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Star Trek Into Darkness

Where to watch.

Watch Star Trek Into Darkness with a subscription on Paramount+, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Visually spectacular and suitably action packed, Star Trek Into Darkness is a rock-solid installment in the venerable sci-fi franchise, even if it's not as fresh as its predecessor.

Critics Reviews

Audience reviews, cast & crew.

J.J. Abrams

Capt. James T. Kirk

Zachary Quinto

Dr. Leonard McCoy

Zoe Saldana

Nyota Uhura

Anton Yelchin

Pavel Chekov

Star Trek Into Darkness

A series of terrorist attacks on Earth places Captain James T. Kirk on a mission to deal with the culprit. Nothing is as it seems, as the Starship Enterprise is entangled in covert machinations to ignite war between the Federation and the Klingon Empire, with an ancient enemy in the mix. With alliances tested, relationships strained and differing motives clashing, how costly will the thirst for vengeance prove?

1.1 Prologue
1.2 Act One
1.3 Act Two
1.4 Act Three
2 Memorable quotes
3.1 Gathering a team
3.2 Story and script
3.4 Scene development
3.5.1 Principal cast
3.5.2 Returning guest stars
3.5.3 New guest stars
3.5.4 Extras
3.5.5 Rehearsals and interaction
3.6 Design, sets, and locations
3.7 Filming
3.8 Editing
3.9 Music and sound
3.10 Continuity
4.1 Publicity and marketing
4.2 Posters
4.3 Box office
4.4 Reception
4.5 Merchandise gallery
5 Awards and honors
6.1.3 Second Unit
6.1.4 Songs
6.2.2 Stunt performers
6.2.3 Stand-ins
6.2.5 Production companies
6.4.1 Other references
6.4.2 Meta references
6.4.3 Unreferenced material
6.5 External links

Summary [ ]

Prologue [ ].

The temple raided by Kirk and McCoy

During early 2259 , on the class M planet of Nibiru , Captain James T. Kirk is being chased away from a temple located at the base of an active volcano by native Nibirans . He is startled by an animal, and stuns it with his phaser . Behind the animal is an upset Leonard McCoy ; the beast Kirk has just stunned was to have been their "ride", leaving the two of them with no option but to flee on foot. Kirk has stolen a scroll sacred to the Nibirans.

Meanwhile, Hikaru Sulu is piloting a shuttlecraft into the volcano, with Spock and Nyota Uhura on board. Spock, protected by a copper-colored environmental suit , is preparing to detonate a cold fusion device inside the volcano that would stop a cataclysmic eruption from extinguishing life on the planet. Kirk tells them of their plight, using the communicator . Spock reminds Kirk about the Prime Directive , as the Nibirans are a primitive civilization . Kirk assures his first officer that he and Dr. McCoy were disguised; they were merely leading the natives further away from the volcano. With the shuttlecraft's thruster being choked by ash, Spock has to act fast. After a kiss from Uhura, he is lowered by cable into the volcano. During the descent, the shuttlecraft takes too much damage, and Sulu attempts to abort the drop. The cable Spock is hanging by abruptly snaps, suddenly dropping him into the volcano. Surprisingly, he survives the fall in his protective suit, and the cold fusion device is still operational. Sulu and Uhura are forced to abandon the shuttle; Uhura promises they will get Spock out.

Harbinger of death

Satisfied they were far enough from the volcano, Kirk hangs the scroll he stole off a tree . The Nibirans cease their pursuit, allowing Kirk and McCoy to get away, jumping off a cliff into the ocean . Using miniprops and breathing apparatuses, they swim to the Enterprise and board through an airlock on the secondary hull . Chief Engineer Montgomery Scott is still not happy that they are hiding at the bottom of an ocean, complaining that the salt water may impede their ability to launch. The officers return to the bridge. Spock arms the cold fusion device , which has a three-minute timer. The volcano has a small eruption, with pyroclastic ejecta destroying the temple in which the group of Nibirans had been worshiping. Nibiru has a very strong magnetic field that was jamming their transporters ; the only way they can save Spock is by revealing themselves to fly above the volcano, which would violate the Prime Directive.

The Enterprise surfaces from the sea

Kirk asks Dr. McCoy what Spock would do if Kirk were the one deploying the device; Bones replies that Spock would let him die. Spock was indeed prepared for that likelihood. The cold fusion device would freeze and kill him, along with freezing the volcano into dormancy. Before the device detonates, Spock closes his eyes and raises his arms to the sky above.

" You violated the Prime Directive! "

The Nibirans are shocked when they see the Enterprise rising out of the ocean and above the volcano. Right before the cold fusion device is activated, Spock is beamed aboard the Enterprise , and they make their getaway. Kirk and McCoy join him in the transporter room . Spock is shocked that Kirk has blatantly violated the Prime Directive. Uhura tells them the cold fusion device has successfully detonated, but the crew is irked by Spock's apparent lack of gratitude as the violation of the Prime Directive will be a steep price to pay. The native Nibirans begin to worship an image of the Enterprise they have drawn in the soil , accepting it as their new deity.

Act One [ ]

The stardate is 2259.55. Back on Earth , Thomas Harewood , a Starfleet officer living in London , travels with his wife to Royal Children's Hospital , where their daughter is currently in a coma with a severe illness. After visiting her, Thomas Harewood is stopped by an individual he is unfamiliar with. The newcomer says he can save Harewood's daughter.

Pike dresses down Kirk

Meanwhile, back in San Francisco , Kirk is waking up in his apartment after a night spent with a pair of Caitian women. They are annoyed when he answers a call on his communicator from Starfleet. He and Spock are summoned to the office of Admiral Pike . Kirk is convinced they are going to be given Starfleet's first five-year mission of deep space exploration, though Spock is doubtful. When they arrive, Pike reveals that there are discrepancies between the captain's log on Nibiru, and a report Spock filed about what happened there; namely being, the former said it was "uneventful", while the latter detailed a breaking of the Prime Directive. Kirk is dismayed by Spock's apparent betrayal. After a brief argument, Pike dismisses Spock, and proceeds to dress Kirk down for his lack of humility and respect for the chair. Kirk counters that Pike convinced him to join Starfleet because of his maverick attitude. However, Starfleet Command saw it differently. The head of Starfleet Command, Admiral Alexander Marcus , has formed a tribunal that did not include Admiral Pike. The tribunal has relieved Kirk of his command, ordering him to return to Starfleet Academy . Pike tells Kirk pointedly that, one day, his reckless leadership is going to get his entire crew killed.

The Kelvin Memorial Archive

Back in London, the unknown man extracts a vial of his own blood , and places it in a package along with a ring . The package goes to Harewood, who adds the vial's contents to his daughter's IV . As it begins to enter her bloodstream , her vitals return to normal. Harewood kisses his daughter's forehead in relief, knowing she will now be all right. Not long after, he goes to work at the Kelvin Memorial Archive , catching sight of the unknown man in the street immediately before entering, and takes a long elevator down below the archive. He goes to his workstation with a glass of water . After sending a message to Admiral Marcus, he drops the ring into the water, which quickly fizzes, then causes a massive explosion at the Kelvin Archive.

Pike and Kirk share a drink

Kirk is drowning his sorrows at a local bar in San Francisco. He is about to talk to another woman when Admiral Pike sits between them. Kirk is surprised he has found him; the admiral simply says he knows Kirk well, recalling a bar fight with Starfleet cadets back in Iowa before Kirk enlisted. Pike reveals Starfleet gave the Enterprise back to him. Kirk suggests that keeping Spock as first officer isn't a good idea, but he's been transferred to the USS Bradbury anyway. Pike has pulled some strings, and gotten Kirk assigned to be his first officer on the Enterprise . Kirk is speechless, something Pike says is a first. He then gets a call from Starfleet. They are summoned to a meeting in the Daystrom Conference Room at Starfleet Headquarters .

Admiral Alexander Marcus, the head of Starfleet

On their way to the conference room, Kirk meets Spock and tells him about his demotion. Spock is relieved the punishment was not more severe. Kirk is still upset that he was betrayed. Spock admits he should have warned Kirk beforehand that he would file a truthful report about the Nibiru incident. After a brief meeting with Frank Abbott , captain of the USS Bradbury , Kirk admits he'll miss Spock, though is irked when Spock is left speechless. Admiral Marcus opens the meeting. The message he received from Harewood was a confession, and informed him of who put him up to the attack: John Harrison , a Starfleet officer who has gone rogue. The officers present look over images taken of the scene after the attack, where forty-two people were killed. Kirk notices Harrison in the images with a bag, and asks Pike about it. Admiral Marcus notices their discussion and asks Kirk what the problem is. Kirk begins to express confusion as to why Harrison would target just an archive. Kirk says Harrison must have known that a terrorist attack on a Starfleet facility would result in this kind of meeting.

" CLEAR THE ROOM! "

Before Kirk can elaborate on his concerns, a jumpship appears outside their conference room, and opens fire, killing Captain Abbott and several other officers. The surviving officers take cover, and security personnel enter to combat the jumpship. Kirk takes up a phaser rifle from a fallen security officer and attacks it from the side to little effect. He sees the jumpship's engine intake, and gets an idea. He opens a fire hose unit, in a corridor of the building, and ties the hose around his rifle.

Pike is killed by Harrison

As he works, Admiral Pike is fatally shot, and Spock pulls him to safety. Kirk throws the rifle and fire hose, which get sucked into the jumpship's intake. It takes the entire hose, then yanks its base out of the wall and through the engine, disabling the ship. Kirk gets a look at Harrison as he beams out of the falling jumpship. In the meeting room, Spock forms a mind meld with Pike right before he dies. Kirk then arrives, and breaks down at the death of his mentor.

Meanwhile, Harrison materializes on a completely different planet, lifts up the hood of his longcoat, and walks away.

Act Two [ ]

Kirk and Spock meet with Marcus

Kirk is recovering emotionally from the attack alone in his apartment, when he gets a call from Spock. Scott was investigating the wreckage of Harrison's jumpship, and found a portable transwarp beaming device on board. Its destination is set somewhere they normally cannot follow. Kirk and Spock head to Starfleet Headquarters, and they tell Admiral Marcus where Harrison ended up: Qo'noS , the homeworld of the Klingon Empire . Marcus was afraid this would happen. Spock notes Harrison materialized on a nominally uninhabited province of the planet, and Kirk says he is not afraid to go after him. Marcus comes clean about the true nature of Harrison and Harewood's target. They bombed a secret facility of Section 31 , Starfleet's black ops division, which was researching weapons and tactics for a potential war with the Klingons and any other species that mean to do the Federation harm. As far as he is concerned, the war with the Klingons was already beginning. He has a new variety of advanced long-range torpedoes that Kirk can use to covertly take out Harrison. He gives Kirk back command of the Enterprise , and Kirk requests Spock be reinstated as his first officer.

Dr. "Carol Wallace" joins the crew of the Enterprise

As they prepare to return to the Enterprise on a shuttlecraft, Spock expresses his misgivings about killing Harrison without a trial , and insists Kirk take some of the travel time to reconsider. Dr. McCoy joins them, telling Kirk he missed his check-up, which he does on the shuttlecraft. They are joined by Dr. Carol Wallace , a weapons expert who Admiral Marcus has assigned to the Enterprise as an extra science officer . Spock is alarmed by this turn of events. Kirk is just as surprised but welcomes the extra help.

When they get on board the Enterprise , Spock heads immediately to the bridge , while Kirk talks with Scott in engineering . Scott is unwilling to allow the new photon torpedoes on-board, because he cannot examine the shielded devices, and the Section 31 personnel refuse to tell him what they are fueled by and will not provide detailed schematics. He does not want to risk firing unknown weapons around the warp core ; any instability could wreck it and kill everyone on board. He is also upset that his transwarp equation was appropriated by Starfleet Command, ending up in Harrison's hands for his crime spree. When Kirk insists the torpedoes be loaded in, Scott resigns, with Keenser following suit. Before he departs, Scotty begs Kirk not to use the torpedoes.

" Sometimes I want to rip the… bangs off his head. "

Kirk returns to the bridge with Uhura in a turbolift . He tells her of Scott's resignation, and his recent issues with Spock. She lets on that she and Spock have been having problems recently as well. Before they can discuss it in more detail, they arrive. Kirk promotes navigator Pavel Chekov to chief engineer , since he has been shadowing Scotty recently, and tells him to put on a red shirt and head to engineering. They depart and proceed to Qo'noS. Kirk issues an all-call with his general orders for the mission, planning to arrest John Harrison on the planet and to use the missiles only if Harrison refuses to go quietly. Spock is relieved Kirk has reconsidered Admiral Marcus' original orders, and suggests he himself could join Kirk on his mission. Spock then goes back to engineering, where he confronts Carol Wallace. The identity she presented Kirk was fake; Admiral Marcus is her father, and " Wallace " is her mother's maiden name. Her real name is Carol Marcus . He demands to know why she is really on the ship.

Before she can give her reasons and prior to the Enterprise reaching Qo'noS, the ship violently drops out of warp . Chekov has found a coolant leak in the warp core, and stopped the ship manually. They are still twenty minutes away from Qo'noS. Kirk recruits Uhura, who knows Klingon , to join him and Spock. He gives Sulu command for the first time, with orders to contact Harrison before they arrive to demand his surrender . Dr. McCoy is concerned, but Kirk is sure Sulu is up to the task. They use a vehicle they confiscated a month before, in the " Mudd Incident ". Kirk orders two other officers, including Hendorff , to remove their red shirts and change into more casual clothing ; they cannot have any obvious connection to the Federation on this mission, lest they start an interstellar war . Chekov assures Kirk he will try his best to repair the engines before they return.

Spock and Uhura quarrel

As Kirk pilots their vehicle to Harrison's location, Sulu sends his message via a targeted com burst, giving Harrison two minutes to surrender, or he will be eliminated with new, advanced weapons. Sulu's message is assertive enough that it startles the previously skeptical Dr. McCoy, who asks the helmsman to remind him " never to piss you off. "

While flying through the atmosphere of Qo'noS, Uhura and Spock begin to argue, much to Kirk's dismay. Uhura is upset at Spock's apparent lack of feelings recently, especially after his rescue at Nibiru. She also tells Spock that Kirk is upset with him too. Though Kirk doesn't want to be dragged into it, he admits that she's right. Spock tries to assure her and Kirk that they are mistaken by his attitude. He recalls his mind meld with Admiral Pike, and how he felt Pike's final emotions before his death. They reminded him of how he felt when Vulcan was destroyed. He assures Uhura that he simply does not want that kind of despair anymore, and that his feelings for her are still as strong as ever.

" Why should I care about a Human killing Humans? "

Their relief is short-lived, as their ship comes under fire from a D4-class Klingon vessel, apparently on a random patrol. Without any offensive capabilities, Kirk is given access to all the ship's fuel cells to evade the patrol's fire and try to outrun it. He finds a narrow space and squeezes the ship through it, evading capture. Kirk thinks they have escaped, but Uhura suggests the Klingons may be jamming sensors. The Starfleet officers are soon surrounded by three more D4-class ships, which order them to land. Uhura tells her shipmates they will be tortured, interrogated, and killed. She insists she be allowed to try to reason with the Klingons. The trading craft lands, and Uhura leaves the vessel, confronted by about fifteen Klingon warriors in full-face armored helmets. Spock warns Kirk not to interfere, lest he incur their wrath and Uhura's. Still, Kirk gets some phasers ready, just in case. Uhura tells the Klingon patrol that she and her allies are on the planet to arrest a criminal who has put both their planets in danger. The leader of the patrol , who removes his helmet, tells her he has little concern for Humans killing Humans. Hoping to play on the Klingons' strong traditions, she counters that the criminal has no honor. Unimpressed, however, the Klingon leader grabs Uhura by her jaw and draws a knife, prepared to kill her.

Harrison rescues the Enterprise party

Suddenly, somebody shoots down the Klingon patrol; it's Harrison, armed with a rapid-fire rifle and a larger beam cannon . The Enterprise officers attack, in a mix of phaser fire and hand-to-hand combat. Kirk has little luck physically, but is able to shoot several Klingon warriors armed with disruptors and various blade weapons, including daggers and bat'leths . Harrison proves to be incredibly adept with his phaser cannon as well as hand-to-hand. Other Klingon ships drop reinforcements, but they are killed as well. Harrison kills the last few Klingons with their own knives. He turns his cannon on Kirk, and asks how many of the advanced torpedoes he has. Spock replies after Kirk doesn't, saying they have seventy-two. Harrison immediately surrenders, unconditionally. Kirk accepts, then attempts to knock Harrison out by punching and beating him repeatedly, none of which has any effect on him whatsoever.

Kirk confronts his mysterious prisoner

Harrison is returned to the Enterprise and taken to the brig . Dr. McCoy takes a blood sample, to try to figure out the prisoner's physiology. Harrison insists that he be allowed to speak with Kirk. Spock thinks he wants to get into Kirk's head, but Kirk agrees. Harrison somehow knows about the damage to the warp core, suggesting something is amiss. He tells Kirk two things. First, Harrison gives Kirk a set of coordinates: 23-17-46-11, a point near Earth. Harrison says Kirk can find some answers there. He then insists they open one of the photon torpedoes to find out exactly what is inside.

Back on Earth, Scott is at a bar in San Francisco with Keenser, upset that Keenser allowed him to go through with resigning. Kirk contacts Scotty and gives him the coordinates Harrison gave him. He admits Scott was likely right about the torpedoes, which Scott accepts as an apology, though he cuts the conversation short. Whereas Scott is in no mood to do Kirk any favors, Keenser insists they help anyway.

" Why is there a man in that torpedo? "

The Enterprise is still hobbled, but has enough power to go to a nearby planetoid , where they can safely examine one of the photon torpedoes. Kirk assures Chekov that the engine issues are likely not his fault. They have sent a message to Admiral Marcus with news that they have captured Harrison, but have received no reply. Spock reveals the true identity of Carol Marcus, and suggests she and Dr. McCoy can try to open a photon torpedo.

Later, on the surface of the planetoid , Marcus directs McCoy in cutting a necessary wire. The moment he does, the compartment slams shut on his arm, and the torpedo arms with a thirty-second timer. Marcus disarms it with only 2.57 seconds to spare, and it opens, revealing a cryo tube with a frozen person inside.

"My name is… KHAN."

The coordinates take Scott to Jupiter , where he finds a large shipyard . Following a sortie of similar shuttlecraft, what Scott sees in the shipyard alarms him.

" My crew is my family, Kirk. Is there anything you would not do for your family? "

Back on the Enterprise , Dr. McCoy examines the cryo tube. The body preserved inside is still viable, but Humans have not needed cryogenic technology since they became warp-capable . The person inside is three hundred years old. Kirk and Spock return to Harrison for answers. He says all the torpedoes contain his old crew. He reveals himself to be Khan , a genetically engineered Human . He and his crew were exiled into space at the end of the 20th century . His cryoship was found by Admiral Marcus after the destruction of Vulcan , and he alone was awoken. Marcus wanted his savagery as well as his intellect to prepare for potential war with the Klingons. He also reveals that Marcus wanted Kirk to fire those torpedoes on Qo'noS and purposely sabotaged the Enterprise 's warp core, leaving them stranded for the Klingons to find, igniting the war that Marcus desires. Kirk refuses to accept it, but condemns Khan's actions. Khan states that Marcus held his crew hostage to force him to do his bidding. He put his crew in the torpedoes in an attempt to smuggle them to safety, but they were discovered, and he was forced to escape alone. Khan says he committed his terrorist acts on the assumption that his crew had already been killed.

USS Enterprise and USS Vengeance face off

The Enterprise is confronted by the USS Vengeance

A ship approaches the Enterprise , but not from Klingon space. Kirk has Khan moved to medbay under heavy guard. The ship is an enormous unmarked Starfleet vessel, the USS Vengeance . Kirk is hailed by Admiral Marcus; he has the communication broadcast throughout the ship and recorded. He tells the admiral that engine issues had prevented him from killing "Harrison", revealing he knows the man's true identity. He also suggests Marcus knows what's going on. In turn, Marcus accuses Kirk of being affected mentally by Khan, and insists Khan be killed immediately. He then orders Kirk to turn Khan over, but the Enterprise 's transporters are down. Kirk falsely tells Marcus that Khan is in engineering, before breaking communication, and asking Chekov if they can go to warp. Chekov says they can, but the warp core is still hobbled, so it's risky. They go to warp anyway, and head to Earth.

USS Vengeance fires on the USS Enterprise

The Vengeance fires on the Enterprise …

The USS Enterprise damaged by the USS Vengeance

…with devastating results

" Well, at least we're moving again, " McCoy says in the medbay. However, Khan reminds a nearby Carol Marcus they are not safe at warp speed. She runs to the bridge, and warns Kirk that the Vengeance has the ability to engage other ships at warp speed. Indeed, the Vengeance catches up with the Enterprise , and proceeds to fire on the other ship; an initial volley from the Vengeance causes a major hull breach in engineering aboard the Enterprise , killing dozens of crew members, before a second volley cripples the Enterprise 's starboard warp nacelle , causing the craft to drop out of warp between Earth and its moon . Carol Marcus tries to contact her father, skeptical he will destroy the Enterprise if he knows she is on-board. He simply beams her aboard the Vengeance . Admiral Marcus then accuses Kirk and his crew of being in league with "Harrison" and sentences them all to death; Kirk attempts to plead for the life of the Enterprise crew, but Marcus admits that he intended to destroy the Enterprise with all hands from the very start, and cuts communications.

Before the Vengeance can destroy the Enterprise , though, the Vengeance 's systems are reset; Kirk immediately receives a transmission from Scott, who has sneaked on-board the Vengeance . It will take time for its systems to restart, so they have an opening to stop Admiral Marcus. Kirk puts Spock in command of the Enterprise . Spock is resistant to this idea, but Kirk insists the Enterprise needs somebody who "knows what they're doing" in command. Kirk heads to sickbay, and asks Khan about the Vengeance 's capabilities. It is a Dreadnought -class , twice as big, three times as fast, and far more heavily armed than the Enterprise . At the same time, McCoy injects Khan's blood into a dead tribble to examine his blood's effects. Kirk asks for Khan's help, assuring him this will be his only opportunity to save his crew.

" The enemy of my enemy is my friend. "

Kirk and Khan will traverse space to board the Vengeance . The Enterprise maneuvers enough for its waste exhaust to be aligned with one of the Vengeance 's airlocks, and Scott dashes to a station where he can open it manually. Kirk and Khan don thruster-powered spacesuits and navigate the debris field, heading to the Vengeance . During the flight, Kirk's helmet is hit by a piece of debris, knocking out his heads-up display. Khan is also knocked off course, but reestablishes himself and encourages Kirk to align himself with Khan's course and enter the airlock together. Inside the Vengeance , Scott is caught by a lone security officer , but he is able to actuate the airlock, allowing Khan and Kirk in, while also blowing out the security officer.

Spock Prime warns his younger self about Khan

Spock asks Uhura to patch him through to New Vulcan and reaches his counterpart from the prime universe , Ambassador Spock . The younger Spock asks about Khan and if his elder self encountered Khan before. Although Ambassador Spock has not wanted to alter his younger self's destiny, he makes an exception in this case. He reveals that Khan is none other than Khan Noonien Singh , the most dangerous adversary ever faced by the crew of the elder Spock's Enterprise ; Khan is, according to Ambassador Spock, brilliant, ruthless, and will not hesitate to kill every single crew member. The elder Spock recalls that he and his shipmates defeated Khan, but at a terrible cost .

Act Three [ ]

Kirk, Scott, and Khan head to the bridge of the Vengeance

On the bridge of the Vengeance , Admiral Marcus confronts Carol, who simply slaps him, and expresses her shame for being his daughter. Khan, Kirk and Scott head toward the bridge on foot, with Khan navigating them through the engine compartments where weapons cannot be safely used. They succeed in one fistfight with Vengeance crew. Khan jumps ahead of them briefly. Kirk tells Scott to stun Khan the moment they secure the bridge. Spock orders all his medical and engineering personnel to the weapons bay, and asks Dr. McCoy to work on arming the torpedoes. Right when the Vengeance 's weapons come back online, Kirk and his crew make it to the bridge, and stun everyone except Admiral Marcus and Carol. Scott then stuns Khan as ordered. Kirk places Admiral Marcus under arrest, and orders him out of the chair, not wanting to take him by force in front of his daughter. However, Khan is not as stunned as they had hoped – he gets up and attacks Scott and Kirk. He then breaks Carol's leg, and crushes Admiral Marcus' skull, prompting a horrified scream from Carol.

The Vengeance detonating

Khan hails the Enterprise , and orders Spock to give him the photon torpedoes. Spock refuses, but Khan says he can get them himself, without Spock's help, by disabling the Enterprise 's life support system and waiting for the Enterprise crew to suffocate before retrieving the torpedoes himself. Since his crew is frozen, they don't need the air anyway. Spock complies, and assists Khan in locating the torpedoes. He beams them safely aboard, then beams Kirk, Scott, and Carol Marcus onto the Enterprise , before attacking it again. However, unbeknownst to him, Spock had the photon torpedoes armed before beaming them to the Vengeance . They explode, hopelessly disabling the ship and leaving Khan anguished over the apparent loss of his crew. Dr. McCoy then tells Kirk that Spock had the cryo tubes removed, and they are now safely in medbay.

The Enterprise begins to spiral down to Earth

At that point, the engines go completely down, and main power fails, with backup power severely crippled. With the ship having been station-keeping over Earth, it promptly begins to fall toward the planet. Spock orders all personnel to abandon ship, but the crew refuses, willing to go down with him. Kirk and Scott make their way to engineering, a difficult trip with the ship tumbling and artificial gravity systems failing. While there, they end up hanging from the walkways when the ship is upside down, but are saved by Chekov. When they reach the warp core, they find the injectors broken. Kirk decides to fix the warp core himself, but the chamber containing it is loaded with lethal radiation. The captain overrides objections Scott voices by knocking him out with a punch, then enters the warp core chamber. Kirk manages to knock the dislocated side of an injector back into place, and the warp core consequently fires back up, simultaneously exposing Kirk to the radiation. The ship enters Earth's atmosphere, but stops falling just below a layer of clouds, and stabilizes with multiple thrusters firing.

"I'm scared, Spock…"

"Khaaaaaaaaaaaaaaan!!"

The Enterprise 's systems gradually come back online. When he regains consciousness, Scotty calls Spock urgently to engineering. Spock goes to the door to the chamber, which Kirk is lying against. They cannot open the chamber until it is decontaminated. Spock tells Kirk he saved the ship. Kirk commends Spock's action of using what Khan wanted against him; Spock replies that it's what the captain would have done. Kirk offers that sacrificing himself to save the crew is what Spock would have done . Knowing he's going to die, Kirk tells Spock he's scared, and asks him how he is able to not feel. Spock, himself in tears, admits he doesn't know, and is failing to hold back his emotions. Kirk then begins to tell Spock why he saved his life on Nibiru, but Spock knows – "because you are my friend." After saying that, he sheds a tear. Kirk reaches out to Spock as the Vulcan presses his hand against the partition in the salute of his world . Kirk then succumbs to radiation poisoning and dies. In Spock, all the rage and hate felt towards the man he now blames for his friend's death erupts to the surface in a primal scream of Khan's name.

" Set destination: STARFLEET HEADQUARTERS! "

USS Vengeance crashes into San Francisco

The Vengeance crashing into San Francisco

The Vengeance falls past the Enterprise , out of control. Khan, now bent on revenge for his crew, targets his ship on a suicide run at Starfleet Headquarters . The Vengeance crushes Alcatraz , skims across San Francisco Bay , and plows through the city, leveling everything in its path. Spock, returning to the bridge, orders Sulu and Chekov to find Khan, believing him to be capable of surviving the crash. Sensors locate him, but there is too much interference to beam him up to the Enterprise . Instead, Spock elects to beam down to Earth and take Khan out. After a chase through the chaos that has now engulfed the heart of Starfleet, Spock catches up with Khan on top of a moving garbage barge . Khan quickly relieves Spock of his phaser, leaving the two to struggle hand-to-hand.

In the Enterprise 's medbay, Kirk's body lies in an open body bag, surrounded by Dr. McCoy, Carol Marcus, Scott, and other crew members who are all saddened by the loss of their friend and captain who has just given his life to save their lives. McCoy notices the dead tribble he tested Khan's blood on is slowly regaining its life signs. Realizing the effects of the genetically enhanced blood, he orders one of Khan's people removed from its cryo tube, reanimated, and held in a medically induced coma. He freezes Kirk to preserve his brain function, but he doesn't have any more of Khan's blood – he needs Khan back alive.

Spock proves to be Khan's physical equal

Spock continues to fight with Khan in an evenly matched battle. Khan tries to jump to another garbage barge, but the Vulcan follows, proving physically to be Khan's equal. The crew cannot make contact with him, so Uhura beams to the transport vehicle. As the battle intensifies and Khan becomes dangerously close to killing Spock, she opens fire on Khan with a phaser set to stun. Although it has little to no effect on him, it serves to distract Khan enough for Spock to turn the tide. He breaks Khan's arm and starts to beat on him in a rage. Uhura screams for Spock not to kill Khan, that they need him to save Kirk. Upon realizing that Kirk can be saved, Spock regains his emotional control and finishes Khan with an uppercut, knocking him out.

Khan is returned to stasis

Two weeks later, Kirk wakes up in a hospital bed in San Francisco. Dr. McCoy has created a serum from Khan's blood to revive the captain. Kirk thanks Spock for saving his life. In turn, Spock expresses gratitude that Jim is alive. Elsewhere, Khan has been returned to his cryo tube, and he and his crew lay frozen in a darkened room.

Kirk and Spock embark on five year mission

The five-year mission begins

Nearly a year after the events, Kirk addresses a gathering at the rechristening ceremony for the USS Enterprise , which has been rebuilt. He says that Starfleet should not let enemies pull them away from their true mission of exploration. Soon after, Kirk returns to the Enterprise , where all is in order to begin their five-year mission in deep space. He relieves Sulu from the captain's chair ; Sulu admits he finds the power of command to be addictive. Dr. McCoy is dismayed by the length of their mission. Scott, who has returned to his post as chief engineer with Keenser, reports the engines are "purring like a kitten" and that the vessel is ready for a long journey. Kirk welcomes Carol Marcus aboard as part of their crew and family. Spock expresses his trust in Kirk's "good judgment" on where to begin their exploration. With that, Kirk orders Sulu to take the ship out.

