trek voyager one

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Kingdom of the Planet of the Apes Link to Kingdom of the Planet of the Apes
• The Fall Guy Link to The Fall Guy
• I Saw the TV Glow Link to I Saw the TV Glow

New TV Tonight

• Doctor Who: Season 1
• Dark Matter: Season 1
• The Chi: Season 6
• Reginald the Vampire: Season 2
• Bodkin: Season 1
• Blood of Zeus: Season 2
• Black Twitter: A People's History: Season 1
• Pretty Little Liars: Summer School: Season 2
• Hollywood Con Queen: Season 1
• Love Undercover: Season 1

Most Popular TV on RT

• A Man in Full: Season 1
• Fallout: Season 1
• Baby Reindeer: Season 1
• The Sympathizer: Season 1
• The Veil: Season 1
• Hacks: Season 3
• Them: Season 2
• Dead Boy Detectives: Season 1
• The Asunta Case: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Doctor Who: Season 1 Link to Doctor Who: Season 1
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Planet of the Apes In Order: How to Watch the Movies Chronologically

Planet of the Apes Movies Ranked by Tomatometer

Asian-American Native Hawaiian Pacific Islander Heritage

What to Watch: In Theaters and On Streaming

Kingdom of the Planet of the Apes First Reviews: A Thoughtful, Visually Stunning, Action-Packed Triumph

Furiosa First Reactions: Brutal, Masterful, and Absolutely Epic

• Trending on RT
• Furiosa First Reactions
• Streaming in May
• Best Asian-American Movies
• Planet of the Apes First Reviews

Season 1 – Star Trek: Voyager

Where to watch, star trek: voyager — season 1.

Watch Star Trek: Voyager — Season 1 with a subscription on Paramount+, or buy it on Fandango at Home, Prime Video.

What to Know

Star Trek: Voyager breaks the Star Trek mold with a brand new final frontier and the fierce leadership of the franchise's first female captain.

Critics Reviews

Audience reviews, cast & crew.

Kate Mulgrew

Capt. Kathryn Janeway

Robert Beltran

Roxann Dawson

B'Elanna Torres

Robert Duncan McNeill

Jennifer Lien

Ethan Phillips

More Like This

Season info.

• More to Explore
• Series & Movies

Star Trek: Voyager

Cast of characters.

Latest Articles

• Latest Articles See More

Latest Videos

• Latest Videos See More

Latest Galleries

• Latest Galleries See More

Boldly Go: Subscribe Now

• Rent or buy
• Categories Categories
• Getting Started

Star Trek: Voyager

• Store Filled Season 1
• Episode number
• Newest episodes
• Available to watch

Customers also watched

Cast and Crew

How are ratings calculated? Toggle Expand Toggle Expand

• Amazon Newsletter
• About Amazon
• Accessibility
• Sustainability
• Press Center
• Investor Relations
• Amazon Devices
• Amazon Science
• Sell on Amazon
• Sell apps on Amazon
• Supply to Amazon
• Protect & Build Your Brand
• Become an Affiliate
• Become a Delivery Driver
• Start a Package Delivery Business
• Advertise Your Products
• Self-Publish with Us
• Become an Amazon Hub Partner
• › See More Ways to Make Money
• Amazon Visa
• Amazon Store Card
• Amazon Secured Card
• Amazon Business Card
• Shop with Points
• Credit Card Marketplace
• Reload Your Balance
• Amazon Currency Converter
• Your Account
• Your Orders
• Shipping Rates & Policies
• Amazon Prime
• Returns & Replacements
• Manage Your Content and Devices
• Recalls and Product Safety Alerts
• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices

Star Trek: Voyager (TV Series)

Full cast & crew.

Directed by 

Writing credits  , cast (in credits order) complete, awaiting verification  , produced by , music by , cinematography by , editing by , casting by , production design by , costume design by , makeup department , second unit director or assistant director , art department , sound department , special effects by , visual effects by , camera and electrical department , casting department , costume and wardrobe department , music department , additional crew .

Release Dates | Official Sites | Company Credits | Filming & Production | Technical Specs

Contribute to This Page

• Full Cast and Crew
• Release Dates
• Official Sites
• Company Credits
• Filming & Production
• Technical Specs
• Plot Summary
• Plot Keywords
• Parents Guide

Did You Know?

• Crazy Credits
• Alternate Versions
• Connections
• Soundtracks

Photo & Video

• Photo Gallery
• Trailers and Videos
• User Reviews
• User Ratings
• External Reviews
• Metacritic Reviews

Related Items

• External Sites

Related lists from IMDb users

Recently Viewed

How Bill Clinton Helped Shape Star Trek: Voyager Season 1

"Star Trek: Voyager" entered its early stages of production in 1993 . Meanwhile, "Star Trek: The Next Generation" was filming its seventh and final season, and "Star Trek: Deep Space Nine" was working on its second. 1993 was an optimistic time in the U.S. The Gulf War had wrapped, Bill Clinton had been elected president, and the economy was booming. Yes, there were certainly still massive problems with the country, but for a brief span, it felt like the nation was at peace.

Of course, one only needs to look at the pop media of the 1990s to see how much angst there still was in the lurking in hearts of the people. '90s pop music often described the injustices of a racist police state, or how much people felt marginalized and dismissed. '90s media was also self-reflexive, pointing out that the old-world tropes and genres no longer worked. Deconstruction was necessary. It's no wonder that cynical satires like "The Simpsons" and "Married... with Children" were such bug business at the time.

