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Star Trek – Ranking the Opening Titles

Whether you sit through them every time or use them as an excuse to grab a snack, the Star Trek opening titles are a staple of the series, and rightly so. The main themes of each version of the show are all fantastic for the most part, and the opening usually comes with some nice visual effects, be it model shots of the setting (usually a ship) or CGI renderings of various iconography related to the show (as in Discovery, but we’ll get to that). But the question remains – which opening is the best? So for convenience, we’ve ranked them all (apart from the movies), starting with:

6 – Discovery

Whilst it is clear that the idea behind the Discovery title sequence was to distinguish it entirely from prior titles in the series, the fact of the matter is fans would probably have preferred a showcase of the modern day special effects to create Discovery’s take on the classic style of Star Trek intro – that is, the ship flying around through space. Think something like the titles of Star Trek: Voyager, but with updated effects to show off the new ship. Instead, what we got was a strange blueprint/technical specifications manual in 3-D showing the ship and various pieces of Star Trek iconography like Phasers, Communicators and even the Vulcan Salute, coupled with high-resolution pictures of people (or at least parts of people – like a chin and an eye) who are presumably the crew. Regardless of whether you like this or not, what is undeniably the greatest drawback of Discovery’s titles is the theme itself, which is both uninspired and forgettable.

5 – Enterprise

The other standout of Star Trek title sequences that radically diverge from the normal formula to the point of being almost incomparable is Enterprise, which does a great job of establishing this show as the first in the timeline with specific focus on the progress that mankind has made between the early days of sailing in which the name ‘Enterprise’ was born to the first in what will be a long line of interstellar exploration vessels bearing the same name. This is also the general idea behind the theme, which for many is the primary drawback of this title sequence – it is a bit cheesey, particularly since it has vocals, something which thankfully has never been done again in Star Trek. One thing that Star Trek: Enterprise did do right, however, was the awesome variation of the title sequence used for ‘In a Mirror, Darkly’ for the Mirror Universe.

4 – Deep Space Nine

The first on this list from the ‘standard’ formula of Star Trek openings, The problem with Deep Space Nine’s opening titles is the fact that instead of a nimble ship that can zip around the screen, the crew in this show inhabit a giant space station that is, for the most part, immobile. For the first few seasons Deep Space Nine used a title sequence that did a very poor job of showcasing the station’s actual size, but this was later improved in an updated title sequence that was introduced as the USS Defiant became a staple of the series, that had lower angled shots of the station and more ships. One particular change that did wonders to better showcase the vastness of the station was the addition of a Nebula-class ship docked on to one of the pylons at the start, which fans of TNG will know is almost as big as a Galaxy-class ship, and yet it is dwarfed by the station. Although the theme of Deep Space Nine is somewhat of a slow march, it does have some real feeling to it that begins to reflect the content of the show itself as the series progresses.

3 – The Original Series

The original Star Trek title sequence set the staple for opening titles to come, and is also the first of two entries on this list that include the iconic “Space… the final frontier…” speech. The visuals are dated but that won’t bother anyone who is fond of the original series, and the main theme is upbeat and great for a sing-along. The only true drawback to the original opening titles is that by far the shortest of them all, hardly even topping a minute in length. Still, these titles have gone on to be a pop culture staple and those first four notes of the opening theme inspires excitement and awe in fans even over half a century later.

2 – The Next Generation

To get the obvious out of the way first, the main theme for Star Trek: The Next Generation is brilliant. easily the most bombastic of the themes, it really sets the tone for the blend of sci-fi and politics in TNG, and the model shots of the Enterprise-D give the illusion that the ship is huge. Patrick Stewart’s opening monologue is arguably better than William Shatner’s, and also replaces “To boldly go where no man has gone before” with “To boldly go where no-one has gone before”, which genuinely rolls off the tongue better as well as updating the line to be more in-keeping with the spirit of the show. Also, it is worth mentioning that TNG actually had two variants of the title sequence, with the later incarnation having updated effects and an altered theme, both of which were well-received by fans.

1 – Voyager

Sporting the best visuals of the four best opening titles, the opening to Star Trek: Voyager gives a sense of the isolation that comes along with the running plot arc of the show by dwarfing the ship against planets, asteroid fields and nebulae, showcasing the epic scale of the Delta Quadrant. Unlike the TNG opening titles, the ship is a CGI render and not a physical model, and this allows for some great angled shots of the ship. The music is definitely one of the best Star Trek opening themes, and like DS9 it has a melancholy aspect to it that is quite unlike the bombastic fanfare of TNG, reflecting the more dire situation that the crew of Voyager have found themselves in. Overall, Star Trek: Voyager is the one incarnation of Star Trek that has a title sequence that I will never skip.

So that concludes this ranking of the Star Trek Opening Titles, if you enjoyed then be sure to leave a like and you can see more content related to this article below:

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Author: Dalek Rabe

I am a huge fan of Doctor Who, Halo, Star Trek and Star Wars and I enjoy watching classic Doctor Who episodes, customising Dalek figures, replaying games like Knights of the Old Republic and Jedi Knight: Jedi Academy from the early 2000s on the original Xbox. View all posts by Dalek Rabe

Strange New Worlds ' Opening Titles Are a Star Trek Nostalgia Assault

The worlds might be strange, but the vibes anything but..

Ironically, by being so different from all the other Star Trek shows going on right now, Strange New Worlds ’ wholehearted embrace of nostalgia for the original Star Trek is what’s making it stand out from the pack—and its new opening titles are no exception, a gorgeous riff on classic Trek in a shiny new package.

Watch Opening Titles For ‘Star Trek: Strange New Worlds’

| April 29, 2022 | By: TrekMovie.com Staff 207 comments so far

We are now less than a week away from the launch of Star Trek: Strange New Worlds on Paramount+ and more insights into the series are coming out this morning, including a look at the opening title sequence and another video featurette introducing the show.

Strange New Title Sequence

On Friday morning Strange New Worlds star Anson Mount (Captain Pike) revealed the opening title sequence for the show. He also expressed that it was an honor for him to perform the classic “Space, the final frontier…” narration. Watch it below. [Also available internationally at startrek.com ]

Perhaps the greatest honor of my career to date was getting to utter these words: “Space, the final frontier…” I could not be more proud to be a part of the @StarTrekOnPPlus team and I could not be more grateful to the Trek community. From the bottom of my heart, THANK YOU. pic.twitter.com/NgMvUC9nza — Anson Mount (@ansonmount) April 29, 2022

More From Inside The Show

Paramount+ also released a 22-minute introductory video hosted by Wil Wheaton. This includes the 8-minute featurette released yesterday, along with more footage and additional interviews with Anson Mount, showrunners Akiva Goldsman and Henry Alonso Myers, and Celia Rose Gooding (Uhura). There is also a segment with Jeff Russo talking about composing the theme for the series.

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love it! Love It!! LOVE IT!!!!

Looks beautiful, though the theme seems a bit muddled. Would have preferred something like this aka a refresh of the existing TOS theme: youtu.be/uSaIQuUwKEI

Still though, very nice and nice to see a proper ship opening sequence again. Now, if they can just give the Ent straight nacelle pylons/struts again like the classic Connie… but that’s just me being picky ;)

Hope it’s a good show *fingers crossed*

That sounds a lot like TOS. Well good news, friend! There’s 3 seasons’ worth of all that goodness!

The Cage had all those before TOS’ 3 seasons though tbf. Should match up or be closer.

“Looks beautiful, though the theme seems a bit muddled.”

Initially I wasn’t too impressed either but it is growing on me (10+ viewings so far)… And it IS a refreshed version of the TOS theme. It’s TOS done in Two Steps From Hell style if you ask me…

The rhythm of the main part reminds me of the 90s Hercules theme :-)

And the final TOS them towards the end is somewhat reminiscent of the X-Files (that one had already been in the trailers)…

So… stock music. Yeah, I can hear that. Ah well, the visuals are a nice enough continuation of the Prodigy/Voyager approaches to a title sequence.

I chose not to listen the theme just yet. Next Thursday, when the show starts.

You’re in for a real treat!