Memorable quotes [ ]

" If Spock were here, and I were there, what would he do? " " He'd let you die. "

" Oh, come on Spock. They saw us. Big deal. "

" Tell me more about this volcano. The data says it was highly volatile and if it were to erupt it would wipe out the planet. " " Let's hope it doesn't, sir. " " Something tells me it won't. "

" Had the mission gone according to plan, Admiral, the indigenous species would never have been aware of our interference. " " That's a technicality. " " I am Vulcan, sir, we embrace technicality. " " Are you giving me attitude, Spock? " " I am expressing multiple attitudes simultaneously. To which are you referring? "

" Do you have any idea what a pain in the ass you are? " " I think so, sir. " " So tell what you did wrong. What's the lesson to be learned here? " " Never trust a Vulcan. "

" You think the rules don't apply to you, because you disagree with them. "

" You don't respect the chair . You know why? Because you're not ready for it. "

" That was an epic beating. " " No, it wasn't. " " You had napkins hanging out of your nose. Did you not? " " Yeah, that was a good fight. "

" What did you tell him? " " The truth. That I believe in you . That if anybody deserves a second chance, it's Jim Kirk. " " I don't know what to say. " " That IS a first… it's gonna be OK, son. "

" You got something to say Kirk, say it. Tomorrow's too late. "

" All-out war with the Klingons is inevitable, Mr. Kirk. If you ask me, it's already begun. Since we first learned of their existence, the Klingon Empire has conquered and occupied two planets that we know of, fired on our ships half a dozen times. They are coming our way. "

" Jim, for the love of God, do not use those torpedoes. "

" Wait, are you guys… are you guys fighting? " " I'd rather not talk about it, sir. " " Oh, my God! What is that even like? "

" Ears burning? "

" Go put on a red shirt . "

" Alright, let's go get this son of a bitch. Kirk out. "

" Mr. Chekov, did you break my ship? "

" Jim, you're not actually going down there are you? You don't rob a bank when the getaway car has a flat-tire. "

" Jim, wait, you just sat that man down a high-stakes poker game with no cards and told him to bluff. Now Sulu's a good man, but he is no captain. " " For the next two hours he is. And enough with the metaphors, all right? That's an order. "

" Attention John Harrison. This is Captain Hikaru Sulu of the USS Enterprise . A shuttle of highly trained officers is on its way to your location. If you do not surrender to them immediately, I will unleash the entire payload of advanced long-range torpedoes currently locked on to your location. You have two minutes to confirm your compliance. Refusal to do so will result in your obliteration. If you test me, you will fail. " " Mr. Sulu… remind me never to piss you off. "

" We’re outnumbered, outgunned. There’s no way we survive if we attack first. You brought me here because I speak Klingon. Then let me speak Klingon. "

" I am here to help you. With respect, there is a criminal hiding in these ruins. He has killed many of our people. " " Why should I care about a Human killing Humans? " " Because you care about honor. And this man has none. "

" Let me explain what's happening here. You are a criminal! I watched you murder innocent men and women; I was authorized to end you! And the only reason why you are still alive is because I am allowing it; so shut… your…mouth! " " Captain, are you going to punch me again over and over till your arm weakens? Clearly you want to so tell me: why did you allow me to live? "

" 23-17-46-11, coordinates not far from Earth . If you want to know why I did what I did, go and take a look. " " Give me one reason why I should listen to you " " I can give you 72 . And they're on board your ship, captain. They have been all along. "

" Well now, if it isn't Captain James Tiberius… 'Perfect Hair.' Did you hear that? I called him 'Perfect Hair!' Ha!'"

" What, you don't think I can remember four numbers? (chuckling) You of little faith! … What was the third one? "

"' John Harrison' was a fiction created the moment I was awoken by your Admiral Marcus to help him advance his cause – a smoke screen to conceal my true identity. My name is Khan. "

" We both know who it is. "

" Per Starfleet regulations I'm planning on returning… Khan… to Earth to stand trial. " " Well… shit… you talked to him… "

" Sir, my crew was just following my orders. I take full responsibility for my actions but they were mine and they were mine alone. If I transmit Khan's location to you now, all I ask is that you spare them. Please, sir. I'll do anything you want. Just let them live. " " That's a hell of an apology. But if it's any consolation, I was never gonna spare your crew. Fire when… "

" I'm sorry… "

" You're a miracle worker! "

" It’s not easy! Will ya give me two seconds, ya mad bastard! "

" Mr. Spock. " " Mr. Spock. "

" I will be brief. In your travels, did you ever encounter a man named Khan? " " As you know, I have made a vow never to give you information that could potentially alter your destiny. Your path is yours to walk and yours alone. That being said, Khan Noonien Singh is the most dangerous adversary the Enterprise ever faced. He is brilliant, ruthless and he will not hesitate to kill every single one of you. " " Did you defeat him? " " At great cost , yes. " " How? "

" The minute we get to the bridge, drop him. " " What, stun him? Khan? I thought he was helping us! " " I'm pretty sure we're helping him . "

" You… you should have let me sleep! "

" You betrayed us! " " Oh, you are smart, Mr. Spock. "

" Your crew requires oxygen to survive, mine does not. I will target your life support systems located behind the aft nacelle and after every single person aboard your ship suffocates, I will walk over your cold corpses to recover my people. Now… shall we begin? "

" Well Kirk, it seems apt to return you to your crew. After all… no ship should go down without her captain ! "

" The ship's dead, sir! She's gone! " " No, she's not! "

" I'm scared, Spock. Help me not be. How do you choose not to feel? " " I do not know. Right now, I am failing. " " I want you to know why I couldn't let you die… why I went back for you… " " Because you are my friend. "

" KHAAAAAAAAAAAAAAN!!! "

" Go get him. "

" Spock, stop! STOP! He's our only chance to save Kirk! "

" Oh, don't be so melodramatic. You were barely dead. "

" Tell me are you feeling, homicidal , power -mad, despotic ? " " No more than usual. "

" You saved my life. " " Uhura and I had something to do with it, too, you know. "

" It's hard to get out of it once you've had a taste, isn't that right Mr. Sulu? " " "Captain" does have a nice ring to it. Chair's all yours, sir. "

" Scotty, how's our core? " " Purring like a kitten, captain. She's ready for a long journey. "

" Five years in space … God help me! "

" Where should we go? " " As a mission of this duration has never been attempted, I defer to your good judgement, captain. "

Background information [ ]

Gathering a team [ ].

The prospect of working on this film along with J.J. Abrams , Roberto Orci , Alex Kurtzman , and Bryan Burk originally drew Damon Lindelof to the project. " The idea of doing this job with anyone other than J.J., Bob, Alex and Bryan was not appealing to me, " Lindelof admitted. " It's what made me carve out the time necessary to do this movie. " Once each of the five cleared their schedules, they began working on this sequel film. The team grew from that point on, Abrams later explaining, " Everyone, with very few exceptions, came back for the sequel. " ( Star Trek Magazine issue 172 , pp. 72 & 14)

Scene development [ ]

A shot depicting Scott reacting in surprise to a view of a Nibiran fish was invented "just to reinforce the idea you're underwater," Visual Effects Supervisor Roger Guyett mentioned. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The story line involving the Harewood family evolved from the writers being interested in triggering Human emotions in the audience shortly after the movie starts. " We discussed wanting to have something that was an emotional opening, " observed J.J. Abrams. " And so the idea was to try and find ways to make Human drama, a family with a sick child, not trite, but to make it something that was surprising and to an end […] It ended up being not only a sort of unexpected way in to meet our bad guy, but also a critical setup for the end of the movie. So, this little girl, who you meet at the beginning, who is unconscious and dying, and these wildly depressed parents, who are so sad, end up really being kind of the setup for our bad guy in the film. " ("Introducing the Villain", "Featurettes", Star Trek: The Compendium Blu-ray special features)

Owing to the significance of establishing the connection between Kirk and Pike, the film's first scene that features them, in which Pike reprimands Kirk, was heavily rewritten. " There were many incarnations of that scene, " Maryann Brandon recalled. In the scene's original version, Pike himself took the Enterprise away from Kirk and then tried to be fatherly to him. This was rewritten, so that Pike relays orders from Starfleet to reassign Kirk off the ship and then implies he is unable to do anything to circumvent those instructions. The rewrite only happened after the creative personnel struck upon the thought of writing a new scene, set in a bar, later in the plot. They realized they had to split Pike's actions of firstly relaying news to Kirk that he was to be transferred off the vessel and secondly being fatherly to Kirk into two separate scenes, with the bar scene serving the latter purpose. Admiral Marcus was deliberately referenced in the debriefing scene, in order to establish the character at a relatively early point in the film. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) The reason Kirk is judged as not being ready for captaincy, an opinion expressed directly by Pike in this scene (as well as indirectly by Admiral Marcus), was that the writers were inspired by fans repeatedly criticizing Kirk as having become captain terribly quickly in the previous film. ( SciFiNow , issue 80, p. 024)

A scripted scene straight after the one in which Pike scolds Kirk featured the introduction of Carol Marcus, with Kirk meeting her for the first time. J.J. Abrams and the film's writers, with some convincing by Maryann Brandon and Mary Jo Markey, decided the scene wasn't necessary and took it out. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The only reason the bar scene featuring Pike and Kirk was set in a bar was to remind the audience that the two officers first met in a bar, in the film Star Trek . Having Pike console Kirk in the bar scene additionally served to make Pike's death more emotionally affecting. Mary Jo Markey stated, " As a group, we weren't feeling very much about Pike's death, when it happened, and came to feel that part of the problem with it was that there was never a point in the movie where we were really on Pike's side, and this scene was kind of designed to make you feel like, 'I really care about Pike. And I remember what a great guy he is, and what a great influence he's been on Kirk, and how he's really the guy that changed Kirk's life. He's a true father figure to him.' " Maryann Brandon agreed, " We deliberately had Admiral Pike say, 'I believe in you,' so that, you know, when he gets killed, really Kirk is alone. And we really needed Kirk to go to a dark place, so that you would believe that he would risk the life of his crew to […] go into Klingon space and take revenge. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) In Maryann Brandon's opinion, the addition of the bar scene made "a huge difference in the film." ("Unlocking the Cut", "Featurettes", Star Trek: The Compendium Blu-ray special features)

In the first scene that Admiral Marcus appears in, a speech delivered by him was rewritten several times. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) As for the rationale behind the death of Admiral Pike, later in that sequence, Bruce Greenwood recalled something J.J. Abrams once told him; " He said, 'We felt the relationship was so strong that we decided to hang Kirk's quest on the end of that relationship.' " ( Star Trek Magazine Special 2015 , p. 21)

An initial shot of Khan on Kronos was originally not written into the film, nor was an immediately subsequent scene in which a reflective Kirk, sitting in a room at Starfleet Headquarters, answers a call from Spock. " We didn't have a moment where Kirk just lost all hope, and we felt we needed it right before he gets called to action, " Maryann Brandon remembered. There was some debate over who the caller should be. It was originally Scott before it changed to Spock. However, a scene immediately thereafter, in which Kirk is told that "Harrison" used a portable transwarp beaming device to escape, then had to be rewritten so that it's Scott who gives him that news. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

A later scene – wherein Kirk and Spock notify Admiral Marcus that "Harrison" has fled to Kronos, Marcus tells them that Starfleet is on the verge of war with the Klingons, and he finally then sends them to kill "Harrison" – was worked on a lot and was added to with some additional dialogue. " It was a question just of what it was gonna be, exactly, " Maryann Brandon recollected, " and how to show Kirk's drive for revenge without making him seem like he was only about revenge and that his feelings about Pike had been entirely pushed to the side. It was just a balancing act to try to keep all those things. We ended up writing some new dialogue that's placed on a shot that, for the most part, it was a matter of sort of shading performance and cutting some of the scene out. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The shuttlecraft journey that takes Kirk, Spock, and Carol Marcus to the Enterprise was rewritten a few times. Objections voiced by Spock to Kirk, regarding their mission, were reworked. " Although this stuff was in the original scene, " stated Maryann Brandon, " they were more implied and referred to than just boldly stated [in the way they ended up being] […] But I think it was really important, because it's where, again, […] we're really making clear what the themes are of the film, this idea of personal goals versus universal goals, and universal principles versus taking things into your own hands and deciding that your principles are the ones that are important. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Some new dialogue might have been created for the scene showing Sulu, in command of the Enterprise , transmitting threats to "Harrison". " The dialogue, I think, was essentially the same. I mean, we might have given him a few new lines in there, " reckoned Mary Jo Markey. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

More definite is that the journey to Kronos in a K'normian trading ship was revised. Mary Jo Markey and Maryann Brandon felt the original scene didn't work so well for Uhura and Kirk, being less informative for them as well as the audience, regarding Spock's emotional well being. " It became a scene that was really designed to help Uhura more fully understand Spock, and then, you know, of course by extension to help us [the audience] understand Spock better, " commented Markey. " And we ended up feeling that it needed to be more about a much deeper understanding of Spock's emotional make-up, or unemotional make-up, or whatever it is exactly that a Vulcan has, where he talks about the experience of seeing his whole planet die and the existential experience of that, and how it has made him feel even more committed to the Vulcan way. " New dialogue was written for the revised version of this scene. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

J.J. Abrams was determined to include the battle sequence between the Starfleet landing party and the Klingons. " The idea of an action sequence that is harrowing, exciting, and scary, involving Klingons and our characters, was too delicious to pass up, " he remarked. ( Star Trek Magazine issue 172 , p. 17)

A subsequent scene in which Khan, held in the Enterprise 's brig, tells Kirk and Spock about his past, revealing his name for the first time, was a result of the desire to include, in the film, exposition regarding Khan. The writers knew the line " My name is Khan " was not only a significant line in the film, but also that, if the production staff were able to get that moment right, it would elicit a mix of reactions from the audience, such as gasps, applause, and boos. A line from this scene – in which Khan asks Kirk, " Is there anything you wouldn't do for your family? " – was inspired by the motive of trying to make Khan relatable. ("The Enemy of My Enemy", "Featurettes", Star Trek: The Compendium Blu-ray special features)

Having Khan, essentially a murderous prisoner, assist Kirk was intended to be a way to make viewers feel uncertain about the character, as the writers knew the audience would have preconceived ideas about him. Despite Khan's villainy, the writers were fascinated by the idea of Kirk having no option but to partner with Khan, who Alex Kurtzman likened to Hannibal Lecter . " That was the fun of it for us; just moving right in to what the audience's expectations were with Khan, because those expectations were our expectations, " explained Kurtzman, " and if we can get ourselves to feel, to be asking those questions and to be unsure of the outcome, which was the whole point of creating an alternative timeline, then I felt we were making the right choices. " Roberto Orci added, " That's for fans. If you're not a fan, it doesn't matter; you're just watching a story of, 'Can I trust this man or can't I?', and that works on its own. But for fans, using Khan gives it a whole other layer, and we thought it was not just a homage to The Wrath of Khan , but also something for fans to play with, as evidenced by the fact that we are fans and this just tickled us. " ( SciFiNow , issue 84, pp. 042 & 043)

Devising how to quickly and covertly transfer Kirk and Khan from the Enterprise to the Vengeance turned out to be an enjoyable challenge. " So, that was one of the most, sort of, fun puzzles to put together in the movie, because we always loved the notion of their having to secretly get onto the [ Vengeance ], " J.J. Abrams explained. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Damon Lindelof suggested that, in the resultant sequence depicting Kirk and Khan traveling through space from the Enterprise to the Vengeance , the glass in Kirk's helmet would get struck by a piece of debris. Originally, Kirk was imagined as not using a guidance system in his helmet, though this idea was altered, as was much of the sequence. " The ship-to-ship sequence […] was a constantly evolving sequence, " remarked J.J. Abrams. " There were many iterations of it […] It felt like we needed to add some elements of tension […] [and] the story needed to be a little bit more complicated. " For instance, new dialogue was written for the start of a shot in which Spock warns Kirk that there is a debris field between the two craft. The newly added dialogue allowed for the scene to be moved from during the flight to just before it. Another added concept was the idea of Sulu advising Kirk to use the compass display in his helmet. The creative team also tried to add drama to the sequence by having Kirk's guidance system break due to a bit of debris, an idea influenced by Lindelof's earlier suggestion of having the glass break. Uhura wasn't as featured in the original version of this sequence as she ended up being, as Abrams decided to focus more time on the character in these shots. He added the story point of her struggling to contact Scott. " I just knew it was crazy not to have her be a part of it, " he admitted. Kirk was originally to have been less clearly put in jeopardy. " The new idea being that if Khan gets hit and is seemingly taken out, and then Kirk's helmet goes dead, he'd be screwed, that there would be no way for him to get to the ship. And then when Khan returns and ends up helping him out, there's this weird thing that we're going for, which is what would happen if your life was in the hands of your worst enemy? And that question of, 'How do I deal with that, and do I trust him if he ends up saving my life?' It's what we were trying to add to the sequence. " Other late additions to the sequence included such moments as Spock asking Sulu if they had lost Khan, and Sulu replying with uncertainty due to the debris, as well as Sulu later advising Spock that Kirk wasn't going to make it to the Vengeance safely. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The conclusion of "the ship-to-ship sequence," where a Vengeance security guard gets blown out an airlock that Kirk and Khan fly through to gain access to the ship, was thought up by J.J. Abrams. " We were actually location scouting, and we're at a restaurant, and I remember I just doodled this idea on a napkin, " he recalled. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The writers had Spock Prime make a cameo appearance, midway through the sequence in which Khan and Kirk collaborate, as a reminder to the audience that Khan is incontrovertibly evil and untrustworthy. The writers intended for the scene to lead the audience into questioning, even more, how the alternate reality version of Khan would turn out. Alex Kurtzman referred to this scene by saying, " The bomb is symbolically put under the table. " ( SciFiNow , issue 84, pp. 042-043)

The idea of Khan commandeering the Vengeance was thought up as a way of heightening the jeopardy which the protagonists were put in. As Alex Kurtzman expressed it, " The last thing you would want would be for a ship like that to fall into the hands of someone like Khan. " ("Vengeance is Coming", "Featurettes", Star Trek: The Compendium special features)

Roberto Orci conceived the line in which McCoy refers to the members of Khan's genetically altered, cryogenically frozen crew as "Human Popsicles." Remembered Damon Lindelof, " When he first pitched it, we all got quite a laugh. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

According to Damon Lindelof, the writers had the Enterprise fall towards Earth in order to demonstrate that gravity "can be very dangerous." A section of the Enterprise 's bridge was depicted cracking, during the ship's fall, because J.J. Abrams "loves it when the hull cracks," in Lindelof's words. Later in the sequence, Chekov was tasked with running up a flight of stairs and switching a manual override, which Lindelof referred to as "some doodad," because the writing team felt they needed to give all members of the Enterprise 's senior staff something practical to do. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Kirk sacrificing his own life in order to save the Enterprise and, in his final moments, speaking with Spock while they are on either side of a glass window was written as an homage to Star Trek II: The Wrath of Khan . It was inspired by the compulsion that the writers felt to acknowledge how the Enterprise crew had previously defeated Khan. Although referencing The Wrath of Khan in such a way was thought to be risky, the writers decided to make a big effort to do so. There was consequently a lot of discussion about Kirk going into the warp core area where he saves the ship but receives a lethal dose of radiation. " We talked a lot about the climb and wanting to make it sort of excruciating, " recollected Damon Lindelof, " and the idea that a character is sacrificing his own life for his crew, et cetera, to make it as dramatic as possible. " Thus, there was also deliberation over what obstacles Kirk had to overcome in the area. " One of the things we talked about was how can we illustrate the idea that there's lots of radiation here? " continued Lindelof. " We talked about the idea that there were sort of like heat waves that Kirk was going through, et cetera, et cetera […] I think we had no less than fifty meetings about how we could visually describe what was wrong with the core and how Kirk was gonna set it right. And then it was just simply like, 'Oh, he's just gonna kick the thing so it lines up with the other thing.' But it took about fifty meetings to get to that point. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Despite the fact Kirk's climb inside the warp core chamber was obviously intended to be concurrent with the Enterprise free-falling towards Earth, the writers opted for Kirk's movements in the chamber not to reflect the turbulent motions of the vessel. " I do think that one of the things that we talked about, " Damon Lindelof stated, " was making sure that Kirk's travel here was fixed, that, at this point, he couldn't be spinning and sort of bonking around, even though the Enterprise was, and that's one of those little cheats that you do, filmically, to get past it. " Lindelof accounted for this by saying, " Kirk is, you know, fixed in a gravitational field, here. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The scene in which Kirk dies was deliberately concocted to feature resonances with canon. Not only was it obviously meant to reference Star Trek II: The Wrath of Khan , but it was also "in service of" what Damon Lindelof referred to as "the most, sort of, resonant aspect" of both the alternate reality version of Star Trek and the "prime" version, which was "the love story and friendship between Kirk and Spock." ("enhanced commentary", Star Trek Into Darkness (digital) & Star Trek: The Compendium special features) While writing the scene, the creative team even reused lines of dialogue from The Wrath of Khan , such as the question, " Ship, out of danger? " Commented Roberto Orci, " It feels dumb not to use the lines that apply specifically to that scenario, so instead of saying 'I'm trying to save the ship, did it work or not?' we said, 'Hey man, let's just pay homage to it and use Star Trek ' […] So sure, we debated it, and sure it was something to think about. " ( SciFiNow , issue 84, p. 042) The scene also underwent some revision, Bryan Burk noting, " [It] took a while to kind of find its rhythm and really work for us emotionally. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

According to Damon Lindelof, the climax of this movie always highlighted a confrontation between Khan and Spock, with the stakes being Kirk's life. However, there originally would have been a simultaneous subplot about a Klingon fleet heading to Earth, " only to be turned around via diplomatic intervention by Uhura, " Lindelof said. " We dropped it pretty early on, as it didn’t feel intimate, cool, or earned. " [37]

In fact, the climax was originally far different from what it became. " The original idea of the third act didn't have us landing on Earth, " explained Executive Producer Jeffrey Chernov . " J.J. said, 'Now this really excites me.' " ("Brawl by the Bay", "Featurettes", Star Trek: The Compendium special features) J.J. Abrams had the Vengeance , as it crash-lands on Earth, destroying Alcatraz as an in-joke ; he used this moment to reference the fact his production company, Bad Robot Productions , previously had a TV series called Alcatraz which had ended up being cancelled. " So, I destroyed Alcatraz, even though I love it, " he conceded. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The climactic chase sequence, with Spock pursuing Khan through the streets of San Francisco, was inspired by a shot from the film Star Trek , showing a group of shuttles leave the city. Because the footage provoked J.J. Abrams into becoming extremely interested in seeing what it would be like in the city, this film's chase sequence was put together. " The fight was originally conceived as a fight between two guys on a street, essentially, " recalled Abrams. " To make it into a fight on the garbage barge traveling through the city upped the stakes of the whole thing. It gave the thing a kind of an energy that it wouldn't have had otherwise. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Whether to have the chase involve one or two garbage barges was the subject of considerable debate. It was finally decided that, although only one barge was necessary, two would be more exciting. " It just felt like a fun way to add another layer of, sort of, Saturday-morning-serial-now-what-ness to it, " J.J. Abrams remarked. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The creative team chose to factor Uhura into the end of the garbage-barge sequence. " One of the ideas that I thought, you know, was sort of fun was, how do you end the sequence? " J.J. Abrams related. " We wanted to give Uhura something great […] The idea [was] of giving her a beat that was really tough, and badass, and saving the day. There was always something Barbarella about this moment too, the way she sort of shows up wearing that uniform. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Having Khan be returned to cryogenic freeze, alive, in the final moments of the film was done as a conclusion that was meant to be internally consistent with the rest of the plot; the writers felt this story point was "the logical and moral conclusion of the movie" and meant for Khan to be put on trial thereafter, rather than be immediately executed. The writers have been less forthcoming about whether they actually kept Khan alive as a convenient way to resolve any future narratives, Roberto Orci stating only that this "could be." ( SciFiNow , issue 84, p. 044)

Cast and characters [ ]

Principal cast [ ].

All the major actors in the first film – namely, those portraying the command officers of the USS Enterprise ( John Cho , Simon Pegg , Chris Pine , Zachary Quinto , Zoë Saldana , Karl Urban , and Anton Yelchin ) – returned for the long-awaited sequel. [38] " I think we were waiting for a homerun script, and J.J. was undecided, " explained Sulu actor John Cho. " Scheduling was tight, and it didn't really get settled until J.J. decided he could do it […] It's a longer layover than most [sequels], considering the first one did so well, and that there was sequel talk instantly. We were wondering about the second picture almost as soon as we were finished with the first, so it seemed like a long time. But in the meantime, everyone did different things. Life happened. Children were born. It felt like a long time, but when we got back to set it felt like it was an afternoon at best, because we all got right back into things. " ( Star Trek Magazine issue 172 , p. 110)

Kirk actor Chris Pine observed it was important to make this film "as good as the first one" and ensure it lived up to the expectations of the viewers. He was aware of those expectations being higher than when the previous movie had been made. ( SciFiNow , issue 80, p. 022) As a result, Pine thought this film was slightly more nerve-wracking and therefore difficult than its immediate predecessor. As for how he followed the film's development, Pine recalled, " There were a couple years when [J.J. Abrams] went off and did other things. I would hear trickles through the information grapevine, through [writers] Damon (Lindelof) or Alex (Kurtzman), what they were thinking about for the second one. But I knew nothing until I got to read the script, under lock and key, in one of the producer's offices. " Pine felt that, once he was handed the movie's screenplay, he completely understood what it required of him. ( Star Trek Magazine issue 172 , pp. 23 & 21)

Chris Pine was impressed by the amount of variety in this film. He remarked that the facet which initially struck him about the film was " The sheer scale of it, " and went on to comment, " It's really exciting, because in any great epic story, you want it to go from A-Z and back again, and this has so many different colors. It has the excitement, it has moments of levity, it has the romance. A big, steaming apple pie of all sorts of great things. " Pine admitted that, having seen the completed movie, what surprised him most was " probably that this film manages to fulfill people's expectations of what a tent-pole summer movie should be, which in the past five years has become quite a feat in terms of spectacle. There are certain things we had to do to satisfy a modern audience's craving for that. " ( Star Trek Magazine issue 172 , p. 23)

Chris Pine was consequently wowed by the action sequences in this film. " There's a lot of destruction, and a lot of explosions […] I think we hit it out of the park, " he remarked. " The action sequences are spectacular. People can expect to see something fantastic. " ( Star Trek Magazine issue 172 , p. 23)

Chris Pine also pointed out that the creators of the film "married" the action sequences with " what people love about Star Trek , which are complex, Human dramas. I think we have that going for us. " ( Star Trek Magazine issue 172 , p. 23) He elaborated, " This film deals with really archetypal, huge things about growing up, and life and death, so the characters go on an extraordinary journey. " ( SciFiNow , issue 80, p. 028) Pine said, too, that he believed the maturing of the characters "makes for an interesting story" and that he was hopeful the "friendship," "bond," and "love" between the cast members, which was genuine, came across on screen. ( Star Trek Magazine issue 172 , p. 23)

Chris Pine additionally approved of this film as a sequel. Regarding how it measured up to the previous film, he noted, " I'd say the threat is even greater in this one. The force [the crew] are met with is much more frightening. " [39] He said further, " There's been a lot of talk about the darkness of it, which is there, but the levity from the first one is certainly there, too. I would say the scope, in terms of the visuals and the action beats, and also the characters' journeys, are much, much bigger than the first film. " ( SciFiNow , issue 80, p. 028)

Spock actor Zachary Quinto felt likewise; differences between this film and its predecessor were apparent to him as early as when he first read the script for this movie. " It was very clear to me from the beginning that it was a bigger story, there was more at stake, and there was more action, " he expressed. " You could tell from the get-go it was just bigger […] This movie has everybody in different situations and scenarios, on their own, in a way that the first movie didn't. We're all scattered and spread out in different places, yet all working together. We're not such a unified front, and we have to break into factions to get things done […] We do spend a fair amount of time together for the big action set pieces [though]. " Quinto felt certain parts of the film were personally more enjoyable than others. " There are some huge sequences that he [Spock] is a part of, that were really exciting and challenging for me, " he recalled. ( Star Trek Magazine issue 172 , p. 39) As another highlight of the film, Quinto cited the scene in which – on the way through Kronos' atmosphere – Spock concludes an argument with Uhura by expressing how he feels about death, Quinto describing it as "a really nice moment." ( SciFiNow , issue 80, p. 027) He was also happy the cast were able to modify the script, describing this process as "great" and "exciting." ( Star Trek Magazine issue 172 , p. 39)

McCoy actor Karl Urban enthused, " All of the characters are really pushed to the very limit in this film, and the relationships are strained and fractured. To me, that's always the mark of a great Star Trek series or film, when these characters who love each other – sometimes hate each other – have to work together to overcome a common adversary. " ( Empire , issue 287, p. 92) Urban also felt the common Star Trek dynamic of Kirk having to find the middle ground between Spock, representing logic, and McCoy, representing humanism, "definitely comes into play here." ( SciFiNow , issue 80, p. 027)

Scott actor Simon Pegg appreciated the opportunity this film gave him and the other main cast members to once again collaborate. " Having kind of eased into the roles, and all got to know each other as actors, and become friends, it was actually something we all really relished and were excited about doing, " Pegg related. " It was like a school reunion […] so to get to do it […] was a great joy […] It's most fun when we're all together, cause it's a very familiar environment. " ( Star Trek Magazine issue 172 , pp. 80 & 82)

Simon Pegg first read the script of this movie while he was with a friend in New York, shortly before Christmas 2011. " I said [to the friend], 'Listen, I'm going to quickly go up to my room. I've got the script, I might read the first couple of pages, then I'll come down and we'll go Christmas shopping.' About five minutes later, I rang him and said I'm not coming down, " Pegg explained, laughing. " 'cause I was so gripped by the script. I remember literally leaping up and down in my hotel room at certain plot twists and revelations that were just so exciting, and so cool. " ( Star Trek Magazine issue 172 , p. 83) Pegg also recalled squealing in delight as he read through the screenplay. ( Empire , issue 287, p. 92)