This sticky blend of optimism and pessimism undergirded "Star Trek: Voyager," which debuted on January 16, 1995. "Voyager" was optimistic in that it was "Star Trek" and continued to sell the franchise's usual ideas of a technology-based utopia supported by a diplomatic, multicultural philosophy. "Voyager" was also pessimistic in that it stranded its main characters 70 years away from Earth. They had all their hope, but they were stuck.

The idea of being "far from home" was presented as a metaphor by "Voyager" co-creator Michael Piller. In the oral history book "Captains' Logs: The Unauthorized Complete Trek Voyages" edited by Mark A. Altman and Edward Gross, Piller talks about that metaphor and how it was born of the politics of mid-1990s America.

Read more: The Main Star Trek Captains Ranked Worst To Best

Voyager Spoke To The Problems Of The Clinton Administration

Piller, perhaps frustratingly, isn't specific about which societal problems he was referring to, but he did mention that it would take multiple generations to solve them. Piller might have been referring to environmental problems, but could just as easily have been talking about the damage done during the Reagan administration. He also might have been thinking about racism and racial injustice, as the Los Angeles riots had taken place just a few years before. Whatever the reason, Piller saw the voyage of the Voyager as a journey "back" to something we had lost. In his words: 

"When we hooked on this idea we realized, in a sense, we were talking about a journey that is very much like the journey that all of us in this country are embarking on today. [...] We were sort of in the afterglow of the last presidential election and it seemed clear the kind of problems that this country is facing are not problems that are going to be easily solved in our lifetime. We have to begin on solutions that may take more than one generation to see the final result of."

The premise of "Voyager" was that the ship was going to take 70 years to get back to Earth after being instantaneously whisked across the galaxy by a godlike alien. There was a very real possibility that the current residents of the Voyager would die of old age before returning. It was, at least when it debuted in 1995, seemingly going to be an intergenerational series. A new generation would have to step up and keep doing the hard work so that a long-term project could be fulfilled.

The Show's Creatives Knew Voyager Might Not Have A Happy Ending

Piller continues, explicitly:

"In a sense, the ship franchise of 'Voyager' is that kind of journey, because we are on a ship of men and women who are beginning a journey that conceivably we may not see the end of -- and we are working in the best interests of everybody on board to try to solve our problem and to make the best life we can for ourselves on this ship; to find the way back home."

What is interesting about Piller's statement is how pessimistic he seemed to feel about the future and, by extension, the quest of the U.S.S. Voyager. In the year 2024, we know that "Voyager" ran for seven seasons and that the ship did indeed make its way home in that time. In 1995, though, Piller seemed to feel that the Voyager might not make it. He felt that a futile sense of loss permeated the series:

"But in the end [...] we realize we may have lost what we really love forever and that the journey back is 70 years, even at our best speed. The bottom line is that we felt that this was a very contemporary kind of message to be dealing with." 

Again, Piller doesn't say what specifically the modern U.S. had lost, but something was gone and wouldn't easily be regained. Piller then went on to say that being "lost in space" allowed for new creative opportunities for him and his fellow "Voyager" creatives.

In the seven years "Voyager" was on the air, Captain Janeway (Kate Mulgrew) became increasingly authoritarian, forcing others to abide by her strict family-like version of Starfleet rules ... which she flouted often. Perhaps Piller knew that war and fascism lay ahead.

Read the original article on SlashFilm

Inside NASA's 5-month fight to save the Voyager 1 mission in interstellar space

After working for five months to re-establish communication with the farthest-flung human-made object in existence, NASA announced this week that the Voyager 1 probe had finally phoned home.

For the engineers and scientists who work on NASA’s longest-operating mission in space, it was a moment of joy and intense relief.

“That Saturday morning, we all came in, we’re sitting around boxes of doughnuts and waiting for the data to come back from Voyager,” said Linda Spilker, the project scientist for the Voyager 1 mission at NASA’s Jet Propulsion Laboratory in Pasadena, California. “We knew exactly what time it was going to happen, and it got really quiet and everybody just sat there and they’re looking at the screen.”

When at long last the spacecraft returned the agency’s call, Spilker said the room erupted in celebration.

“There were cheers, people raising their hands,” she said. “And a sense of relief, too — that OK, after all this hard work and going from barely being able to have a signal coming from Voyager to being in communication again, that was a tremendous relief and a great feeling.”

The problem with Voyager 1 was first detected in November . At the time, NASA said it was still in contact with the spacecraft and could see that it was receiving signals from Earth. But what was being relayed back to mission controllers — including science data and information about the health of the probe and its various systems — was garbled and unreadable.

That kicked off a monthslong push to identify what had gone wrong and try to save the Voyager 1 mission.

Spilker said she and her colleagues stayed hopeful and optimistic, but the team faced enormous challenges. For one, engineers were trying to troubleshoot a spacecraft traveling in interstellar space , more than 15 billion miles away — the ultimate long-distance call.

“With Voyager 1, it takes 22 1/2 hours to get the signal up and 22 1/2 hours to get the signal back, so we’d get the commands ready, send them up, and then like two days later, you’d get the answer if it had worked or not,” Spilker said.

The team eventually determined that the issue stemmed from one of the spacecraft’s three onboard computers. Spilker said a hardware failure, perhaps as a result of age or because it was hit by radiation, likely messed up a small section of code in the memory of the computer. The glitch meant Voyager 1 was unable to send coherent updates about its health and science observations.