It’s definitely a variation on the theme, not simply a more intense reorchestration. The half note at the end of the first triplet is a higher note, not the original middle C-flat (I think that’s what it is). The recapitulation of the phrase the second around resolves on the middle C but then deviates again after that.

But – it’s a different crew, a different captain, so it’s ok. It’s actually thematically quite lovely in that, it does feel incomplete, because this ship hasn’t yet reached it’s first, best destiny yet. It’s kind of there, you can sense it, but it hasn’t been fufilled yet.

It’s not “Beyond the Rim of Starlight” but getting close :D

It’s growing on me…

We’ve all heard the original so many times that it is hard-wired into our expectations.

I’m going to give this one a few episodes before any critiques.

I agree. I would have liked the theme to have been grander. Hearing “Space, the final frontier…” though. Now, that got me!

Anson does a very good job with the narration. the music and visuals after the narration is very meh and not that exciting

Man, I disagree about the narration 100%. It sounds like Mount took some evil lessons from Harrison Ford’s BLADE RUNNER narration and tanked the delivery. Any chance that was just his first readthrough? Even Nimoy’s read of the material at the end of TWOK was better than this.

This was the one thing I was sure they couldn’t mess up. And the visuals are living down to expectations.

I agree with kmart. It sounded like Mount was half-asleep and needed a stimulant. Why were there no “titles,” like the name of the show (the words at the end were part of a promo, not part of the show’s opening) and “starring Anson Mount” and so on?

This is probably a “clean” credits sequence without the names added yet. We saw the same with the Prodigy opening titles unveiling.

Mount is very much a natural delivery American television and film actor of his generation.

He’s not from the Shakespearean theatre tradition that either Shatner or Stewart were formed in.

It’s generally a positive, but this may be one of the drawbacks in Mount’s style of performance.

I love the visuals (always up of gratuitous shots of the E), but the score feels kinda meh on first listen. It’s like when a non-licensed production is trying to evoke the original Star Trek theme, but skews it just enough to protect it in a court of law. I would have leaned into the original theme more. Really own it.

Beautiful visuals; theme is undistinguished / unmemorable / not BOLD!

NOW WE’RE TALKIN’!!

THAT’S THE SPIRIT!

I am not a huge fan of this Jeff Russo.

Agreed. He’s a good composer but not a good Trek composer. All of the the series have main title scores that are not memorable and sound similar to each other and anything else on tv, in my opinion.

I haven’t care for any of his Trek work. Too generic.

And, once again, I have to throw something over my lap….BRING. IT. ON.

So on Anson’s instagram… he says that they recorded this while Shatner was in orbit!

That just gave me thrilling Nerd chills. So cool.

Shatner was never in orbit. He was briefly in space, for about 3 minutes, not likely long enough to record the monologue. Maybe they intentionally timed it just right, I don’t know.

That was a suborbital flight, but that’s still awesome to hear!

It took me a decade to love the themes for DS9 and Voyager, this feels like it will grow on me much quicker.

Although, part of me was hoping that, in the same way TNG stole the theme from the TOS movies, SNW would use a re-arranged version of the Giacchino theme from the Abrams movies, which is easily one of the bright spots of that trilogy.

While I rarely warmed to VOYAGER itself, I loved the opening music instantly. It (and the visuals) totally embodied the theme of the show: little ship lost on the edge of the final frontier, far from home. There’s a reason Goldsmith got paid the big bucks: he could set the phone book to music, and it would work. By comparison the SNW theme is *sigh* a muddled mess, only really coming to life when Courage’s music takes over. And the visuals are pretty, but cartoonish. Still hope the best for the show, but these opening titles are a real disappointment.

(That said, I hated Giaccino’s endlessly repetitive theme for Trek 2009, and am delighted that Russo went nowhere near it.)

Yeah, my feelings too. There really isn’t a stand out theme beyond the existing TOS bits. The visuals as well don’t feel grounded. I showed the directors edition of The Motion Picture to a friend Wednesday evening and we were discussing just how bland most special effects are these days. They lack the ingenuity, inspiration and genius of someone like Douglas Trumbull. These artists don’t appear to have any real education or understanding of how these vehicles would actually function, they just know how to use their CGI software to make things move. Are they given an education in movie lenses and the like? Shot composition? I just don’t get that from the effects in this introduction or in the clips of the show I’ve seen so far. Unlike the physical model from TMP this CGI model just doesn’t feel real and with the right textures and attention to lighting / movement, CGI can definitely feel just as real as any physical model.

Giacchino’s is the best Trek theme since TNG, bar none. It’s not even close.

I liked Giacchino’s Star Trek theme most when he re-used it in Doctor Strange ;)

I love the Dr. Strange score but I’ve never heard any Trek 09-like cues in it. Which pieces are you referring to?

And TNG is a re-arrangement of Goldsmith’s TMP score.

You are, of course, welcome to feel that way. Obviously, I don’t, but that doesn’t mean you’re wrong. FWIW there hasn’t been a time I haven’t teared-up during the pre-credits sequence in UP, and a lot of that is due to Giacchino’s music, so my feelings about his work on the Abrams Trek films are nothing personal.

Since the TNG theme just peed all over the TMP theme, sounding offspeed and chintzy by comparison, you’re setting the goalpost crossbar below the actual playing field.

They had to hastily get Goldsmith to rework the TMP theme for TNG after Dennis McCarthy’s original main theme (which sounds like ’70s Saturday morning TV music) was disliked by Roddenberry & Co.

Well, to be honest, McCarthy’s TNG theme is pretty awful.

I didn’t think Goldsmith was involved at all; I remember around the time of TFF somebody asked him about TMP’s use of it and he said he thought it sounded pretty good (then again, JG was always very gracious and forgiving; when somebody asked him about other composers stealing from his work (looking at you, James Horner!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!), he said he was flattered.

Love Giacchino, his “Incredibles” one of my favorite soundtracks, but yeah, his Star Trek theme disappointed me. It was kinda “down” and gloomy.

I thought that just as TNG used the theme from TMP, “Enterprise” should have used the theme from “First Contact.”

That choice would have actually fit, because FC’s theme is what I consider ‘graduation day’ music (and no, that’s generally not a flattering description, and I apply it to quite a lot of John Williams less edgy work as well as his less intellectual sounding work), and thematically that sort of sound represents what ENT aspired to do.

Absolutely loved it! It’s going to be even better after a few episodes of the show, but I already know I’m gonna get excited for it every time

I’m predicting 30 executive producer credits.

I would not be surprised, but hopefully they return to classic Trek in every way, including the opening credits featuring the cast.

Using everyone’s names is a feature of new Trek. Classic Trek had two names in the first season and only added a 3rd for the 2nd and 3rd season.

What DO all those producers do anyway?

Spectacular opening credits, excellent voiceover by Anson Mount, and awesome remix of the TOS theme!

YEAH!!!!!!!!!!!

Interesting that he said “five year mission” instead of changing that part like Picard did. I wonder if that means that the plan is for five seasons, which would still end them a couple of years before TOS.

This version has “five yr mission” AND “where no one” together. It’s a blend of TOS & TNG which is a nod to both while being unique, & I like that. I’d presume they’d welcome it going much further than 5 yrs.

At 10 eps per season, that’s likely 6 months or less than real mission time, so they can go 10 years easily before we’d need to start to question that.

I am so optimistic about this series though, that I am expecting them to shift to major movies at some point — probably after the traditional Trek seven season run.

A bit dangerous going to warp between two moons and a planet!

This is the best opening title that I have seen on any Trek series, all the beauty shots of the Big E set me all a-flutter!!

It comes in third-best for me. Prodigy and Voyager are still above but it’s great!

We need the DS9 and VOY openings in HD!!!!

I haven’t seen Prodigy, and yeah Voyager title is pretty damn good – well except for that part where Voyager has an out of scale reflection from the rings of a planet, that didn’t look right, unless maybe it was a dwarf planet or something….

That’s the first thing I thought about at the end actually. Should they really be going to warp between the moons and the planet? Reminded me the scene in The Last Jedi when they warped the ship into a Star Destroyer to destroy it.

They’ll be millions of miles between them. Plenty of space for a good helmsman.