Clearly, Simon Pegg considered this "a great story." ( Star Trek Magazine issue 172 , p. 83) He mused, " It's a modern take on terrorism, in a way […] It's not dark in the sense that it's po-faced; it still has the lightness of the first film. It just kicks off and doesn't stop for the whole movie. " ( Empire , issue 287, p. 92) Pegg commented further, " The story goes all over the place. It hits the ground running; it starts fast-paced and doesn't stop through the whole thing. I think it will be joyously exhausting to watch, but at the heart of it, it's a very Human story about looking after the people you love […] and this is among all the pyrotechnics, and I'm sure all the groundbreaking special effects. At the very heart of it, it's something far more Human, which is a testament to the writers. " ( SciFiNow , issue 80, p. 028)

In fact, Simon Pegg related his satisfaction with the script directly to Roberto Orci, Alex Kurtzman, and Damon Lindelof. " I wrote to them after I read the script, because there are bits in there that I really got, " Pegg reasoned, " I could see what they were doing, and there were really smart little touches that I wanted them to know that I'd got […] It's a hell of a task they've got on their hands. They've got to juggle a lot of things – they've got to please fans and entertain the uninitiated – but I think this film has all that. " ( Star Trek Magazine issue 172 , p. 83)

Simon Pegg suspected the "very Human story" at the center of this film would "resonate with the audience." ( SciFiNow , issue 80, p. 028) Contemplating more about how viewers might react to the movie, he offered, " There are so many rewards in it if you're a fan of Star Trek . You could watch this movie completely uninitiated and be thrilled by it, you don't need prior knowledge, but if you do have that prior knowledge then it's like it unlocks a whole other dimension of connection with Star Trek that you'll feel very privileged to have. " ( Star Trek Magazine issue 172 , p. 83)

Witnessing this film come to fruition delighted Simon Pegg. " To get to shoot that, and see what J.J. came up with, the amazing work that's done by costume and props and makeup – it was all really exciting, " he reminisced. ( Star Trek Magazine issue 172 , p. 83)

Simon Pegg considered levity to be essential to the scene in which Scotty needs to open an airlock door and does a lot of running. " If there wasn't some lightheartedness, it would probably be quite uncomfortable to watch, " Pegg reckoned, " as there's a lot riding on that moment. " ( Star Trek Magazine issue 172 , p. 82)

Chekov actor Anton Yelchin opined, " Even though it's been four years between films, you can quickly see why. You see all of the work that's been put into it, you see the complexity of the relationships; building on what was discovered in the first one, which makes it that much more interesting. You get much more insight into these people, and then the world that you're in, the scope and the scale of the film is that much bigger. " ( SciFiNow , issue 80, p. 023)

During the extended interim which preceded the making of this film, Sulu actor John Cho was, in his own words, "preparing myself to be pleasantly surprised when I read it." He was not disappointed. ( Star Trek Magazine issue 172 , p. 110) " I […] felt pretty confident about the script – by the time we started shooting it was in amazing shape, and the story was really fascinating. To me, the story does what all great sequels do, which is to bring back things and then complicate and darken them, " Cho mused. " I was just really excited about telling that story […] You can almost feel sorry for Sulu and all of the characters because they have to mature so quickly. They feel like children who had to take care of the house in mum and dad's absence or something. It's the crises that are so enormous, and they're so young and have had to shoulder so much. To me it feels like all the characters in this one are prematurely-mature. " ( SciFiNow , issue 80, pp. 22 & 26) He also remarked, " I felt like the themes they were trying to tackle really spoke to me. The movie is so much about morality; what the nature of good and evil is. How does that change when one grows older and is more experienced? It's tapping into the grey areas of life. As a comparison, […] the second movie is an older person [than the first film], a legitimate man, and life seems cloudier and sloppy, so decisions are harder to make. I thought that was wholly the appropriate tone for a second film. It was really fascinating to me, because in some ways you expect an interesting plot, thrilling action, and fun, but going deeper in that fashion is not necessarily expected. I thought, thematically, it was ambitious. " ( Star Trek Magazine issue 172 , p. 111)

Uhura actress Zoë Saldana appreciated the way the film portrays Uhura's relationship with Spock being tested, enthusing, " The way it happens in this movie is one of those great twists that you love JJ for. " ( SciFiNow , issue 80, p. 027) Of the main characters in general, Saldana additionally stated, " I guess because we were going back to a familiar environment, where we knew each other, and had been through it already, we didn't waste time breaking ice. It was already melted […] It definitely felt more intense. There was a great deal of suspense and uncertainty, not as actors but for our characters. There's such an attack and infiltration into Starfleet, it makes us question how safe we really are. " Concerning the cast members who portrayed those protagonists, Saldana noted, " For this experience with Star Trek , we were very fortunate […] We're so excited to be there, and we shared that mood with each other. " ( Star Trek Magazine issue 172 , p. 45)

Their interaction with J.J. Abrams was largely enjoyable for the main cast members. Chris Pine remarked, " There is a great amount of pressure to live up to expectations and to do justice to these characters and what was done before. But I think because of J.J.'s great skill in casting – and this goes for the newest members [of the cast] […] – it becomes so easy so quickly, and you enjoy each other's company, that you enjoy the day of work. " John Cho reflected, " I would say J.J. was a little bit more intimate with us as people this time […] I think he was more comfortable with us as people, and we were more comfortable with one another in general. You spend enough time together, I guess… " ( Empire , issue 287, pp. 90 & 91) Cho also felt he wasn't overwhelmed by expectations, mainly because of Abrams shouldering the responsibility. " I never sweated it, " related Cho. " I realised that we would have to meet certain expectations or exceed them, but I didn't emotionally sweat it, so to speak, because I felt very confident in our captain. " ( SciFiNow , issue 80, p. 022) Simon Pegg agreed that part of what made doing the film "a great joy" was getting to collaborate with Abrams. ( Star Trek Magazine issue 172 , p. 80) The cast found Abrams' unpredictability and the amount of freedom he was allowed to make modifications in the production, which was a high degree of independence, to be impressive but daunting. " So even though it's scary for us to work with him, in some ways it's also a real opportunity, " stated Zachary Quinto. ( Empire , issue 287, p. 90) For example, the cast found Abrams was willing to allow them a lot of input. " I think a lot of us had a couple observations and notes, and J.J. was really open and encouraging for us to speak up, because we incarnated these characters in the first installment, " pondered Zoë Saldana. " Coming back to it, there were remnants of our characters in us, so if something felt unnatural or a little off, we definitely voiced it, and J.J. definitely considered it. " ( Star Trek Magazine issue 172 , p. 45) Both the cast and their director also felt it was important to maintain humor in the script. " It was something in this new incarnation that we all talked with J.J. about, the use of levity and the fact that, as dark as some of our stuff is in this new film, we always have time to smile and make people laugh, " noted Chris Pine. It was also Abrams who gave the cast members the film's script. ( Star Trek Magazine issue 172 , pp. 20 & 21)

One of the ways J.J. Abrams' erraticness affected the cast was in lines given to Uhura. Zoë Saldana explained, " He writes these mouthfuls of dialogue, and it's hard for me because Spanish is my first language. So there were moments, at least once a day, where we'd have to cut and he was like, 'Zoe, it's not traject-ory. It's traj-ECT-ory,' or, 'That was great, but this next take, say it all 30 per cent faster.' " Saldana laughed, then concluded, " It was a trip. " ( Empire , issue 287, p. 92)

Returning guest stars [ ]

Like Chris Pine, Bruce Greenwood could hardly wait, prior to this movie entering production, to be reunited with the Star Trek cast and crew who had worked on the previous film. In this movie, Greenwood reprised his role as Admiral Christopher Pike . He referred to the movie's script as "good." [40] Having initially hoped this film would continue the evolution of the relationship between Pike and Kirk, Greenwood was glad it does. He was also intrigued by the movie's depiction of Kirk maturing; Greenwood remarked that – because the film depicts, at least in his viewpoint, Kirk facing "a major existential crisis" – the film was more interesting for himself as an actor as well as "hopefully, for the audience." ( SciFiNow , issue 80, pp. 024 & 026)

Leonard Nimoy initially expressed that he did not expect to return as the original Spock in this movie, even going so far as to state, " I definitely will not be in Star Trek 2," and, " I think I can be definitive about the fact that I will not be in it. " ( SFX , issue #200, p. 68) However, alongside the Khan report, it was confirmed that he would indeed be returning for the sequel. [41] [42] Concerning how J.J. Abrams asked him to appear for his cameo in this film, Nimoy remembered, " He just said, 'Would you come in for a couple of days and do me a favor.' " Even though the actor had turned down an invite to make a cameo appearance in Star Trek Generations because he felt what had been written for him to play in that film was too general, Nimoy was convinced that this movie was sufficiently specific about the inclusion of Spock that he was willing to participate. Addressing why he had claimed not to be in the film, Nimoy, who was very pleased that the truth of his involvement was kept secret, initially said, " I was asked time and time again if I was in the movie, and I managed to avoid answering without lying. " He laughed, but was then reminded that he had flat-out denied being in the film and replied, " Maybe I was confused. Of course, speaking, if you’ll pardon me, logically, I wouldn’t know if I was in the movie until I saw the movie. " Nimoy enthused about the film itself, " It’s hard not to enjoy this movie. There’s so much of a thrill ride happening. The relationships between the characters are terrific. The actors are all wonderful. " [43] His cameo here marked Nimoy's final appearance as Spock and his final role overall prior to his death in February 2015 .

With the announcement of the sequel, fans once again began a campaign to bring Christopher Doohan back to the Enterprise , stating that the Enterprise needed a Doohan . Christopher Doohan did indeed receive a role in this film, appearing as a Transport Officer. Chris noted on his twitter page, @chrisdoohan, that he would not have got the part without the help of Simon Pegg and thanked fans on their Facebook page. [44]

New guest stars [ ]

On 4 November 2011 , Variety reported that Academy Award-winning actor Benicio del Toro was expected to be offered the role of the villain in the sequel. [45]

On 30 November 2011, it was announced that Alice Eve had been selected for a lead role in the film. [46] She suspected one reason she was chosen to play Carol Marcus was that Eve "naturally speaks very fast," which matched the fact J.J. Abrams has a "very quick" mind, Eve noting, " Certainly in this one it's the universe racing against the clock. " ( Empire , issue 287, p. 92) She found the experience of reading the film's screenplay for the first time was extremely pleasant. " I went and read the script at Bad Robot, and it was really a privilege to be able to read it from beginning to end [without interruption] […] It became very clear what the story was in my head, because I read it in one sitting, " Eve reminisced. ( Star Trek Magazine issue 172 , p. 54)

On 2 December 2011 , Latino Review reported that Benicio del Toro would play Khan Noonien Singh , a report which Abrams said was "not true." [47] As was revealed merely days later, del Toro's deal had actually fallen through on 30 November 2011, "after parties couldn't come to terms over monetary issues", so he was no longer due to appear in the film. [48]

On 5 December 2011, Peter Weller was announced as having joined the cast in an unknown role. [49] Weller had previously played John Frederick Paxton on Star Trek: Enterprise .

Two days later , it was reported that the absence of an actor to play the film's main antagonist and the fact the movie was intended to enter production the next month meant J.J. Abrams and Paramount were hurrying to find a suitable actor who could portray the villain and commit to a six-month shoot, between January and June 2012 . Simultaneously reported was that Edgar Ramirez and Jordi Molla were possible replacements being considered by the film's casting team, with Ramirez as the front-runner. He was expected to test for the role via Skype either later that day or early the following day , as Abrams wanted to decide whether to cast him before the forthcoming weekend. [50]

It was in the Christmas holidays of 2011 when actor Benedict Cumberbatch recorded and submitted an audition video, on an iPhone he owned, showing himself performing two or three scenes, after which, on the evening of New Years Day, he received a call to say the part was his if he wanted it. Though Cumberbatch accepted, he was yet to see a full script of the movie. ( Star Trek Magazine issue 172 , pp. 24 & 26) The movie's screenplay did appeal to him, though. It, along with the opportunity to work with J.J. Abrams, primarily motivated Cumberbatch into agreeing to appear in this production, though he had seen the previous film as well. ( SciFiNow , issue 80, p. 023) " It's very beautifully crafted, " he critiqued of this movie, " so you have a proper, character-driven drama that happens to have all the lure and excitement of Star Trek added with the amazing possibilities of modern film-making […] [It's] a big film but based on a very detailed, good script, with good ideas […] I think it's going to be really thrilling. I can't wait to see it. I think I'm as eager as any fan of the first film is to see how it all comes together. It's going to be a real treat. " ( Star Trek Magazine issue 172 , pp. 27 & 29) On 4 January 2012 , Variety announced Cumberbatch would be playing the villain. [51] Regarding how Cumberbatch interpreted the part, Alex Kurtzman opined, " He brought a whole new life to it. " With a laugh, Roberto Orci added, " He was so good that we didn't have to change much. " ( Star Trek Magazine issue 171 , pp. 32 & 33)

Also on 4 January 2012, Variety reported British actor Noel Clarke would be joining the cast as a family man with a wife and young daughter. [52] Two days later, Entertainment Weekly announced that Nazneen Contractor would be playing the wife of Clarke's character.

Benedict Cumberbatch as "John Harrison"

On 30 April 2012 , it was reported that Benedict Cumberbatch's role in the film was that of Khan Noonien Singh . [53] [54] Simon Pegg shot down this report, though, calling it "a myth." [55] Karl Urban stated, " He's awesome, he's a great addition, and I think his Gary Mitchell is going to be exemplary. " [56] However, he later said, " I did that interview after a 22-hour flight from New Zealand. I literally hopped off the plane into the interview. " [57] Roberto Orci reiterated Urban's latter statement, while confirming Cumberbatch and Alice Eve's characters had appeared in Star Trek canon. [58] When interviewed himself, Cumberbatch continued the secrecy by merely pointing to a promotional image and stating he played "that person there." ( The One Show BBC One, broadcast 24th August, 2012) On 10 December 2012 , StarTrek.com released a photo featuring Cumberbatch's character in a holding cell , with Spock and Kirk looking on from the other side. The site also reported that Cumberbatch's character was named "John Harrison", in apparent contrast to Orci's earlier comment that his character had previously appeared in Star Trek canon. [59]

Also on 10 December 2012, it was reported by TrekMovie.com that Alice Eve's character would be Carol Marcus. [60] She later remembered, " It was great for me to step on the bridge. " ( SciFiNow , issue 80, p. 023)

Michael Dorn was contacted for a role during the start of filming, and was asked to play "an officer – a soldier." Eventually, it was decided that "they didn't want to mix the old with the new": Dorn had appeared in some of the previous Star Trek films and television series, playing Worf and his grandfather . [61]

Following press screenings of the film's first thirty-eight minutes in Brazil, it was confirmed – on 7 March 2013 – that Peter Weller would appear in the film as Admiral Marcus. [62] [63] The real identity of Benedict Cumberbatch's character was revealed in late April 2013 . [64]

The scene where Kirk delivers a speech features some real-life war veterans, from a non-profit organization called The Mission Continues , which tries to help soldiers return to life after having been deployed. " When the sequel was being planned, " recalled Katie McGrath, J.J. Abrams' wife, " we thought about how to make it meaningful beyond the experience of doing it all together again. We were thinking about the themes of the film and what would resonate. And also maybe help alleviate the sort of values of the Starfleet cadets… of sacrifice, bravery and friendship. " Eric Greitens , who works as the company's CEO and makes a cameo appearance in the film himself, referred to the group cameo as " A real thrill. And it was meaningful, too. " One of the veterans who appears, Adam McCann , had been hit by a bomb exactly seven years, to the day, before participating in the scene. ( Empire , issue 287, p. 91)

On Thursday 2 February 2012 and Tuesday 7 February 2012, Headquarters Casting , owned by Carla Lewis , sought background performers for the Star Trek sequel. According to a relevant casting note, they were searching for " attractive / refined / upscale or exotic talent ages 35-55 who are well postured / athletic to thin. Men should be in good shape, ladies must not be overly busty or curvy. The wardrobe is fitted so we need performers who are in great shape and/or on the thin side. Seeking a wide array of different ethnicities for this group, including ethnically ambiguous talent. The work date(s) are TBD, but could be numerous depending on the scene you are selected for. Would require at least one wardrobe fitting. We are submitting additional photos and the photos MUST be current and representative of how you look NOW. Some of the spots that will be picture picked will be quite featured. This is background work and we are seeking both SAG & Non-Union talent. It's possible that non-union performers may need to work SAG (depending on the work day(s) they are ultimately fit for and the number of performers working that day). " The open call was held at 3108 W. Magnolia Blvd., Burbank, California 91505. [65]

Rehearsals and interaction [ ]

When the cast of this movie began rehearsals, Benedict Cumberbatch wasn't present (as he was not yet cast) but Alice Eve was. She was pleased Simon Pegg was there, because they were already familiar with each other. " Simon […] made me feel very comfortable, not that everyone else wasn't equally welcoming, " she remarked. ( Star Trek Magazine issue 172 , p. 55)

On the contrary, Alice Eve referred to the way the cast and crew treated her as "incredibly welcoming and gracious." ( SciFiNow , issue 80, p. 023) She explained at length, " The people behind this film were all so incredible that there was no awkwardness. Everyone knew the reason they were there, and they had clear directives for fulfilling them, and it became a very collaborative process, like building a village. " ( Star Trek Magazine issue 172 , p. 55)

Likewise, Benedict Cumberbatch relayed that the principal actors "were so respectful" of the fact that he had joined the film's cast as the main villain. " There was only one occasion where I had the discipline to pull away from their camraderie, and sit away in a corner and brood, darkly, because I had too much fun with them, " he conceded, thinking back to the making of the film. " I had so much fun with them, I hope that doesn't reflect in the film, because otherwise I'll be useless, " he laughed. Moments later, Cumberbatch said, " To work with them was just a real kick. A real kick. " After commenting positively on each of those performers, he concluded, " We had so much fun hanging out together in LA, it was genuinely a really joyous experience. I spent all my time just laughing. " ( Star Trek Magazine issue 172 , p. 27)

The principal actors were happy to make new friends, too. " I didn't get to work this time around with people I enjoyed [last time], " Zachary Quinto observed. " I didn't get to spend much time with Simon Pegg, or even with Chris Pine this time […] But what I lost with the familiar, I gained in working with Benedict [Cumberbatch], which was significant. We got along really well, and I liked working with him. " Karl Urban enthusiastically noted, " I loved watching Chris and Benedict when they were doing scenes together, because the sparks would literally fly. " Pegg enjoyed collaborating with Pine. " We spent a lot of time working on this, " noted Pegg, " and we had a hoot […] Welcoming Alice Eve and Benedict Cumberbatch was great [too], because we wanted them to feel as welcome as we did. " John Cho likewise enjoyed getting to know Cumberbatch, whose performance impressed him, and Eve. In reference to the latter performer, Cho related, " It kept the set lively to have to get to know another person. " ( Star Trek Magazine issue 172 , pp. 41, 56, 82, 111) Pine was wowed by the work of both Cumberbatch and Eve in this film. Concerning the interaction between Kirk and Carol Marcus, Pine stated, " When there's a beautiful blonde woman around, there's always the potential for love, and we know the story there. " ( SciFiNow , issue 80, p. 023) During their breaks from filming, the cast often played word-based board game Words with Friends . ( Star Trek Magazine issue 172 , pp. 83 & 115)

Design, sets, and locations [ ]

A blueprint for the Enterprise sets in this film

Following the release of Super 8 , it was announced, in September 2011, that J.J. Abrams would direct this film. [66] He had quite a good idea of how he wanted this film to look. Production Designer Scott Chambliss reported about Abrams' design specifications, " On Star Trek Into Darkness he had pretty strong thoughts about more complete concepts of what he wanted than I was accustomed to. " ( Empire , issue 287, p. 96) On the other hand, the film's creation was obviously reliant on a team effort, Abrams himself remarking, " I think we all felt we have to outdo ourselves not with scale, or bombast, or pyrotechnics, but to maintain the thing we did last time. Despite it being called Star Trek , it had to be real. You had to feel it. " ( Star Trek Magazine issue 172 , p. 14)

J.J. Abrams felt green screen was "obviously" necessary in this film. However, he explained, " One of the things we've continued from the first movie is the idea of finding locations or building sets whenever we could to create a world that isn't synthetic or sterile, but feels very, very real. " Dan Mindel agreed, " What we brought to this one was the fact that we went outside more. " ( SciFiNow , issue 80, p. 026)

For the Enterprise in this film, the creative team attempted to preserve a look of newness and cleanliness while also giving the vessel a sense of scale. " We wanted to show the audience far more of the ship and to give it more depth, " noted J.J. Abrams. ( SciFiNow , issue 80, p. 026) Due to the fact that permanent sets used for NCIS: Los Angeles were on Paramount Stages 8 and 9 , this movie was instead scheduled to film at Sony Studios in Culver City. Sony Stage 15 , which was the largest stage at Sony and was larger than the Paramount stages, enabled the filmmakers to build interconnected interiors for the Enterprise , similar to the original television show. ( SciFiNow , issue 80, p. 26; [67] ) This time, filming locations chosen to represent Enterprise interiors included not only Budweiser Brewery , which had been used for ship interiors in the previous movie, but also National Ignition Facility at the Lawrence Livermore National Laboratory in Livermore, California. ( SciFiNow , p. 026; [68] [69] )

For the garbage barge scenes, a green screen set was built in Marina del Rey , California, along Jefferson Blvd. and near Grosvenor Blvd. [70] Also, Hawaii was considered for "jungle scenes" set on Nibiru but a location in Southern California was chosen instead. [71] This was clearly a reuse of the set in Marina del Rey, complete with red prop trees. [72] The set of the Nibiran volcano also made use of a large green screen. [73] Other filming locations included Dodger Stadium , Long Beach City Hall , MCAS Tustin , and Vasquez Rocks Natural Area Park [74] as well as Crystal Cathedral in Garden Grove, California. [75] For Leonard Nimoy 's cameo, the offices of Bad Robot were selected. [76] (X) Dan Mindel observed that the variety of locations used to film the movie "gave the huge scope it has now." ( SciFiNow , issue 80, p. 026)

Iceland was picked for the filming of some visual effects shots. J.J. Abrams had considered filming Delta Vega exterior sequences in Iceland for the previous film. [77]

Designer Neville Page said that, if there were Klingons , he would have to explore a rationale for their appearance, such as their long hair, and give their species a varied look, perhaps with different races. [78]

Industrial Light & Magic began working on visual effects in November 2011, starting with shots of outer space that would not require live-action elements. [79]

The making of this film required both Benedict Cumberbatch and Zachary Quinto to do some training. Both cast members enjoyed their training routine, which involved wire work for both the two actors. Quinto's training – which was with a stunt trainer, "for a couple months before shooting" – also included sprinting, and Cumberbatch remarked that his own routine was "for these choreographed fight scenes, stunts, […] and all sorts of fun and games." ( Star Trek Magazine issue 172 , pp. 29 & 39)

Filming [ ]

On 23 November 2011, it was reported that this sequel would be shot in 3D for a 17 May 2013 release. [80] J.J. Abrams later clarified the film would be shot in 2D and converted into 3D during post-production. [81] He also opted to shoot the film in a hybrid mix of IMAX and Panavision anamorphic 35mm. [82] Choosing to present the film with 3D and IMAX was not a decision Abrams took lightly, as his priority was to always try to keep things in the movie authentic, regardless of the story being fantastical. The choice Abrams made was influenced by him looking closely at modern films which used the two formats. Bryan Burk stated, " We hope that the combination of the IMAX and 3D will be unlike anything audiences have seen. " [83]

As for his decision to use IMAX in particular, J.J. Abrams was inspired by having worked with Director Brad Bird on Mission: Impossible – Ghost Protocol , one of only a few recent blockbuster films which had employed IMAX. " But I'd yet to see a space adventure presented in this way, " Abrams noted. The deal was nonetheless clinched for him after Christopher Nolan kindly screened for Abrams the section of The Dark Knight Rises that uses IMAX. " Watching that incredible footage, " he related, " it made me realize if we had an opportunity to shoot some of this movie in IMAX, we'd be crazy not to. " [84] According to A-camera 1st AC Serge Nofield, one of the challenges of moving between the two formats was working in the different aspect ratios. " In an effort to bridge that difference, we didn't use the entire [1.43:1] IMAX negative – we masked it to achieve a ratio of 1.66:1, " he says. " When viewed in an IMAX theater, the movie will shift from 2.40:1 to 1.66:1. " [85]

This was the first official 3D Star Trek production and the first 3D film that Bad Robot Productions worked on. Regarding the choice of using 3D for this film, Damon Lindelof expressed, " It did not impact the writing of the script […] All of us were a little bit cynical about doing the movie in 3D […] So the 3D decision was more along the lines of like 'are we going to screw up Trek by doing this movie in 3D or is Trek ready for 3D?' Hopefully it is the latter. " J.J. Abrams and his allies were persuaded to convert the film to 3D after watching converted footage of a scene in Star Trek where the USS Enterprise arrives at Vulcan . [86] Bryan Burk later noted, " When we looked at what Star Trek is all about – epic battles, sweeping planet vistas and nail-biting action – we thought, if Star Trek isn't worthy of 3D, then what movie is? The bottom line for us was that if we were going to embrace 3D for the first time, we wanted to make it special and different […] We knew if we did this, we wanted to really go for it. " The production staff settled on the premise that simply adding 3D to the mix wouldn't be enough – it had to be used to bring more impact to the storytelling or heighten the realism of worlds which didn't exist in reality. [87]

As reported by TrekMovie, shooting of the sequel started on 12 January 2012 . [88] The first footage to be shot was on the set of the Enterprise 's bridge. " I was angry at J.J. for throwing us on to what can be a difficult set, " Chris Pine laughed. ( Empire , issue 287, p. 90) The set indeed proved troublesome, when Alice Eve initially stepped onto it. " I fell on my bum the very first time, which is a testament to how clean and shiny they kept the floors, " she reckoned. ( SciFiNow , issue 80, p. 023) On 14 January 2012, Paramount officially announced principal photography had begun. [89]

As the filming got under way, some results of the decision to shoot much of the film in IMAX proved clear to the filmmakers, giving them some mind-boggling logistical challenges. [90] " The idea of throwing the IMAX cameras around was a huge challenge, " Cinematographer Dan Mindel recollected. " J.J. stood by his commitment to use that system, but we couldn't operate the cameras the way we do normally. " The time needed for shooting in IMAX was especially hard, as IMAX cameras take a very long time to reload and run out of film extremely quickly, which caused frustration for J.J. Abrams. " So the biggest challenge for me, " continued Mindel, " was just to keep all that going and have him not lose interest in or be disappointed in the decision he made to use the system. " ( Empire , issue 287, p. 87) Abrams himself remembered, " It became a rule that when the action was outdoors, we shot using IMAX, and when we were indoors, we used anamorphic 35. " [91]

After each angle was shot, the actors had to move out of the camera's perspective, then a pass was filmed with a 3D camera which replicated the original camera moves, to help the 3D conversion process. [92] This was a new technique, which J.J. Abrams described as involving "multiple virtual cameras to push the perspective and depth in certain ways, towards how people see in 3D." The new method allowed people who didn't enjoy or perceive 3D to "get it," Abrams counting himself as one of those individuals. " That's not to say the 2D experience wasn't the primary focus, " he clarified. " All I wanted to do was make sure I made a movie that was working in 2D, but [that] if you see it in 3D you get a little more bang for your buck. " ( Star Trek Magazine issue 172 , pp. 15 & 17) For the conversion process, the team brought in stereographer Corey Turner , who had worked on some of the biggest 3D films of the past few years, and then encouraged him to keep pushing the boundaries of visible depth and immersive detail on screen. " The process was both extremely laborious and more precise than we ever imagined, " explained Bryan Burk. " Along with Corey, we literally went through the film frame by frame, pushing every aspect of the 3D that was possible – really making objects feel as if they are coming out from the screen. We would routinely say to Corey 'let's push it further' and he would say, 'this is as far as anyone could possibly go' and we would say 'Go further! Go further!' and then he would. " [93] Damon Lindelof was a supporter of using 3D for this film. In hindsight, he suspected, " I don’t think this is going to hurt the movie. If people want to see it in 3D, they will get their money’s worth […] Based on the dailies that I have seen, I think JJ pulled it off. " [94]

In the final week of January 2012, ( citation needed • edit ) NASA astronaut and engineer Gregory Chamitoff visited the Enterprise bridge set while the Star Trek sequel was in production. He inspected some of the stations on the bridge, sat in the command chair, was announced as a "guest of honor" by J.J. Abrams, and gave a speech to the shooting company. In his speech, he commended them by saying, " You know, what you guys are doing here, it's not just an incredible, spectacular movie […] but it's also inspiring a whole new generation of kids. " ( Star Trek: Secrets of the Universe )

Recalling one example when IMAX was employed, J.J. Abrams noted, " We used it for the volcanic planet Nibiru. " [95] For the filming of the scenes in which the Enterprise is underwater, Dan Mindel softened the lights on the set of the Enterprise , making the ship's interior look "more subdued, cooler or bluer in color," as phrased by Mindel. ( SciFiNow , issue 80, p. 026)

Another usage of IMAX was for footage in the Qo'noS scenes. [96] [97] Filmmaker Edgar Wright visited the Qo'noS set and got to direct a shot for the movie. [98]

Filming the scene in which Scott runs through a long open area aboard the Vengeance was grueling for Simon Pegg. " I remember that day very clearly, " he explained, " 'cause I'd just eaten and I rocked up on set and J.J. said 'You've got to run 100 meters, really fast' […] I'd been hanging around all day on set, it was a nice shoot, I'd had a big dinner, then they say, 'OK Simon, you're up,' and I had to do this sprint. And I did it as fast as I could. I mean, I really went for it. I did the first take and everyone clapped, because I ran like I hadn't run since I was a kid. It was amazing. And then J.J. said, 'Can we do it again?' and I said, 'Yeah! No problem!' By the third take, I was, like, 'No.' So I went back to my trailer. " There, Pegg finally threw up. " Fortunately, my trailer was a simple stumble away, " he concluded. ( Star Trek Magazine issue 172 , p. 82)

J.J. Abrams came up with a method of shooting the sequence in which the Enterprise falls toward Earth. " JJ got very interested in the idea that if you move the camera in certain ways and if people behaved in certain ways, " reported Roger Guyett , " it would really feel like everything on the ship had wrapped around upside down, and he was right. " ( SciFiNow , issue 80, p. 026)