NASA engineers determined that they would not be able to repair the chip where the mangled software is stored. And the bad code was also too large for Voyager 1's computer to store both it and any newly uploaded instructions. Because the technology aboard Voyager 1 dates back to the 1960s and 1970s, the computer’s memory pales in comparison to any modern smartphone. Spilker said it’s roughly equivalent to the amount of memory in an electronic car key.

The team found a workaround, however: They could divide up the code into smaller parts and store them in different areas of the computer’s memory. Then, they could reprogram the section that needed fixing while ensuring that the entire system still worked cohesively.

That was a feat, because the longevity of the Voyager mission means there are no working test beds or simulators here on Earth to test the new bits of code before they are sent to the spacecraft.

“There were three different people looking through line by line of the patch of the code we were going to send up, looking for anything that they had missed,” Spilker said. “And so it was sort of an eyes-only check of the software that we sent up.”

The hard work paid off.

NASA reported the happy development Monday, writing in a post on X : “Sounding a little more like yourself, #Voyager1.” The spacecraft’s own social media account responded , saying, “Hi, it’s me.”

So far, the team has determined that Voyager 1 is healthy and operating normally. Spilker said the probe’s scientific instruments are on and appear to be working, but it will take some time for Voyager 1 to resume sending back science data.

Voyager 1 and its twin, the Voyager 2 probe, each launched in 1977 on missions to study the outer solar system. As it sped through the cosmos, Voyager 1 flew by Jupiter and Saturn, studying the planets’ moons up close and snapping images along the way.

Voyager 2, which is 12.6 billion miles away, had close encounters with Jupiter, Saturn, Uranus and Neptune and continues to operate as normal.

In 2012, Voyager 1 ventured beyond the solar system , becoming the first human-made object to enter interstellar space, or the space between stars. Voyager 2 followed suit in 2018.

Spilker, who first began working on the Voyager missions when she graduated college in 1977, said the missions could last into the 2030s. Eventually, though, the probes will run out of power or their components will simply be too old to continue operating.

Spilker said it will be tough to finally close out the missions someday, but Voyager 1 and 2 will live on as “our silent ambassadors.”

Both probes carry time capsules with them — messages on gold-plated copper disks that are collectively known as The Golden Record . The disks contain images and sounds that represent life on Earth and humanity’s culture, including snippets of music, animal sounds, laughter and recorded greetings in different languages. The idea is for the probes to carry the messages until they are possibly found by spacefarers in the distant future.

“Maybe in 40,000 years or so, they will be getting relatively close to another star,” Spilker said, “and they could be found at that point.”

Denise Chow is a reporter for NBC News Science focused on general science and climate change.

• Skip to main content
• Keyboard shortcuts for audio player

Well, hello, Voyager 1! The venerable spacecraft is once again making sense

Nell Greenfieldboyce

Members of the Voyager team celebrate at NASA's Jet Propulsion Laboratory after receiving data about the health and status of Voyager 1 for the first time in months. NASA/JPL-Caltech hide caption

Members of the Voyager team celebrate at NASA's Jet Propulsion Laboratory after receiving data about the health and status of Voyager 1 for the first time in months.

NASA says it is once again able to get meaningful information back from the Voyager 1 probe, after months of troubleshooting a glitch that had this venerable spacecraft sending home messages that made no sense.

The Voyager 1 and Voyager 2 probes launched in 1977 on a mission to study Jupiter and Saturn but continued onward through the outer reaches of the solar system. In 2012, Voyager 1 became the first spacecraft to enter interstellar space, the previously unexplored region between the stars. (Its twin, traveling in a different direction, followed suit six years later.)

Voyager 1 had been faithfully sending back readings about this mysterious new environment for years — until November, when its messages suddenly became incoherent .

NASA's Voyager 1 spacecraft is talking nonsense. Its friends on Earth are worried

It was a serious problem that had longtime Voyager scientists worried that this historic space mission wouldn't be able to recover. They'd hoped to be able to get precious readings from the spacecraft for at least a few more years, until its power ran out and its very last science instrument quit working.

For the last five months, a small team at NASA's Jet Propulsion Laboratory in California has been working to fix it. The team finally pinpointed the problem to a memory chip and figured out how to restore some essential software code.

"When the mission flight team heard back from the spacecraft on April 20, they saw that the modification worked: For the first time in five months, they have been able to check the health and status of the spacecraft," NASA stated in an update.

The usable data being returned so far concerns the workings of the spacecraft's engineering systems. In the coming weeks, the team will do more of this software repair work so that Voyager 1 will also be able to send science data, letting researchers once again see what the probe encounters as it journeys through interstellar space.

After a 12.3 billion-mile 'shout,' NASA regains full contact with Voyager 2

• interstellar mission

Voyager 1 had a problem. Here's how NASA fixed it from 15 billion miles away.

Working from more than 15 billion miles away, NASA engineers have solved a computer problem aboard Voyager 1 , allowing the probe to send readable data five months after a chip error made its transmissions impossible to decipher.

Voyager 1, along with its sister craft, Voyager 2, are  robotic probes  that were launched in 1977. Voyager 1 reached interstellar space in 2012. It's now 15.1 billion miles away, the farthest from Earth a human-made object has ever traveled.

Learn more: Closer look at Voyager 1 and Voyager 2 .

