush ), and Dr. Joseph M'Benga ( Babs Olusanmokun ).

Presumably, it will open with the conclusion of last season's cliffhanger finale , which saw the crew imperiled by the hostile reptilian Gorn aliens on all fronts; not only is the Enterprise under attack from a Gorn fleet, but Pike's fellow captain and love interest Marie Batel ( Melanie Scrofano ) has been implanted with Gorn embryos that will kill her when they hatch. The third season will likely also incorporate classic Trek character Montgomery "Scotty" Scott into the cast. The crew encountered him for the first time in the Season 2 finale, as played by Martin Quinn .

The water in the new science lab set may simply be for effect, or it may allude to an occasionally-referenced part of Star Trek lore that wasn't seen on-screen until the second season of Star Trek: Lower Decks : Cetacean Ops, an area of some Starfleet ships that features a large aquarium and is staffed by various intelligent whales and dolphins.

The third season of Star Trek: Strange New Worlds is currently filming and does not yet have a release date . You can stream the previous seasons on Paramount+. Stay tuned to Collider for future updates.

Star Trek: Strange New Worlds

Star Trek: Strange New Worlds follows Captain Christopher Pike (played by Anson Mount) and the crew of the starship USS Enterprise (NCC-1701) in the 23rd century as they explore new worlds throughout the galaxy in the decade before Star Trek: The Original Series.

Watch on Paramount+