IMAX was used "especially at the end where there's […] [a] chase through San Francisco," stated J.J. Abrams. [99]

As evidenced by photographs which were leaked online, the scene in which Spock and Khan jump from one garbage barge onto another was filmed on the garbage barge green-screen set on 23 February 2012 . [100]

Alice Eve visited a filming location where she was astounded by seeing Benedict Cumberbatch, who had been a friend of hers for almost nine or ten years beforehand, do some wire work. " I saw him flying through the air! " she exclaimed. " It was just amazing to see that. It was staggering to see your friend working in that way, with all these people around. It was dusk as well, in this weird location and I was thinking this is crazy. " Eve later cited this experience as one of her fondest memories of the shoot. ( Star Trek Magazine issue 172 , p. 55)

The volcano sequence was first rehearsed by a stunt double. In front of the set's green screen, Zachary Quinto was then rigged to a pair of wires, lifted to a height of ten stories high, then dropped at a high rate of speed as if he was falling. [101]

As reported by Go for Location on 17 April 2012 , the Star Trek sequel filmed exterior and interior scenes all week in Downtown Los Angeles, especially Bunker Hill and the historic core areas [102] [103] and at Flower and Olympic. [104]

On Friday 20 April 2012, production filmed at 710 S. Grand Avenue, Los Angeles (7:00 am – 10:00 pm). [105] The day after , the cast and crew conducted more filming in Los Angeles. Between 6:00 am and 10:00 pm, they shot footage in the Grand Ave. crosswalk, between Cal Plaza and Wells Fargo Plaza, as well as at 350 S. Grand Ave., and at 333 S. Grand Ave. Between 7:00 am and 10:00 pm on that same day, the cast and crew filmed at 710 S. Grand Ave., 650 S. Spring St., and 523 W. 6th St. as well as returning to capture some more footage at 710 S. Grand Ave. The shooting company did even more filming at the latter address on the next day, 22 April 2012. During these dates, base camp was set up at Grand and 8th Ave. [106]

According to a crew member, the production would, after the Los Angeles shoot wrapped, head to the San Francisco area for the final week of filming. According to On Location Vacations, there was a radio casting call in San Francisco for a big motion picture and shooting was scheduled to start there on 1 May 2012 . [107] As reported by On Location Vacations just a few days later, some location filming was done at the National Ignition Facility, prior to the filming in San Francisco. [108] [109] The production unit was also scheduled to film in Pleasanton . [110]

After Leonard Nimoy drove himself to the offices of Bad Robot Productions, his cameo scene was shot there, directed by J.J. Abrams. [111]

J.J. Abrams discovered that, by attempting to push the limits of what he and the rest of the film's crew were capable of, this movie turned out to be, by far, his hardest directorial effort yet. " I think part of it was the scope of it. The scale of the movie was pretty huge, " he offered. " I think that it was also about trying to take what we did before and embrace the things that worked, and try some things that we hadn't done. Part of it was realizing there are always things [in the original] that I look at and wish I had done this or that. It's a little bit of a second chance to try and do some things that didn't quite work the way I wanted them to, and then do some things I didn't get a chance to do before. " ( Star Trek Magazine issue 172 , p. 15) However, Abrams was typically hyperactive during the shoot. " He'd doodle a cartoon, and then turn it into a 3D printable graphic, he'd come up with an idea for Nickelodeon – this is just in the breaks between set-ups, with the IMAX being changed over, " Benedict Cumberbatch reported. " He'd beatbox, he'd play music that was comically fitting for the moment of the day. " ( Star Trek Magazine issue 172 , p. 27)

Simon Pegg and Zachary Quinto tweeted that filming (of principal photography) wrapped on 8 May 2012. [112] The reason why Damon Lindelof, Alex Kurtzman, and Roberto Orci had advocated not rushing the making of this film was that Star Trek would naturally require intensive post-production, more so than Super 8 . [113] Following the wrap of the movie's principal photography, second unit filming began with the film's Iceland shoot. This marked the first time a Star Trek movie shot outside the United States. [114]

Editing [ ]

One shot of the Enterprise , reminiscent of the initial view of the original Enterprise in first episode " The Cage ", was planned but scrapped. Sean Hargreaves explained, " There was a shot where they were going to tilt up and the whole top [of the bridge] was going to open up […] It was very complicated mechanics, it was beautiful, and it was nixed; they didn't end up doing it, but I've always loved that. " [115]

In an October 2012 interview on the talk show Conan , J.J. Abrams stated that this film was in the editing process. [116] He was still involved in editing and tweaking the movie in late March 2013 . ( Star Trek Magazine issue 172 , p. 6)

Khan in a shower

Responding to criticism that the scene in the Enterprise shuttlecraft in which Kirk catches a glimpse of Carol Marcus in her underwear could be viewed as sexist, J.J. Abrams revealed – during an interview on Conan on 23 May 2013 – a segment of a deleted scene from the film in which Khan is seen taking a shower. [117]

Carol Marcus is highlighted in a deleted scene explaining that her parents had separated, thus leaving Carol to be raised by her mother alone in England . The scene thereby addresses why Carol has a different accent from her prime-reality counterpart. [118] The explanatory deleted scene is the only one involving Carol Marcus. [119]

Several deleted, expanded and alternate scenes appear exclusively through the film's Xbox SmartGlass second-screen app . [120] An alternate cut of the scene where Kirk loses his command was the version in which Pike personally demotes him and takes control of the Enterprise , immediately relegating Kirk to first officer. The opening scene at Nibiru originally ended with Kirk recording a captain's log entry on the bridge, untruthfully stating that the crew never set foot on the planet's surface and that the mission was "uneventful." In the deleted scene, Kirk stated in his log:

The scene where Thomas Harewood sits as his station at the Kelvin Memorial Archive originally included a video chat in which Harewood explains to Admiral Marcus, " He [Harrison] said you'd know why he did this, " right before activating the explosive device disguised as his Starfleet Academy ring . The sequence where Harrison fires upon several Starfleet officers from a jumpship was recut: in the earlier version, Kirk witnesses Pike get shot and is by his side as Pike dies; Harrison swoops back to the scene and resumes fire, prompting Kirk to take down the ship.

Uhura's exchange with the Klingons originally involved her lying to them by stating that she was seeking out a lone Klingon who was her lover and had stolen from her. Uhura's ruse is interrupted when Kirk decides to exit the K'normian ship and attack the warriors with his crew members. The ensuing fight halts when two Klingons hold Kirk to the ground and put a rifle to his head. As Kirk's crew comes out from behind cover, the Klingon commander shouts an order and a redshirt is shot in the chest. The commander also orders Kirk to be killed, but the Klingons are shot by Harrison as he appears.

Kirk meeting the Harewoods

The scene where Scotty approaches the secret hangar containing the Vengeance included a sequence where he bluffs his way in by stating he was delivering "hull plating and the coffee cells for the food synthesizers." The end of the film originally contained a scene at the commemoration ceremony, where Kirk speaks with Rima Harewood and her daughter Lucille , the latter of whom appears to have been restored to good health.

Music and sound [ ]

Michael Giacchino confirmed he would return to compose the film's music score before filming began. [121] " One of the things I spent a lot of time thinking about on this was […] the villain, Khan […] To be able to have music that represents the wrong side of someone's decisions, but also represents sort of the buried goodness in what they want to do. " ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features) Elaborated Giacchino, " It wasn't about writing based on what the character wanted or the things he's doing; it's more about his past and the way his brain works. I found him to be very interesting, especially because it's Benedict […] I kept looking at him and saying, 'What is he thinking right now?' For me, the music was exploring that idea and the fact that what is going on is based on something that happened a while ago. Again, going to the emotional side of things is what I do. He gave me tons to play with. Hopefully, I came up with something more than just bad guy music for him. " ( SciFiNow , issue 80, p. 029) Giacchino composed new themes for not only Khan, but also Admiral Marcus, and the Klingons, as well as a more "personal" arrangement of Kirk's theme. The Klingon music incorporates Klingonese lyrics that were sung by a choir and were written by music editor Alex Levy . [122]

Matching the pace and scope of the film wasn't always easy for Michael Giacchino. " There was a point where I said, 'I'm not sure where to go now because the film has reached such heights of drama that I'm like, 'I did that and the next scene is even bigger,' " he laughed. " How do I keep jumping that hurdle each time? That was the architecture of the score, looking at it and going, 'You need to get big in the middle of the movie, but you don't want to get too big, because you know there's going to be something bigger later.' For me, it was about focusing on each character's storyline and making sure that when I'm writing for them it's appropriate, and not just me saying, 'I want to write a big piece of music' […] Hopefully, the steady ramp up for the audience is exactly that: a steady ramping up to an emotional climax. " ( SciFiNow , issue 80, p. 029)

Michael Giacchino also incorporated a theme from the TV show in this film: " I had just finished writing and shut off my computer and said I'm done done. I went downstairs and went on Twitter and someone tweeted to me 'Can you please use one of the themes from one of the old series in the new movie'… and I thought 'OK, OK' and so I went back upstairs and there was one I always particularly loved… so that will be there for you to find. " [123] The theme in particular is the "fight to the death" music from TOS : " Amok Time ", which can be heard during the climactic fight between Spock and Khan. " Amok Time " composer Gerald Fried is acknowledged in the credits for the track titled "Ritual".

At one point, a music cue that Michael Giacchino wrote for one scene had to be changed in order to account for the fact that the relevant scene had recently been edited differently. Whereas the cue may have worked perfectly well during the previous week, it had to be altered to fit with the new edit. Giacchino decided to rewrite the cue on the next morning, unsure how successful it would turn out. Even while played by an orchestra, the score was still evolving, in the concerted attempts to improve the film. ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features)

On another occasion, Orchestrator/Conductor Tim Simonec instructed all musicians who were holding a note at bar twenty-nine in one of the cues to hold the same note for another three bars. ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features)

Depending on where the film was screened, a different song was played in the scene showing Scott and Keenser at a San Francisco bar. For example, the UK edition of the film used " The Rage That's In Us All ", by Bo Bruce , while the Australian version was " The Dark Collide " by Penelope Austin . [124]

Business Wire announced that Star Trek Into Darkness would be released with Dolby Atmos " to deliver a more natural and realistic soundtrack that moves sound around and above audiences, transporting them into the outer regions of the universe. " [125] [126]

Continuity [ ]

The writers of this film have stated it is set roughly six months to a year after the preceding film, Star Trek . Added Roberto Orci, " The idea is they've had at least a tour of duty or two, and every minute of exploring space is like five minutes of regular time here on boring Earth. " ( Star Trek Magazine issue 171 , p. 33)
In this film, Admiral Pike – last seen in a wheelchair at the end of the film Star Trek , after his ordeal with Nero – is shown to have regained his ability to walk and is represented using a cane.
Star Trek Into Darkness continued to use the same stardate system devised by the screenwriters for the film Star Trek . According to Roberto Orci , in that system, stardate 2259.55 would be February 24, 2259. [127]
Admiral Marcus' model collection includes the Ares V , the Phoenix , the USS Enterprise XCV 330 , Enterprise NX-01 , the USS Kelvin , and the Vengeance .
Spock tells McCoy that " The needs of the many outweigh the needs of the few. " Spock Prime tells Kirk this in Star Trek II: The Wrath of Khan .
Admiral Marcus reveals that the Kelvin Memorial Archive was really a base of Section 31 , the Starfleet Black Ops division that existed as early as 2151, when a young Malcolm Reed was recruited by them. Section 31 was first introduced during the sixth season of Star Trek: Deep Space Nine , but Section 31 agent Luther Sloan claimed that the organization had existed as a secret black ops division of Starfleet Intelligence since the founding of Starfleet. The prequel series Star Trek: Enterprise later established that this did not simply mean the beginning of the "Federation Starfleet", but the foundation of the predecessor United Earth Starfleet, which later grew into the Federation Starfleet after that organization's creation.
En route to Kronos (Qo'noS), Spock pronounces Uhura's first name, Nyota, differently than he does in the previous film.
Chekov, established as a "whiz kid" at the age of seventeen in the film Star Trek , continues to demonstrate his proficiency by learning enough about engineering systems to be Kirk's choice to replace Scott as chief engineer.
The dialogue in the scene where Kirk dies in the radiation chamber uses some verbatim quotes from a very similar scene in Star Trek II: The Wrath of Khan . In that film, it is Spock, rather than Kirk, who sacrifices his life, exposing himself to radiation in a chamber of engineering in order to save the Enterprise .
Likewise, when calling Spock down to engineering after Kirk's sacrifice, some of Scott's dialogue, such as " You better get down here, better hurry, " " You'll flood the whole compartment, " and more, is verbatim dialogue spoken by McCoy in a very similar scene in Star Trek II: The Wrath of Khan .
The number of torpedoes containing Khan's old crew, seventy-two, is the same number of Augments that survived with Khan nearly three centuries of suspended animation when Kirk discovers the SS Botany Bay in TOS : " Space Seed ".
Starfleet Command meets in the Daystrom Conference Room . Richard Daystrom was introduced in TOS : " The Ultimate Computer " and mentioned in other Star Trek episodes as well.
Christine Chapel is mentioned by name as one of Kirk's former conquests, having purportedly told Carol Marcus all about him. In this film, she has apparently transferred and is now working as a nurse. The Prime Universe variant of Chapel appears as a recurring character in TOS and Star Trek: The Animated Series as well as in Star Trek: The Motion Picture and Star Trek IV: The Voyage Home .
In the previous film, it was revealed that Uhura speaks "all three dialects" of Romulan; in this film, it is revealed that she also speaks Klingon.
The Klingon homeworld, Kronos (Qo'noS), features the remains of the exploded moon Praxis in its orbit. This is a homage to Star Trek VI: The Undiscovered Country , in which the Klingon moon Praxis was destroyed by over-mining and insufficient safety procedures.
The Klingon leader seen in the film has cranial ridges, despite the appearance of Klingons in Star Trek: The Original Series era; the Klingons appearing in the series Star Trek: Discovery , set in roughly the same era , also have cranial ridges. This suggests that not all Klingons were afflicted by the Klingon augment virus . ( ENT : " Affliction ")
While Admiral Marcus was preparing for war with the Klingons, the Star Trek: Discovery shows that indeed a Federation-Klingon War has already happened in the prime universe. Ironically, this war doesn't seem to have happened in the alternate reality.
"Cupcake" – Security Officer Hendorff – who Kirk met in the bar fight in Iowa , is still serving aboard the Enterprise and accompanies Kirk to Qo'noS.
At one point in this movie, Khan is referred to as having sought refuge on Qo'noS in the Ketha Province . As established in DS9 : " Once More Unto the Breach ", the Ketha lowlands , in the "Prime" reality, were the birthplace of Chancellor Martok .
The Vengeance destroys Alcatraz as it crashes to Earth. In VOY : " Endgame ", a future version of Kathryn Janeway from the year 2404 told her past self, in 2378 , that one could see Alcatraz from USS Voyager 's ready room on a clear day, because Voyager was a museum located on the Presidio in that timeline.
In this film, McCoy refers to Khan as a superman. In "Space Seed", Spock refers to Khan and his people as supermen.
As Kirk wakes from his coma near the end of this film, he can hear his mother and father speaking about him moments after his birth. This dialogue was reused from the film Star Trek .
At the San Francisco bar, among the other drinks on Scott's table is a Budweiser. Uhura orders a Budweiser Classic in the previous film, and both this movie and the previous one used a Budweiser plant for scenes in engineering.
McCoy uses his medical skills to assist Carol Marcus in performing "surgery" on a torpedo, something his prime universe counterpart assists Spock with in Star Trek VI: The Undiscovered Country .
Scott sabotages the Starfleet prototype USS Vengeance to help save the Enterprise . His prime universe counterpart likewise sabotages the prototype USS Excelsior to help the Enterprise escape in Star Trek III: The Search for Spock .
In San Francisco, trolley cars are shown to still be in use. The Star Trek settings they appear in date from as early as 1986, in Star Trek IV: The Voyage Home .
In the film's London scenes, the "London Eye," a giant Ferris wheel on the South Bank of the River Thames, built in 1999 , is clearly visible and still in use.
Among the pedestrians in San Francisco is an Orion woman .
Pike tells Kirk that Starfleet Command returned the captaincy of the Enterprise to him by saying, " They gave her back to me, " which is also what Kirk tells Scott when he regains command of the Enterprise in Star Trek: The Motion Picture .
The Enterprise spiraling down to Earth with the engines off-line is reminiscent of TOS : " The Naked Time ", where the prime-universe Enterprise spirals down to Psi 2000 after its engines are turned off.
The effect of fading the screen to black but then having sounds become audible was previously used in ENT : " A Night in Sickbay " and " Regeneration ".
Risking one's life to save the Enterprise is something not only that Kirk does here but also that his prime counterpart does in Star Trek Generations .
This is the first Star Trek film to use the 2012-present Paramount Pictures logo.

Release [ ]

The film premiered at the George Street Event Cinema in Sydney, Australia on 23 April 2013. Additional premieres took place in Moscow (25 April), Berlin (29 April), and London (2 May), before wide release in Australia, New Zealand, and the UK on 9 May. It premiered in Los Angeles on 14 May, [128] before its release in the Philippines and North America on 16 May. [129] IMAX 3D preview screenings in North America took place on 15 May. [130] Paramount announced that the film would join its World War Z in a one-week-only "Ultimate Double Feature" from 30 August to 5 September. [131]

Publicity and marketing [ ]

Early promotional image before finalized title or release date

Bad Robot Productions made efforts to keep the story of this film secret until its release, for the benefit of the audience. Fan interest in this film, though, meant it was difficult for Bad Robot to keep hiding the plot. ( Star Trek Magazine issue 171 , p. 6)

At the 2011 San Diego Comic-Con, Roberto Orci hinted at changes to the Enterprise design and the opening credits. [132] He commented upon commencement of filming that the engineering designs had been altered. [133]

Several photographs from behind-the-scenes appeared on the web on 24 February 2012, showing Zoë Saldana, Benedict Cumberbatch and Zachary Quinto. [134] Another batch of photos were leaked on 29 February, featuring Saldana with Chris Pine. [135] Yet more behind-the-scenes pictures were posted online on 1 March 2012. Those photos depicted stunt work being done on the garbage barge set, involving the characters of Spock and Khan. [136] On 16 April 2012, a new photo from the filming went online, showing Zachary Quinto filming the volcano sequence. [137]

The first image officially released from the film

In an October 2012 interview on the talk show Conan , J.J. Abrams debuted a three-frame clip of Spock in the Nibiran volcano. [138]

IDW Publishing solicited a four-issue prequel comic book to the film, titled Star Trek: Countdown to Darkness . Like the previous film's comic book prequel, Star Trek: Countdown , it was written by Mike Johnson and drawn by David Messina . Johnson also wrote the ongoing comic book and said the first , fourth , and twelfth issues contained hints of events in the film. " They are more retroactive, in the sense that after you see the movie you can go back and see where things were set up. Some are very direct; others are more thematic. " [139] [140]

Hasbro released Kre-O and Fighter Pods toys to promote the film. Mattel released three new Hot Wheels Star Trek Into Darkness starship models, and Quantum Mechanix announced plans to release a number of prop replicas based on historical flight models that were seen in Admiral Marcus' office. [141]

A video game, Star Trek , was released before this film. Its story and development cycle were independent of the films, but its release was delayed to promote Star Trek Into Darkness .

Alan Dean Foster wrote the novelization of this film.

The movie's soundtrack was released by Varèse Sarabande Records .

The first nine minutes of this film were shown before IMAX 3D screenings of The Hobbit: An Unexpected Journey on 14 December 2012. [142] The first trailer for Star Trek Into Darkness was shown before non-IMAX screenings of An Unexpected Journey . [143]

While showing scenes from this film at CinemaCon on 15 April 2013, members of the cast and crew expressed discomfort at promoting the film just hours after the 2013 Boston Marathon bombings . Chris Pine acknowledged the parallels between the film's plot and the real world; " Terrorism is a huge part of our lives, and we all know the effects of that. " [144] Before the film's Australian premiere, J.J. Abrams commented the parallels were " horrible and unfortunate and heartbreaking […] but I would argue that it is also one of the reasons we go to the movies – to look at our lives, to ask questions about things we are trying to figure out, to find ways to make some sense of these things. " [145]

Posters [ ]

Box office [ ]

Within hours of tickets going on sale in the UK on 9 April 2013, the London IMAX 's website crashed due to heavy traffic. [146] Following its opening in the UK, Australia, Germany, Mexico, New Zealand, Austria, and German speaking Switzerland, Star Trek Into Darkness set international records for the series with a gross of approximately $31.7 million. [147] Reports indicated ticket sales were seventy percent higher than for the last film. [148]

After tickets to the US IMAX previews sold out, the film's wide release was moved up a day from its initial 17 May date. [149] The film grossed US$81.1 million over its four-day opening, lower than Paramount's expected $100 million, but the film also already outgrossed its predecessor in markets such as Russia, Taiwan, and Mexico. [150] The film's North American opening (three-day) weekend was actually less than the US$75 million opening of the first film, while attendance by audiences under the age of twenty-five dropped ten percent to twenty-five percent. [151] The film dropped to third place during the subsequent four-day Memorial Day weekend, but grossed US$47 million. [152]

The film has grossed a total of US$458.7 million worldwide, with a domestic gross of US$228.7 million, which places it as the eleventh highest-grossing film in North America for 2013; and $231.3 million internationally, ranking it in fourteenth place worldwide, and making it the highest-grossing film of the Star Trek franchise. [153] The film was less successful than its predecessor in North America but exceeded it in other countries such as Russia and China, overall bringing the worldwide total to a larger amount than the first film a month after its release. [154] [155] Forbes argued that Star Trek Into Darkness ' disappointing performance in North America was due to J.J. Abrams' refusal to spoil that John Harrison was Khan, so Paramount was " forced to craft a generic campaign based around Benedict Cumberbatch as 'Generic Bad Guy', so the excitement never took hold […] It made fans and general moviegoers less excited about Star Trek 2 than they were four, three, or even two years ago. " [156]

Bryan Burk was extremely pleased with the film's international gross. " More than anything else, what I liked about the second film, and it sounds crass, but our box office doubled internationally [from the previous movie], " he stated, " which was really telling because people were starting to see [ Trek ] and not be afraid of it in the rest of the world. " ( SFX , issue 270, p. 71)

Reception [ ]

Roberto Orci and Alex Kurtzman were ultimately happy with this film, Kurtzman stating, " We feel, for the most part, that we accomplished everything we really wanted to. " ( SciFiNow , issue 84, p. 040)

J.J. Abrams was likewise pleased with how the film turned out. " This movie goes further than the first movie in every way, " he enthused. " There are volcanic planets, wild spaceship chases and massive effects, but there is also a more nuanced story […] The action and the scale are light years ahead. Bringing IMAX and 3D technology in gives audiences yet another level of excitement and fun to be had. " ( SciFiNow , issue 80, p. 023)

Dan Mindel was pleased with the look of this film after working on it as cinematographer. " We walked away with a really great-looking film, " he remarked, " which was necessary in order to top the first one. " ( Empire , issue 287, pp. 87-90)

Early reactions to this film were positive. The day after the end of a two-week international tour promoting this film to the world's media, Bryan Burk divulged, " I'm excited for everyone to jump onboard with this film […] From the Star Trek fans who have seen it, they all seem significantly more invested than ever, " Burk laughed. " It's funny. As I've been going around, preaching that this movie is now more accessible to non- Star Trek fans, the second they come out, I'm hearing from them it feels like it was made more for Star Trek fans, so I think it will be significantly rewarding for Trek fans. " ( Star Trek Magazine issue 171 , p. 6)

This film has an 87% rating on Rotten Tomatoes, with an average score of 7.5/10. [157] The film has a "generally favorable" score of 72/100 on Metacritic. [158]

Among cinema goers, the film earned an "A" rating from those polled by CinemaScore. [159] The year after its release, a poll to find the 301 greatest movies of all time by Empire readers ranked the film at #245. [160]

On his twitter account, former Star Trek showrunner Rick Berman reviewed the film, saying, " Very exciting, great production and VFX. Fabulous acting. But is it a Star Trek film ? Maybe. Only time will tell. " He also contemplated how Gene Roddenberry might have reacted to the film, commenting, " At its soul, is it a movie that Gene would have given his blessings to? He very well might have. I really don't know. " [161]

Brannon Braga opined, "Into Darkness was slightly less successful [than the previous film] in that I was pining for the allegory. It was feeling like a Star Trek flavored action movie. " ( SFX , issue 270, p. 68)

LeVar Burton critiqued this film by saying, " At the end of the movie, I really care about what happens to the characters… but I’m pretty much missing Gene Roddenberry in J.J.’s interpretation… and at the end of the day, that’s just not OK for me. " [162]

Jonathan Frakes is disappointed that, despite visiting the set of this film, he wasn't permitted to participate in the making of it. Nevertheless, he approved of this movie. ( SFX , issue 270, p. 63)

Wil Wheaton wrote a positive review of this film on his blog. He summarized his opinion of the film by stating, " I loved it. I think it's my favorite Star Trek movie ever, and I can't wait to see what this crew does next. " [163]

Malcolm Reed actor Dominic Keating stated, " I went to see Into Darkness on a date and the girl I took was a Star Trek fan. Right at the end, where Spock is beating up on Benedict Cumberbatch, this little kid’s voice came screaming out from a couple of rows behind me: 'Way to go, Spock!' I turn around and it’s this kid who must have been about eight years old, and I thought to myself, 'Would you look at that. Fifty years on and they’re bringing it still. Isn’t that amazing?' " ( The Fifty-Year Mission: The Next 25 Years , p. 40)

The Wrath of Khan director Nicholas Meyer commented on the film's role reversal of a pivotal scene in that film that " You have to be flattered that somebody wants to sort of try and make your movie again. But the difference […] between a rip-off and an homage is that you are supposed to add something. " [164]

Despite the fact this film turned out to be successful both with critics and at the box office, some fans were disappointed with the movie, finding it too similar to Star Trek II: The Wrath of Khan . Abrams conceded, "We got in trouble on the second Star Trek film with some of the fans: there were too many nods to The Wrath of Khan . I'll cop to that." [165] Hollywood legend and intended Star Trek XIV writer Quentin Tarantino sided with the disenchanted fans at a later point in time, when he, a Star Trek: The Original Series fan himself, emphatically stated in a 22 July 2019 interview given to MTV's Happy Sad Confused podcast, " No, Benedict Cumberbatch, or whatever his name is, is not Khan, alright? Khan is Khan . " [166]

Tarantino and the critical fans were not alone in their assessment; despite the (cautiously) favorable reception expressed by the above quoted former Star Trek cast and crew, other former Star Trek production staffers (and Original Series fans) had already taken a slightly dimmer view on the alternate reality film franchise as well, after they had taken stock pursuant the release of Into Darkness . Doug Drexler has in 2013 put it as follows, " Technically they are beautiful… the work is stunning… however… and I hope no one will hold this against me… I did not enjoy the last two films, and honest…I really wanted to… but for me, Star Trek has to have a philosophical, humanist bend to it… always making a point, or asking a question. It should be introspective, and self examining. That's the Roddenberry factor. The new films are devoid of Gene Roddenberry , and at the end of the day, I'm not ok with that. " [167] (X)

In this Drexler was joined by former VAM Producer Roger Lay, Jr. who had stated in the same year, " Well, it’s not my Star Trek. It’s definitely not my Star Trek, it’s very different. What I love about Star Trek, sometimes it’s not really there, you know? I think they’re fun, popcorn movies… " [168] His former VAM colleague Robert Meyer Burnett was even more outspoken in his opinion when he declared in a 2017 podcast (at 00:27:00 into the interview) that he hated the alternate reality Star Trek films "to the core of my existence" for the very same reasons, even though he conceded that the films were beautifully made. [169]

Believing they had made this film sufficiently different from the earlier one, Roberto Orci and Alex Kurtzman responded by insisting that this film is not a remake and that at no point during the lead-up to it's release did they refer to it as a remake. Kurtzman remarked, " You certainly can't fault us for not taking the time to consider our choice [of whether to include Khan] – some people may disagree with the choices that we made, but we did not go into it blindly […] And people seem to like it, which is the most gratifying thing, because we made it for people. " Added Orci, " I think for some fans their preconceived notions prevented them from evaluating the fact that the movie is actually worthy on its own, and that's why they're having a slight dissonance with people who didn't know Star Trek very well and obviously had a great reaction to it. " The recycled dialogue used in this film was perhaps most disconcerting for some fans, to which Orci responded, " Put yourself in that situation [of having to write lines for the scene in question] and try and rewrite good stuff – we'd be equally harassed for, 'Oh, they tried to rewrite that scene and failed!' " Laughing, Orci likened this dilemma to the Kobayashi Maru scenario . Another debate in the fan community was about whether Khan would still have suddenly gone on the offensive if Kirk hadn't had Scott stun him once those three characters have secured the Vengeance . ( SciFiNow , issue 84, pp. 040, 041 & 042)

Merchandise gallery [ ]

Awards and honors [ ]

Star Trek Into Darkness received the following awards and honors.

Links and references [ ]

Credits [ ].