Cool titles, but I’m a bit confused by the five-year mission part. Ever since Into Darkness introduced the idea that no five-year mission had been completed before (which means certainly not before the divergence point when Nero arrived), I kind of figured the reason Kirk & Co. came back as heroes between TOS and TMP was because they were the first to complete such a mission. If that’s the case, then I’m not sure why Pike’s on a five-year mission. What defines such a mission, especially since he’s been captain since at least 2254, which is 6 years before this show takes place? My interpretation of a five-year mission has been one in which they don’t return to Earth for the duration (barring time-travel episodes like “Tomorrow is Yesterday” and “Assignment: Earth”). If that’s the case, then a five-year mission that begins in 2260 would make sense. And maybe the mission gets cut short when Pike has to confront his fate, paving the way for Kirk’s tenure.

Pike doesn’t meet his fate until after Kirk’s mission begins.

Correct, Legate. 😊

Shhhhh, the current production team doesn’t know that detail. They know Trek at a surface level.

In the prime universe, we don’t know whether Kirk’s Enterprise was the first to successfully complete a five-year mission. It’s never been addressed before on screen. Given that the Enterprise was launched in 2245 under April, and Pike took command in 2250, I think it’s reasonable to assume that there were successful five-year missions before Kirk. But again, we don’t know for sure.

Haha, I know. Was just making a joke.

Into Darkness did not introduce that concept. The novelization to Star Trek The Motion Picture explained that Kirk was the first captain to actually complete the mission and return mostly intact.

Personally that would make it much more interesting to me to see what the hell happened to the rest of the fleet.

Into Darkness is in a different universe.

Discovery has already established that Pike was first officer on the Enterprise under Robert April (2245-2250), when he became the captain. Michael Burnham mentions the Enterprise was away in its five-year mission during the Klingon War, so prévios five-year missions ARE canon. What is NOT canon is the idea that Kirk was the first captain to complete one of those.

To my understanding, the many many Star Trek books are not canon.

even the one written by Roddenberry :| (TMP novelization)

Having just recently reread that book after several years, I have to say THANK GOD.

With the Deltan “oath of celibacy” backstory stuff and the ‘New Humans’ business (both 100% pure Roddenberry), let’s hope TMP isn’t canon.

Didn’t Pike complete two five year missions?

It’s just me, but I like to think that the “Five Year Mission” concept came along later. Originally, the Constitution-class was meant to ‘show the flag’ in Federation and nearby territory. So just because Pike was in command for five or more years doesn’t mean he was given a single mission.

Then something happened that the Federation decided to really push out beyond the confines of its little corner of the Alpha Quadrant. I was hoping Strange New Worlds would set that up, with Pike & Co. starting to see that there are weird and dangerous worlds beyond the Federation and as the series comes to an end the Five Year Mission program is announced. But it seems unlikely now.

Looks phenomenal, the music score is growing on me the more I listen to it. Hopefully they add some sound FX to the final mix.

I had goosebumps every step of the way! LOVE IT!!!!!

Mount’s narration is spot on. The Enterprise is stunning. The music will probably grow on me. There is a space western/adventure feel to it.

Nice to see space looking colourful again. I always preferred the original TOS planet colours and not the remastered toned down ones, even if pink planets aren’t completely realistic.

Nice to see space at all. Picard Season 2 has been Los Angeles Trek.

This gave me goosebumps. Excellent. Hopefully the show will be as good.

It’s like Dr. Seuss designed an intro.

I see the ship.

I see the ship up close.

I see the ship far away.

I see the ship in green light.

I see the ship in orange light.

Where’s the ship?

THERE’S THE SHIP!

Also, the music sounds like someone was trying to play the TOS theme but couldn’t remember how it went past the first half-dozen notes.

So I guess when you see a Monet painting, you just see blotches of paint…

Well, now I do!

Bravo! Chris, do you need some suntan lotion? You just got burned!

If you say so, champ.

You made my weekend. Every time I read this, I start laughing. :D

Heh. I’m usually not a big fan of fan-snark, but aside from the fact that I largely agree, this was pretty funny.

I’m not crying ! YOU’RE crying!

To be fair all the main titles for trek shows have been pretty good for current era trek shows. That’s a positive most of us might agree at least.

Yea, the vast majority of fans are with you on that.

I rather liked (and still like) the Discovery theme music, if not the title design. I very much liked the melancholy of the Picard season 1 theme, but consider season 2 to be a muddle, as (unfortunately) I do this. So, it’s a mixed bag.

The second half of Picard season 2 has left a sour taste in my mouth. I’ve heard people blame covid for the dip in quality of the season but considering the track record of stretching plot threads razor thin in modern live action trek and other lazy writing tropes that I can go on and on about, I’m cautiously optimistic about SNW… and thats to put it mildly.

Here’s to a return of the spirit of classic trek! Fingers crossed!

Can’t blame covid for a dip in quality since so many other show have been hitting it out of the park (Better Call Saul comes to mind) but I think you nailed it: stretching plot threads razor thin. We really didn’t need 10 episodes to tell the story that’s unfolding in Picard season 2.

I love, I mean really, really love, the music and narration. They nailed that!!!

Regarding the E itself, I will withhold judgement until I see more, but three comments:

First, the ship needs a carwash? I mean how does a ship get dirty like that in space, and dust and dirt should fall off in cold vacuum.

Secondly, is it just me, or does space itself seem like there’s a lot of atmosphere and cloudiness that slightly blur most of the space scenes.

Finally, I prefer at least in some scenes with the lighting to see a lighter almost white E (like TMP E’s drydock scene), not a silver E…it looks too much like a silver metal diecast ship to me.

Regardless of these critiques on the E, I am really stoked to get to E1 next week!

Well, I agree with all of this, but when I made similar comments on these forums some time back, you dusted me for it!

It’s a shame, because I mostly like the Eaves design, but the lighting and rendering make the ship look like it’s stitched together out of iron plates. Why couldn’t it have been TMP-beautiful instead?

Hey Michael, well I guess now that I am seeing this in like every freaking scene in the intro, I appreciate your point more. I didn’t see that all the time in DSC, so I may have given it more of a free pass than I should have.

As Fonzie would say, I was “wrooooooooooong” :-)

Well, this is probably a trekmovie first, the three of us agreeing on something. Can I stand the strain?

“I love it when a plan comes together!” :-)

Actually, dust and dirt would “fall” towards the strongest source of gravitational force, which in open space would be the ship.

And that might not be dust. It could be weathering from radiation and heat (we see the Enterprise hull glowing red hot in one sequence.) The Space Shuttles all looked dingy after a couple of re-entries. That was heat weathering, not dirt.

Now that’s a viable point.

NASA has studied this on the space station, and this simply isn’t true. Settling dust is simply not a problem. Keep in mind that dust in space does not settle on surfaces like it does on Earth–it’s not slowly sinking, it hits the surface at relative speeds measured in km/s. Additionally there is very little friction in space in regards to dust attached to the ship, so every time the ship moved only the very very tiniest portions of duck would stick due to the infinitesimal amount of gravity from the ship holding it…unless it’s a truly massive ship (Death Star).

I mean, technically Starfleet ships have shields/navigational deflectors to repel any particles on a collision course. Then again, any “dirt” would be so small relative to the ship’s size that you probably wouldn’t be able to see it from a distance. So more likely damage to the hull as Thorny suggested. Or the producers simply made an artistic decision to have the hull look dirty, just like it’s an artistic decision to have smudges on the lenses in space shots or to fog up space shots.

Agreed, let’s go with Thorny’s suggestion so we don’t have to worry about it. :-)

@1:12 in the credits. I slowed the YouTube version down to .25 speed and used a straight edge from the center of the bridge to the perimeter of the saucer. The saucer is rotating around the bridge. I hope this is not a Discovery carryover.

No, that’s just an optical illusion.

That is some insane determination to try and find even the smallest thing wrong to complain about.

Give it a rest. It’s a fairly obvious observation from the observant eye, not a complaint. It’s probably an optical illusion as New Horizon said, or perhaps there is a GoPro behind the bridge filming the Enterprise turning.

That said, I hope that Discovery’s spinning saucer section hasn’t made it into SNW because it was a horrible McGuffin.

