Star Trek: Discovery Season 5 will be the final season - April 2024 debut
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'Star Trek: Discovery': Anson Mount Responds to Fans Calling for a Captain Pike Spinoff
Star Trek: Discoveryfansare petitioningforAnson Mountto reprise his role as Capt. Christopher Pike in a newStar Trekseries. Mount is now aware of this petition and took time to express how touched he is by the reception he's received from fans and their passion for more.
"I am humbled and deeply touched by this amount of love,"Mount wrote on Facebook. "I have NEVER received such gratitude. Please know that my own gratitude at having been given the opportunity to walk in Captain Pike’s boots is equaled only by that which I feel for the Trek family’s devotion. Seriously, thank you from the bottom of my heart."
Mount debuted as Pike inDiscovery’s second season. He’s the captain of the USSEnterprisebefore James Kirk takes over inStar Trek: The Original Series.It has already been confirmedthat Mount will exitDiscoveryat the end of the season, which comes as no surprise since Pike remains captain of theEnterprisefor several more years before Kirk takes over. Fans see a spinoff series as a way to get more of Pike without disrupting canon.
With several years left before the events ofStar Trek: Discoverycatch up to the beginning ofThe Original Seriesin theStar Trektimeline, fans hope to see Mount in command of theEnterprise— along with Rebecca Romijn as Number One and Ethan Peck as Spock — during those intervening years.
“Millions of Trekkies, both young and old, have absolutely loved Anson Mount's (Pike) and Ethan Peck's (Spock) portrayal of these iconicStar Trek characters,”the Change.org petitionreads. “While we've enjoyed their performances onDiscovery- we know its coming to an end...and we want more! Consider adding anotherStar Trekseries to your line up starring these two great actors.”
The petition has over 7000 signatures so far. That's up from 1000 last week. If the petition continues to grow, it could attract the attention of Alex Kurtzman or other executives with power over theStar Trekfranchise.
CBS All Access is already planningaStar Trek: Discoveryspinoff following Philippa Georgiou’s (Michelle Yeoh) work with Section 31. Pike knows about Section 31’s existence, so there is the possibility that he could appear in the spinoff series.
https://comicbook.com/startrek/2019/04/14/star-trek-anson-mount-pike-spinoff-petition-response/
Wow! That was great!
The end of season 2 theoretically can tie the continuity in a bow from my standpoint. The Spore drive, tech that never appears in the future, brings the Klingons and the Federation potentially into a believable familiarity.
God damn. Just watched the finale, that was fucking amazing. I cannot wait for S3.
The time jumping scenes reminded me of 2001: A Space Odyssey
The time jumping scenes reminded me of 2001: A Space Odyssey
That was a fire episode
I just did some searching and it turns out that the show name/ship Discovery is a nod to 2001: A Space Odyssey's Discovery One space ship.
So yeah, that time jumping having a 2001: A Space Odyssey feel, was most definitely on purpose.
So yeah, that time jumping having a 2001: A Space Odyssey feel, was most definitely on purpose.
I never been into star trek
The movies didn't help
This shit is pure excellence
Like fucking pure excellence
The movies didn't help
This shit is pure excellence
Like fucking pure excellence
no knock on what you like...
but saying what you just posted - is similar to saying
"I've never been into Star Wars - but Last Jedi is just pure excellence"
Director's Log 213.214: Behind the Scenes of the Season 2 Finale
It was an early weekday morning when I got the call. A calm voice on the phone said, “Are you sitting down?” I said no. The voice said, “You should sit down… The finale doesn’t fit into one episode. I’m splitting it into two.” And that’s how Alex Kurtzman told me that Star Trek: Discovery’s finale would run the length of a feature film.
Episode Prep
I was already scheduled to direct the finale, Discovery’s 13th episode of the second season, “Such Sweet Sorrow, Part 1” (213), and prep for that episode was around the corner. We quickly determined that I should direct 213 and the new 14th episode, — what would become “Such Sweet Sorrow, Part 2” (214) — because the stories were so intertwined.
The writing team of Alex, Michelle Paradise, and Jenny Lumet quadruple-timed their writing schedule and delivered us two scripts just seven days after the decision was made! After reading them, the crew and I knew immediately they had delivered something special.