Voyager 2 entered interstellar space − the space between the stars, starting at abou t 11 billion miles from our sun − in 2018. It's now 12.7 billion miles away.

Voyager 1's computer glitch garbled the science and engineering data the craft sends to Earth, which rendered it unreadable. That started on Nov. 14, 2023.

How did engineers fix Voyager's problem?

Engineers from NASA and the Jet Propulsion Laboratory discovered a single computer chip inside the spacecraft’s Flight Data Subsystem – which collects science and engineering information and transmits it to Earth – had malfunctioned.

Can't see our graphics? Click here .

The chip stored part of the Flight Data Subsystem's memory and software code. Engineers could still receive data from Voyager 1, but it was scrambled.

The chip could not be repaired. Instead, engineers moved software code from the chip into a different part of the subsystem's memory system.

The code was too large to to be stored in a single location in the spacecraft. Engineers divided the code into sections and stored them in different places within the subsystem. The code sections were adjusted to make sure they worked as a whole.

Engineers tested the fix by moving a code that transmits data about the spacecraft. They were rewarded with a transmission from Voyager that contained readable data about the craft's status.

All that took time. Voyager is moving about 38,000 mph. Because it's so far away, it takes 22.5 hours for a radio signal to reach Voyager. It takes another 22.5 hours for the spacecraft’s reply to reach antenna networks on Earth.

What happens next?

Engineers will reposition and synchronize the other parts of the code. That should allow Voyager 1 to start sending readable data on what it finds as it moves farther away from Earth.

SOURCE USA TODAY Network reporting and research; NASA/Jet Propulsion Laboratory/California Institute of Technology; Reuters

More From Forbes

‘star trek: discovery’ co-showrunner teases the final episodes and her message for fans.

• Share to Facebook
• Share to Twitter
• Share to Linkedin

Co-showrunner Michelle Paradise with her "Star Trek: Discovery" cast and crew.

For five seasons, Star Trek: Discovery has taken audiences on the ride of a lifetime. With its series finale now in sight, I sat down with executive producer and co-showrunner Michelle Paradise at SeriesFest in Denver, Colorado to discuss the beloved show’s journey and what fans should expect from this ever-expanding television universe on Paramount Plus, before we say a proper farewell to the U.S.S. Discovery.

So for starters, what has Paradise enjoyed most about the evolution of Star Trek: Discovery , since it first premiered in September 2017?

“That’s a really great question,” Paradise said. “I have loved being a part of it. I joined halfway through season two, and it was starting to know what it was and it’s really found its way. I’ve really enjoyed the character arcs and getting to take them all to these different places. It’s also hard for me to separate out the evolution of the show from my evolution on the show and stepping into co-running it with [co-showrunner] Alex [Kurtzman] and starting to take over more of that in later seasons. It’s been the highlight of my career.”

Mary Wiseman as Tilly and Blu del Barrio as Adira in "Star Trek: Discovery" episode 7, season 5 - ... [+] streaming on Paramount+.

Paradise is no stranger to television production. She was previously an executive producer on such television projects as Exes & Ohs and The Originals , but I wondered what it might be about her Star Trek: Discovery cast and crew that perhaps feels special.

“It’s like a big family. First of all, our cast is incredible. They’re all insanely talented actors but they’re lovely human beings. They approach one another and they approach the project from just a place of love and respect for one another and for the material, which is always a wonderful place to start. You can’t say enough of [actor] Sonequa [Martin-Green], our number one and the tone that she sets on the show and on the set. We have a lot of folks on the show and the crew who come back, year-after-year. They all really love the world of Trek and they love one another. We try and go bigger and better and bolder every season, and there’s never a feeling of Oh, we can’t do that . It’s always a feeling of How do we do that? ”

VOY Season 1

• View history
• 3 Background information
• 4.1 Starring
• 4.2 Also starring
• 4.3 Guest and co-stars
• 4.5.1 Production companies
• 5 Media releases
• 6 External links

Episodes [ ]

Summary [ ].

Captain Kathryn Janeway 's chief of security, Lieutenant Tuvok , has disappeared while involved in a counter-espionage mission aboard a Maquis ship, whose last known position was somewhere in the Badlands . While en route to investigate Tuvok's disappearance, the maiden voyage of the Federation starship USS Voyager ends in disaster as the ship and her crew are pulled seventy thousand light years into the far reaches of the Delta Quadrant . After locating the missing Maquis ship nearby, and learning of the enormity of their predicament, the crew ascertains that an extra-galactic entity called the Caretaker is responsible for pulling them across the galaxy in an attempt to find a compatible species to mate with. The Caretaker confides in Janeway that he is dying and requires a mate to continue caring for a species who live nearby known as the Ocampa . After witnessing the death of the Caretaker, Janeway makes the decision to destroy his technology to prevent it falling into the hands of a local malevolent species known as the Kazon . The firefight which ensues results in both the destruction of the Caretaker's "array" and the renegade Maquis ship; in an act of self-sacrifice, the only way for Voyager 's crew to return to the Alpha Quadrant is lost.

After incorporating the Maquis crew, as well as a Talaxian , Neelix , and an Ocampa , Kes , Voyager sets a course for home.