DSC’s saucer rotating is Busch League compared to the Trek McGuffin’s of Trek Backwards Time Travel through Sun Slingshot, Katra’s, Warp 14 and Protomotter. LOL

Pretty ship. Lifeless music, with no melodic energy.

Ditto. Very harsh.

Nice. Fine. I liked the closeups. But gravely disappointed they used the “Space the final frontier” bit. They should have left that alone. IF they had to do it this would have been the perfect opportunity to return to the classic “…where no man has gone before.” Instead of the more vague and frankly incorrect, “no one”. Which means they will be be encountering no life forms whatsoever.

I agree. Since a liens are practically everywhere, “no one” is actually inaccurate. If they didn’t want to use the “man” of TOS, they should have at least gone with “human” instead of “one.” More accurate and would have finally corrected TNG’s original politically correct error.

Yep. Even “human” works better if they decided they had to have the narration. Since I knew they wouldn’t have the stones to use the original it was just better to not use it at all.

“Human” is nonsensical. It gets rid of the sexism but it doesn’t include Spock, Hemmer etc… No one is correct, from Starfleet’s POV… Of course you can still say… well, aliens are already there wherever they are going… But then you’d have to say “where no starfleet officer has gone before” and that’s lame… “no one” is the best solution, officially approve by GR himself. And no, it’s not an “error”, it’s a decision, a choice, a message…

I agree. Not sure what the issue is with “one,” unless of course you a dude and/or a real stickler for TOS opening and really just want it to be “man,” but you are not courageous enough to come out and say that, so you look for other minor reasons to criticize “one.”

If someone thinks it should be the masculine form, “man” as in TOS, just say it and stick by your opinion. No need for the gamesmanship. We can accept that opinion, even if many of us we disagree with it.

The problem with your assessment is that it is not a masculine or feminine thing. It is a term that has for ages and ages referred to all humans. There is nothing wrong or sexist about it. Therefore, the change made no sense.

Agree to disagree. No “one” is nonsensical. Always has been. It means they will find no life where they are going. If one is going to decide to abandon the concept that “man” refers to ALL human kind then it is consistent to be just as rigid with the “no one” meaning no one is there. But the fact is when used in this context “man” is hardly a sexist term. It refers to all humans. Period. The same is true of “mankind.” And using “no man has gone before” does not preclude the possibility that Spock or Hemmer or any other non-human. They are still going where no human has gone before. It works the best on every level. Being approved by GR doesn’t help. He’s made plenty of questionable decisions. Including being against the casting of Stewart.

You honestly expect them to withdraw on the inclusion front. changing it back from “one” to “man” in 2022??? And “man” is a double lie: first there are women on board, second, there are loads of aliens on board. So “no one” is the only correct – not just politically correct – version. You could fill in “starfleet officer”, but that’s uninspired.

And no, I’m glad they included the narration. I would have been grievously disppointed if they hadn’t.

I think some older fans would like 1960s gender roles to make a comeback. It was fine to have a woman serving food and coffee as a yeoman or even be a nurse or communications officer, but heaven forbid she be at the helm or a first officer. At least GR got around the producer’s sexism by having Uhura occasionally take over the nav position when needed. That was pretty cool! By 1987 things had changed appropriately both on set and in the TNG opening narrative. Btw, in the real world during the 1960s it was common to call human rated spacecraft like Mercury, Gemini and Apollo – manned spacecraft. NASA and other space agencies changed that sometime in the 1980s or 90s. In fact NASA got rid of the Manned Spacecraft Center name for its operations in Houston in the 1970s. It is now known as the Johnson Space Center or JSC.

And I think that some younger fans are too quick to make bad assumptions with little to no information to back up those takes. And many are so very arrogant that they think their view is the one and only “correct” way to see things and as such find it extremely difficult to try and understand other points of view.

I did not expect them to change it back for what I think are obvious reasons. That is why it would have been better to just drop the narration. And no, “man” is not a lie. Using ‘man’ in this context is a part of the language. It refers to all humans. Just like ‘mankind’ does. It is not a term that omits females. The only way you could change it to make sense is to say “where no human has gone before.” Which, as you say, is uninspired.

I actually really like it. The music is fun, the visuals are beautiful. I can’t wait to see it in 4K and on a large TV screen. That’s going to be a treat. I feel the wonder and excitement that the USS Enterprise has always brought me.

As an afterthought memberberry. Meh. This seems to be a thing with these new shows, the Courage’s fanfare is basically “grafted” onto the Discovery’s theme, it doesn’t even fit there, and is followed by that ominous low brass stabs. Bleh.

Happy Friday Everyone! What a great way to begin the weekend!

Great job by Anson Mount and I assumed he was going to get to narrate those famous words and when the Enterprise full view first appears after he says, “Where no one has gone before”… spectacular!

Agree with most of the comments, I liked the visuals of the Enterprise traveling through space and I too thought about them going to warp between planets…. haha too funny! The naysayers will have a field day with that one!

Overall great job, IMHO the visuals of the Enterprise flying through space reminded me of the opening of Voyager and Prodigy! The music was maybe a little underwhelming but I will have to listen and watch a few episodes before I give a verdict.

Btw, I am sure people are happy it didnt start with, It’s Been a Long Road! (Although it really has – 1964 to 2022)

Absolutely LOVE the visuals, and the narration. The theme leaves me utterly cold, a soulless mechanical echo of prior greatness. This is no future classic theme alas. Fingers crossed the actual in-episode scoring is far stronger, colourful and less synthetic sounding,

Wow. I like it. Its a good and strange mix of all previous Trek shows, 50+ years into one song. I feel the new, the past, present, and future. This is actually very cool.

If I was a teenager now, listening to this theme would seriously push me to join USSF. Maybe is the military drum beat and my joy to be a fan. Like Picard Season 2 Opening theme, I hear more military less diplomacy, and I think that is very accurate for our current domestic issues.

I need to listen to this song all week. It is a weird and fascinating variant. I can hear TOS, TNG, Voyager, Discovery, Prodigy, Enterprise Parallel Universe, all into one song!

Visuals, same vibes. I see a Voyager and Prodigy. In one of the shots, the ship is moving exactly like the NX-01 Enterprise. :D

Anson Mount is the highlight. I actually enjoy his voice over. It is powerful. You could clearly tell he is very proud to be leading this show. And he is truly enjoying to be the new captain.

Can’t wait for next week. Look forward to watching Picard finale and Strange New Worlds premiere!!! 🖖🏼

Yes, the scenes feel like a sequel to ENT. I wonder if the theme-song of ENT fits to these scenes? 🤔😉

Very likely, at some point a YouTuber will upload the Enterprise version!

trekcore did it over on their twitter and it fits perfectly

It’s lacking the “oomph” that many of the other Trek themes have, especially since it heavily uses the original TOS composition. For all the movie’s faults, Giacchino’s version nails it, I wish they either just used that or something closer to that.

I only listened to it on a laptop, but perhaps Mount’s voice also needs a bit of extra reverb or something else to make it pop a bit more.

I think he’s trying to set his version apart from Shatner’s and Stewart’s. He’s going to be the most mellow of the Enterprise captains. And I mean all this in a good way.

I was not a big fan of Giacchino’s theme (IMO it would fit a western (yeah yeah I know, TOS is a space western), it didn’t have that sci-fi vibe that Goldsmith themes have), but I’ve gotta hand it to him – it’s catchy and memorable.

Is the end of that short doc full of new images and scenes? Maybe I hadn’t seen those, but they look soooooooooo sweet.

My inner geek approves….

Opening narration: so so glad it’s there. But it’s very bland in its execution. No wonder or excitement, which is a missed opportunity.

Visuals: stunning (perhaps a bit too Prodigy/cartoony)

Music: beige. The driving rhythm is great, but there is no theme. No melody. It doesn’t go anywhere. Again, missed opportunity.

Overall, there are some really good bits, but it doesn’t hang together. It stinks of committee writing. It’s not bad by any means. But it’s just a bit……meh.

I don’t want to sound negative, and I am more excited about SNW than any modern Trek. I just feel they could have done better.

Effects look great, with some shots seemingly taken right off the covers of those classic Trek book covers from the 70’s and 80’s. Anson Mount’s recitation of the Star Trek creed is well read. Theme music is meh to me; the variations on the classic theme work to varying effect and the whole just feels like less than the sum of its parts.