John Cho Benedict Cumberbatch Alice Eve Bruce Greenwood Simon Pegg Chris Pine Zachary Quinto Zoë Saldana Karl Urban Peter Weller Anton Yelchin

Paramount Pictures And Skydance Productions Present

A Bad Robot Production

A J.J. Abrams Film

Leonard Nimoy

Kirk – Chris Pine
Spock – Zachary Quinto
Uhura – Zoë Saldana
Bones – Karl Urban
Scotty – Simon Pegg
Sulu – John Cho
Khan – Benedict Cumberbatch
Chekov – Anton Yelchin
Pike – Bruce Greenwood
Marcus – Peter Weller
Carol – Alice Eve
Thomas Harewood – Noel Clarke
Rima Harewood – Nazneen Contractor
Ensign Brackett – Amanda Foreman
Lieutenant Chapin – Jay Scully
Ensign Froman – Jonathan H. Dixon
Navigation Officer Darwin – Aisha Hinds
Science Officer 0718 – Joseph Gatt
Lead Nibiran – Jeremy Raymond
Nibiran – Tony Guma
Madeline – Kimberly Broumand
Sean Blakemore ( Klingon 1 )
Nick E. Tarabay ( Klingon 2 )
Captain Abbott – Beau Billingslea
Keenser – Deep Roy
Lucille Harewood – Anjini Taneja Azhar
Doctor – Jack Laufer
Katie Cockrell ( Girl 1 )
Kellie Cockrell ( Girl 2 )
Cupcake – Jason Matthew Smith
George Kirk – Chris Hemsworth
Winona Kirk – Jennifer Morrison
USS Enterprise Shuttle Ensign – Seth Ayott
Torpedo Security – Marco Sanchez
Uniformed Mercenary – Lee Reherman
Scott Lawrence ( USS Vengeance Officer 1 )
Usman Ally ( USS Vengeance Officer 2 )
Nolan North ( USS Vengeance Bridge Officer 1 )
James Hiroyuki Liao ( USS Vengeance Bridge Officer 2 )
USS Vengeance Ensign – Rob Moran
Berit Francis ( Starfleet Admiral 1 )
Akiva Goldsman ( Starfleet Admiral 2 )
Benjamin P. Binswanger ( Starfleet Admiral 3 )
Transport Officer – Christopher Doohan
Andy Demetrio ( USS Enterprise Bridge Crew 1 )
Gianna Simone ( USS Enterprise Bridge Crew 2 )
Rene Rosado ( USS Enterprise Bridge Crew 3 )
Jacquelynn King ( USS Enterprise Bridge Crew 4 )
Long Tran ( USS Enterprise Bridge Crew 5 )
Ningning Deng ( USS Enterprise Bridge Crew 6 )
Jodi Johnston ( USS Enterprise Bridge Crew 7 )
Lady V – Colleen Harris
USS Enterprise Security – Jeffrey Chase
USS Enterprise Nurse – Monisola Akiwowo
Shuttle Pilot – Paul K. Daniel
USS Enterprise Red Shirt – Ser'Darius Blain
Moto – Heather Langenkamp
USS Enterprise Crew – David C. Waite
Bar Girl – Melissa Paulo
San Francisco Woman – Cynthia Addai-Robinson
San Francisco Bar Patron – Drew Grey
USS Vengeance Security – Douglas Weng
Charlie Haugk ( San Francisco Resident 1 )
Max Chernov ( San Francisco Resident 2 )
Marc Primiani ( San Francisco Resident 3 )
Jesper A. Inglis ( San Francisco Resident 4 )
Jacob Rhodes ( Nibiru Child 1 )
Kentucky Rhodes ( Nibiru Child 2 )
Shaku – Anthony Wilson
Eric Greitens ( Starfleet Ceremonial Guard 1 )
Melissa Steinman ( Starfleet Ceremonial Guard 2 )
Adam McCann ( Starfleet Ceremonial Guard 3 )
Jon Orvasky ( Starfleet Ceremonial Guard 4 )
Gerald W. Abrams ( Starfleet Memorial Admiral 1 )
James H. McGrath, Jr. ( Starfleet Memorial Admiral 2 )

Second Unit [ ]

Uncredited [ ].

D.A. as Enterprise security officer
Henry Abrams as San Francisco resident
Kraisit Agnew as Nikicha Tomser
Tom Archdeacon as Ensign Spyke
Alexandra Aristy as Starfleet HQ staff #2
Noah Arrue as visitor
Melissa Baldridge as Enterprise operations division officer
Susana Basanty
Paris Benjamin as Enterprise crew engineer
Larry Blackman as Enterprise bridge crewmember
Bill Blair as Chelsea civilian
Francesca Brighty as 7 News reporter
Jon Lee Brody as Enterprise security officer
David Anthony Buglione as USS Enterprise medical staff
Frank Cermak, Jr. as Starfleet officer
Mitch Clark as Nibiran
Alonzo Montrelle Cook
Geryh Hurricane Curtis as Starfleet instructor
Mike Dalager as Enterprise security officer
Daphney Dameraux as Starfleet memorial attendee
D'Anna Dettore as "First in Command, Cadet, Civilian"
MaryAnn DiPietro as Starfleet office worker
Gerald Donaldson as admiral
Jaycie Dotin as Enterprise shuttle crewmember
Chol Eddy as Enterprise engineer
April Marie Eden as Orion Enterprise crewmember
Diana Emuge as engineer
Chris Fabregas as Enterprise security officer
LaRaine Fisher as Chelsea civilian
Leni Ford as Cosmoe
Misty Franklin
Gary-7 as Nibiran elder
Douglas Gawoski as shuttle crewman
Aurelien Gaya as ship engineer
Michael Giacchino as 2 News weatherman
Jonathon Grant
Virginia Hankins as Enterprise crewmember
Mark Alexander Herz as Enterprise security officer
Ellen Ho as Starfleet cadet
G. Malcolm Houston as Starfleet Admiral
Ryan T. Husk as Starfleet officer
Coy Jandreau as Nibiran
Britanni Johnson as NYU Nurse
Mike Kalinowski as Starfleet officer
Robert Kane as San Francisco resident
Elly Kaye as Starfleet officer
Jamal Kazak as USS Vengeance security officer
Germany Kent as Starfleet captain
Hina Khan as cadet
Dave Kim as Starfleet Enlisted Soldier
Ariel D. King as Starfleet civilian
Kasia Kowalczyk as alien Enterprise engineer
Richard Kuhr as Enterprise crew engineer
Shaun Kyser as security guard
Bryan Lee as Starfleet cadet
Xuelian Lei as San Francisco resident
Andrew Maiorano as Starfleet HQ staff #3
Brent McGee as Enterprise crew engineer
Teebone Mitchell as Starfleet Headquarters officer
Peet Montzingo as bar patron #2
Chris Morris
Hiram A. Murray as bar patron
Morocco Nevlin / Reggie Melvin as civilian
Westley Nguyen as civilian
Brendan Norman as Enterprise crew engineer
Celeste Octavia as nurse
Jen Oda as female Ayt
Laura Parker as Enterprise crewmember
Salomon Passariello as medical technician
Amy Pham ( unconfirmed )
Preston Queen as bar patron #3
David Rodriguez as Enterprise crewmember
Ana Franchesca Rousseau as Enterprise crewmember
Tristin Rupp
Joel Shock as security officer
Michael T. Stewart as Starfleet officer
Thomas W. Stewart as Enterprise crew engineer
Nora Sullivan as Enterprise science officer
Vijay Suzuki as red shirt/mechanic
Nilayana Sy as Starfleet officer
Tala Tereze as waitress
Perry Thackeray as Nibiran
John Tomkins
Fawn Tran as civilian
Xavier Truesdell as Enterprise crewmember
Julee Vadnais as Orion civilian
Kyle Valle as Starfleet civilian
Vincent van Hinte as male Ayt
David Whitaker as Starfleet officer
David C. White as USS Enterprise crew
Ali Williams
Sue Wishengrad as Captain
Stacey Woods as "Intergalactic Woman"
Felicity Wren as Starfleet officer
Kerry Wynnyk as Enterprise crewmember
Alien bar patron
Alien Enterprise crewmember
Enterprise command division officer
Enterprise operations division officer
Enterprise nurse
Female Starfleet memorial attendee
Five USS Vengeance security officers
Male Starfleet memorial attendee
Nibiran baby
Six Starfleet officers
Starfleet officer
Ten bar patrons
Three ceremonial guards
Three Royal Children's Hospital staff members
Two Enterprise medical staff members
Two Enterprise security officers

Stunt performers [ ]

John Ashker – stunts
Maryellen Aviano – utility stunts: Starfleet official
Krista Bell – stunts
Jennifer Caputo – stunts
Ilram Choi – stunt actor: Chelsea civilian
Brian Christensen – stunt rigger
Doug Coleman – utility stunts: Starfleet official
Eugene Collier – stunt double: Beau Billingslea
Tim Connolly – stunt double: Karl Urban
George Cottle – utility stunts: ND Enterprise crew
Brycen Counts – stunts
Sam Creed – stunts
Jahnel Curfman – stunts
Max Daniels – utility stunts: Starfleet official
Eddie Davenport – stunt actor: USS Vengeance security officer
Mark DeAlessandro – stunt actor: Frantic Pedestrian
Steve DeCastro – utility stunts
Cory DeMeyers – stunts
Kevin Derr – stunts
Shauna Duggins – stunts
Wade Eastwood – utility stunts: ND Enterprise crew
Katie Eischen – utility stunts
Robert C. Escobar – stunts
Marie Fink – stunt double: Berit Francis
Mark Ginther – stunt rigger/utility stunts
Jessica Harbeck – stunts
Zedric Harris – stunts
Nick Hermz – stunts
Jermaine Holt – stunt actor: Klingon
Antal Kalik – stunt double: Lee Reherman
Zero Kazama as USS Vengeance Bridge Officer
Matthew S. Kennedy – stunts
Bobby C. King – stunts: ND crewmember
Henry Kingi, Jr. – stunts
Hiro Koda – stunts
Kim Robert Koscki – utility stunts: Starfleet official
Cheryl Lewis – utility stunts: Starfleet official
Michael Li – stunts
Brian Machleit – stunts
Tara Macken – stunts: Enterprise science crewmember
Tom McComas – stunts
Cassandra McCormick – stunt double: Alice Eve and utility stunts: Starfleet crewmember
Rene Mousseux – stunts
Caryn Mower – utility stunts: Starfleet official
Michael Mukatis – stunts
Eric Norris – stunts
Lin Oeding – stunts
Eddie Perez – stunts
J.J. Perry – stunts
Peewee Piemonte – utility stunts
Denney Pierce – stunts
Mark Rayner – stunts
Kevin Reid – stunt double: Benedict Cumberbatch
Simon Rhee – stunt actor: USS Vengeance security officer
Larry Rippenkroeger – stunts
Jimmy N. Roberts – stunts
Tracey Ruggiero – utility stunts: Starfleet official
Todd Schneider – stunts
Courtney Schwartz – stunts
Ray Siegle – stunts
Caine Sinclair – stunt double: Anton Yelchin
Paul Sklar – stunt double: Peter Weller
Scott Sproule – utility stunts
Aaron Toney – stunts
Frank Torres – stunt rigger / utility stunts
Tierre Turner – utility stunts: Starfleet official
April Weeden Washington – stunts
Kofi Yiadom – utility stunts: Starfleet official
Merritt Yohnka – stunt double: Bruce Greenwood
Omid Zader – stunt actor: Meter Maid

Stand-ins [ ]