But we had a challenge on our hands. The scripts were big! “Sorrow, Part 1” was huge on drama and emotion, while “Sorrow, Part 2” was big on war and action. And, honestly, I wasn’t helping matters much by continuing to pitch bigger action sequences.
We always have a lot of meetings on Discovery. Nevertheless, Patrick Tidy (first assistant director) and I knew that due to the size of 213/214, and the fact that we were block shooting, we were going to have many, many more meetings than we were used to — on set, at lunch, and even after we’d wrapped for the day. Visual effects meetings were a big part of the load. We had endless meetings with Jason Zimmerman (VFX Supervisor) and Ante Dekovic (VFX Supervisor) about the Red Angel, space battles, and Enterprise bridge screen and wall extensions. Rob McCallum (storyboard artist) and I generated 145 pages of storyboards to help these discussions along. The amount of VFX on our show is massive. In fact, that crew makes up our largest department at over 500 people strong, and they almost always end up having a hand — sometimes small, sometimes large — in helping other departments realize their Star Trek reality.
In addition to visual effects, we had a bunch of special effects meetings with Darcy Callaghan (Special Effects Supervisor). I would go over how many sparks, explosions, steam sources, and atmospheric effects we would need, where we would need them, and how often they would play. The effects for these two finale episodes were easily more than we had ever done before on Discovery. After one meeting we made fun of the number of notes Darcy had made in his scripts to track everything — I don’t remember him laughing. though.
Production
As I take you through the production of a few of the most crucial finale sequences, it may feel as though I’m going out of order. But, in actuality, I’m going in shooting order!
The first day of shooting we overlapped with episode 212, “Through the Valley of Shadows,” which Doug Aarniokoski was directing. As a producer/director, we usually try to make sure we’ve got hyper-experienced directors we trust going before us or after us, and Doug is easily one of those guys.
We were shooting in sickbay with Anthony Rapp (Stamets), Wilson Cruz (Culber), and Raven Dauda (Pollard). Since we were block shooting, we shot all the 213 and 214 scenes on this set in the same day. While 213 was a drama, 214 was a full-on action movie; this required being sure I had my blocking and camera movements match the contrasting styles and emotions of both episodes. When it was all cut together, the visual design of each episode would land in the right place.
Scenes with Anthony and Wilson are so easy as a director. I make sure to capture the moments between them as best I can, but otherwise I stay out of the way. For the first time on Discovery, we removed the entire right wall of the sickbay so I could get a larger wide shot. For 214, shooting that wide felt like it was necessary for the sheer epic-ness and emotion of the moment.
213. Vulcan Shore
When Alex pitched me the opening for 213, I imagined a beach with crashing waves. I wanted to emphasize the water, and the liquid violence that I would capture in cinematic glory. And I prepped for all of this… only to go location scouting and realize that Toronto’s lakeside beaches don’t have crashing waves. I knew this practically, but my Southern Californian heart couldn’t let go of the idea of actual waves until I was smacked face-on with the reality of it. But, in the end, the calm water worked out much better. It fit in with the serenity of Sarek’s emotional state before he reaches Burnham.
Considering where we left off in 212, this was a wonderful way to come in to 213. It was so unexpected.
There’s nothing like shooting a sunrise. You get everyone there predawn…it’s pitch black and you can’t see a thing, so you’re setting up in darkness. Then, you hurry everyone to get ready before the sun rises… and we still missed it! That morning, the sun came up behind clouds, so we couldn’t see it! It wasn’t until take seven that it appeared and we could photograph it.
These James Frain (Sarek) and Mia Kirshner (Amanda) scenes are so satisfying to shoot. The emotional precision of these actors fascinates me. In this scene I wanted to get into Sarek’s mind. What was he experiencing? What was he feeling, seeing? That’s why I put Burnham’s breathing in the audio track instead of Sarek’s. I felt like maybe he was seeing or feeling glimpses of her launch into battle in his mind’s eye.
213. “The Best Kiss We’ve Ever Seen.”
In the script it literally said, “The best kiss we’ve ever seen,” and it was underlined, too. Never mind the emotional undercurrents in this scene, how was I going to capture the greatest kiss ever? Michelle Paradise was there that day, and she’d written that line. I kept looking at her silently thinking, “What the heck? Why are you putting this kind of crazy pressure on me?” And I didn’t know until afterward that Sonequa Martin-Green (Burnham) and Shazad Latif (Tyler) were thinking the exact same thing!