The big question is the quality of the writing which is what this show will ultimately live and die on. My hope is that the more episodic nature of the show will make it easier to move past shows that maybe don’t work as well and that we at least have a few memorable episodes sprinkled in there. I’m not holding my breath given the creative team’s track record but I do sincerely hope they get it right.

Those textures on the hull are horrendous!

Agreed ! Some really bizarre choices were made to make everything look so embossed and dirty, the hull plating looks really strange, dark and gappy, but yet also shiny and reflective? The motion of the ship as it flies past is also kinda lifeless and static, they could’ve done with some more motion blurs to give it some more life. Overall I get video game vibes from this, and not in a good way.

Really hope they get the time to re-do some of these shots; 00:45- 00:58 in particular. It’s giving me season 1 of discovery effects quality.

i am a StarTrek fan from the very first days of TOS. these characters are a part of my life. i know there are many who feel that way as well. thank you for making the circle complete.

Jeff Russo has had the unenviable task of composing three – four? Is it four? -new Star Trek theme songs in roughly as many years. I think he’s done very well distinguishing between them, although he loves his string sections, which is honestly refreshing after the brass-centric Berman years (which I also love, and I play a brass instrument).

This time around, he’s keeping the rhythm of the TOS melody but changing the notes. A nice little solution for an immediate prequel.

And the twinkle at the end is cute af.

Three: Discovery , Picard and Strange New Worlds . Chris Westlake composed the Lower Decks main theme. Michael Giacchino composed the Prodigy main theme.

I don’t quite understand why Secret Hideout is so enamored with Jeff Russo. His work is nothing to write home about in my opinion. Picard Season 1 is probably his best work, but they bastardized it with Season 2.

The theme is just OK, but I love everything else. I like the closeups and how big they made the ship look.

This is the best opening title and theme of all the new Star Trek series. I liked how they mixed in the original theme with new music. They are really going for a nostalgia feel with this.

It’s pretty good in my opinion. But Jeff Russo is no Jerry Goldsmith. Voyager’s theme is in an entirely different league.

Glad to hear those words again and this time from Captain Pike. I was hoping for the narratiojn from the Early Voyages comics, but this will do. Spock already said a variation of these words in the movies.

The opening theme feels a little like the remix modern Doctor Who opening to me: the original is there, but a bit off. Yes, I understand remixes, and I get that this is a different generation of the ship’s crew, but it will take a little getting used to. For me at least.

I think the opening monologue is a little flat and needs more conviction.

By ‘a little flat’ I mean Sir Patrick’s had more gusto. Shatner’s was a little matter-of-fact, and I understand context, so I’d like I little more verve, but that’s just me.

Anyone think some of the CGI is off a little? Some parts of it look like out of a 90s sci Fi bmovie…other parts look amazing.

Think Picard still had the best opening theme song out of all new trek…this one is similar to discovery…it’s ok, not earth shattering

The opening score feels a little New Who to me.

No, I find the CGI to be off a whole lot, not a little. Some of these vendors have done stupendous, credible yet dazzling work, but not for Trek. These show look horrible. The Borg cube in Picard wasn’t even up to the level of a 90s video game, and DSC’s ship stuff in the seasons I watched was excrement. Why is everything so mushy and dirty-looking and blue? They’re in a vaccum — in SPACE!

I don’t know somewhere between the Abrams movies and the start of Discovery the visual effects of Trek got muddled. I mean Trek used pride itself on the quality of its visual effects back in TNG days, while having the occasional cheesy bits, the effects almost always had that smooth clean edge. After Discovery it seems like the edict for the space shots is to make them more fuzzy, dirty and less clear. The ship CGI effects also leave a lot to be desired, maybe they should have done what The Orville did in its first season and built a model of the ships and get a better idea of size and movement from those models and incorporate them into the final CGI models.

I find the CGI of the Enterprise in DSC season 2 looked better. Altough I like that they changed the design a since then a bit to get closer to the TOS-Enterprise.

I keep thinking this weird look is very intentional; there’s no reason for things to look this bad otherwise, given the tools and the talent involved. And unlike the way it was back in the 90s, by now CG people have been educated with photographic art understanding as well as computer knowledge, so factors like depth of field and contrast and real-world stuff should be baked in to their worldview — as should the fact that space is black and a vacuum, not a dirty fishtank. Sometimes this stuff looks like seaQuest through a dirty screen door.

YES!!!!!!!! Finally!!! GOT! IT! RIGHT!!!!!!!

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TREKNEWS.NET | Your daily dose of Star Trek news and opinion

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Star Trek: Discovery 506 “Whistlespeak” Review: Decoding the Relationship Between Faith and Technology

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Star Trek: Discovery “Face the Strange” Review: Embarking on a Temporal Odyssey

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‘Star Trek Online’ lead designer talks the game’s longevity, honoring the franchise, and seeing his work come to life in ‘Picard’

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STAR TREK: DISCOVERY Opening Title Designer Talks its Evolution for Season 2

Star Trek: Discovery ‘s opening credits are a vast departure from those of any Star Trek series to come before it. The detailed blueprint drawings that rotate, spin and expand against a sepia toned texture, set against Jeff Russo’s score, have earned the sequence an Emmy nomination for Outstanding Main Title Design.

Ana Criado , the creative director at the L.A.-based agency Prologue, recently discussed how she and her team brought the 90-second sequence to life, in an interview on IndieWire .

“It didn’t seem like a huge challenge until I started to know more about ‘Star Trek’ and then I said, ‘OK, this isn’t gonna be easy.’ We were lucky that we found this idea of blueprints and it fit in perfectly with the concept of the TV show. It’s a prequel, so it leaves its own space to create and to present the elements that everybody knows,” Criado said.

She went on to talk about how the project evolved over time and the factors that led to the sepia tones it’s come to be recognized for.

“At the beginning, we started to work with black and white. But the black and white by itself looks very cold,” Criado said. “We are relating to the Renaissance. I wanted to make it look like we are designing everything from scratch. I wanted the white, sepia color in the background. I didn’t want to put too much color, but I didn’t want to leave it just black or grey.”

The captain’s chair was added for Discovery ‘s second season

For Discovery ‘s second season, Criado and her team were tasked with updating the sequence to include other iconic elements that would play heavily into the narrative of that season. One of those being the captain’s chair.

“It was one of the most important pieces that they wanted to show. It was iconic for the fans, because it’s related to a new captain,” Criado said. “We needed to take into account which pieces we were removing and gonna be replaced. We tried different representations, but the one that we chose — with the balance of the transparent, X-ray parts of the chair and the solid parts — they fit together perfectly. We did put some easter eggs for the fans in that part, if they want to look closely.”

Three Starfleet insignias

Another update to the opening included the addition of three Starfleet insignias.

“For me, that specific moment was the most difficult one to fit in the sequence. That image is very crowded, because you have the room and the three symbols. We decided to not make them appear at the same time, which would make it more distracting,” Criado said. “I think it finally worked, but it was a bit of a nightmare for us to try to fit them perfectly and not make it distracting. It still shows the three badges, which was the most important thing for us.”

Discovery isn’t the only Star Trek property Criado and her team are working on. In addition to the third season of Discovery , they’ve also been tasked with creating an opening for Star Trek: Picard , when it premieres early next year.

“It’s very exciting and we are so happy to keep going with this amazing team and CBS. They are very collaborative and it’s always a pleasure to work with them, honestly,” Criado said.

You can check out the first and second season opening title sequences for Star Trek: Discovery below.

Star Trek: Discovery – Season 1 Main Title Sequence

Star Trek: Discovery – Season 2 Main Title Sequence

Stay tuned to TrekNews.net for all the latest news on Star Trek: Discovery , Star Trek: Picard , Star Trek: Lower Decks and Star Trek: Short Treks . Connect with us at @TrekNewsNet on Twitter , @TrekNews on Facebook , and @TrekNews on Instagram .

DataMeister1

August 29, 2019 at 12:30 am

I can’t imagine who would have nominated this.

People have drastically different tastes I guess, but I thought the title sequence was among the worst of modern TV shows. Not just the worst of the Star Trek shows, but of all shows across the board. It is boring and the music is borderline depressing. It may have good technical design, but creatively it is lacking for me.