Ryan Babbs – stand-in for Simon Pegg
Caleb Grant – stand-in for Benedict Cumberbatch
James Henderson – stand-in for Chris Pine
Jessica Hickam
Peter Jang – stand-in for John Cho
Linden King
Brandon Stacy – stand-in and photo double for Zachary Quinto
Michael T. Stewart – stand-in for Zachary Quinto
Wilson Wang – stand-in for John Cho
Evan Wecksell – photo double
Robert Werner – photo double for Anton Yelchin
Nico Abondolo – Musician: Double bass
Eri Adachi – Compositor: Pixomondo
Brian Adler – Digital & Visual Effects Executive Producer: Gentle Giant Studios
Rose Adler – Matchmove Artist: Pixomondo
Beatriz Aguilar – Intern/Production Assistant
Daniil Alikov – Texture Artist: ILM Singapore
Nicole Alkire – Hair Stylist
Patrick L. Almanza – Stereoscopic Compositor/Painter
Tom Altobello – Property Assistant
Miriam Alvarez – Stereo Depth Artist: Stereo D
Michael Amato – Stereoscopic Artist
John Amorelli – Rigging Draftsman
Pedro Andrade – Digital Compositor
Tor Andreassen – Digital Compositor
Tovonaina Andriamampionona – Stereoscopic Roto Artist: Stereo D
Beverley Joy Ang – Assistant Technical Director
Dave Anglin – Second Unit Camera Production Assistant
Carlos Anguiano – Pipeline Developer: Pixomondo
Jason Apperson – Additional Electrician
Erick Aragon – Rotoscope Artist
Ian Armstrong – Stereoscopic Depth Artist
Shelly Armstrong – Location Coordinator/Assistant Location Manager
Aitor Arroyo – Nuke Artist: Pixomondo
Gustaf Aspegren – Electronic Prop Assistant
Florian Ast – Compositing Intern: Pixomondo
Lauren Astore – Coordinator: Digital Caliber Inc.
Alan Au – Art Director
Ando Avila – Compositor: Pixomondo
Arin Babaian – Personal Trainer: Alice Eve , Zachary Quinto , Simon Pegg
Paul A. Baccam – Stereoscopic Rotoscope Artist
Joseph Bailey – Digital Compositor: ILM
Justin Ball – Compositor: Pixomondo
James Ballard – Compositor
Frank Willis Balzer – Special Effects Assistant
Gretchen Bangs – Stereoscopic Roto Artist: Stereo D
Zheng Bao – Compositor: Pixomondo
Jennifer Barnes – Musician: Alto
K.C. Barnes – Senior Stereoscopic Artist: Stereo D
David Baronoff – Associate Producer
Fernando Barrios – Rigging Grip
Jose F. Barrios – Rigging Grip Foreman
Vatsche Barsoumian – Vocal: Bass
Steven Barthen – CG Intern: Pixomondo
Brandon Bartlett – Division CG Supervisor: Pixomondo
Mark Battle – Finaling Artist: Stereo D
Chris Basso – Generator Operator/Driver, Production Van Operator
Fritz Beck – Lighting Artist: Pixomondo
Julian Beeston – Utility Sound
Harald Belker – Concept Designer
Todd Bennett – Plasterer
Frank Berbert – Digital Compositor: ILM
Carina Berlin – 2nd Unit Art Department Assistant
Jeff Berrington – Special Effects Welder
Maxime Besner – Stereo Compositor
James Betteridge – Stereoscopic Artist: Stereo D
Michael Binczek – Special Effects Model Maker Gang Boss
Adam Binder – Production Assistant
Brian Bishop – Rigging Grip
Anton Bitzer – Compositor
Edward Blackford – Rotoscope Artist
Bill Blair – Digital Double Lead
Margaret Blakemore – Production Assistant
Neale Blase – Driver
Chris Bleth – Musician: Clarinet
Daniel Blöcher – CG Artist: Pixomondo
Ioan Boieriu – FX Artist: Pixomondo
Jason Bomstein – Stereoscopic Artist
Konstantin Borchert – Compositor: Pixomondo
Cris Borgnine – Visual Effects Rigging Supervisor
Chloe Bostian – Matte Painter: Pixomondo
Frankie Bourne – Production Assistant
Cindy Bourquin – Musician: Alto
Jason Bowers – Compositor: Pixomondo
Taylor Boyd – Key Assistant Location Manager
Chris Bramante – Production Assistant
Troy Bridenstine – Driver
Maxwell Britton – Set Dresser
Laura N. Brooks – Production Assistant
Matt Brooks – 3D Database Developer
Michael Broom – Conceptual Designer
Belinda Broughton – Musician: Viola
Elisabeth Brown – Sculptor/Model Builder
Darlene Brumfield – Hair Stylist
Dorothy Bulac – Specialty Costumer
Jonathan Burdeshaw – Sculptor
Aaron Burnitt – Systems Administrator: Pixomondo
Alex E. Burns – Driver: Day Player
Chris Burr – Rigging Electrician
Daniela Cabrera – Stereoscopic Compositor: Stereo D
Moises Flores Cabrera – Stereoscopic Compositor
Adam Camacho – Grip
Sue Campbell – Animator: Pixomondo
Kevin A. Canamar – Supervising Set Medic
Nicholas Canavan – Stereoscopic Rotoscope Artist: Stereo D
Jay Cannavo – Splinter Unit Production Assistant
Jake Capistron – Eclipse Technician
Roberto Cappannelli – Sound Re-Recording Mixer
Deborah Carlson – FX Technical Director: ILM
Clint Carney – Concept Artist/Prop Maker
Steve Casa – Visual Effects Photographer
Kyle Cascadden – IT Trainee: Pixomondo
Laura Caulfield – Production Legal
Snata Chakraborty – Stereo Roto Artist
Steven Chapman – Lidar Technician
Matt Chase – Craft Service Assistant
Peter Chase – Craft Service
Zhongwei Chen – Matchmove Artist: Pixomondo
Cheng Cheng – Rotoscope/Paint Artist: Pixomondo
Tagui Chilyan – Stereo Production Assistant: Stereo D
Christopher Chinea – Stereoscopic Artist: Stereo D
Paul Churchill – Digital Artist: ILM
Joseph Civitate – Senior 3D Generalist
Sam Claitor – Compositing Trainee: Pixomondo
Darrell Claunch – Stereoscopic Compositor
Art Clever – Special Effects Welding Foreman
James Clowater – Stereo Artist
Michael Coady – Driver
David Cohen – Mold Shop Supervisor
Joshua E. Cohen – Visual Effects Artist
Brian R. Cole – Sculptor
Diane Collins – Script Supervisor
Gus Comegys – Visual Effects Prep Colorist
Kit Conners – Production Assistant
Steve Constancio – Specialty Costumer
Elliot Contreras – Senior Stereoscopic Compositor: Stereo D
Jeremiah Cooke – Special Effects Hydraulic Foreman
Elissa Cordero – Stereoscopic Animator
Matt Cordero – Stereoscopic Compositor
Jack Cornelius – Set Dresser
Matt Corrigan – Special Effects Artist
Trent Cotner – Special Makeup Effects Artist
Daniel Cotroneo – 2nd Unit Lighting Technician
Glenn Cotter – Digital Artist: ILM
Erik Coutts – Transportation department
David Cowles – Stereoscopic On-Line Editor
Maurice Cox – Senior Stereoscopic Compositor
David Crane – Stereoscopic Compositor
Thomas Crow – 3D Artist: Stereo D
Davide Curletti – Stereoscopic Compositor
Brian G. Curtis – Animator: Pixomondo
Xu Dai – Rotoscope/Paint Artist: Pixomondo
Adam Dale – Aerial Director of Photography
David Dame – Digital Artist
Nicholas Daniels – Compositor
John Daro – Senior Digital Intermediate Colorist: FotoKem
Brad Darrow – Team Leader
Gilbert Dawson-Kesson – CG Artist: Pixomondo
Curtis Decker – Special Effects Machinist
Gabe de Kelaita – Set Production Assistant
Alfonso De La Torre – Concept Designer
Brian Deming – Key Assistant Location Manager
Michelle Denering – Special Makeup Effects Artist
Mark DeSimone – ADR Mixer
Rustin Devendorf – Stereoscopic Depth Artist: Stereo D
Leslie Devlin – Makeup Artist
Harish Devnani – Compositor: Pixomondo
Amit Dhawal – Visual Effects Artist
Allison Dillard – Production Safety Director
Matt DiNardo – Compositor: Pixomondo
Doris Ding – Rotoscope/Paint Artist: Pixomondo
Lucas di Rago – Digital Compositor: Pixomondo
Matt DiSarro – Special Effects Technician
Gus Djuro – Senior Stereoscopic Compositor
George Doering – Musician
Maren Dolzmann – Visual Effects Coordinator: Pixomondo
Hugo Dominguez – Rotoscope/Paint Artist: Pixomondo
Don Domino – Rigging Grip
Sebastian Domula – Lighting Artist: Pixomondo
Christopher Dooly – Specialty Costumes
Andrea Dopaso – Illustrator
Dennis Drozdowski – Special Effects Technician
Pierre Drolet – Concept Designer/Modeler: Pixomondo (pre-production)
Mayur Duchakke – Render Wrangler
John Dutcher – Confidentially Production Assistant
Gregory M. Edgar – Property Assistant/Assistant Property Master
Glen Eisner – Makeup Sculptor
Nino Ellington – Technical Assistant
Daniel Emmerich – CG Intern: Pixomondo
James England – Depth Artist: Stereo D
Rob Engle – Stereoscopic Consultant
Juan Antonio Espigares Enriquez – Compositor: Pixomondo
Bryan T. Evans – Matchmove Artist
Garrett Eves – Depth Artist
Benjamin Ey – Division Visual Effects Producer: Pixomondo
Maeve Eydmann – Matte Painter: Pixomondo
Paul Faeldo – Stereo Compositor: Stereo D
Devin Fairbairn – Layout Artist: ILM
Hsuanyi Fang – Matchmove Artist: Pixomondo
Salina Farkas – Accounting: Pixomondo
Junaid Farooq – FX Artist: Pixomondo
Dean Faulder – Animator/Modeler: Pixomondo
Ryan Faulkner – Stereoscopic Artist
Phylicia Feldman – Compositor: Pixomondo
Robin Pierce Ferber – Stereoscopic Conversion Artist
Mariano Fernandez – Metal Shop Foreman
Lauren Fernandez-Morrell – Stereo Artist
Francesco Ferrara – Painter
Giovanni Ferrara – Paint Foreman
Judith Ferrer – Stereoscopic Compositor
Mark Ferrer – Stereoscopic Roto Artist: Stereo D
Dawn Fidrick – Stereoscopic Rotoscope Artist: Stereo D
Claire Finbow – Assistant to Simon Pegg
Chad Finnerty – Visual Effects Supervisor Consultant/Animator: Pixomondo
Felix Fissel – IT Manager: Pixomondo
Bridgette Foo – Digital Artist: ILM
Brian Fortune – Compositor: Pixomondo
Lucia Foster Found – Aerial Operations Coordinator
Clayton Fowler – Grip
Elizabeth Frank – Set Costumer
Layne Friedman – Compositor: Pixomondo
Josh Friz – 2nd Unit Second Assistant Camera Operator
Maxi Fröhlich – Compositing Intern: Pixomondo
Christopher Fulmer – Systems Administrator: Pixomondo
Doug Gagan – Special Effects Technician
Patrick Gagné – Visual Effects: Modeling and Texturing
Stephen A. Gall – Stereo Rotoscope Artist
Rick Gamez – Prop Fabricator
Matthaeus Gamroth – Animator: Pixomondo
Liwei Gao – CG Artist: Pixomondo
Mark Garbarino – Special Makeup Effects Artist: Kasia Kowalczyk
Adam Garnier – Stereoscopic Compositor: Digital Caliber Inc.
Edgar Garrido – Roto Artist
Lynn Garrido – Prop Electronics Technician
Meredith Garrison – VFX Production Assistant: Stereo D
Mark Gasbarro – Musician: Pianist
Nancy Gassner-Clayton – Score Vocalist
Michael Geiger – Vocal: Bass
Mike Gerzevitz – Electrician: Fixtures
Jackson Gichuki – Stereoscopic Rotoscope Artist
Adrien Saint Girons – Lead Lighting Technical Director
Jan Glöckner – Compositor: Pixomondo
Paolo Gnoni – CG Artist: Pixomondo
Christian Godzik – FX Artist: Pixomondo
Daniel Goertz – Pipeline Technical Director: Pixomondo
Harris Goldman – Musician: Viola
Matt Goldstein – Splinter Unit Set Production Assistant
Jerardo Gomez – Electrician
Antoine Goncalves – ENV/DMP: ILM Singapore
Edgar Gonzalez – Rotoscope Artist
Azzard Gordon – Digital Artist: ILM Singapore
Russell Gorsky – Sound Effects Designer
Joanna N. Goslicka – Matchmove Artist: Pixomondo
Björn Gottwald – Compositor: Pixomondo
A.B. Govardhan – Matchmove Supervisor: Botvfx
Matthew Gowan – Production Assistant
Kirk Gravatt – Visual Effects Artist
Connie Grayson Criswell – Contact Lens Technician/Wig Maker
Renee Greathouse – Production Assistant
Elysia Greening – Compositor: Pixomondo
Jerry Gregoricka – Rigging Electrician
Ashley Gressen – Additional Production Assistant
Monica Griffin Lee – Session Singer
Peter N. Griffith – Property Assistant
Quinn Grove – Rigging Grip
Nathan Grubbs – Stereo Compositor
Jonny Gu – Compositor: Pixomondo
Pascal Guillemard – Fixtures Technician
Phaneedra Gullapalli – Pipeline Developer: Pixomondo
Benson Guo – Compositor: Pixomondo
Mansi Gupta – Stereoscopic Compositor: Stereo D
Sandie Hall – Vocal: Soprano
Tyler Halle – Stereo Compositor
Thierry Hamel – Lead Matchmove and Environment TD: Pixomondo
Ramón Hamilton – Depth Artist: Stereo D
John H. Han – CG Supervisor
Josh Handley – Stereoscopic Compositor
Aisling Harbert – Stereoscopic Lead Artist: Stereo D
Rich Hardy Jr. – Stereoscopic Compositor
Karen Harper – Off-Camera Singer
Walter S. Harrah – Vocal: Tenor
Jeffrey J. Hart – Additional Set Production Assistant
Samantha Hatch – Additional Set Production Assistant
Ayana Haviv – Ensemble Singer/Vocalist
Dustin Hayes – Depth Artist
Alex Heffner – Stereoscopic Lead Artist
David Heimerl – Compositor: Pixomondo
Árni Björn Helgason – Unit Production Manager: Iceland
Kelly Valentine Hendry – Casting Search
Namjin Heo – Digital Compositor
Andrea Hernandez – Division Lead Compositor: Pixomondo
Daniel A. Hernandez – Video Assist
Veronica Hernandez – Rotoscope Artist: Stereo D
Jordan Heskett – Stereoscopic Painter/Stereoscopic Compositor
Brent Heyning – Effects Engineer: Interior Engineering for Enterprise and Spacecraft
Nicholas Hiegel – Compositor: Pixomondo
Jason Hindman – Fixtures Technician
Isaac Hingley – Animator: Pixomondo
Sebastian Hirsch – Matte Painter: Pixomondo
Ngoc Ho – Production Assistant
Martin Höhnle – Matte Painter: Pixomondo
Chris Holly – Confidentially Production Assistant
Brian Holmes – Systems Administrator: Pixomondo
Matt R. Hopkins – Prop Fabricator
Paul Hormis – Pipeline Technical Director: Pixomondo
Scott Hosfeld – Musician
Craig Hosking – Aerial Coordinator/Pilot
Craig Houston – Compositor: Pixomondo
Gábor Hoványi – Compositor: Pixomondo
Xiaoyong Hu – Matchmove Artist: Pixomondo
Gary Huang – Render Wrangler: Pixomondo
Xiandeng Huang – Compositor: Pixomondo
Natapon Huangsakuncharoen – Creature Technical Director: ILM Singapore
Ryan Huestis – Production Assistant: ILM
Paul Huston – Digital Matte Artist
Ali Ingham – Senior Visual Effects Production Coordinator: Pixomondo
Florian Jackl – Systems Administrator: Pixomondo
Robert Jackson – 2D Division Lead Compositor: Pixomondo
Sean D. Jackson – Set Dresser
Ryan Jacoby – Mold Shop
Andrea Jamiel – Render Wrangler: Pixomondo
Anine Jan – Stereo Compositor: Stereo D
Srinivas Janapati – Production Coordinator
Jeffrey Jasper – Technical Lead: New Deal Studios
Jaime Jasso – Lead Digital Matte Artist
Whan Je – i/o Coordinator: Pixomondo
Henry Jefferson – Compositing Artist: Pixomondo
Victor Jenkins – Casting Search
Leo Jia – Animator/Modeler: Pixomondo
Bess Johnson – Camera Production Assistant
Erik Johnson – Depth Artist: Stereo D
Jeremy Jones – Stereoscopic Artist
Nikolce Jovanovski – Stereoscopic Compositor: Stereo D
Soyeon Olivia Jung – Rotoscope/Paint Artist/STereo Compositor: Pixomondo
YeYoung Jung – Animator/Modeler: Pixomondo
Greg Junovich – ADR Mixer
Bruce Jurgens – Visual Effects Executive Producer: Legion Entertainment
Corey Just – Stereoscopic Depth Artist
Aleks Justesen – Depth Artist
Jordan C. Kadovitz – Computer Video Playback: Rigger
Christian Kalata – CG Artist: Pixomondo
Sandro Kath – Compositor: Pixomondo
Prateek Kaushal – Stereoscopic Supervisor: Stereo D
Michael Kelem – Aerial Director of Photography
Pete Kelley – Special Effects Technician
James Kells – Compositor: Pixomondo
Clark Kelly – Sculptor
Kolby Kember – Lighting and Shading Artist: Pixomondo
Rolf John Keppler – Special Makeup Effects Artist
Douglas Kieffer – Set Lighting Technician
Jin Yong Kim – Layout & Matchmove Artist
Jun Young Kim – FX Artist: Pixomondo
Ted Moowon Kim – Hard Surface Modeler & Texturer: ILM Singapore
Vedat Kiyici – ADR Mixer
Dag Kjetsa – Compositor: Pixomondo
Thomas Kleylein – FX Artist: Pixomondo
Lena Amanda Koch – Visual Effects Assistant/Visual Effects Coordinator
Kristofer Kody – Stereo Compositor
Alexander Köhl – Digital Compositor: Pixomondo
Christian Korneck – Systems Administrator: Pixomondo
Justin Kosnikowski – Digital Artist
Gumby Kounthong – Extras Casting
Kyle D. Krajewski – ADR Recordist
Sebastian Kral – Systems Administrator: Pixomondo
David Krause – VP of Technology: Stereoscopic Conversion
Denis Kravtsov – Pipeline Developer: Pixomondo
Eryn Krueger Mekash – Special Makeup Effects Artist
Lon Krung – Modeling and Texturing CG Artist: Pixomondo
Norman Krüsmann – FX Artist: Pixomondo
Nitesh Kumar – Stereo Roto Artist: Stereo D
David Ladish – Set Dresser
Steven Ladish – Set Dresser
Dave Lajoie – Production Tools
Heather Langenkamp – Makeup Artist
Ruben Languren – Production Assistant
Michael Lankes – Compositor: Pixomondo
Don Lanning – Makeup Designer
Chris Larsen – Set Dresser
Daniel Lawson – Production Assistant
Thang Le – Concept Artist: ILM
Julius Lechner – FX Artist: Pixomondo
Jonathan B. Lee – Stereo Production Assistant
Kenji Lee – Animator: Pixomondo
Melissa Lee – Compositor: Pixomondo
SeungJoo Lee – Compositor: Pixomondo
Stephen Lefebvre – Visual Effects Artist
Erik Lehmann – Texturing Artist: Pixomondo
Ellexa Lemarie – Production Assistant
Chris Lentz – Animation Supervisor: Singapore
C.J. LePage – i/o: Pixomondo
Jenny Leupold – CG Artist: Pixomondo
Mark LeVang – Musician
Carla Lewis – Extras Casting
Wenkang Li – Compositor: Pixomondo
Zhunan Li – Visual Effects Coordinator: Pixomondo
Jeff Lin – Animator: Pixomondo
Kai Lin – Animator/Modeler: Pixomondo
YuanJing Lin – Assistant Technical Director
Lisardo Liriano – Visual Effects Artist: Stereo D
Benjamin Liu – FX Artist: Pixomondo
Heng Liu – Animator/Modeler: Pixomondo
Sunyan Liu – FX Artist: Pixomondo
Adam Lo – Rotoscope Artist: Stereo D
Veronica Lorenz – Special Makeup Effects Artist
Son Lu – Stereoscopic Lead
Doug Luberts – Production and Technical Support: ILM
Jacob Lundmark – Roto/Paint Artist: Pixomondo
Rob Lutz – Stereoscopic Compositor/Painter
Lap Van Luu – Systems Administrator: Pixomondo
Chenchen Ma – Matchmove Artist: Pixomondo
Zijun Ma – Roto/Paint Artist: Pixomondo
Frank Macchia – Music Preparation
Ali Magee – Makeup Department Production Assistant
Michael C. Magno – Set Dresser
Pravin Mahtani – Stereoscopic Compositor
Uwe Majer – Compositor: Pixomondo
Carson Majors – Stereoscopic Compositor/Painter
Yael Majors – Stereoscopic Compositor
Lee Philip Malin – Confidentiality Administrator
Roy Vincent Mann – Lead Stereoscopic Compositor
Fredrik Mannerfelt – Digital Compositor: Pixomondo
Charana Mapatuna – Stereoscopic Compositor: Stereo D
Pavan Maradia – Technical Assistant: Stereo D
Artur Margiv – Compositor
Jose Marin – Compositor: Pixomondo
Chulev Marko – Modeler/Texture Artist: ILM
Jeff Markwith – Set Designer
Andrew Marquez – Stereoscopic Artist: Stereo D
Karl J. Martin – Set Designer
Geordie Martinez – Creature Technical Director: ILM
Emily Mason – Stereoscopic Assistant Editor
Dale Matasovsky – Stereo Compositor
Joe Matke – Hair Stylist
Colin Mayo – Lighting Technician
Richard F. Mays – Digital Set Designer
Kindra McCall – Depth Artist
BJ McDonnell – 2nd Unit Additional Camera Operator
Edward McDonough – Depth Artist: Stereo D
Elizabeth McKinney – Stereoscopic Compositor: Digital Caliber Inc.
David McMahon – Digital Compositor
Christian McWilliams – Location Scout
Jackie Medel – Production Assistant
Shantel Medina – Finaling Artist
Natalie Meffert – Compositor: Pixomondo
Mike Mekash – Special Makeup Effects Artist
Kevin Melia – Stereoscopic Roto Artist
Lau E.H. Melvin – Visual Effects Technical Assistant
Mariscela Beatriz Mendez – 2nd Unit Lighting Technician
Cris Mertens – Stereoscopic Assistant Editor: Stereo D
Jason W. Mesias – Production Assistant
Felix Messerschmitt – Animator: Pixomondo
Steven Messing – Concept Designer/Digital Matte Painter
Aaron Meyer – Music Preparation
Philip Meyer – Lighting Artist: Pixomondo
Sebastian Meyer – Concept Artist
Thomas Middleton – Digital Compositor: Pixomondo
Karolis Mikalauskas – Depth Artist
Michael Milano – Stereoscopic Depth Artist
Brandon Miletta – Lighting Artist: Pixomondo
Becca Miller – Specialty Costumer
Michael Miller – ADR Mixer
Julie Minasian – Score Vocalist
Ed Mirassou – Prop Maker
Bart Mixon – Special Makeup Effects Artist
Tobias Moenninger – Systems Administrator: Pixomondo
Andrew Moffett – Previs Artist
Sidhartha Mohanty – Production Assistant
Robert Molholm – Color Science/Imaging R&D
Michael John Mollo – Electronic Music Programming
Jacki Moonves – 2nd Unit Camera Production Assistant
Declan Moran – Stereo Compositor: Stereo D
Joey Moran – Rigging Electrician
Pat Moreira – Layour Artist: ILM
Christopher Morente – Greensman
Immanuel Morris – Stereoscopic Artist
Shaun Morris – Production Assistant
Erich A. Muller – Costumer
Sven Müller – Lighting Artist: Pixomondo
Alexa Müller-Heyn – Animator: Pixomondo
Andrew Mumford – Compositor: Pixomondo
Carson Murdy – Stereoscopic Artist
Brian Murphy – Stereoscopic Compositor
Daniel P. Murphy – Construction Metal Fabricator
Michael Murphy – Head of Quality Control: Stereo D
Alex Murtaza – Matte Painter: Pixomondo
Emmi Nakagawa – Stereoscopic Artist
Mohan Narayanaswamy – Quality Manager
Harindranath Narendran – Finaling Artist
Hector Navarro – Depth Artist
Ned Neidhardt – Special Makeup Effects Artist
Christopher Allen Nelson – Special Makeup Effects Artist
Rachel Elizabeth Nelson – Silicone Technician
Zack Neuman – Production Assistant
Christine Neumann – Animator/Modeler: Pixomondo
Beauxregard Neylon – ADR Mixer
Sheau Horng Ng – Digital Artist: ILM
Giang T. Nguyen – Animator/Modeler: Pixomondo
Kristin Nietzig – Division Accounting: Pixomondo
Philip Nussbaumer – Division Lead Compositor: Pixomondo
Timothy Oakley – Prop Fabricator
David O'Brien – Stereoscopic Artist: Stereo D
Fedor Odegov – Pipeline TD Post Production: Pixomondo
Viktorija Ogureckaja – Visual Effects Global Production Manager: Pixomondo
Marc Okrand – Klingon language consultant
William J. Olsen – Production Assistant
Osni Omena – 3D Artist/Maya Generalist
Woon Chi Ong – Compositor: ILM Singapore
Akira Orikasa – Visual Effects Artist: ILM
Maria E. Ortiz – Paramount Pictures Consultant
Nick Ostrovsky – Rigging Electrician
Sam Page – Set Designer
Jordan Paley – Key Production Assistant: Reshoots
Ken Palkow – Prop Fabricator
Alexander Panov – Art Department
John F.K. Parenteau – VFX Executive Producer: Pixomondo
Steve Parsons – Compositor: Pixomondo
Dana Passarella – Stereoscopic Compositor
Jim Passon – Color Timer
Phil Pastuhov – Aerial Director of Photography
Yogesh Pathak – Senior Stereo Roto Annotation Artist
Cristina Patterson Ceret – Contact Len Designer/Painter
Lucas Paul – Set Production Assistant
Bethany Pederson Onstad – Visual Effects Artist: Pixomondo
Lyndsey Pendley – Stereoscopic Paint Artist
Daniel Perez – Stereoscopic/Roto Artist
Diego Perez – Depth Artist
Samuel Perez – Animator: Pixomondo
Michael Peter – Senior Texture/Lookdev Artist: ILM Singapore
Betsy Peters – Compositor: Pixomondo
Binoy Peters – Senior Production Coordinator
Kiana Petersen – Depth Artist: Stereo D
Morten Petersen – Lighting Technician
Hieu Phan – Roto/Paint Artist: Pixomondo
David Philogene – Compositor
Sara Philpott – Set Decoration Buyer
Teddy Phuthanhdanh – Motion Capture Assistant
Philip Pickford – Aerial Unit
Tom Piedmont – Finaling Artist
Johannes Pink – Pipeline Technical Director: Pixomondo
David Pinkus – Second Assistant Director: Aerial Unit UK
Jerome Platteaux – Digital Artist
Leszek Plichta – Lighting Artist: Pixomondo
Erik Ploneda – Stereoscopic Depth Artist: Stereo D
Jason Pomerantz – Production Manager: IMAX
Steven Porch – Specialty Costumer
Nestor Prado – Digital Artist
Roger Prater – Greens Gang Boss
Margaret Prentice – Special Makeup Effects Artist: Kimberly Arland
Eleonora Principi – Rotoscope/Paint Artist: Pixomondo
Daniel Profus – i/o: Pixomondo
Edward J. Protiva – Set Dresser
Steve Prouty – Special Makeup Effects Artist
Zhennan Quan – Matchmove Artist: Pixomondo
Andy Quinn – Compositor: Pixomondo
Melissa Quintas – Stereoscopic Compositor
Sean Raffel – Animator/Modeler: Pixomondo
Jack Rametta – ADR Mixer
Antonio Ramos – Digital Compositor: Pixomondo
Dan Randall – Foley Recordist
Brody Ratsoy – ADR Engineer
Salahuddin Razul – Compositor: Pixomondo
William Reges – Stereoscopic Artist: Stereo D
Sebastian Reichhold – FX Trainee: Pixomondo
Mick Reid – Stereo Compositor
Ari Reisner – Stereoscopic Compositor: Stereo D
Johannes Retter – Compositing Intern: Pixomondo
Gerard Retulla – Stereoscopic Compositor: Stereoscopic Conversion
Todd Rex – Set Sculptor
Aaron Richards – Set Lighting Fixtures Technician
Grover Richardson – Stereoscopic Compositor: Stereo D
Jason Richardson – Visual Effects Supervisor: Digital Caliber Inc.
Bruce Richter – Construction Carpenter
Caroline Riess – Human Resources: Pixomondo
Guy Riessen – Digital Matte Painter: Atomic Fiction
Raj Rihal – Concept Illustrator
Mike Rim – Stereoscopic Compositor: Digital Caliber Inc.
Agustin Rios – Visual Effects Artist
Rick Rische – Matte Painter: Pixomondo
Duncan Rochfort – Visual Effects Editor: Pixomondo
Arturo Rodriguez – Stereoscopic Depth Artist
Raymond Rodriguez – Stereoscopic Rotoscope Artist
Katherine Rodtsbrooks – Stereoscopic Conversion Lead: Stereo D
Rob S. Rogers – Stereoscopic Depth Artist
Carlos J. Rosario – Digital Artist
Vincent Robert Rosas – Stereoscopic Artist: Stereo D
Marcus O. Roth – Division Visual Effects Producer: Pixomondo
Anne Marie Rothfuss – Stereoscopic Rotoscope Artist: Stereo D
Ryan Roundy – Special Effects Office Supervisor
Rachel Rubenstein – Stereoscopic Roto Artist: Stereo D
Ryan Rubi – Creature Technical Director: ILM
Joel A. Ruiz – Rigging Electrician
Maury Ruiz – Concept Artist
Robert Ruiz – Assistant Camera Operator
Alexander Rumpf – Roto/Paint Artist: Pixomondo
Shaun Russell – Sculptor
Matt Ryan – Set Production Assistant
Toshihiro Sakamaki – Animator: Pixomondo
Juan Ignacio Salgado – Division Lead Compositor: Pixomondo
Chris Samp – Set Painter Gang Boss
Cara Samuels – Visual Effects Coordinator: Pixomondo
Mike Sanders – Digital Supervisor
German Sandoval – Stereoscopic Artist
Lukas Sarralde – Stereo Compositor
Stephen Saunders – Rigging Electric
Geoff Sayer – Digital Compositor: ILM
Kai Schadwinkel – Lighting Artist: Pixomondo
Sebastian Schäfer – FX Artist: Pixomondo
Bill Schaeffer – Digital Compositor
Andrea Schermoly – Assistant Choreographer
Katja Schmidt – Division Accounting: Pixomondo
Roman Schmidt – Division CG Supervisor: Pixomondo
Silam Schmidt – Global Talent Manager: Pixomondo
Skylar Schmidt – Set Dresser
Ric Schnupp – ADR Recordist
John Schratz – CG Artist
Brian Schultz – Digital Compositor
Karie Schwabl – Production Assistant: Pixomondo
Diane Schwebs – Human Resources: Pixomondo
Kino Scialabba – Designer: Legion Entertainment/Matte Painter: Pixomondo
Anselm Seherr-Thoss – Visual Effects Artist
Benjamin Seide – Division Visual Effects Supervisor: Pixomondo
Dongjin Seo – Texture Painter/Look Development Artist: ILM Singapore
Jack Serino – Grip
Alex Sessing – Greens Foreman
Daniel Sessoms – NextLab Operator
Nick Sewatsky – Stereoscopic Artist
Julie Shack – Set Costumer
Shruti Shankar – Depth Artist
V. Gouri Shankar Rao – Stereo Prep Supervisor
Amit Sharma – Compositor: ILM Singapore
Mark Sheffield – Sound Re-Recording Mixer
Varghese Sherin – Stereoscopic Supervisor: Stereo D
Marcos Shih – 3D Matte Painter/Concept Artist: Pixomondo
Emmanuel Shiu – Concept Designer
Brooke Shoemaker – Casting Assistant
Jason Shulman – Animator: Pixomondo
Jason Shupe – Flying Camera Operator
Isaac A. Silva – Model Maker Gangboss
Marcus Silvera – Stereoscopic Compositor
Alexandra Simmes – Motion Graphics Artist: Pixomondo
Stacey Simmons – Production Technology Manager: Stereo D
Pankaj Kumar Singh – Technical Operations Lead: Stereoscopic Conversion
Miro Skandera – Matchmove Artist: Pixomondo
Sven Skoczylas – Lighting Artist: Pixomondo
Ryan Slawson – Depth Artist: Stereo D
Brett C. Smith – Set Decoration Buyer
Cameron Smith – Fixtures Technician
Corey Smith – Stereoscopic Compositor: Stereo D
Dane Allan Smith – Visual Effects Producer 3D Scanning: Giant Studios
Tammy Smith – Compositor: Pixomondo
Wee Lian Soh – Visual Effects Artist
Simia Song – Rotoscope/Paint Artist: Pixomondo
Roger Sparwasser – Lighting Artist: Pixomondo
Casey Spiegel – Paramount Pictures Executive Assistant
Mark Spindler – Compositor: Pixomondo
Christopher Stack – i/o Manager: Pixomondo
Ivory Stanton – Textile Artist
Michael Stark – FX Artist: Pixomondo
Joe Steel – Digital Imaging Technician: Aerial Unit UK
Rachel Steele – Extras Casting Assistant
Andrea R. Stephens – Department Manager: Deluxe 3D
Andy Stephens – Aerial Operations Manager
G. Allen Stewart – Stereoscopic Compositor/Stereoscopic Painter
John Stillman – Digital Compositor: ILM
Tracy Stockwell – Plasterer
Paul Stoll – Lighting Artist: Pixomondo
Rainer Stolle – Matte Painter: Pixomondo
George Streicher – Post Production Assistant
Brent Studler – Electrician
Frederick George Stuhrberg – 3D scanning
Vladan Subotic – Animator: Pixomondo
Haidong Sun – CG Artist: Pixomondo
Jenna Sunde – Stereoscopic Compositor
Kamalakar Suryavanshi – Stereo Compositor
Jason Sutton – Hydrascope Operator
David Swift – Digital Matte Painter: Pixomondo
Ronald Tacsion – Stereoscopic Depth Artist
Marc Tantin – Special Effects Technician
Brandon Taylor – Compositor
Randy R. Tecson – Stereoscopic Rotoscope Artist: Stereo D
Mike Tehrani – ADR Recordist
Michael Teixeira – Production Assistant
Nicholas Tey Kai Guan – Modeler: ILM
Michael Thalmann – Head of IT: Pixomondo
Kim Thio – Paramedic: Camera Test
Cale Thomas – Painter: Film Illusions
Jason Thomas – Stereo Compositor
Brian Thomason – Stereoscopic Compositor
Kevin Tiesiera – Fixtures Technician
Eric Timm – Stereoscopic Artist
Paul Tirone – ADR Recordist
Robert Tobin – Senior Depth Artist
Derek Tracy – Stereoscopic Compositor
Duc Minh Tran – Animator: Pixomondo
Mark Victor Trappett – Render Technical Assistant
Michael T. Travers – 2nd Unit Best Boy Grip
Daniel Trebac – Stereoscopic Artist
Chris Treichel – Stereo Production: Stereo D
Tom Truscott – Compositor: Pixomondo
Denis Trutanic – Senior Layout Artist: ILM
Ervin Tuazon – Stereoscopic Artist: Stereo D
Robert Tucker – Compositor: Pixomondo
Ryan Tudhope – Senior Staff: Atomic Fiction
Corey Turner – Executive Stereographer: Paramount Pictures
Trey Turner – ADR Recordist/Assistant Sound Editor
Jason Ullrich – Compositor: Pixomondo
Claudius Urban – Senior Animator: Pixomondo
Reuben Uy – Assistant Technical Director
Dirk Valk – Animator: Pixomondo
Tom van Dorp – Digital Compositor
Jeremy Vanneman – Depth Artist: Stereo D
Valentina Vee – Post Production Intern
David Vegezzi – Interface Art Designer: OOOii
Ricardo Velez – Rotoscope Artist: Stereo D
Aurelio x. Vera Jr. – Visual Effects Producer: Digital Caliber Inc.
Anthony Vlastas – Production Staff
Garrett Vosburg – Greensman
Ghanshyam Waghela – Finaling Artist: Stereo D
Adam Walker – Lead Assets Artist: ILM Singapore
Dan Wallin – Music Score Engineer
Juliane Walther – Motion Graphics Trainee: Pixomondo
Bill Wang – Visual Effects Coordinator: Pixomondo
Cuiling Wang – Matchmove Artist: Pixomondo
Huida Wang – Matte Painter: Pixomondo
Hui Sophie Wang – Pipeline Intern: Pixomondo
Pablo Wang – Stereo Compositor 3D Version
Steven Wang – CG Artist: Pixomondo
Alexander Ware – Depth Artist
Natsuko Watanabe – Finaling Compositor: Stereo D
John Watkins – Digital Effects Supervisor: Pixomondo
Anastasia Watson – Stereoscopic Artist: Stereo D
Kaifeng Wei – Rotoscope/Paint Artist: Pixomondo
Henry Weickert – Pipeline Technical Director: Pixomondo
Claudia Weingärtner – Accounting: Pixomondo
Phil Weisgerber – CNC Operations
Shannon M.E. Weiss – A.C.E. Intern
Jay Wejebe – Makeup Artist
Florian Werzinski – Lighting Artist: Pixomondo
Kelly Wescott – Depth Artist: Stereo D
Jon Wesström – Roto/Paint Artist: Pixomondo
Jack White – Food Stylist
Faith Whitehead – Depth Artist
Kenneth H. Wiatrak – Stereoscopic Artist
Ryan M. Wilson – Stereoscopic Artist
Steve Winsett – Special Makeup Effects Artist
Dean Winton – Driver
Patrick Wolf – Head of Pipeline: Pixomondo
Sascha Wolf – i/o: Pixomondo
Marc Wolff – Aerial Coordinator
Lonni Wong – Compositor: Pixomondo
Jamie Wood – Lead Compositor: ILM Singapore
Leah Woodworth – Extras Casting Assistant
Brian Woronec – Fixtures Technician
Carol Wu – Compositor: Pixomondo
David Wu – Matchmove Artist: Pixomondo
Peter M. Wu – Stereoscopic Depth Artist: Stereo D
Runlin Xiong – Animator: Pixomondo
Tou Yeng Xiong – Animator: Pixomondo
Umashanker Yadav – Stereo Roto Artist: Stereo D
Tolga Yalkir – Systems Administrator: Pixomondo
Zhao Yang – Compositor: Pixomondo
She Fong Yap – Production Assistant: ILM Singapore
Seda Yilmaz – Coordination Trainee: Pixomondo
Ben Ying – Visual Effects Compositor: Pixomondo
Long Yinghan – Digital Artist
Kei Yoneoka – FX Artist: Pixomondo
Kodai Yoshizawa – Special Makeup Effects Sculptor: Kasia Kowalczyk
Walter Yuan – Stereoscopic Compositor: Stereo D
Elana Zaklis – Stereoscopic Artist
Jose Zamora – Hair Stylist
Alessandro Zanforlin – Nuke Compositor: ILM Singapore
David Zbriger – Technical Manager of Global Production: ILM
Aiping Zhang – Compositor: Pixomondo
Zhuotao Zhang – Matchmove Artist: Pixomondo
Zihao Zhang – Matchmove Artist: Pixomondo
Bin Zheng – Compositor: Pixomondo
Carol Zhou – Animator: Pixomondo
Jianghong Zhu – Compositor: Pixomondo
Huajing Zhuo – Compositor: Pixomondo
Xinguo Zou – Compositor: Pixomondo

Production companies [ ]

Avon Studio Transport – Vehicle Rentals
BT Industrial Supply – Expendables
B2FX – Special Effects Makeup Company
CBS Studios – Star Trek and related marks and logos are trademarks of
Chapman/Leonard Studio Equipment, Inc. – Camera Dollies, Camera Cranes, Hydrascope Telescoping Crane Arms, Stabilized Remote Camera Systems
Codex Digital – Digital Recording Equipment
Digital Caliber Inc. – Special Effects Company (Stereoscopic Clean-up)
Digital Media Services – Digital marketing asset management
Direct Tools & Fasteners – Expendables
Dolby Laboratories – Sound Mix
Flying Pictures – Aerial Filming Services
Giant Studios – 3D Scanning Special Effects Company
Headquarters Casting – Background Talent Casting
K/O Paper Products
Legion Entertainment – Post Production Company
Monster Picture Crane – Stunt Rigging Crane
Movie Movers – Cast, Hair and Makeup Trailers
New Deal Studios – Special Visual Effects Company
Pictorvision – Eclipse Aerial Camera System
POP Sound – ADR Recording
Road Rebel – Production Travel
Saga Film – Production Services
Star Trek Into Darkness (soundtrack)
Star Trek Into Darkness (DVD)
Star Trek Into Darkness (Blu-ray)
Star Trek Into Darkness (Blu-ray 3D)
Star Trek Into Darkness (4K Ultra HD)
Star Trek Into Darkness (iTunes)

References [ ]

208 ; 2259 ; 2 News ; 7 News ; advanced long-range torpedo ; AF ; aircar ; Air Defense Team ; airlock ; Alcatraz ; Alpha Quadrant ; ambulance shuttle ; Andoria Prime ; Angel Island ; antimatter missile ; applied physics ; Applied Sciences Division ; Arabic ; Ares V ; arms dealer ; Armstrong -type ( starships ); artificial gravity ; ash cloud ; attending physician ; auxiliary power ; away team ; Ayt ; BA-36 ; bangs ; bank ; bathing suit ; Bay Area Rapid Transit ; beach ; bearing ; Beastie Boys ; bedside manner ; Beta Quadrant ; Biddeford , USS ; black hole ; block 27 ; blockade formation ; body bag ; " Body Movin' "; bone ; boolean gun ; bowing ; Bradbury , USS ; brig ; bus ; cable car ; Caitian ; car ; Federation cargo shuttle ( cargo shuttles ); Celsius ; Chapel, Christine ; CNN ; coconut lotion ; cold fusion ; coma ; combat ability ; Confederacy of Surak ; Coridan system ; corn ; Cormier, Roy ; corpse ; Corridor 67 ; C-section ; cryo tube ; CT ; Cyrillic alphabet ; D4-class ; DB-5 ; 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Kelvin Memorial Archive Directory: Cindy Jones Bar and Grill ; CJ's Coffee House ; Jorge's Steakhouse ; Luby's Pub & Grille ; Monte's Spanish Tapas & Bar ; Rudy's Sub Shop ; Simm's Pizza
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Film Review: ‘Star Trek Into Darkness’

J.J. Abrams sets his filmmaking to 'stun' with a sequel in every respect equal or even superior to its splendid 2009 predecessor

By Scott Foundas

Scott Foundas

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J.J. Abrams sets his filmmaking to “stun” for “ Star Trek Into Darkness,” a sequel in every respect equal or even superior to its splendid 2009 predecessor, which lovingly and cleverly rebooted Gene Roddenberry ’s long-running space opera following the black hole of 2002’s “Star Trek Nemesis.” Markedly grander in scale, although never at the expense of its richly human (and half-human) characters, “Into Darkness” may not boldly go where no “Trek” adventure has gone before, but getting there is such a well-crafted, immensely pleasurable ride that it would be positively Vulcan to nitpick. Global box office cume should easily warp past the prior pic’s $385 million for this sturdy Paramount tentpole, which opens overseas May 9 before beaming down Stateside one week later.

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Abrams, whose last pic was the lyrical “E.T.”/“Close Encounters” homage “Super 8,” here tips his hat to the “Indiana Jones” series, opening with a thrilling setpiece that finds Kirk ( Chris Pine ) and Bones (the sly, loose-limbed Karl Urban ) on the run from a tribe of very angry natives on the planet Nibiru. The natives, decked out in head-to-toe clay body paint, shimmer like human ceramics as they chase the Starfleet officers through a crimson forest, the lush colors of returning d.p. Dan Mindel all but searing the screen. Meanwhile, Spock ( Zachary Quinto ) toils away nearby, attempting to insert a high-tech ice cube into the raging volcano that threatens to destroy Nibiru and its inhabitants — a dangerous mission that quickly goes awry, building to a classic “Trek” standoff between stubborn Vulcan logic and impulsive human emotion.

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The Enterprise crew has scarcely recovered from that one when, back on Earth, a terror bombing lays waste to a top-secret Starfleet intelligence facility and brings to the fore a new galactic baddie: a rogue Starfleet officer named John Harrison (Benedict Cumberbatch) who claims credit for the attack and, after an equally brazen follow-up, hightails it deep into Klingon-controlled space. The hawkish Adm. Marcus ( Peter Weller ) dispatches the Enterprise in hot pursuit, with this familiar-sounding objective: Shoot first, ask questions later, and avoid starting a war with the locals. Welcome to “Star Trek Into Zero Dark Thirty.”

Only, this John Harrison is a slippery sort who, when given the chance, claims not to be the villain at all, but rather a pawn in someone else’s deadlier scheme. And for much of its running time, “ Star Trek Into Darkness ” makes a good guessing game out of whether this mysterious stranger with the glacial glare and bones seemingly made of steel is friend, foe or — like the “old Spock” of Abrams’ first “Trek” — a little bit of history repeating. It hardly matters, because whatever Cumberbatch is playing, he’s wonderful to watch, infusing the movie with the kind of exotic grandeur Eric Bana’s wan Romulan henchman (arguably the weakest link in the 2009 film) largely lacked. Also making her maiden “Trek” voyage is the lovely Alice Eve as an ambitious science officer who lies her way on to the Enterprise deck and makes goo-goo eyes with the good Captain. She is not, it turns out, the ship’s only stowaway.

Having previously established an alternate “Trek” timeline in which all the events of prior series and movies still happened, but aren’t necessarily doomed to recur, Abrams and returning writers Roberto Orci and Alex Kurtzman (now joined by “Lost” co-creator Damon Lindelof) here take that idea and run with it, invoking prior “Trek” lore when it suits them, freely branching off into new directions when it doesn’t. (Hell, there’s even some trouble with a tribble.) It’s a tricky business, balancing reverence with reinvention, but like the young Kirk, Abrams seems altogether more comfortable in the captain’s chair this time — not just in the large-scale action scenes, but particularly in the quieter ones, where you can sense his real investment in these characters and his confident touch with actors.

SEE ALSO: ‘Star Trek’ Premieres in London (Photos)

The film builds particularly well on the burgeoning Kirk-Spock friendship, with Pine showing reserves of vulnerability and doubt beneath his cocksure exterior, while Quinto adds gravitas to Spock’s eternal inner conflict — and his deepening romance with Lt. Uhura ( Zoe Saldana ). But make no mistake: The action, when it comes, is superbly executed, whether it’s giant vessels making mincemeat of one another, or the simpler excitements of old-fashioned hand-to-hand combat and foot chases through crowded promenades.

The best, even-numbered films in the original “Trek” film franchise were shaped by the guiding intelligence of writer-director Nicholas Meyer , who laced the Starfleet jargon with high-toned literary references and a gently self-mocking sense of humor. Abrams, too, manages to keep the mood buoyant even when the fate of the universe is hanging in the balance, more than earning his tears when he finally decides to milk them. But if Meyer’s primary references were Shakespeare, Dickens and Conan Doyle, Abrams’ are Spielberg, John Hughes and Cameron Crowe. In defiance of the self-congratulatory snark that has become de rigueur in Hollywood franchise fare, he brings a shimmering pop romanticism to “Trek’s” stalwart ideals of friendship, heroism and self-sacrifice. There’s something bold about that, indeed.

“Into Darkness” is a beautifully modulated and sustained piece of work across the board, with visual effects that seamlessly meld live-action and computer-animated elements, given further texture by old-fashioned celluloid lensing (with 65mm Imax used for key action scenes). Post-production 3D conversion by Stereo D ranks among the best of its kind. The Enterprise has rarely looked sleeker than it does on production designer Scott Chambliss ‘ sets. Adding the cherry to the top of this cinematic sundae, composer Michael Giacchino ‘s soaring score once again revives Alexander Courage’s immortal Trek theme for the closing credits.

Movie Stills:

Benedict Cumberbatch in "Star Trek Into Darkness."

Paramount Pictures

Reviewed at AMC Loews 34th Street, May 2, 2013. MPAA Rating: PG-13. Running time: 132 MIN.

Production: A Paramount release presented with Skydance Productions of a Bad Robot production. Produced by J.J. Abrams, Bryan Burk, Damon Lindelof, Alex Kurtzman, Roberto Orci. Executive producers, Jeffrey Chernov, David Ellison, Dana Goldberg, Paul Schwake. Co-producers, Tommy Gormley, Tommy Harper, Ben Rosenblatt, Michelle Rejwan.
Crew: Directed by J.J. Abrams. Screenplay, Roberto Orci, Alex Kurtzman, Damon Lindelof, based on “Star Trek” created by Gene Roddenberry. Camera (Deluxe color, Panavision widescreen/35mm/Imax, 3D), Dan Mindel; editors, Maryann Brandon, Mary Jo Markey; music, Michael Giacchino; production designer, Scott Chambliss; supervising art director, Ramsey Avery; art directors, Kasra Farahani, Michael E. Goldman, Andrew E.W. Murdock, Harry E. Otto, Lauren Polizzi; set decorator, Karen Manthey; costume designer, Michael Kaplan; sound (Dolby Atmos/Datasat), Peter J. Devlin; sound designer, Ben Burtt; supervising sound editors, Burtt, Matthew Wood; re-recording mixers, Will Files, James Bolt; visual effects supervisor, Roger Guyett; ILM visual effects co-supervisor, Patrick Tubach; ILM visual effects producer, Luke O’Byrne; visual effects, Industrial Light & Magic, Pixomondo, Kelvin Optical, Atomic Fiction; stunt coordinator, John Stoneham Jr.; assistant director, Tommy Gormley; second unit director, Guyett; second unit camera, Bruce McCleery; casting, April Webster, Alyssa Weisberg.
With: John Cho, Benedict Cumberbatch, Alice Eve, Bruce Greenwood, Simon Pegg, Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Peter Weller, Anton Yelchin, Leonard Nimoy.