Initial tension and mistrust between the opposing Starfleet and Maquis crews is explored in " Parallax ", " Prime Factors ", and " Learning Curve ". The consequences of isolation and loss on the crew begin to develop in " The Cloud " and " Eye of the Needle ", and the crew are also teased with the possibility of returning home several times throughout the first season, only to have it cruelly snatched away. The Kazon reappear and prove to be a powerful nemesis, while in " Phage " an additional threat is introduced, in the disease ravaging organ-harvesting Vidiians . Crucially, Janeway's decision to maintain Voyager as a Starfleet vessel is brought sharply into focus when a member of the former Maquis crew, Ensign Seska , is revealed to be a Cardassian spy, and in a showdown with Janeway, defects to the Kazon.

Each of the primary cast members gets a chance to develop their characters in the first season. Chakotay 's heritage and relationship with Janeway are highlighted in " Parallax ", " The Cloud ", " State of Flux ", and " Cathexis ". B'Elanna Torres becomes the ship's new Chief Engineer in " Parallax ", reveals more of her Klingon character in " Faces ", and begins to adjust to Starfleet's code of conduct in " Prime Factors ". Lieutenant Tom Paris is falsely accused of murder in " Ex Post Facto ", Ensign Harry Kim experiences death in " Emanations ", while Lieutenant Tuvok learns to adapt in " Learning Curve ". Neelix loses a lung in " Phage " and faces up to the loss of his family, and his species' virtual genocide in " Jetrel ". Kes' mental abilities begin to assert themselves in " Time and Again " and " Cathexis ", and The Doctor (EMH) slowly begins to experience new emotions, and gain new rights, privileges, and responsibilities in " Eye of the Needle " and " Heroes and Demons ".

Background information [ ]

• This season was broadcast concurrently with Star Trek: Deep Space Nine Season 3 .
• Four VOY Season 2 episodes – " Projections ", " Elogium ", " Twisted ", and " The 37's " – were filmed as part of Season 1, but were held over to air during the second season. In the UK, these four episodes were originally screened and released on video as part of Season 1.
• Filming on this season wrapped on 12 May 1995 . ( Star Trek Monthly  issue 5 , p. 10)
• In its final form, the season is comprised of one episode (" Caretaker ") consisting of a teaser and eight acts, six episodes (" Parallax "–" Ex Post Facto ") that each include a teaser and four acts, and eight episodes (" Emanations "–" Learning Curve ") that each have a teaser and five acts. Although all the regular episodes of the series were originally intended to each have a teaser and five acts, Rick Berman announced – on Monday, 5 December, 1994 – that the regular episodes would be changing to a four-act format. This decision was reversed in the first week of January 1995, with additional air time for commercials apparently being the reason. ( A Vision of the Future - Star Trek: Voyager )
• Characters which ' crossover ' from Star Trek: Deep Space Nine are Evek , Quark and Morn (" Caretaker ").
• One plot concept began development in this season and was intended to be included in the season, but was kept back so that the episode " Jetrel " could be produced instead. The story idea was later used as the basis for the third season installment " Fair Trade ".

Credits [ ]

Based Upon Star Trek created by Gene Roddenberry

Starring [ ]

• Kate Mulgrew as Captain Kathryn Janeway

Also starring [ ]

• Robert Beltran as Commander Chakotay
• Roxann Biggs-Dawson as Lieutenant B'Elanna Torres
• Jennifer Lien as Kes
• Robert Duncan McNeill as Lieutenant Tom Paris
• Ethan Phillips as Neelix
• Robert Picardo as The Doctor
• Tim Russ as Lieutenant Tuvok
• Garrett Wang as Ensign Harry Kim

Guest and co-stars [ ]

• VOY Season 1 performers

Uncredited [ ]