It kind of gives an impression of a tired and run down show instead of something exciting. That’s not something I was expecting from a new Star Trek series.

Wayne Hutton

August 29, 2019 at 6:10 pm

I couldn’t disagree more I’ve never really been a trekkie, but I can honestly hands down say I was hooked on season 1&2 and will definitely be looking forward to anymore discoveries that may follow.

August 29, 2019 at 6:19 pm

What about the title sequences did you like so much?

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Watch the Opening Titles From Star Trek: Strange New Worlds

By Jake Abbate

Star Trek: Strange New Worlds might be pushing its namesake franchise into the future, but the show’s opening titles are a blast from the past. Ahead of its debut next week, Paramount+ has released the series’ full opening sequence, which both honors its forebears and sets the stage for epic new adventures. You can check it out for yourself below.

The sequence begins with the USS Enterprise firing up its engines to prepare for another journey through the cosmos. But as it takes off, we hear the familiar “These are the voyages…” narration from the original Star Trek series, this time delivered by Anson Mount’s Christopher Pike. Even the music (composed by Nami Melumad) features a unique twist on the classic Star Trek theme, hinting at plenty of thrills ahead.

These are the voyages of the starship Enterprise… Here’s your first look at the opening titles from #StarTrek #StrangeNewWorlds ! pic.twitter.com/090MUm2Nbd — Star Trek on Paramount+ (@StarTrekOnPPlus) April 29, 2022

RELATED: Star Trek: Strange New Worlds Trailer Charts the Stars With Captain Pike

The opening sequence also boasts some impressive visuals as well. There is no shortage of shots of the Enterprise flying from one galaxy to the next, navigating an assortment of nebulae and asteroid fields before finally making the jump to hyperspace. Additionally, to help get fans ready for the series, Paramount+ has also released a new inside look at the show hosted by Wil Wheaton. You can watch the 22-minute preview below.

Star Trek: Strange New Worlds will premiere on Paramount+ on May 5.

What do you think of the show’s opening titles sequence? Let us know in the comment section below!

Recommended Reading: Star Trek: The Next Generation: Through The Mirror

We are a participant in the Amazon Services LLC Associates Program. This affiliate advertising program also provides a means to earn fees by linking to Amazon.com and affiliated sites.

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The Inadvertent Callback in ‘Star Trek: Strange New Worlds’ Opening Titles

T he series premiere of “Star Trek: Strange New Worlds,” which shares its name with the series, aired on May 5, 2022, and came with an unexpected nod to the past. Directed by Akiva Goldsman who also holds a position as an executive producer on the show, the nostalgic title sequence turned out to be a serendipitous addition. Goldsman’s impromptu idea to use the iconic “Star Trek” sequence captured the team’s admiration. Meyers shared:

“In the first director’s cut of the pilot that Akiva did, he just put a new version of the old ‘ Trek’ opening titles sequence in, just like a placeholder. […] And we sort of loved it.”

This trial sequence used the famed “Star Trek” theme and credits but was never intended to be the final product. Nevertheless, when the team reviewed the pilot without an official theme sequence, they found a charming connection to the franchise’s roots. The spinoff is rich with connections to its predecessor, featuring characters such as Kirk, Spock, and Uhura, who sailed the same starship decades earlier.

With the “Star Trek” universe undergoing transformations, with shows like “Picard” wrapping up and others slated to conclude soon, the continuity presented in “Strange New Worlds” title sequence gives fans a touch of the original in an era where the franchise is evolving. As “Prodigy,” “Discovery,” and other shows make their exit, and plans change for “Section 31,” it’s poignant that “Strange New Worlds” alongside “Lower Decks” will carry the torch, maintaining a tribute to the saga’s beginnings.

FAQ Section

Who directed the pilot episode of “star trek: strange new worlds”.

Akiva Goldsman directed the pilot episode of “Star Trek: Strange New Worlds.”

What was the unexpected addition to the “Strange New Worlds” pilot episode?

The unexpected addition was the title sequence from the original series used as a placeholder, which garnered positive reactions from the team.

Which characters from the original “Star Trek” appear in “Strange New Worlds”?

Characters such as Captain Kirk, Spock, Uhura, Dr. M’Benga, Nurse Chapel, Number One, Scotty, and T’Pring appear in both shows.

What is the current state of the “Star Trek” universe?

“Star Trek” is currently in a phase of contraction, with several series ending and others being reformatted as films.

Which “Star Trek” series will remain after the current changes?

“Strange New Worlds” and “Lower Decks” are the series that will remain after other editions in the franchise conclude or evolve into different formats.

The intuitive choice to incorporate a version of the iconic “Star Trek” opening titles into “Strange New Worlds” was a stroke of nostalgic genius that linked the new series to its storied origins. As the “Star Trek” universe undergoes various changes, it’s a tribute that resonates with longtime fans and symbolizes the enduring nature of the franchise. “Strange New Worlds,” sailing the same celestial path as the original “Trek,” honors the past while propelling the narrative into the future. It’s a fond reminder that sometimes the unplanned elements can create the most memorable experiences for audiences.

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Star Trek: Lower Decks opening title sequences

View history

Title screen for Season 1

The opening title sequences for Star Trek: Lower Decks were designed to showcase the ship, the USS Cerritos , and quickly establish the tone of the first Star Trek comedy series. The theme was composed by series composer Chris Westlake .

Season 1 [ ]

In the Season 1 Blu-ray special features ( The Main Title ), series creator Mike McMahan explained that production knew the opening titles were going to represent a lot of the Cerritos ' screen time given how short an episode would run.

Season 2 [ ]

USS Cerritos witnesses the Romulans and Klingons fighting the Pakleds and Borg

Altered final sequence

The title sequence was altered slightly for the show's second season . The sequence in which the Cerritos runs away from a battle between the several Borg cubes and Pakled Clumpships against several Romulan warbirds and Klingon Birds-of-Prey . The windows on the Cerritos saucer have been dimmed, and the dark grey portion has glowing rectangular objects attached to the aft rim.

Series composer Chris Westlake noted, for the second season, the team " got to re-record the theme [in 2021 ] with a live 60-person orchestra on the Sony scoring stage. " [1]

For " wej Duj ", which featured the lower decks aboard a Vulcan and a Klingon ship, McMahan had originally conceived of modifying the opening credits so that every card would show in alternating Vulcan language and Klingonese , unreadable to the viewer. "Because production was out of bandwidth" and it would have added more than a minute to the show's runtime, the idea had to be dropped. [2]

Season 3 [ ]

USS Cerritos witnesses the Romulans and Klingons fighting the Pakleds, Borg and Crystalline Entity

The title sequence was altered slightly for the show's third season . The sequence in which the Cerritos runs away from a battle between the several Borg cubes , Pakled Clumpships , Romulan warbirds , Klingon Birds-of-Prey against a Crystalline Entity , which destroys one of the Borg cubes.

Season 4 [ ]

USS Cerritos witnesses the Romulans and Klingons fighting the Borg, Pakleds, Crystalline Entity, Breen, and Whale Probe

Whale Probe and Breen interceptors in upper left

The space battle title sequence was again altered for the show's fourth season . The new addition to the ships in battle is the Whale Probe , originally featured in Star Trek IV: The Voyage Home , and Breen interceptors , which last appeared in " Trusted Sources ".

2 ISS Enterprise (NCC-1701)

May the 4th be with you! Here’s everything our critics have said about the ‘Star Wars’ franchise

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With “Star Wars” Day looming, it’s an apt time to take stock of The Times’ reviews of each installment — movies and TV shows — in the ever-evolving, paradigm-shattering intergalactic franchise.

Updating our list from 2015 , which came before a new wave of “Star Wars” films and TV series endeared the franchise to a new generation of fans, we’re including our reviews of the latest theatrical entries in “Star Wars” movie canon, and some notable mentions of the TV, streaming and serial projects that gave us backstories for Han Solo, Obi-Wan Kenobi, the Mandalorian and his beloved Grogu.

Here, in the order of the action in the “Star Wars” universe, are the reviews and features (some from a long time ago) that appeared in a newspaper in a galaxy not so far, far away ...