I shot it wide first with three cameras on long lenses. I asked for a flare at the moment of the kiss, so we aimed a flashlight into the lens at just the right time. Then we added subtle blinking lights at the end of the hallway Sonequa walked down at the end of the scene.
214. Turbolift and Hallway Explosion
The turbolift hallway explosion in “Sorrow, Part 2” was a perfect example of crew working across departments for a seamless experience. VFX started the shot, then it was handed over to grips who built the camera’s descender rig that dives down into the set. Then that was handed over to our stunt crew, who rigged the characters on wires. The stunt was executed simultaneously by SFX with what they call — wait for it — Dragon Farts: high-powered flame throwers that provide fire bursts. Then those flames are mixed in with air cannons that launch debris. I used swing and tilt lenses after the explosion to get into their emotional, disorientated state.
Below is a Dragon Fart test we shot before we shot the final sequence. We wanted to test how far the fire would blast to make sure it was safe for cast and stunts.
https://www.startrek.com/news/star-trek-discovery-finale-olatunde-osunsanmi-bts
213. Hallway Goodbye Scene
Fifteen lead actors performing a dramatic scene while shoved together in a narrow hallway is one of the most difficult things a director can be asked to shoot! We had three cameras and set about the task of getting close-ups on each character. Fortunately, we had the help of the hallway hub that allowed us to open things up a bit.
213. Discovery Bridge Goodbye Scene
This is the scene where Burnham informs the rest of the team of the plan for her to go into the future alone. It actually occurs before the hallway scene above, but we shot this scene afterwards. Sonequa was so, so good in this scene. She’s playing many emotions seamlessly. And she does it effortlessly day in and day out. The gravity of her performance anchors the scene, giving everyone else's performance something to orbit around. Also I should add, this is the most actors we’ve ever had on the bridge! 17!
214. Building the Timesuit in Engineering
I decided to do the Discovery engineering scenes in a oner to convey the urgency of getting the suit built, and the efficiency with which the crew was working to achieve it. Oners are challenging, because not only does the camera operator have to hit their mark, but the cast have to hit their marks and deliver the lines in time. The scene’s "focus puller" has to hit his mark, and the Director of Photography has to work with the light board operator to raise and dim the lights on cue as the actors land and leave their spots. It’s truly a dance!
214. Red Angel Launch, to the Spock Goodbye
We shot Burnham’s launch through the battle, all the way to her goodbye with Spock (Ethan Peck) over the course of two days. Of course, the launch through the battle is 99 percent CG, but we did shoot Burnham’s face inside the helmet. Those storyboards I mentioned earlier? This sequence made up 50 percent of them! Not only did Sonequa and Ethan shoot these scenes over two days, the two days weren’t consecutive due to scheduling constraints and different set configurations needed to get their coverage. The two days were three days apart, but these two didn’t skip a beat.
Because of the height of the platform the actors were standing/sitting on, I employed two techno cranes simultaneously, and for the interior helmet shots we attached a body camera to Sonequa so the camera would be locked to her movements.
214. The Time Jump
The first time Burnham successfully operates the time suit and pushes the holo button, the world goes two-dimensional. The idea here was to show what it would look like if you stepped out of time, if you were able to view the universe from outside the arrow of the space time continuum. Would it be wrapped around you? Or would you be able to see everything in two-dimensions, as if reality itself were flat? We had many hours of discussions with the the shooting crew and VFX about this sequence before we finalized plans for it.
We shot Sonequa in her suit for the closeups. But then for the wide shots we went 100 percent CG. The sparks flying by her in closeup shots were customized by Darcy just for this moment. I nicknamed them marshmallows because when they hit they didn’t cause the same type of damage that traditional sparks do. We shot them at 800 frames per second (FPS) with the phantom camera, and then also used our Arri at 200 FPS for off angles.
Once she goes through the wormhole, Sonequa was shot against green screen and the VFX team did all the spark and streaking work, even for her closeups.
214. The Hallway of Gravity
This sequence was a whole lot of fun to shoot. This all came about when Alex issued a challenge to me: There had to be a fight in the hallways between Georgiou (Michelle Yeoh), Leland (Alan van Sprang) and Nahn (Rachael Ancheril), and it would need to be something different from what we’d done already.