• Patric J. Abaravich – Camera Electrician ("Caretaker"–"Learning Curve")
• Greg Agalsoff – 2nd Unit Sound Mixer ("Caretaker"–"Emanations", "State of Flux"–"Cathexis")
• John Agalsoff – Mike Operator ("Caretaker"–"Learning Curve")/Sound Mixer ("Time and Again", "The Cloud")/2nd Unit Sound Playback Operator ("Phage"–"Eye of the Needle")
• M. Anderson – Playback Machine Operator ("Caretaker")
• Fred Apolito – Propmaker ("Caretaker")
• Karen Asano-Myers – Hair Stylist ("Time and Again", "The Cloud", Ex Post Facto", "Prime Factors", "Heroes and Demons", "Faces", "Learning Curve")/2nd Unit Hair Stylist ("Phage"–"Eye of the Needle")
• Jane Aull – Makeup Artist ("Caretaker")
• Michael Backauskas – Cover Visual Effects Supervisor ("Caretaker")
• Bales – 2nd Unit Extra Grip ("Time and Again"–"The Cloud")
• Philip Barberio – Visual Effects Coordinator ("Caretaker")
• Marilyn Basaker – Costume First Hand ("Caretaker"–"Learning Curve")
• Kathleen Barrett – DGA Trainee ("Caretaker"–"Time and Again")
• Jeffrey Baxter – Special Effects Artist/Digital Compositor ("Caretaker"–"Learning Curve")
• Richard J. Beban – Extra Camera Assistant ("Emanations", "Jetrel")
• Pamela Berggren – Key Costumer ("Caretaker", "Emanations"–"Prime Factors", "Heroes and Demons", "Jetrel")/2nd Unit Costumer ("Caretaker", "Phage"–"Eye of the Needle")
• David Bernard – Sound Cable Person ("Caretaker"–"Learning Curve")
• Bernstien – 2nd Unit Lamp Operator/Electrician ("Phage"–"Eye of the Needle")
• Ben Betts – Video Operator ("Parallax"–"Learning Curve")/2nd Unit Video Playback Operator ("Time and Again"–"Eye of the Needle", "Emanations", "State of Flux"–"Cathexis", "Learning Curve")
• Billy Blackman – Gang Boss ("Caretaker"–"Learning Curve")
• Dustin Blauvelt – Extra Camera Operator ("Caretaker")
• Rob Bloch – Animal Trainer/Wrangler: Critters of the Cinema ("Caretaker", "The Cloud", "Ex Post Facto")
• T. Blue – 2nd Unit Mike Operator/Blue Box ("Faces")
• Robert Bonchune – Visual Effects Artist: Miniatures – WonderWorks, Inc. ("Caretaker")
• Cathy Bond – Additional Second Assistant Director ("Caretaker")
• Jason Bond – Color Compositor ("Emanations")
• Boris – Greensperson ("Caretaker", "Prime Factors", "Heroes and Demons", listed as "Goris" on the latter two)
• Grant Boucher – CGI Supervisor: Amblin Imaging ("Emanations")
• Roger Bourse – Electrician/Lamp Operator ("Caretaker"–"Learning Curve")/Assistant Chief Lighting Technician ("Emanations", "State of Flux")
• Janice D. Brandow – Hair Stylist ("Caretaker")
• Richard Briere – 2nd Unit Extra Grip ("Caretaker")
• M. Brown – Extra First Assistant Camera ("Caretaker")
• Belinda Bryant – Makeup Artist ("Caretaker"–"Phage", "Heroes and Demons", "Faces", "Learning Curve")
• Randy Burgess – 2nd Grip ("Caretaker"–"Learning Curve")/2nd Unit Key Grip ("Time and Again"–"Emanations", "State of Flux"–"Learning Curve")
• Burton – Second Assistant Camera Operator ("Prime Factors")
• Christian H. Burton – Second Assistant Visual Effects Camera Operator ("Parallax")
• Sal Butera – Pool Technical Adviser ("The Cloud", "Jetrel"–"Learning Curve")
• Byers – Electrician ("Caretaker")
• John Calvin Byrd – Promotions Coordinator ("Learning Curve")
• Ron Calvaruzo – Grip ("Caretaker"–"Parallax")
• Carlucci – Special Effects Labor Artist ("Caretaker"–"Prime Factors")
• John Carroll – On-Line Editor
• Adolfo Castanon – Greensman ("Caretaker"–"Learning Curve")
• Violet Cazanjian – Additional Second Assistant Director ("State of Flux"–"Heroes and Demons", "Learning Curve")/Second Assistant Director ("Emanations")
• Vartan Chakarian – Craft Service ("Caretaker")/2nd Unit Craft Service ("Caretaker", "Time and Again"–"Eye of the Needle", "Learning Curve")
• Chambers – Makeup Artist ("Caretaker")
• Joe Chess – 2nd Unit Director of Photography ("Time and Again–"Emanations", "State of Flux"–"Jetrel")
• Ian Christenberry – Electrician/Lamp Operator ("Caretaker"–"Learning Curve")
• Richard Chronister – Special Effects Artist ("Caretaker"–"Learning Curve")/2nd Unit Special Effects Artist ("Phage"–"Eye of the Needle")
• Clairmont – Power Pod Technician ("Caretaker")
• Clark – Swing Gang ("Caretaker"–"Parallax")
• Caryl Codon – Hair Stylist ("Caretaker", also listed as Caryl Codon-Tharp )
• Richmond G. Cogswell – Video Operator ("Caretaker")
• Lisa Collins – Makeup Artist ("Caretaker")
• George Colucci – Stunt Safety ("Caretaker", "The Cloud")
• Armando Contreras – Grip/Key Grip ("Caretaker"–"Learning Curve")/2nd Unit Crab Dolly Grip ("Caretaker"–"Parallax", "State of Flux"–"Cathexis")
• Cooley – Electrician ("Parallax")
• Brian Cooper – Electrician/Lamp Operator ("Caretaker", "Phage"–"Learning Curve")/2nd Unit Assistant Chief Lighting Technician ("Caretaker")