‘Star Wars: Episode I — The Phantom Menace’ (1999)

A boy flanked by two men, all dressed in Jedi robes, kneels near a droid in a scene from a film in the 'Star Wars' franchise

Former L.A. Times film critic Kenneth Turan — who reviewed all three prequel films — didn’t love “The Phantom Menace.” His review said it was obvious that the new addition to the franchise was “aimed at younger audiences” and noted that it “delivers lots of spectacle but is noticeably lacking in warmth and humor.”

Review: The Prequel Has Landed

‘Star Wars: Episode II — Attack of the Clones’ (2002)

Padme Amidala and Anakin Skywalker walk down an archway

Turan was also not feeling newcomer Hayden Christensen and his sulky take on Anakin Skywalker: “Judging by his performance here (perhaps not a wise thing to do), young Canadian actor Hayden Christensen was picked for Anakin strictly on his ability to radiate sullen teen rebellion, something he does a lot. Anakin chafes like a grounded adolescent at the restrictions Obi-Wan places on him, grousing that the master is “overly critical. He never listens. He just doesn’t understand. It’s not fair.”

Turan dubs the relationship between Anakin and his beloved Padme Amidala (Natalie Portman) “High School Confidential in Outer Space” and states that the two are less troubled by their forbidden love and more “burdened by a formidable lack of chemistry.”

Review: “When We Last Saw Our Heroes ...”

‘Star Wars: The Clone Wars’ (2008)

A computer-animated girl and boy standing back-to-back and holding up their lightsabers

Times staff writer Michael Ordoña described the feature film that launched George Lucas’ computer-animated TV series as a “theatrical pilot for the upcoming animated television series” and wrote that “anyone older than 8 with the majority of brain functions intact will have a bad feeling about this.”

“But where new characters, plot threads and better dialogue might have made up for much, ‘Clone Wars’ simply doesn’t aim high enough,” he wrote. “For those who had expected improved writing from the last four films [‘Return of the Jedi’ to ‘Revenge of the Sith’], your hopes will be dashed on the ornately realized rocks of Tatooine.”

Review aside, the TV series ran for seven seasons — first on Cartoon Network, then Netflix and finally Disney+ — from 2008 to 2020. Not to mention, “The Clone Wars” (both film and series) introduced its share of key characters and lore that has been indispensable to the franchise in the Disney+ era.

Review: It’s a Weak Jedi Mind Trick

‘Star Wars: Episode III — Revenge of the Sith’ (2005)

Hayden Christensen as Anakin Skywalker in a close-up frame of his face

Turan came in with show-stopping pun: “‘Revenge of the Sith’ is a visual stunner, but beware of the talk side.”

Enough said.

Review: It Looks Hot ...

‘Solo: A Star Wars Story’ (2018)

A man in a short brown jacket stands by a Wookiee and leans on a scruffy-looking intergalactic bar

Former Times film critic Justin Chang took on the newer “Star Wars” installments after Turan left The Times in 2020. His duties involved reviewing the lesser-loved film “Solo,” whose rocky behind-the-scenes story involved the firing of original directors Phil Lord and Chris Miller and the hiring of their replacement, Ron Howard. The film details how fan-favorite rogue Han Solo scored the famous Millennium Falcon, met Chewbacca and came by his surname.

“[Howard] and his collaborators (including screenwriters Jonathan and Lawrence Kasdan) have cobbled together a high-speed, low-energy intergalactic heist movie, an opportunity to spend too much time with people you don’t care about and too little time with people you do,” Chang wrote.

Review: ‘Solo: A Star Wars Story’ Never Gets Off the Ground, But Don’t Blame Alden Ehrenreich

Obi-Wan Kenobi has a deep history. Before the Disney+ series, here’s what to know

We look back at the Star Wars history of Jedi Master Obi-Wan Kenobi, originated by Alec Guinness and played in ‘Obi-Wan Kenobi’ by Ewan McGregor.

May 26, 2022

‘Obi-Wan Kenobi’ (2022)

The titular former general and Jedi master, introduced in 1977’s “ A New Hope ” and whose backstory was expanded upon in 1999’s “ The Phantom Menace ,” got his own space adventure in this Disney+’s six-episode limited series starring Ewan McGregor.

Times staff writer Tracy Brown explained that for series co-write Joby Harold, part of the excitement of the Disney+ series was exploring what could have happened between “Revenge of the Sith” and “A New Hope” for McGregor’s Kenobi to become the version embodied by Alec Guinness. The series is also a touching tribute to everybody’s favorite princess: “Leia’s role in ‘Obi-Wan Kenobi’ both expands her significance in the overall ‘Star Wars’ story and recontextualizes existing canon in a way that deepens Leia’s imprint on the saga,” Brown wrote.

Commentary: How Disney’s ‘Obi-Wan Kenobi’ changes Princess Leia’s legacy forever

‘Star Wars Rebels’ (2014)

Times television critic Robert Lloyd wrote that the 2014 expression of the “Star Wars” brand seemed “sent to hold your attention until the arrival of the seventh live-action film.” The cartoon series premiered on the Disney Channel and was “the first tangible fruit of the incorporation of ‘Star Wars’ into the Walt Disney empire, and a Disney cartoon is very much what this is.”

“Though firmly in the Lucas tradition, this is also a Disney cartoon, for a Disney crowd and a Disney corporation — watching, you can almost feel the plastic and the plush — and whatever the characters are up to, however cute or sentimental the business, it is smartly designed and cinematically staged, and not hard to enjoy.”

Review: Disney Is the Driving Force of ‘Star Wars Rebels’

‘Andor’ (2022)

A man in the pilot seat of a spacecraft with two passengers

The critically hailed Disney+ series “Andor ” tells the story of how Cassian Andor (Diego Luna) transforms from disaffected, self-centered thief to committed resistance fighter willing to die for the cause, Brown wrote.

“Eschewing many of the familiar tropes and set pieces associated with the franchise, the series has pushed ‘Star Wars’ storytelling to new heights,” Brown said, and its political proclivities made the series must-see TV.

Commentary: ‘Star Wars’ Has Always Been Political. ‘Andor’ Made It Must-See TV

‘Rogue One: A Star Wars Story’ (2016)

Felicity Jones as Jyn Erso in "Rogue One"

Landing in theaters a year after “The Force Awakens,” the brisk and momentous story was actually set about three decades prior and is a “swiftly paced, rough-and-ready entertainment that, in anticipating the canonical events of ‘A New Hope,’ manages the tricky feat of seeming at once casually diverting and hugely consequential,” Chang wrote.

“With the Death Star undergoing its final quality assurance tests, the evil Galactic Empire is very much in the ascendant. The Rebel Alliance is fractious and disorganized. And what initially seems like a zippy stand-alone adventure soon reveals itself as a grimly exciting prequel to the first, or should I say fourth, film in the series, ‘Star Wars: Episode IV — A New Hope.’ (Think of the new movie, if you must, as ‘Star Wars: Episode III.V — Dawn of a New Hope.’)”

Review: ‘Rogue One’ Adds an Uneven but Thrilling Wrinkle to the Mythology of ‘Star Wars’

an adorable alien toddler being held by his helmeted father in the cockpit of a spaceship

Unlike ‘Andor,’ ‘Mandalorian’ is going all in on ‘Star Wars’ lore. Here’s what to know

Season 3 features protective space dad Mando (Pedro Pascal) and adorable Grogu (Baby Yoda) on yet another journey steeped in “Star Wars” allusions.

March 1, 2023

‘Star Wars: Episode IV — A New Hope’ (1977)

Peter Mayhew as Chewbacca, left, and Harrison Ford as Han Solo in an image from the first "Star Wars" movie

The first-ever “Star Wars” film from director Lucas — originally titled simply “Star Wars” — was heralded by the late Times critic Charles Champlin as “the year’s most razzle-dazzling family movie, an exuberant and technically astonishing space adventure in which the galactic tomorrows of ‘Flash Gordon’ are the setting for conflicts and events that carry the suspiciously but splendidly familiar ring of yesterday’s westerns, as well as yesterday’s ‘Flash Gordon’ serials.”