I immediately thought about artificial gravity and that it would be great to have a Trek version of a Kubrick moment (or a Trek version of an Inception moment) but all motivated by the ship losing gravity due to a major phaser hit. During prep, almost everyone thought I was bananas. Build a rotating set? Stage a fight in it? How were we supposed to do that for a TV show? But when I told Alex, all he said was, “Yeah, cool.” And I was like, that’s it?!!! I knew Alex would say it was too expensive, or too complicated. Or something. But all he said was, “Yeah, cool,” giving me permission to see my dream scene realized. I thought it was wonderful that he had such faith in us as crew, and that he didn’t think for a moment we couldn’t pull it off.
Kudos to Darcy, our FX guy, for getting the rotisserie floor done, Tamara (Deverell) for figuring out a way to build this hallway in it, and to Chris McGuire for choreographing an awesome fight in it. It’s not easy moving around when gravity is switching around on you. It’s very disorientating for the actors inside. And this type of thing doesn’t happen without Executive Producer Frank Siracusa and Producer Thom Pretak figuring out how to find the money to pay for it in the first place. As big a show as we are, we don’t have an unlimited amount of money. Paying for that, while not sacrificing other production values, was quite the conundrum, but Thom never once complained.
The First Day on the Enterprise
Tamara did a phenomenal job with this bridge.
The first day we walked onto our new Enterprise bridge was like being injected with a billion shots of adrenaline. We were at the end of a long shoot, and this was one of those days where it felt like we were back on day one. You couldn’t wipe the grin off of anyone’s face.
From the beginning, Alex had insisted that the lighting on the bridge make it feel like an inviting place. The mood on the Enterprise needed to be happier than it was on any of our other ships thus far. You could tell, once we had everyone on set, that we’d succeeded, and we really leaned into that as far as we could. Glen Keenan (Director of Photography) had nailed it throughout the shoot, and he brought this look home as well.
It was quite interesting working with an entirely new bridge crew than Discovery. They learned how to push the buttons, what does what, and where to look. We learned how to shoot them, and what angles looked best of this new bridge, for the right emotions. After half a day's work it was like we’d been there forever.
Shooting both parts of “Such Sweet Sorrow” was a mind-blowing experience, and I can’t wait to see what challenges Star Trek throws my way next. If both “Sorrow”’s have taught me anything, it’s that with the help of our amazing cast and crew, I’ll definitely be able to meet them.
Till next time!
https://www.startrek.com/news/star-trek-discovery-finale-olatunde-osunsanmi-bts
no knock on what you like...
but saying what you just posted - is similar to saying
"I've never been into Star Wars - but Last Jedi is just pure excellence"
I understand it may come across as that
But that's why I was careful not to mention the previous tv series it's quite the opposite it makes me want to watch the other ones to compare
The frame of reference was purely because of the crappy ass movies they put out
Okay. After rewatching and some time to consider, I'd have to say Season 2 was, as one might expect, up and down. Far more up though IMO. The down, down, down for me was definitely Burnham's relationship with the a-rab. I absolutely hated that shit. It felt forced like it was a no-no for her to have a black lover/boyfriend. We know she wasn't gonna have a white one. Maybe if Hardison comes aboard in the future (season 3) he'll be her love interest. They've already incorporated 3 of the 4 Discovery shorts so, maybe...we'll see. I just hope I never see ash tyler again.
There were some weak plot points (the security chief girl who can't fight and all you have to do is dislodge those breathy things from her face? Who made that call?) but that's to be expected for a show only in season 2. Also, they have to adhere to canon and that can handcuff some things but some of the canonical resolutions were pretty clever IMO.
The ups were headed by Anson Mount. He was so fucking good it was like he was giving acting lessons to the rest of the cast. Too bad he had his own canonical storyline because it would have been a pleasure to watch him some more. Also up was the story arc. Very inventive with just enough twists and opening up new possibilities.
Georgio may be a problem because if she gets her own series how will she get back from the future? Maybe steal Burham or her mom's suit? IDK. That brings me to Sonia as Dr. Burnham. She was just okay. Granted she didn't have much to work with so I'll suspend judgment on her.