• Cynthia Coulter – Animal Trainer: Critters of the Cinema ("Ex Post Facto")
• Cremin – Special Effects Artist ("Caretaker")
• Ruth Ann Crudup – Studio Teacher ("Time and Again")
• Dan Curry – Cover Visual Effects Supervisor ("Caretaker")/2nd Unit Director ("Caretaker"–"Time and Again")/2nd Unit Visual Effects Producer ("Caretaker", "Phage"–"Emanations", "State of Flux"–"Faces")
• Joshua Cushner – Motion Control Camera Operator: Image G ("Caretaker")
• Dick D'Angelo – Swing Gang ("Caretaker"–"Learning Curve")
• D'Aquino – Grip ("Caretaker")
• Jim Davidson – Additional Miniatures ("Caretaker")
• Davis – Electrician ("Caretaker")
• Andrea F. Davis – Propmaker ("Caretaker"–"Learning Curve")
• Robert De La Garza – Swing Gang ("Caretaker"–"Learning Curve")
• Michael DeMeritt – Second Assistant Director ("Caretaker"–"Learning Curve")/2nd Unit Second Assistant Director ("Parallax"–"Emanations", "State of Flux"–"Learning Curve")
• Rebecca De Morrio – Hair Stylist ("Caretaker")
• Jay Devlin – Grip/Rigging Grip/Extra Grip ("Caretaker"–"Learning Curve")
• David Dittmar – Makeup Artist ("Caretaker")
• Jon Djanrelian – Craft Service ("Caretaker"–"Learning Curve")
• Daren Dochterman – Production Illustrator ("Caretaker")
• Chris Doyle – Stunt Safety ("Caretaker")
• Doug Drexler – Production Illustrator/Scenic Artist ("Caretaker")
• Durling – Electrician ("Caretaker")
• Hank Edds – Makeup Artist ("Caretaker"–"Eye of the Needle")
• David Emmerichs – Steadicam Operator ("Caretaker", "The Cloud", "Ex Post Facto")
• English – Body Makeup Artist ("Eye of the Needle")
• Estes – Video Operator ("Caretaker")
• Lennie Evans – Extra Camera Operator ("Caretaker")
• Robert Eyslee – Electrician/Lamp Operator ("Caretaker"–"Learning Curve")/Assistant Chief Lighting Technician ("Caretaker", "Phage"–"Ex Post Facto", "Learning Curve")/2nd Unit Assistant Chief Lighting Technician ("Phage"–"Eye of the Needle")
• Ted Fay – 2D Animation Supervisor ("Caretaker")
• Feld – Still Photographer ("Prime Factors")
• Alfred T. Ferrante – ADR Mixer ("Caretaker"–"Learning Curve")
• L. Fife – Studio Teacher ("Time and Again", "Learning Curve")
• Sue Forrest-Chambers – Makeup Artist ("Caretaker")
• Fox – Hair Stylist ("Caretaker")
• Fox – 2nd Unit Lamp Operator ("Caretaker")
• Edward French – Makeup Artist ("Caretaker", "Eye of the Needle")
• Dino Ganziano – Hair Stylist ("Caretaker")
• James A. Garrett – Assistant Editor ("Parallax", "The Cloud", "Emanations", "Heroes and Demons")
• B. Gary – 2nd Unit Script Supervisor ("Caretaker", "Time and Again"–"Emanations", "State of Flux"–"Cathexis")/Script Supervisor ("Ex Post Facto")
• Rusty Geller – Extra Camera Operator ("Emanations", "Jetrel")
• George – Extra Assistant Camera Operator ("Caretaker")
• Jeff Gersh – Sound Editor ("Caretaker"–"Learning Curve")
• John E. Glassco – Medical Adviser ("Eye of the Needle", "Emanations", "State of Flux")
• Graf – 2nd Unit Lamp Operator/Electrician ("Phage"–"Eye of the Needle")
• Don Greenberg – Visual Effects Compositing Editor: Digital Magic ("Caretaker")/Visual Effects Compositor ("Parallax", "Eye of the Needle", "Emanations", "State of Flux", "Cathexis", "Jetrel")
• J. Griffin – 2nd Unit First Assistant Director ("Caretaker")
• John Gross – Computer Graphics Supervisor: Amblin Imaging ("Caretaker", "Phage")
• John Grower – Effects and Animation Supervisor: Main Title: Santa Barbara Studios ("Caretaker")
• Eric Guaglione – Main Title Animation Supervisor: Santa Barbara Studios ("Caretaker")/Animation Supervisor: SBS ("The Cloud")
• John Guiterrez – Electrician ("Caretaker")/2nd Unit Lamp Operator/Electrician ("Time and Again"–"Eye of the Needle")
• Dennis Hammermeister – Sound Engineer ("Caretaker")/2nd Unit Mike Operator ("Time and Again"–"Eye of the Needle")
• Hammond – Electrician ("Caretaker")/2nd Unit Kamp Operator/Electrician ("Time and Again"–"Eye of the Needle")
• Michael Haney – Makeup Artist ("Caretaker", "Phage")/2nd Unit Makeup Artist ("Time and Again"–"Phage")
• Peter Hapke – Extra Camera Operator ("Faces")/Camera Operator ("Learning Curve")
• Harkin – Extra Camera Operator ("Caretaker")
• Stan Harrison – Cogswell Video Operator ("Faces"–"Jetrel")
• Hartley – Crab Dolly Grip ("Caretaker")
• June Haymore – Makeup Artist ("Caretaker")
• Heather – Electrician ("Caretaker")
• Jaime Heintz – Grip ("Caretaker", also listed as "Heinz" and "Hinds")
• David E. Hengstellar – Electrician ("Caretaker")
• Herrera – Set Security ("Caretaker"–"Learning Curve")
• Rick Hester – Special Effects Labor Artist ("Prime Factors"–"Learning Curve")