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Star Trek Into Darkness - Full Cast & Crew

72 Metascore
2 hr 10 mins
Drama, Action & Adventure, Science Fiction
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In this thrilling sequel, the crew of the Enterprise discovers that Starfleet is in ruins after they are summoned home, and they venture into a war zone to find the powerful villain responsible for the devastation.

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Co-producer, visual effects producer, visual effects exec. producer, cinematographer, production company, assistant editor, art director, supervising art director, set decorator, costumes supervisor, sound mixer, sound effects, supervising sound editor, special effects supervisor, special effects, visual effects supervisor, visual effects, visual effects editor, first assistant director, production designer, unit production manager, post production supervisor, production coordinator, production supervisor, second assistant director, fights choreographer, supervising animator, choreographer, creature design, re-recording mixer, first assistant editor, department head hair, department head makeup, second unit director.

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Product Description

J.J. Abrams STAR TREK INTO DARKNESS is the best-reviewed blockbuster of the year. When a ruthless mastermind known as Khan (Benedict Cumberbatch) declares a one-man war on the Federation, Captain Kirk (Chris Pine), Spock (Zachary Quinto), and the daring crew of the U.S.S. Enterprise will embark on the greatest manhunt in history. It will take all of their skills and teamwork to defend Earth and eliminate Khans threat.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ PG-13 (Parents Strongly Cautioned)
Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.32 ounces
Item model number ‏ : ‎ D355504D
Director ‏ : ‎ J.J. Abrams
Media Format ‏ : ‎ NTSC, Widescreen, AC-3, Subtitled, Dubbed, Dolby, Color, Multiple Formats
Run time ‏ : ‎ 2 hours and 12 minutes
Release date ‏ : ‎ September 10, 2013
Actors ‏ : ‎ Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg
Dubbed: ‏ : ‎ French, Spanish
Subtitles: ‏ : ‎ English, French, Spanish, Portuguese
Studio ‏ : ‎ PARAMOUNT
ASIN ‏ : ‎ B00AZMFJYA
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1
#14,703 in DVD

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The fate of the galaxy rests in the hands of bitter rivals. One, James Kirk, is a delinquent, thrill-seeking Iowa farm boy. The other, Spock, a Vulcan, was raised in a logic-based society that rejects all emotion. As fiery instinct clashes with calm reason, their unlikely but powerful partnership is the only thing capable of leading their crew through unimaginable danger, boldly going where no one has gone before. The human adventure has begun again.

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Star Trek is 513 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 112 places since yesterday. In the United States, it is currently more popular than Summer of 84 but less popular than The Cabin in the Woods.

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Star trek: strange new worlds.

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Reviews (4).

Never was super big into Star Trek but after rewatching the Kelvin trilogy I decided to dive right in with Strange New Worlds. I loved both seasons of this and found myself getting right into The Original Series when I finished up. The characters are rich and complex and the balance between lighthearted moments and serious ones is incredible. Really love this show and can't wait for the next season.

I started watching Star Trek around 1966, I enjoyed it then and I enjoy it now in whatever new versions it’s in.

No shade towards any other Star Trek series released recently, but I think Strange New Worlds is the best entry point for newcomers. The series is a return to the classic tone and style of earlier series, but with stellar modern characterizations and little need to do any additional homework.

Whether you have been a Trekkie since the beginning or are completely new to the franchise, Star Trek: Strange New Worlds is undoubtedly worth watching. Following the adventures of Captain Christopher Pike and his USS Enterprise, the show fills in the time period before Captain Kirk took over command. The cast of Strange New Worlds is pitch-perfect, with Anson Mount's Captain Pike and Celia Rose Gooding's Uhura particular standouts. With the perfect combination of stand-alone adventures and serialized story threads, Strange New Worlds feels like classic Trek made for the modern era of television and pretty much everything about just works.

Melissa Navia

Babs olusanmokun, celia rose gooding, rebecca romijn, seasons (4).

Season 1 (2016)

Season 2 (2018), season 3 (2022), season 4 (2026), sdcc 2024: star trek: strange new worlds cast & eps celebrate season 2 & hype season 3, star trek: strange new worlds season 3 first look clip, images (40), users reviews (125).

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eternal sunshine of the spotless mind

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A New Star Trek Movie Could Take A Familiar Approach To The Next Generation

Quick links, the kelvin timeline gave fresh faces to familiar characters, potential to see tng characters in their early days, is an alternate timeline necessary.

Space. The final frontier. Since Star Trek: The Original Series premiered on September 8, 1966, audiences have been captivated by the idea of a bright future where traveling to strange new worlds with advanced technology was possible. For some fans, Star Trek isn't just a franchise; it's an entire universe of possibility. Part of that is the cool tech, including some of the starships . Another part is the vast array of alien cultures and intergalatic politics. However, one of the greatest elements of the Star Trek franchise is its characters. Even casual viewers have at least a cursory knowledge of Captain James T. Kirk, Spock, and Uhura. Those classic characters became even more prominent with the introduction of the Star Trek Kelvin Timeline films .

It may be hard to believe now, with various Star Trek projects popping up every few months. But back in 2005, when Star Trek: Enterprise was canceled, there was a dearth of Star Trek material for years. This changed when the characters from The Original Series were rebooted into the Kelvin Timeline films. At the time of writing , the Kelvin Timeline films include Star Trek (2009), Star Trek Into Darkness (2013), and Star Trek Beyond (2016).

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These films exist separately from the "prime" timeline. That way, the stories that fans have come to love from TOS and beyond are still canon, while at the same time, different versions of these iconic characters could go on new adventures as different versions of themselves. The boost that the Kelvin films gave the characters of TOS could also be implemented in a new film featuring the characters of Star Trek: The Next Generation .

One of the great things about the Kelvin Timeline films is that it gave the opportunity for the classic TOS crew to be re-imagined by younger actors. For decades, those characters have been synonymous with their actors, and for good reason. There's no denying that TOS was an influential and groundbreaking series.

However, with a franchise as long-running as Star Trek, different actors playing the star characters is par for the course. After all, who doesn't have fun speculating on who would make a great James Bond or arguing over the best Batman portrayal? Showcasing the talents of Chris Pine, Zachary Quinto, Zoe Saldaña, Simon Pegg, Karl Urban, and many others gave the franchise a boost in the public eye. Classic characters were rebooted for fans and in a way that was accessible for new audiences. Since then, Spock has been played by Ethan Peck on Discovery , Short Treks , and Strange New Worlds . Kirk is now played by Paul Wesley in Strange New Worlds . With this in mind, why not do the same for the beloved characters of The Next Generation ?

Picard and the upcoming (hopefully soon) Legacy are following TNG characters after the end of TNG, propelling their stories forward. Even so, the original run of TNG ended 30 years ago. Younger audiences are not as familiar with the characters. Reintroducing them with younger actors might be the key to jumpstarting interest in TNG, and would provide an opportunity to explore these characters in their younger days.

What's more, existing media has already laid the groundwork for exploring these characters' histories. Picard, for example, often talks about how cocky he was in his younger years. It would be captivating to watch him grow into the celebrated captain (later admiral) he's widely known for being. Worf also has a fascinating background with a lot of lore that could be explored . And what about the early days of Jack R. Crusher and Dr. Beverly Crusher? A film series has the potential to expand on these possibilities, revitalizing the beloved characters.

With all that said, were there to be a reboot TNG film series, would there be a need for an alternative timeline? Would the film series exist in the prime timeline, the Kelvin timeline, or would an entirely new timeline be necessary? This would depend on how much the writers want to play around the different versions of the characters. Like Picard, the film series could be set in the prime timeline if the writers intend to stick to the previously laid out canon. (Although, that's not to say that even in the prime timeline, Picard wasn't affected by the events of the Kelvin timeline .) However, if they want to stray, it would be intriguing to see how the TNG crew are changed by the Kelvin timeline. As for a new timeline, that could be tricky, considering what has already been mapped out. However, if done well, it could work. There is an audience appetite for multiverse stories , after all.

At the end of the day, it doesn't appear like Star Trek is going to stop developing projects anytime soon. That leaves fans with plenty of room to dream. What young actors today would make a great William Riker or Data or Geordi La Forge? Surely, there's young talent out there that could rise to the occasion and bring more TNG stories to the big screen. Until then, fans will just have to imagine.

Created by Gene Roddenberry

First Film Star Trek: The Motion Picture

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First TV Show Star Trek: The Original Series

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A New Star Trek Movie Could Take A Familiar Approach To The Next Generation

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Walter Koenig, Leonard Nimoy, William Shatner, James Doohan, DeForest Kelley, George Takei, and Nichelle Nichols in Star Trek (1966)

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

Gene Roddenberry
William Shatner
Leonard Nimoy
DeForest Kelley
279 User reviews
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16 wins & 31 nominations total

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Nichelle Nichols and Sonequa Martin-Green at an event for Star Trek: Discovery (2017)

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

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

Crazy credits On some episodes, the closing credits show a still that is actually from the Star Trek blooper reel. It is a close-up of stunt man Bill Blackburn who played an android in Return to Tomorrow (1968) , removing his latex make up. In the reel, He is shown taking it off, while an off-screen voice says "You wanted show business, you got it!"
Alternate versions In 2006, CBS went back to the archives and created HD prints of every episode of the show. In addition to the new video transfer, they re-did all of the model shots and some matte paintings using CGI effects, and re-recorded the original theme song to clean it up. These "Enhanced" versions of the episodes aired on syndication and have been released on DVD and Blu-Ray.
Connections Edited into Ben 10: Secrets (2006)
Soundtracks Star Trek Music by Alexander Courage

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September 8, 1966 (United States)
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How Star Trek: Discovery Recaptured One Aspect Of The Original Series

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Star Trek Discovery: 9 Best Episodes (So Far)

Bosch: legacy season 3 needs to explain this character's absence, a former dc star joins the cast of netflix's one piece season 2.

When the original Star Trek first hit screens back in 1966, the concept was pitched to audiences as "a wagon train to the stars." The Enterprise and its crew were soaring off into an unknown, unexplored universe, not unlike the explorers of the old Wild West. There were no rules out here in the vast expanse of space, and even Starfleet protocol was still in its infancy. Kirk, Spock, and the rest often had to improvise to get out of dangerous situations with their lives.

But as the franchise grew, so did the in-universe institutions of Starfleet and the United Federation of Planets . Treaties were signed, conflicts broke out, negotiations ensued, terms were settled — and the cycle began again. Starfleet's mission of exploration became more strictly defined, and so too did its rules and regulations. There were fewer unknowns in the galaxy, and by the time of The Next Generation , it was no longer a chaotic place. Starfleet still faced conflict in Deep Space 9 and explored uncharted territory in Voyager , but now, in addition to mysteries and alien threats, there was often bureaucratic red tape and political intrigue to deal with. Through it all, Starfleet and its members were disciplined, confident, and ready to spread a brighter future throughout the galaxy.

These episodes of Star Trek: Discovery are (so far) some of the highlights of the show.

That changed, though, when Michael Burnham and her crew traveled 900 years into the future in the season 2 finale of Star Trek: Discovery . With the time jump at the start of Season 3, Discovery took Star Trek back into a lawless, chaotic galaxy.

The Early Federation: Two Different Sides

For the crew of The Original Series , meeting unknowns face-to-face often meant danger. Hostile aliens didn't always listen to reason, especially since the Federation wasn't quite an interstellar superpower yet. The crew of the Enterprise always had to be prepared to fire phasers set to stun, throw a quick punch to the jaw, or break out the tried-and-true Vulcan nerve pinch.

Michael Burnham and the crew of Discovery also came from the days of the Federation's infancy. But unlike the Enterprise, they weren't charting unknown space. In Season 1, they worked as part of the war effort, helping the Federation fight the Klingons and developing technology to do so. In Season 2, they tracked the seven red signals and tried to thwart the AI called Control.

Of course, there were still plenty of mysteries to uncover and things to learn — the mechanics of time travel , the mysteries of the mycelial network. But Discovery's early themes had less to do with exploring the final frontier. Through their sci-fi concepts, seasons 1 and 2 explored ideas like the ethics of war and the consequences of technological advancement. Other Star Trek shows had done the same before them.

There are plenty of legitimate real-world reasons why the show's creators may have decided on the time jump that Discovery took at the end of its second season. Perhaps the show's retcons were starting to make things complicated . Perhaps they didn't want to eventually overlap with the timeline of The Original Series . Maybe they simply recognized the need and the opportunity to shake things up, to take both the crew and the audience out of their comfort zones. Regardless, it was a bold decision, and one that reintroduced the idea of diving headfirst into the unknown.

How The Burn Reintroduced A Lawless Galaxy

When she lands in the 31st century, Michael Burnham quickly learns that this galaxy is vastly different from the one she left behind. Starfleet is a distant memory, the Federation is a shadow of its former self, and a criminal organization called the Emerald Chain has a chokehold on the majority of resources. All of this is the result of an event known as the Burn , which took place about a century before Discovery's arrival. All the dilithium in the galaxy went inert, and thousands of ships detonated. The result was mass death, and without dilithium, the inability to travel at warp.

After the Burn, interplanetary alliances crumbled, and planets left the United Federation one after another until it was barely a skeleton of what it once was. Its influence weakened, until it was no longer able to maintain law, order, and peace as it once had. With the Federation almost gone, the people of the galaxy were left to fend for themselves. Mercenary groups, smugglers, and independent contractors carved lives for themselves in space. The galaxy was, as it had been in Kirk and Spock's day, a wild frontier.

A World Full Of Unknowns

Michael, Saru, and their crew had to navigate a galaxy which they knew nothing about. The planets, alien species, and even a few of the factions might have familiar names, but they were vastly different from what the Discovery crew remembered. The planet Vulcan had become Ni'Var ; the warring Vulcans and Romulans were cultivating peace between their two societies. The Klingons, whom the Discovery crew remembered as the Federation's greatest enemy, had become their allies and then receded to being strangers again. Many people throughout the galaxy had more or less forgotten the Federation — or even spurned it, holding them partially responsible for the Burn.

Discovery's job, then, was to gather information, build bridges, and forge alliances in their search to solve the mystery of the Burn and restore the Federation to its former glory. Michael, like her brother Spock , had to know when to speak and when to spring into action. Saru, a formerly cautious man who was new to taking risks, had to learn to do so in a measured and calculated way. Tilly learned to take charge; Stamets learned to reach out for help and expertise. Like Kirk and his crewmates, they were thrust into unfamiliar situations time and again. Ultimately, just like in The Original Series, these trials not only brought out the best in the show's characters, but provided an adventure for viewers that was familiar, yet wonderfully refreshing.

Star Trek: Discovery

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Production Begins For ‘Star Trek: Starfleet Academy’

| August 26, 2024 | By: TrekMovie.com Staff 136 comments so far

The next Star Trek series for Paramount+ has started shooting today. It’s been a long road since the idea of a YA-focused Starfleet Academy series was first mentioned as part of a growing “Star Trek Universe” back when the shows were streaming on CBS All Access. Now a cast of newcomers mixed with big-named Hollywood stars and some familiar Trek faces have come together in Toronto to shoot the first season.

The Academy is open

News of the beginning of production was first shared by the official Star Trek on Paramount+ social media accounts, followed up with an official announcement which included two new images of the cast. The first photo appears to be from a table read, featuring members of the cast, showrunners Alex Kurtzman and Noga Landau, as well as additional producers. At the center of the photo below is Discovery (and Section 31 ) producer/director Olatunde Osunsanmi. Kurtzman is directing the first two episodes.

Academy cast and producers at table read (John Medland/Paramount+)

And the second shows members of the cast in front of the Star Trek Stage at Pinewood Studios in Toronto. Pinewood renamed one of the stages regularly used by Star Trek: Discovery the “Star Trek Stage” last year.

Academy cast and producers at Star Trek Stage (John Medland/Paramount+)

The above photos feature Academy Award-winner Holly Hunter, who is playing the captain and chancellor of Starfleet Academy. Flashing double Vulcan salutes is Academy Award-nominee Paul Giamatti, who has a recurring guest star role as the main villain for season 1. Also featured is Star Trek: Discovery’s Oded Fehr, who has a recurring guest star role as Admiral Vance, and Star Trek: Voyager’s Robert Picardo, a series regular as The Doctor. Actors pictured above playing cadets include George Hawkins, Zoë Steiner, Bella Shepard, Kerrice Brooks, Sandro Rosta, and Karim Diané. Also pictured is British actress and comedian Gina Yashere, who plays an Academy instructor in a recurring guest star role. Not pictured above but also returning for Academy are Discovery’s Tig Notaro as a series regular and Mary Wiseman as Tilly, as a recurring guest star.

The new series is set in the 32nd century (as established in Star Trek: Discovery ) at a newly revived Starfleet Academy in San Francisco. Here again is the official synopsis for the series:

Star Trek: Starfleet Academy introduces viewers to a young group of cadets who come together to pursue a common dream of hope and optimism. Under the watchful and demanding eyes of their instructors, they discover what it takes to become Starfleet officers as they navigate blossoming friendships, explosive rivalries, first loves and a new enemy that threatens both the Academy and the Federation itself.

The Starfleet Academy campus has been built on Pinewood’s 45,900 square foot “Mega Stage,” the largest in North America. The set reportedly contains a “central academic atrium, a sprawling, two-story structure that will include a mess hall, amphitheater, trees, catwalks, multiple classrooms and a striking view of the Golden Gate Bridge in a single, contiguous space.”

Pinewood’s Mega Stage, home to to Starfleet Academy

The first season includes 10 episodes so production will likely extend into 2025. Paramount+ has not set a release date for the new series, but Alex Kurtzman has said it may not arrive until 2026.

Keep up with news about the Star Trek Universe at TrekMovie.com .

Starfleet Academy

First Cadets Cast For ‘Star Trek: Starfleet Academy’

Section 31 , Star Trek Universe TV , Starfleet Academy

Report: ‘Star Trek: Starfleet Academy’ Series Taking Shape, Next In Line After ‘Section 31’

Star Trek Universe TV , Starfleet Academy

Alex Kurtzman Talks ‘Starfleet Academy’ Series, “Very Excited” About Potential Future Star Trek Show

Conventions/Events/Attractions

The Starfleet Academy Experience Arrives At Liberty Science Center

Here’s hoping 🤞 can’t say right now I’ll be tuning in, but I want to see it succeed and draw in the new fans it’s aimed for

Same here. Hope it does well.

Yes I agree! Glad to see some returning faces and to see what the new ones will bring to the franchise. Ultimately, pics aside though, it will be the stories that keep me coming back.

I rather hope that it is ‘done well’ but given everything else they’ve made recently…

We all know you’ll be watching,

Exactly! :D

Lol I literally haven’t watched any Nu Trek except for Disco season 1 and Picard season 3. Believe me, I will not be watching. But I will be checking Trekmovie religiously as I have since 2008…I now experience Nu Trek vicariously through the comment boards. I don’t need to watch anything when I hear the fan reaction loud and clear!

Maybe in the first few years of nu-trek, but I stopped after the first 5 episodes of DIS season 3. I just couldn’t take it any longer.

As this has gone on, I’m now looking forward to this show. Robert Picardo clinched it for me.

Even though I was already excited about the show before his inclusion, it is amazing how much his presence has excited the fan base to this show now. There is a huge change in the mood over it everywhere online. It still may suck but people are now more curious about it.

Which proves as much as some people still don’t like him, Kurtzman knows what he is doing.

Tiger he is such an awesome and genuine and talented man it is hard not to get excited lol. I’ve been his fan ever since The Wonder Years!

Yep for sure. And I completely forgot he was in The Wonder Years and I watched it every season but haven’t seen an episode since its original run.

Mr Arnold!!!

Ah yes, Mr. Arnold. Thanks for the reminder.

Nope — he was PE Coach Ed Cutlip

Seconded about Picardo

Third it bro…third it!

He’s the bestest!

Legacy characters, of course.

They could do the absolutely craziest thing and have Giamatti play a Xindi Primate but have him play him more ape-like, using his training from Planet of the Apes.

That sounds awesome but somehow I don’t see that happening. I may be wrong but IIRC he’s always wanted to be a Klingon. And we haven’t seen on in the 31st century yet

We didn’t.

Paul G. looks so happy, cool!

This cast already has charm and chemistry based solely on the pics here. I’m beginning to really look forward to this.

It’s Happening !!!!!😁

Star Trek’s new Flagship show.

PIcardo is gonna nail it!

Lol the only reason fans are now excited in this show, legacy characters.

For me it depends on who the legacy character is. Kirk? The Doctor? I’m all there. Neelix? Nah,

This fan was excited before the announcement of any legacy characters.

To be frank, the announcement of Holly Hunter really got my attention. Paul Giammati is probably a closet Trekkie, so I wasn’t as surprised, but Hunter being on board was more than I expected.

As for Picardo, it’s not like he’s got much else to do than run around on the convention circuit…

As long as it doesn’t have too much Tilly, it’ll be terrific!

Annnnnnd??? What is wrong with having a legacy character? You say that like it’s a bad thing. He isn’t the lead. The show isn’t revolving around him. Stop shaming people for actually LIKING characters from a past show. There is absolutely nothing wrong with it at all. Let me ask you, Harry, how did you choose your name? Legacy trek character?

It looks like class of 319(??) has arrived!

I have been a big supporter of this show since day one. But now even more so seeing how excited Paul Giamatti is there lol. Robert Picardo giving the thumbs up this will be a winner while holding Holly Hunter has made me more hopeful.

I certainly understand it has a large amount of doubters out there but I am hoping with this cast at least that people will be a little more open minded about it. Either way, the future begins…again!

Wow, I actually agree with you. I can’t wait to see this, but my heart belongs to Section 31.

Wow, so SFA is really happening, cool! Another series now in production and both S3 of SNW and S31 in post production. It is good time to be a Star Trek fan. Let’s hope we get some more Prodigy, even though I am still waiting to see S2 up here north of the border.

Also happy the cast and crew get to enjoy a little Canadian summer and fall in the city instead of dreary winter, even though winters in Toronto are not exactly the cold and snowy type that we had when we were kids.

Yes so true DeanH!

It’s not at the level it was back in 2021 but there are still things happening of course. And a Prodigy season 3 would definitely be a HUGE plus!!

It’s still shocking you guys never got it. I did listen to the All Access Podcast and they say the show is selling on Itunes in Canada at least and at the time of recording it was listed #1 (I assume for TV shows but maybe for everything). It proves this show definitely has an audience, but maybe still not high enough to get another season. But I put all my faith in Kahless and hope that won’t be the case.

An attractive and diverse group to be sure. Here’s to a successful launch!

Being Asian Canadian, it would be nice to see some Asian rep in SFA, but quite honestly no big deal. This is after all an American franchise that just happens to be made in Toronto, so good to see both African and Euro Americans well represented in the cast. And of course S31 is in post production and S4 of SNW is also coming, so it is a good time to be a Star Trek fan.

It is interesting considering that Sulu and Kim were both great characters, but I haven’t really thought about the fact that there hasn’t been any strong Asian characters in NuTrek. This seems like a good place to do just that – especially since San Francisco has a pretty big Asian population. And since this is a bit different future, this could have been a fun time to bring in San Fransokyo (Disney reference, so yes, I get why Paramount couldn’t do it)…

there hasn’t been any strong Asian characters in NuTrek.

La’an Noonian-Singh and Philippa Georgiou being chopped liver?

I can already see that Kerrice Brooks will be my favorite.

Looking forward to the series.

Ahhhh! I have to know! Are we getting OG Doctor or Living Witness Doctor?????

I hope Living Witness personally

I seen you post this before but didn’t they confirm it’s the OG Doctor. I think Kurtzman himself said it and that he’s just been active for the last 800 years. Yeah it’s a stretch, but it’s Star Trek, so….

I’m OK with whoever we get as long as Picardo is playing him lol.

Oh, I don’t remember that

I still want both Doctors. If it is the Living Witness Doctor, then where is the OG Doctor?

Well, the way I see it, the Living Witness Doctor woke up around this era so he makes sense. The OG one? Who knows what might have happened with him over 700 years. Also, a 700+ yr old Doctor should have learned amazing things over the centuries and would be way harder to write for than the Living Witness Doc.

LOL didn’t we have this discussion on the other site. I’m pretty sure it’s the original Doctor. As I said, they made clear the Doctor on this show already had experience teaching kids at the Academy. And that makes more sense it would be the original Doctor, especially his life post-Voyager as we seen in Prodigy. And there is no Academy in the 31st century.

But maybe we will see both of them. I’m totally into that idea too!

Ya that’s what Tiger just told me too. If it is the original then I hope we somehow get both.

Hopefully we will. What can be better than one Doctor? Two Doctors…even if the Voyager crew disagrees haha.

I was excited when Holly Hunter was added to the cast, but now the show is even more legitimized for me with the addition of Robert Picardo returning as the Doctor. I’ll be watching.

Yay for legacy characters!

I still wish they added him when Discovery jumped to the 32nd century. Maybe I would’ve liked the show more for a change. But better late than never.

And I’m not sure when the word ‘legacy characters’ have become a bad word in the fandom. Once Dr. McCoy was showed walking with Data down the corridor in Encounter at Farpoint has made legacy characters an integral part of the franchise for decades now. If fans don’t want to see more legacy characters, they should’ve just stayed in the JJ verse then (shudder). But they exist plenty in the Prime universe and a huge reason fans wanted to go back to it.

I’m always happy to see them and can’t wait to see more, hopefully more DS9 and ENT characters will show up too; although we’ve had Daniels on Discovery for 3 years now but didn’t know it lol.

McCoy being in a 60 second scene in TNG as a handing over the baton type thing, is a little different to what’s going on now where nostalgia, references and legacy characters have literally taken over the various shows.

How are they taking over?

Prodigy: Janeway, Chakotay, the Doctor, Voyager etc Lower Decks: Literally only exists so that it can reference previous Trek every 10 seconds Strange New Worlds: Kirk, Spock, Uhura etc Picard: Shelby, Moriarty, Lore, Tuvok, the entire TNG crew, the Enterprise D, the Borg Queen etc etc etc

You’re blind if you think that modern Trek isn’t 100% based on nostalgia, references and legacy characters. This comment section pretty much proves the only reason people are looking forward to this show is because it has a classic character in it.

I could say the same of pretty much any other franchise. Luke, Han and Leia in the sequel trilogy?

And…? What is wrong with that?

Harry, Emily, whatever your name is these days, that’s not what he was saying and you know it. The reality is though legacy characters, when it was just TOS basically, was still part of the franchise. Obviously they couldn’t be used that often since all the new shows took place literally a century later. But the fact they kept finding ways to include them said it all. Why do you think that is? Because shockingly fans of a franchise still wants to see older characters while embracing new ones. TNG had the biggest hurdle of them all and now that show is more popular than TOS in many circles today which again proves your point moot.

People have no issues being introduced to new characters, but we now live in a franchise that is 60 years old and has had millions of people watching since TOS started, nostalgia will always play a part in anything that old. It can’t be avoided.

No one is ‘taking over’ these shows since the Doctor is the only legacy characters on this show and NOT the star. He sounds like he will have a big part in it but probably supporting like the Doctor had on Voyager and Prodigy.

The reality is though legacy characters, when it was just TOS basically, was still part of the franchise.

They showed up exactly three times during TNG (admittedly, not counting McCoy’s one-minute passing of the baton in “Encounter at Farpoint”): Sarek, Spock, and Scotty. (And Sarek was far from a series regular. He probably got more screen time in TNG than TOS itself.) Star Trek bingo this was not.

Sarek and Spock were also used organically and had grown considerably since their TOS days. Sarek effectively showed up with *dementia*. Spock had not been in Starfleet for decades and was perceived as a *defector*. The only appearance milked for nostalgia was Scotty’s, six seasons in, and even then, it was handled in a thoughtful and respectful way, in the context of a story about aging, not as fodder for commemorative plates (have those even existed since the 1990s, anyway?).

Some nostalgia was appropriate for PICARD, and I don’t deny that Picardo is one of Trek’s best actors, and I wouldn’t bet against him living up to that reputation here.

But it’s difficult to read his inclusion as anything other than the producers (1) becoming desperate to ensure that existing Trekkies tune in, and (2) lacking, for understandable reasons, any confidence that the latest iteration of NuTrek can stand on its own two feet. The TNG producers, by contrast, expressly said they went out of their way to avoid many TOS references until “Sarek,” exactly because they knew the series had to be its own thing.

Then there’s GENERATIONS, which resembled screenwriting-by-committee and remains mostly poorly received, flawed by Braga’s own admission, and one of the worst Trek movies. (“Thank God for Insurrection,” to paragraph what New Mexicans say about Mississippi.)

60 years old and has had millions of people watching since TOS started, nostalgia will always play a part in anything that old. It can’t be avoided.

This statement approaches an admission that the Trek franchise is in irreversible decline, a la GLORIA or 704 HAUSER.

And again it’s so eye rolling and hypocritical how you have no problem with the constant revolving door of legacy characters in all the Star Wars shows and movies (did you catch Yoda in that awful Acolyte show:? I didn’t because I stopped watching it but he was apparently there).

You constantly want to put down Star Trek for doing it but completely silent over Star Wars doing literally the exact same thing in every project. Why is that exactly?

This is why I really wish we get an ignore button. People like you are just insufferable.

I want a like button too

I think I stopped after episode 4 or something. I honestly can’t remember. I didn’t know Yoda showed up in it. But it’s now cancelled so who cares lol.