Review: ‘Star Wars’ Hails the Once and Future Space Western

‘Star Wars: Episode V — The Empire Strikes Back’ (1980)

Darth Vader reaches out to Luke Skywalker, who is balanced in a precarious position on space scaffolding

Champlin really got into the spirit of the Force, praising both the first film and this one for their optimism and more: “‘Star Wars’ and ‘The Empire Strikes Back,’ like all superior fantasies, have the quality of parable, not only on good and evil but on attitudes toward life and personal deportment and there is something very like a moral imperative in the films’ view of hard work, determination, self-improvement, concentration and idealism,” he wrote. “It does not take a savant to see that this uplifting tone only a little less than the plot and effects is a central ingredient of the wide outreach of the films.”

Review: In the ‘Star Wars’ Saga, ‘Empire’ Strikes Forward

‘Star Wars: Episode VI — Return of the Jedi’ (1983)

A woman in a space bikini sits in front of a blobby space villain. A droid is on the left and a sycophant is on the right

We found someone who loved the Ewoks! The late Times movie critic Sheila Benson called the final film in the original trilogy “frankly irresistible” and heaped tons of praise on the furry fiends from the moon of Endor.

Review: ‘Star Wars’ Continues With an Inventive ‘Jedi’

‘The Mandalorian’ (2019)

The big-budget, live-action series launched Disney’s streaming platform (and gave us the adorable “baby Yoda,” a.k.a. Grogu). Lorraine Ali, who was then a Times’ TV critic, described the show as “‘Star Wars’/Disney right down to its weird sand creatures and blighted outposts, and a safe-but-entertaining start” for Disney+.

“The premiere episode of the first live-action series in the ‘Star Wars’ universe is a direct descendant of the big-budget film franchise in both tone and execution. It’s long on impressive special effects and alien shootouts, and short on a fresh story line beyond the usual unwitting hero with a mysterious family tree and a destiny that involves saving the universe (or part of it),” she wrote. “The feel of the series is blockbuster cinema — action-packed, predictable, entertaining — so it’s jarring when the first episode ends at around 35 minutes.”

Review: ‘The Mandalorian’ Is ‘Star Wars’ to the Core: A Safe, Entertaining Blockbuster

‘The Book of Boba Fett’ (2021-22)

A woman leaning over a man in a helmet and armor seated on a throne

The first spinoff of “The Mandalorian” focuses on fan-favorite bounty hunter Boba Fett, who left a lasting impression despite only six minutes and 32 seconds of screen time and four spoken lines during the original trilogy, Brown wrote. (Hey, the action figure was cool.)

Picking up after the events of “The Mandalorian,” “The Book of Boba Fett” follows Fett (Temuera Morrison) as he establishes himself as the new crime lord in charge among the local scum and villainy on Tattooine, along with his faithful right hand, Fennec Shand (Ming-Na Wen). The series also filled in some gaps about what Fett was up to between the events of “Star Wars: Episode VI — Return of the Jedi” (1983) and his appearance in “The Mandalorian.”

Commentary: Boba Fett Had Four Lines in ‘Empire Strikes Back.’ How He Ended Up With His Own TV Show

‘Star Wars: Ahsoka’ (2023)

Ahsoka and Hera of the 'Star Wars' universe standing in front of a spacecraft

When Ahsoka Tano crashed into Anakin Skywalker’s life as his newly assigned padawan apprentice in 2008’s animated “Star Wars: The Clone Wars,” she changed “Star Wars” forever.

Much like her master, the teen was reckless, impulsive, stubborn and didn’t always follow the rules. She was also the first female Jedi protagonist who audiences got to see in action onscreen in a franchise that until pretty recently held the lightsaber-wielding users of the Force in the highest regard.

The next chapter in the character’s 15-year legacy was “Star Wars: Ahsoka,” which similarly broke new ground on the live-action side of the galaxy far, far away. Starring Rosario Dawson, the series boasts the first nonhuman “Star Wars” title hero as well as a core cast primarily composed of women. Both are representational milestones and examples of how “Star Wars” has become much more inclusive than it was when the original film premiered in 1977.

Commentary: ‘Ahsoka’ Proves That ‘Star Wars’ Has Long Been a Galaxy Where Women Can Be Heroes

‘Star Wars: Episode VII — The Force Awakens’ (2015)

A black-cloaked movie character is seen from behind hunched forward in a dark forest and holding a T-shape red lightsaber

Turan wrote that the most hotly anticipated motion picture since “Gone With the Wind” had “an erratic, haphazard quality to it” but was “a definite improvement” on the franchise’s “abortive” second trilogy set, “The Phantom Menace,” “Attack of the Clones” and “Revenge of the Sith.”

“‘The Force Awakens’ is only at its best in fits and starts, its success dependent on who of its mix of franchise veterans and first-timers is on the screen,” Turan wrote. “But ‘The Force Awakens’ is also burdened by casting miscalculations and scenes that are flat and ineffective. Sometimes the Force is with this film, sometimes it decidedly is not.”

The Force was certainly with it at the box-office. The film grossed $120.5 million on its opening day, and in 2016 became the highest grossing movie in U.S. history (at the time), not adjusting for inflation.

Review: ‘Star Wars: The Force Awakens’: Was It Worth the Wait?

‘Star Wars: Episode VIII — The Last Jedi’ (2017)

A fighter pilot sits in a spaceship while the ship is on land

The series’ eighth official episode, directed by Rian Johnson, was hailed as “easily its most exciting iteration in decades” by Chang, who described it as “the first flat-out terrific ‘Star Wars’ movie since 1980’s ‘The Empire Strikes Back.’”

“It seizes upon Lucas’ original dream of finding a pop vessel for his obsessions — Akira Kurosawa epics, John Ford westerns, science-fiction serials — and fulfills it with a verve and imagination all its own.”

Review: ‘The Last Jedi’ Brings Emotion, Exhilaration and Surprise Back to the ‘Star Wars’ Saga

‘Star Wars: Episode IX — The Rise of Skywalker’ (2019)

A woman stands in darkness with a glowing blue lightsaber blade to her right

“The Rise of Skywalker,” the frenzied big-bang conclusion of the franchise’s third movie trilogy, “offers itself up in the spirit of a ‘Last Jedi’ corrective, a return to storytelling basics, a nearly 2½-hour compendium of everything that made you fall in love with ‘Star Wars’ in the first place,” Chang wrote in 2019.

“The more accurate way to describe it, I think, is as an epic failure of nerve,” he said. “This ‘Rise’ feels more like a retreat, a return to a zone of emotional and thematic safety from a filmmaker with a gift for packaging nostalgia as subversion. Still, let’s acknowledge [director J.J.] Abrams for the proficient craftsman and genre-savvy showman he is. Like some of his other major pop-cultural contributions (two enjoyable ‘Star Trek’ movies and the twisty TV series ‘Lost’ among them), ‘The Rise of Skywalker’ is a swift and vigorous entertainment, with a sense of forward momentum that keeps you watching despite several dubious plot turns and cheap narrative fakeouts.”

Review: ‘Star Wars: The Rise of Skywalker’ Is Here to Remind You Just How Good ‘The Last Jedi’ Was

Former Times staff writer Meredith Woerner contributed to this report.

The unmissable addition to Disneyland’s Star Tours ride? Space whales

April 9, 2024

ANAHEIM, CALIF. -- THURSDAY, NOVEMBER 12, 2015: A view of the star Tours entrance during the media preview of Star Wars Season of The Force at Disneyland in Anaheim, Calif., on Nov. 12, 2015. (Allen J. Schaben / Los Angeles Times)

Ahsoka, Andor and the Mandalorian are coming to Disneyland’s Star Tours

March 5, 2024

A man with gray hair, a beard and glasses striking a peace-sign pose

Mark Dodson, ‘Star Wars’ and ‘Gremlins’ voice actor, dies at 64

March 3, 2024

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Nardine Saad covers breaking entertainment news, trending culture topics, celebrities and their kin for the Fast Break Desk at the Los Angeles Times. She joined The Times in 2010 as a MetPro trainee and has reported from homicide scenes, flooded canyons, red carpet premieres and award shows.

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Star Trek: Every Opening Title Ranked Worst To Best
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Star Trek opening title sequences
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