I also am tired of Burham always beating herself up and then attempting to sacrifice herself to "make things right." That was the entire undercurrent for both seasons and it's got to stop. Nobody likes to hear a woe-is-me song over and over. I understand it's part of her personality but after the catastrophic events her actions caused you'd think she would learn. If she doesn't, it's an insult to the viewers' intelligence IMO. We'll se what the writers do.
Anyway, I thoroughly enjoyed the season (except for ash) and can't wait to see what the future holds (pun intended).
There were some weak plot points (the security chief girl who can't fight and all you have to do is dislodge those breathy things from her face? Who made that call?) but that's to be expected for a show only in season 2. Also, they have to adhere to canon and that can handcuff some things but some of the canonical resolutions were pretty clever IMO.
The ups were headed by Anson Mount. He was so fucking good it was like he was giving acting lessons to the rest of the cast. Too bad he had his own canonical storyline because it would have been a pleasure to watch him some more. Also up was the story arc. Very inventive with just enough twists and opening up new possibilities.
Georgio may be a problem because if she gets her own series how will she get back from the future? Maybe steal Burham or her mom's suit? IDK. That brings me to Sonia as Dr. Burnham. She was just okay. Granted she didn't have much to work with so I'll suspend judgment on her.
I also am tired of Burham always beating herself up and then attempting to sacrifice herself to "make things right." That was the entire undercurrent for both seasons and it's got to stop. Nobody likes to hear a woe-is-me song over and over. I understand it's part of her personality but after the catastrophic events her actions caused you'd think she would learn. If she doesn't, it's an insult to the viewers' intelligence IMO. We'll se what the writers do.
Anyway, I thoroughly enjoyed the season (except for ash) and can't wait to see what the future holds (pun intended).
'Star Trek: Discovery' Showrunner Confirms How Far Into the Future Season 3 Takes Place
The second season of Star Trek: Discovery ended with a shocking twist. The series, which so far has taken place about 10 years prior to the events of Star Trek: The Original Series, jumped far in Star Trek’s future. Now co-creator/showrunner Alex Kurtzman has confirmed how far Discovery has gone. Speaking to The Hollywood Reporter, Kurtzman confirmed that Star Trek: Discovery is “jumping 950 years into the future for season three.”
That puts the show in the 33rd century, about 50 years before the Star Trek: Shorts Treks episode “Calypso.” To put that into perspective, Star Trek: Nemesis, the final Star Trek: The Next Generation movie, took place in the late 24th century. The upcoming Star Trek series focused on Jean-Luc Picard will take place about two decades later, close to the dawn of the 25th century. Even that will still be about 850 years before the events of Discovery’s third season.
In its first two seasons, Discovery played with Star Trek canon. Shifting the setting of the series means that the show no longer has to dance between those raindrops.
“We love playing within canon,” Kurtzman says. “It's a delight and a privilege. It's fun to explore nooks and crannies of the universe that people haven't fully explored yet. That being said, we felt strongly that we wanted to give ourselves an entirely new energy for season three with a whole new set of problems. We're farther than any Trek show has ever gone. I also had experience working on the [J.J. Abrams] films where we were stuck with canonical problems. We knew how Kirk had died, and we wondered how we could put him in jeopardy to make it feel real. That's what led us to go with an alternate timeline; suddenly we could tell the story in a very unpredictable way. That's the same thought process that went into jumping 950 years into the future. We're now completely free of canon, and we have a whole new universe to explore.”
The tradeoff is that there’s no longer the opportunity to see classic Star Trek characters like those that Discovery revisited during its first two season — Capt. Pike, Number One, Harry Mudd, Spock, Sarek, Amanda Grayson — though past Star Trek events may be referenced. “There will be canonical references to everything that has happened in the various shows; we're not erasing that,” Kurtzman says. “But we're so far past that point that all of that is a very distant memory. We're very excited to see how you put the elements of Star Trek in an entirely new universe.”
https://comicbook.com/startrek/2019...y-season-3-future-33rd-century-alex-kurtzman/
Jack Mitchell 1 week ago
my theory is that the sphere data becomes zora in the future
Cesarin Pillin 10 hours ago
What created Zora? the Orb's becoming sentient mixing itself with CONTROL?
Disco47 10 hours ago
It hasn't been explained yet....but it appears that the Sphere data has become self aware. Season 3 of Discovery should explore this further.
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