I give NuTrek grief at times but even Discovery is a higher quality show compared to what’s coming out of Disney+ and most of these Star Wars shows. The only two I can say I fully liked so far were Mandalorian and Andor. And it took awhile to like Andor because it felt so slow but it’s a great show for sure.

The rest though….meh.

Yeah the SW shows have just been generally bad. Acolyte was so bad I stopped after episode 5; the first show I just completely gave up on.

I don’t understand why it’s so hard to make better shows given the resources and ridiculous money they get. That show was reported to get $180 million for 8 episodes and yet it felt like something you watch on ABC. Star Trek shows would kill to have that kind of money.

The only shows I liked so far was also the first two seasons of Mandalorian and Andor and that’s basically it. I heard Bad Batch is decent but haven’t watched it. Ashoka was OK but I was just bored by the end.

I can certainly give the new Trek shows grief at times too (with the exception of Prodigy because it’s too awesome) but overall they are way better than what Disney has been putting out with Star wars lately. It’s not even close in my book.

Ashoka is one of my favorite characters Iin Star Wars and The Clone Wars show finally git me to care about the prequels. I can’t tell you how excited I was for that show only to see it crash and burn halfway through. I just don’t know why it’s so hard to make a compelling show, especially when most are only 6-8 episodes?

Just do much bad writing. Acolyte is the perfect example of how bad off the rails that franchise has become.

Because when Star Wars does it, it’s natural and in service to the story. The Enterprise-D showing up and kicking ass, is not.

And btw, Yoda was on screen for about 3 seconds in an entire series of new characters.

Lol yeah ‘natural’ like when Obi Wan met a 10 year old Leia on that show although in ANH it was obvious she never met the guy before.

And I call out when Star Trek shoehorns characters when they don’t belong there all the time like all the legacy characters in SNW that clearly shouldn’t be on the Enterprise this soon like Kirk or shouldn’t be interacting with others.

And they were clearly setting up Yoda to be in season 2 before the show got canceled. And regardless SW stuff in legacy characters for the exact same reasons ST does it, because of fan service. To pretend otherwise is eye rolling.

You’ll such a hypocrite which I wouldn’t care about if you didn’t spend all your time here harassing people for having the nerve to want to see Kirk or Janeway on a show.

You have had nothing interesting to say here for a year now.

How exactly? A ship being recovered to prevent the contamination of a species is less natural than The same 4 characters of Star Wars showing up across the galaxy all the time because *reasons*? LOL NO!

picard appeared in DS9’s pilot ep, quark in the one for Voy and Zefram Cochrane appears in the pilot for Ent

For one scene.

Not an entire series.

How about Worf being on DS9 for four seasons then? 🙄

And O’Brien being on DS9 for all 7 seasons.

i meant they did as with mccoy’s cameo in TNG pilot, to hand over the baton to the next ST show. though picard had more screen time in ’emissary’

As it’s been said a hundred times over, legacy characters are a big part of every old franchise these days. Studios are hurting, streaming is not the golden ticket they all thought and the only way they know will draw people back in long term is nostalgia. Again, the fact that Star Trek is back and with a half a dozen new shows to boot already makes that clear. It doesn’t necessarily keep them but it’s a big marketing push to drive interest as we are seeing with the Doctor.

And as I ALSO said, I think most old fans will watch either way, it just gives them an extra incentive. When the first Kelvin movie happened, I’m pretty sure everyone who went to see it would’ve saw it regardless if Nimoy as Spock didn’t show up in it. But once he did, that just created bigger hype for the movie and a bit more excitement. I was certainly going opening day and I didn’t even want a TOS reboot lol. So I don’t think the movie would’ve made $100 million less because an 80 year old retired actor who hasn’t played the role in two decades was going to make or break the film. But it did excite the old fans at least and gave the film more attention.

Exactly the same thing here. Yes, I definitely think this show has had a bigger division in the fandom for a number of reasons…but everyone was going to at least check it out in the beginning. But now the Doctor is there, genuine interest has definitely gone up, that can’t be denied. Every site I gone to, from here to YouTube, people are openly thrilled he’s there. It helped to get a few more additional headlines it probably wouldn’t have gotten. In a world with so much new content coming out every single day you have to find a way to stand out. That said, no the show isn’t going to make or break if the Doctor showed up or not, but it’s a bonus regardless.

The reality is they are trying to appeal to the millions of Star Trek fans who found it in the 90s when they were coming of age that probably makes up the bulk of the fandom today. Yes they want new fans, hence this show, but it’s been pretty evident they have not shown up in any large way since Discovery launched. And until that happens, those fans will stay the franchise masters and they clearly knows it judging by all the nostalgia and legacy characters in all these shows now. Kurtzman is only mulling over a 25th century live action comedy show (and being made by two 90s era fans btw) to placate them and certainly not new fans.

The funny thing is I remember getting into an argument with a former poster here pre-Picard who used to say shows like Voyager will not be represented at all in modern Trek outside of maybe a reference somewhere because it wasn’t ‘mainstream’ enough which was just a ridiculous argument. If you lasted for 7 seasons and decades later the reruns are still getting high viewings on sites like Netflix and Amazon while still making merchandise and books, it’s certainly mainstream enough for Star Trek lol. I don’t think any of these new shows have gotten half the viewers Voyager has gotten over the years. And since Voyager is represented to some degree in 4 of the 6 new shows (minus SNW and Discovery for obvious reasons) and fans are still begging for a Seven lead Legacy show, then clearly that argument proved faulty.

Honestly I love that Mr Picardo is here but they had me at Holly Hunter and Paul Giamatti.

And obviously me as well. But it’s all great news to me. And if people need Picardo/the Doctor to get more excited about the show, fine. That’s obviously why he’s there and even better news its working.

I was very excited about SNW for example when we just knew about Pike, Spock and Una. But once I knew Uhura and Chapel were in it as well, I got even more excited (I didn’t care about M’Benga either way but really love him now). That’s how these things works. If people are angry at me because I had the gall to be excited to have Uhura and Chapel on the show, that’s not really my problem.

I think your last paragraph was probably argued by an old TOS fan who couldn’t let go and basically wanted the franchise to stay mostly TOS.

I could be wrong of course but I remember hearing this same argument on another defunct site I used to post on when the first JJ verse movie was starting. I heard you and others mention this before too and that people just wanted to ‘erase’ the 24th century shows completely and even the prime universe because they wanted a universe where TOS and the 23rd century was the only show in existence again; as if every fan found the show in the 1970s lol.

It was so short sighted and just old people yelling at clouds to me. You mean you are going to erase hundreds of hours of shows that people like me found and grew up with so we can have these empty soulless popcorn movies where Fratboy Kirk fights comic book villains and doing space jumps in every movie? Inner Light, Yesterdays Enterprise, Timeless, The Visitor, Measure of a Man, Duet and on and on and on will just pretend like that never happened so we can watch the new universe and all the great drama of Uhura fighting with her boy toy Spock for the next 10 years.

Some people really really had no problems with this lol. It’s OK if they didn’t like those shows, fine. I didn’t love them all either at first. But to just try and wipe them from existence for the next 20 years always bothered me. I had no problem with JJ verse existing. I had no issues with Discovery existing. I didn’t like them but I understood others did because it brought them back to that era they grew up with. But its when those people only wanted to focus on those eras ignoring all the stories, characters and aliens that’s been around for literally decades at that point that put off the rest of us who didn’t have the same nostalgia for it.

Same thing happened with Star Wars too. When Disney got a hold of it, there were a lot of old OT fans saying they should ignore the prequels because they thought they sucked and pretended like they never existed. They just wanted more Han and Luke again, less Padme and Ashoka. And I hated the prequels too lol. In this situation I was the old OT fanboy who hated Jar Jar as much as I hated Neelix. But I knew plenty of younger people where the prequels were their first SW loved them. They grew up with them and became fans of SW thanks to them just like people became fans of Star Trek thanks to TNG, DS9 and etc.

You can’t just pretend they no longer exist when they have spent about a billion dollars in merchandise for a decade lol. It just doesn’t work that way.

And like what is happening with Star Trek today, the prequels ended up the same way. Now those characters and storylines are part of the new stuff. When you got Hayden Christensen showing up in multiple SW shows and fans WANT it shows the tide have changed lol.

LOL it is funny the full circle the prequels have made in the fandom. Or even George Lucas himself. There are people out there, I know because I talked to them, that had no idea how much people hated the prequels back then.

And to be as accurate about this, the specific poster (and he’s been gone YEARS ago now and I highly doubt he even remembers me much less our conversation lol) was saying because the other spin offs like DS9, VOY and ENT didn’t reach the highs as TNG did then it was probably smart to just focus on the more popular shows. He wasn’t trying to ‘erase’ them, just making the point that these new shows (and this was when it was only Discovery at the time although Picard had been announced) should appeal to newer audiences and that they would probably never watch the older shows much so why confuse them with canon only us hardcore fans would know or care about?

So that’s a somewhat different argument. But my point then as it is now and has been proven, these shows are made for those fans who watched those spin offs first and foremost. Yes they want new fans but once Picard was announced, it made it very clear the audience was really the 90s fans. And for the record I’m not one of them lol. I’m a oldie whose been watching since the 70s so I’m not arguing it from my personal perspective at all. But I look at this stuff objectively and they are the ones carrying these modern shows today and so you want to appeal to them more because, yeah, money and viewer numbers. So the LAST thing you want to do is ignore those stories and characters they have known for 20+ years now.

And my argument back in 2019 has been proven to be more true even today. Because every show since Picard has been nothing but a nostalgia fest of the 90s shows and TOS (which most people in the 90s became big fans of too, including several of my friends who started with TNG and VOY. It wasn’t JUST about TNG, but that was the bigger focus because yeah it was actually made for that, sorry, generation).

But I also know there were definitely other fans like you mentioned who did want a ‘clean slate’ so to speak and to only focus on the Kelvin universe and characters. And I didn’t really disagree with that either if the aim was to reach new fans. I think that approach made the most sense because Star Trek is a very intimidating franchise to get into these days. It’s already the type of show that really asks you to pay attention to its stories in a way that Star Wars, DC or Marvel doesn’t. And yes, that’s part of the reason it’s always had trouble with the masses. And also yes, that’s why the Kelvin movies consisted of basically stopping an evil villain every movie with lots of explosions and action set pieces and very little else. But the TNG films had that rap as well from old fans.

So I never had any problems with the Kelvin movies or that universe being the gateway for the masses. It made sense from a marketing and viewer perspective. But like you, I never once believed you had to completely abandon the Prime universe either which is what others were in fact suggesting. But that was always a ridiculous idea because old fandom would want those characters and types of stories again. I assumed the Kelvin universe would actually expand and we get spin off movies, maybe 1-2 shows, etc as the Prime universe also got more shows and even movies again. In other words both universes would just grow and be their own separate things kind of like the DCEU and Arrowverse did.

But that wasn’t the case, the Prime universe is king again. But it has also been expanded in ways we have never seen before. I just can’t imagine the Berman era having shows like Lower Decks or shows in the 32nd century like Discovery and now SFA. I think these are all positive things regardless how people feel about them personally.

I do think in time we will get Legacy once the money and Paramount is just in a better place. But I also don’t have a problem with the 25th century comedy show. Maybe it will be bad but it’s good to see the franchise take chances.

So if you want to do something different but still want to keep those 90s fans in the loop pining for more 24th century Trek, bringing a character like the Doctor in SFA just makes perfect sense.

Per usual, you hit it on the head.

I agree with nearly all of this, these shows are mostly geared to 90s fans because we probably make up the majority of the fan base today. This site and Trekcre skewers a bit older. But if you go to places like Reddit, Twitter or Facebook where there is a much higher number of people and I’m on all three it’s obvious it’s mostly people from that era who watches these shows now.

This is anecdotal but I’m on a private FB group and there are maybe 60-70 of us. I would say out of that group 70% of us started watching Trek in the 90s. The other 20% are older and a few watched TOS starting in the 60s and 70s. The last 10% are younger and started watching Trek in the last 10 years or so by finding it on Netflix or Hulu. But not a single one started watching it since Discovery started so far. Only one became a fan through the JJ verse movies and his dad was a big TNG fan and how he got into it.

That’s not exact or anything, just a rough estimate. That’s why when I come here I feel so young and I’m in my 40s lol. And even though most of them started with a 90s show most people love TOS and watch it religiously too. It’s not like they hate the show or anything, just the opposite, but it wasn’t the show they first watched or their favorite like it is for so many of you here. And no one has ever suggested not to make it canon anymore because that’s the show that started it all.

That’s why I rolled my eyes when people suggested the Prime universe didn’t matter anymore. Well thank God it does now because JJ verse imploded years ago and even if they actually get their stuff together and make another one, they already said that’s the end of it anyway. I still don’t see the point of making another one when they can just make more movies in the prime universe or just streaming movies like that awful looking Section 31 movie or a Legacy movie. That’s what fans seem to really want.

But most people I know want stories and characters mostly from the 24th century because that’s the era where Trek really expanded. And many like me just hate prequels in general although about half of the group watch SNW and seem to like it. And Kurtzman seems to finally understand that too. Most want to go forward but anything post Nemesis at least is fine. It’s not like we want to redo TNG or DS9 but to continue those stories a little works too. To see what happened after Voyager got home or where things are after the Domion war ended. That’s also why he has people like Matalas, McMahan and the Hageman brothers making these shows because they were all young enough when TNG and the others started. I think they were all TOS fans first but it’s obvious the Berman era had a bigger impact on them. Matalas worked on Voyager and Enterprise so very obvious for him.

So it was smart to add the Doctor on this show. Many people there didn’t really seem very excited about it until Picardo was announced and just like here most seem more excited about it. Some were into it before like you and others still hate it but like this thread the majority are more positive now.

But like Amirami said, I got more interested once Hunter and Giamatti joined and I said that in my OP. But we still don’t know who their characters are besides a name. But we know the Doctor very well and after having him back on Prodigy and wishing he got to do more on that show, it’s exciting to have him in live action again and let Picardo be Picardo lol.

And if you can bring back the Doctor in live action, there is no excuse not to bring back Janeway now. For me, that’s still the biggest get along with Archer and T’Pol after they brought back Picard, Spock, Q, Worf, Seven and now the Doctor. I would say Kirk too…but ugh.

Good discussion as usual!

This is a good analysis. In fact I remember this so well when Picard started and the argument became ‘it’s not going to be a TNG reunion. No one really wants TNG anymore. It’s going to just focus on Picard and be it’s own thing because that’s what ‘new’ audiences wanted.”

Season 3 came and is now the highest rated season lol. Apparently Prodigy season 2 is now rated higher which is great but the point I’m making is for the majority of fans out there who is watching these shows grew up on TNG and exactly why that show was the second one announced once Discovery aired. And even though people certainly liked Discovery, they could see how the majority responded to it and yeah it wasn’t great. Not all horrible obviously but the three biggest take aways were they wanted a post-Nemesis show, something that feels closer to old canon and wanted more legacy characters again. So, not shockingly, they abided on both Discovery season 2 and then Picard.

Think about it, both shows pushed on those three mandates after the first season of Discovery.

As for Picard, of course Stewart famously didn’t want a reunion show and we got the first two seasons we got, which btw, most fans were still very excited about, including me. But it was very obvious every season they made it closer to TNG as they could get it until season 3 they just said screw it, begged Stewart to just give the fans (and the show runners) what they want and we got more TNG in the end.

But again it’s just more proof these shows are being watched by old fandom and not new fans because you don’t dump 80% of your new and younger cast two seasons in unless you thought 70+ year old actors would have a wider appeal. And look at that…they did lol.

I know I end up having this same conversation many times, but Star Trek does indeed have a problem attracting new fans and they clearly know it. Early DIS and PIC did at least feel like they were trying to appeal to newbies as well as the old guard. But from LDS to SNW it was basically attracting the older fans. Yes Prodigy famously went after the pre-teen group but we saw how badly that worked out. And I’m sure the overwhelming majority who watches it now are old Trek or Voyager fans. I’m sure many have tried to get their kids to watch but let’s not kid ourselves, it’s mostly the same group watching Picard, SNW and LDS end of the day.

Maybe SFA will turn the tide but I doubt it. I hate to say it but I’m just being honest. And they have their doubts too, hence the Doctor. And yes I read that about the new show runner too. But again, Kurtzman knows what he is doing. He’s not just picking people who has seen Trek, he’s picking hardcore fanboys and fangirls to run it these days. And while I’m sure some will disagree with me, the shows are connecting to hardcore base, certainly much more than early PIC and DIS were. Yeah, it’s not perfect and I know some of the contrarians want to pretend otherwise, but the majority of these seasons are highly rated today. Doesn’t mean everyone loves them, but it’s working more than not working IMO. People gave SNW season 2 crap including me, but it’s actually not rated much lower than season one was. That says a lot.

Even Discovery found a way to get the 90s fans more involved when they made season 5 built around ‘The Chase’ and brought back the Breen. In fact, every episode of season 5 revolved around canon from a previous show. Again, new fans aren’t going to care about canon from shows that’s been off the air decades now. That was clearly made for the people in your FB group.

Because like it or not, they are driving nostalgia to the hardcore bunch and they are very receptive to it. Maybe if early DIS and even PIC had a stronger reception then we would have newer shows focused more on new stories, aliens and strange new worlds and less tie ins to 30+ year old TNG era episodes and characters like we got in Picard, Lower Decks, Prodigy and Discovery last seasons. But once again, all those seasons most people here responded well to, yes, including Discovery.

So how that will all translate to SFA itself, it will be interesting to see to say the least.

But this has been a fun discussion for me too. Any reason to geek out on Trek on any level lol. Thanks.

I forgot to add the reason the Doctor is even there because the new show runner was also a 90s Trek fan and she said Voyager was the show she grew up on and the Doctor was one of her favorite characters. So it’s not even just a marketing thing, but like Matalas and McMahan before her, she became a Trekkie in that era and just wanted characters she grew up with to be on the show.

But it’s just more and more proof why these shows are so geared to these TNG era characters because the people making them along with most of the people watching them are from the same era.

Right? Why is “Legacy” such a bad thing???? James T Kirk is the OG legacy character and I remember his remains in Picard S3.

Please stop calling it Legacy. Call it what it really is. Old Star Trek actors.

You mean Star Trek characters …

Yeah, I don’t understand how it is a bad thing to have legacy characters on the new shows. For me it is like seeing old friends again. To each their own I suppose.

Because it’s not. It’s something that happens in every IP out there. Yes they can definitely do too much of it to the point new main characters lose focus as I was worried about when they brought on Spock and Pike on Discovery. I ended up being proven wrong thankfully.

So weird. And Tiger2 is right, there are legacy characters in everything now, not just Star Trek. Everything is about nostalgia today and most people watching Star Trek now are people from the 90s.

I’ve actually been joking for awhile don’t be shocked if we saw an 800 year old synth Riker pop up on this show in a recurring role because Frakes is that persuasive lol.

But we are now getting an 800 year old EMH instead. Still works for me!

Let’s get all the old characters back. Who cares about utterly undermining the new cast.

How is it ‘undermining’ the new cast?? What does this even mean. Do you not see people just as excited for Paul Giamatti and Holly Hunter?? Obviously you didn’t read my OP because I cited them specifically along with Picardo. Correct?

Since you clearly missed it, I will quote it here:

But per usual, you oddly ignore anytime people actually praise new actors and characters so you can have the same fight for the 800th time.

This is why you are so so soooo annoying. Why do you constantly do this? Changing your handle doesn’t make you any less annoying from before lol.

Do you really think Holly Hunter and Paul Giamatti would be undermined?

Yes, I think it’s certainly possible.

The film EXECUTIVE DECISION, which is probably memorable only to fans of the airplane disaster genre, was billed as a huge blockbuster vehicle co-starring Kurt Russell and Steven Seagal. The latter’s character was killed off after about five minutes. I suspect that undermined the film, at least among non-aviation buffs.

not 5 mins, more like 50 mins into the film.

I meant that Segal had about five minutes of screen time!

Stop being a troll.

HA! Who knows, maybe they turned Riker into a hologram Academy instructor!

LOL yeah I can see that. People have theorized others like Janeway or Archer could show up as holograms. I don’t think it will but if it does it could just be for an episode or something. And what stops them from doing it? Nothing.

It’s the 32nd century, everything is possible.

I’m hoping for a hologram Janeway at some point.

LOL just mentioned that to Amirami as well. Why not? We have one on Prodigy.

Legacy. All fans care about.

So say we all! Oops wrong franchise lol

LOL! Loved that show.

I was coming around when I heard Holly Hunter and Paul Giamatti joined the cast.

But the day we learned Robert Picardo was returning as the Doctor was the day I finally decided to care about this show. It was the smartest move they could’ve done to get a lot of cynical Trekkies like me to care about it.

I am feeling more confident about it these days. It’s still a Discovery spin off so I remain skeptical about it but I am hoping for the best and we get a great show out of it. The way things are going, it may be the ONLY Star Trek show around lol.

Can’t wait to not watch this.

I’m not looking forward to this, but I will watch. I’m a glutton for punishment when it comes to Trek.😁

But, at the very least, hopefully the characters are interesting.

Keep the Star Trek coming.

I’m never satisfied.

I hope that the show is good. Making it a spinoff of Discovery makes me skeptical, but maybe they got some good people to run this show. Good luck to them, and look forward to seeing how it turns out in a year.

So excited.

I met Robert Picardo at Dublin Comic con last weekend , he was such a nice dude . I hope this venture in the star trek franchise is successful

I’m wondering if they de-age Robert Picardo. Actually, the HAVE TO, ’cause The Doctor is a hologram.

It doesn’t matter IMO. Maybe he just decided to look older. It’s not like the Doctor looked super young on Voyager either. He was already a middle age looking man.

That would be a waste of budget If they deaged him in every scene he’s in.

And yeah it’s a Hologram it can literally take any form it wants and we seen both on Voyager and recently Prodigy.

I understood Data aging was a bit more of an issue. But Holograms don’t have the same problem to explain it away.

cadets, turn to the right!

Look at Giammati, happy as a clam…

Loved that photo. I hope his character isn’t covered up with prosthetics. He’s way too excellent of an actor to be buried under latex.

Isn’t he on record saying that he wants to play a Klingon?

This report mentions that Olatunde Osunsanmi is directing the Pilot. Didn’t Alex Kurtzman mention in an Interview posted on Trekmovie a few month ago, that he would be directing the first two episodes?

And the article has been updated to clarify and we have reconfirmed. Tunde is an EP and director for the show but Alex is directing the first two episodes

Thanks for clearing that up.

I’m excited about the new show, even though it’ll be awhile before we get to see it.

A friend of mine got a job as a professor at Harvard after having taught at a couple of other universities. She was very surprised when she taught her first day there, and some students came up after class and said, “I see by the syllabus that there’s no term paper required for this course, but this would be such a cool course to write a term paper for!”

Students at the other universities where she’d taught always complained if they had to write a term paper, but her students at Harvard ASKED FOR ONE.

I would expect that Starfleet Academy students would be just as gung-ho about their education as Harvard students. I really hope that the writers take that into account and don’t give us students who don’t care about class or who don’t want to study or whatever. Only the very best — from all over Alpha Quadrant — get admitted to Starfleet Academy, and the writing should reflect that.

I’m excited about the show and hope they do it right. Make starships special again, rebuild the Federation, make the universe something to explore. Allow for some flawed characters to learn. Let’s see some space colonization, etc. Consider Academy having to use older starships, the new ones look like bad CGI. Maybe assign them the Mirror Enterprise complete with functional bridge. No more worrying about canon, that is a real plus, leave that baggage in the past!!!

Just avoid the time travel nonsense, no musicals, let’s get back to Star Trek (unless you go back in time and get rid of time travel episodes).

Towny Newsome who is Mariner on LDS and also a writer on this show said a big part of her job is to keep the canon straight.

So whatever the story is it probably will be canon heavy like the last season of Discovery was.

Being in the 32nd century doesn’t make all that goes away.

Well you don’t need to worry about what happens in the future at least. Though disappointed to see Robert Picard attack SpaceX today… you’ve got a guy who pretends for a living equating electronic components to life attacking people actually providing internet to the poor, missile tracking in Ukraine and putting people in Space. I’m soo tired of Star Trek being anti science with all the magic mushrooms = space travel, space is easy, humanity is so great as is with nothing to learn. Just ugh. It’s really just a comedy cartoon series but I remember it was about humanity. Enough with canon, canon is a joke. Hell by their own logic just say it’s a multiverse or someone went back in time and changed it.

Well what can I say, welcome to NuTrek! 😂🙄

Once you had some of the laziest science happen in the JJ verse movies and one of the head writers writing all that bad science now making all these new shows you can’t expect too much.

At least the spore drive is now in a century where it makes sense in. But oddly it’s so advanced no one else has it 900 years in the future! 😂

Discovery was such a ridiculous show at times.

Paul Giamatti and Holly Hunter are fantastic actors. Great additions to the Trek family. Looking forward to a southern accent in Trek.

no Tilly in the photos….thats a promising start

But will the EMH have a name?

“Joe? It took you 33 years to come up with Joe?”

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Star Trek Into Darkness (2013)
Star Trek Into Darkness: Directed by J.J. Abrams. With Leonard Nimoy, Chris Pine, Zachary Quinto, Zoe Saldana. After the crew of the Enterprise find an unstoppable ...
Star Trek Into Darkness (2013)
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The crew of the Starship Enterprise returns home after an act of terrorism within its own organization destroys most of Starfleet and what it represents, leaving Earth in a state of crisis. With a ...
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It has less of the holier-than-thou moralism of some of the "Star Trek" features and is basically just a sci-fi adventure that pitches Chris Pine ("Kirk") and his crew against enemies as they say - both foreign and domestic! The dynamic between Pine and "Spock" (Zachary Quinto) still doesn't quite work for me; but Karl Urban makes for quite a ...
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2012. Free trial. Summer Rental. Free trial, rent, or buy 'Crocodile' Dundee II. Free trial. Last Action Hero Rent or buy. The Running Man (4K UHD) ... Star Trek: The Next Generation - Redemption. Buy. Futurama Season 1. Buy. Fringe: The Complete First Season Star Trek Original (Remastered) Season 1 ...
Star Trek Into Darkness Official Trailer #3 (2013)
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Zoe Saldana. Uhura (as Zoë Saldana) Karl Urban. Leonard 'Bones' McCoy. John Cho. Hikaru Sulu. Anton Yelchin. Pavel Chekov. Peter Weller.
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J.J. Abrams STAR TREK INTO DARKNESS is the best-reviewed blockbuster of the year. When a ruthless mastermind known as Khan (Benedict Cumberbatch) declares a one-man war on the Federation, Captain Kirk (Chris Pine), Spock (Zachary Quinto), and the daring crew of the U.S.S. Enterprise will embark on the greatest manhunt in history.
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Star Trek V: The Final Frontier. Star Trek VI: The Undiscovered Country. Star Trek Generations. Star Trek: First Contact. Star Trek: Insurrection. Star Trek Nemesis. Star Trek (2009) Star Trek Into Darkness. Star Trek Beyond. How to pitch startrek.com. Where to Watch.
Every Star Trek Movie In Chronological Order
Here's how to watch the 13 Star Trek movies in chronological order in a couple of ways. Starring William Shatner as Captain James T. Kirk and Leonard Nimoy as Mr. Spock, Star Trek: The Original Series' 3 seasons aired on NBC from 1966-1969, but the show exploded in popularity in syndication.After the blockbuster success of Star Wars in 1977, Paramount refashioned a planned TV series revival ...
Star Trek (2009)
Star Trek: Directed by J.J. Abrams. With Chris Pine, Zachary Quinto, Leonard Nimoy, Eric Bana. The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.
List of Star Trek films
Logo for the first Star Trek film, Star Trek: The Motion Picture (1979). Star Trek is an American science fiction media franchise that started with a television series (simply called Star Trek but now referred to as Star Trek: The Original Series) created by Gene Roddenberry.The series was first broadcast from 1966 to 1969. Since then, the Star Trek canon has expanded to include many other ...
List of Star Trek television series
Logo for the first Star Trek series, now known as The Original Series. Star Trek is an American science fiction media franchise that started with a television series (simply called Star Trek but now referred to as Star Trek: The Original Series) created by Gene Roddenberry.The series was first broadcast from 1966 to 1969 on NBC.Since then, the Star Trek canon has expanded to include many other ...
Star Trek streaming: where to watch movie online?
It is also possible to rent "Star Trek" on Microsoft Store, Amazon Video, Apple TV, Spectrum On Demand online and to download it on Microsoft Store, Apple TV, Amazon Video. Synopsis. The fate of the galaxy rests in the hands of bitter rivals. One, James Kirk, is a delinquent, thrill-seeking Iowa farm boy. The other, Spock, a Vulcan, was raised ...
Star Trek: Strange New Worlds
A spin-off of Star Trek: Discovery, Star Trek: Strange New Worlds is a television series that takes place before the events of the original series and follows Captain Christopher Pike as he mans the helm of the U.S.S. Enterprise. The show focuses on this previous crew of the Enterprise as they explore the galaxy with returning characters from Discovery.
A New Star Trek Movie Could Take A Familiar Approach To The Next ...
Space. The final frontier. Since Star Trek: The Original Series premiered on September 8, 1966, audiences have been captivated by the idea of a bright future where traveling to strange new worlds ...
Star Trek
Star Trek is an American science fiction media franchise created by Gene Roddenberry, which began with the eponymous 1960s television series and became a worldwide pop-culture phenomenon.Since its creation, the franchise has expanded into various films, television series, video games, novels, and comic books, and it has become one of the most recognizable and highest-grossing media franchises ...
Star Trek (TV Series 1966-1969)
Star Trek: Created by Gene Roddenberry. With Leonard Nimoy, William Shatner, DeForest Kelley, Nichelle Nichols. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets.
How Star Trek: Discovery Recaptured One Aspect Of The Original Series
When the original Star Trek first hit screens back in 1966, the concept was pitched to audiences as "a wagon train to the stars." The Enterprise and its crew were soaring off into an unknown ...
Production Begins For 'Star Trek: Starfleet Academy'
The next Star Trek series for Paramount+ has started shooting today. It's been a long road since the idea of a YA-focused Starfleet Academy series was first mentioned as part of a growing ...

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Star Trek Into Darkness

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Star Trek Into Darkness

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Film Review: ‘Star Trek Into Darkness’

Scott Foundas

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