• Ron High – Extra Camera Operator ("Time and Again"–"The Cloud", "Prime Factors", "Cathexis")/Camera Operator ("Ex Post Facto")
• Matt Hoffman – Set Costumer ("Parallax", "Phage", "Eye of the Needle", "Emanations", "State of Flux", "Cathexis", "Jetrel")
• Tina Hoffman – Makeup Artist ("Phage", "Emanations", "Cathexis"–"Faces")
• Robert Hollocks – International Marketing ("Caretaker"–"Learning Curve")
• Adam Howard – Visual Effects Animator: Digital Magic ("Caretaker")
• William Howard – Hair Stylist ("Caretaker")
• J. Hughs – Electrician ("Caretaker")
• Darrell Huntsman – Greensperson ("Time and Again")
• Nancy J. Hvasta – Makeup Artist ("Caretaker", "Cathexis"–"Jetrel")
• D. Isaac – Sideline Musician ("Prime Factors")
• D. Jackson – Teleprompter Operator: Q-TV Paramount Promo 2nd Unit ("The Cloud")
• M. Jennings – 2nd Unit Playback Machine Operator ("Caretaker")/2nd Unit Mike Operator ("Parallax")/2nd Unit Sound Cable Person ("Time and Again"–"Eye of the Needle")/Boom Operator ("The Cloud")
• David Jones – CGI Animator: Amblin Imaging ("Emanations")
• Ian Jones – Grip/Memory Head: Digital Filmworks ("Caretaker")
• Tammy Kalka – First Aid ("Caretaker")
• Karnes – Special Effects Artist ("Caretaker"–"Parallax")
• Ted Katzoff – Sword Technical Adviser ("Heroes and Demons")
• Virginia Kearns – Hair Stylist ("Caretaker")
• Brian Q. Kelley – Electronical Editorial – Video Segments ("Heroes and Demons")
• Nina Kent – Makeup Artist ("Emanations")
• Michael Key – Makeup Artist ("Caretaker", "State of Flux", "Faces"–"Jetrel")
• Janie Kleiman – Production Executive ("Caretaker"–"Parallax")/2nd Unit Unit Production Manager ("Caretaker", "Time and Again"–"Eye of the Needle")/2nd Unit Assistant Unit Production Manager ("The Cloud"–"Emanations", "State of Flux")/Assistant Unit Production Manager ("Prime Factors"–"Learning Curve")
• Douglas Knapp – Camera Operator ("The Cloud", "Emanations")/Extra Camera Operator ("State of Flux")
• Spencer Knapp – Digital Effects Artist: Digital Magic ("Heroes and Demons")
• Barry R. Koper – Makeup Artist ("Caretaker", "State of Flux", "Faces", "Learning Curve")
• Kevin Koster – DGA Trainee ("Learning Curve")
• Andrzej Kozlowski – Production Assistant ("Caretaker"–"Learning Curve")
• Nina Kraft – Makeup Artist ("Caretaker", "Prime Factors", "Heroes and Demons")
• Kruger – 2nd Unit Assistant Chief Lighting Technician ("Phage"–"Eye of the Needle")
• Kruger – Makeup Artist ("Prime Factors")
• Steve Kruzlock – 2nd Unit Second Grip/2nd Unit Crab Dolly Grip ("Caretaker"–"Eye of the Needle")
• Yvonne Kubis – Key Costumer ("Caretaker")
• Joe Kudlack – Grip ("Caretaker", also listed as "Kudach" and "Kudlach")
• Carol Kunz – Costumer Foreperson ("Parallax", "Phage", "Eye of the Needle", "Emanations", "State of Flux", "Cathexis", "Jetrel")
• Erwin H. Kupitz – Wig Designer ("Caretaker"–"Learning Curve")
• Rick Lamb – Assistant Camera Operator ("Caretaker", "Ex Post Facto")
• Steve LaPorte – Makeup Artist ("Caretaker")
• Lasher – First Aid ("Caretaker")
• Daryl Lathrop – ADR Recordist ("Caretaker"–"Learning Curve")
• Lavine – Makeup Artist ("Caretaker")
• John Leamer – Casting Associate ("Caretaker")
• Leavitt – Costumer ("Caretaker", "Time and Again")
• Stephen Lebed – Motion Control Operator ("Caretaker")
• Don Lee – Digital Colorist/Compositor: CIS Hollywood ("Caretaker")
• Jessica W. Leung – DGA Trainee ("Emanations"–"Learning Curve")
• Audrey Levy – Hair Stylist ("Caretaker")
• Lippman – Body Makeup Artist ("Caretaker", "Prime Factors")
• Stephanie Lipsky – Key Costumer ("Caretaker", "Time and Again")
• David Livingston – Cover Director ("Caretaker")/2nd Unit Director ("Time and Again"–"Eye of the Needle")
• Logan – Grip ("Caretaker")/2nd Unit Extra Grip ("Phage"–"Eye of the Needle")
• Lombardi – Costumer ("Prime Factors")
• Lott – Electrician ("Caretaker")
• J. Lowe – Location Manager ("Caretaker")
• Lucas – Grip ("Caretaker")
• Norman Ludwin – Musician: Bass ("Caretaker"–"Learning Curve")
• F. Macchia – Sideline Musician ("Prime Factors")
• C. Mack – Choreographer ("Caretaker")
• Chuck Madalone – Stunt Safety ("Caretaker")
• John Maffe – Executive in Charge: Q-TV Paramount Promos ("The Cloud")
• John Maldonado – Makeup Artist ("Caretaker", "Emanations")
• Malinovik – Electrician ("Caretaker")
• Larry Markart – 2nd Unit Video Playback ("Jetrel")
• Mather – 2nd Unit Lamp Operator ("Caretaker")/Lamp Operator ("State of Flux")
• Michael L. Mayer – Art Director: Re-shoots ("Caretaker")/2nd Unit Art Director ("Time and Again"–"Emanations")
• Mayhew – 2nd Unit Second Grip ("Time and Again"–"Eye of the Needle")
• Tania McComas – Makeup Artist ("Emanations")
• Shawn McKay – Hair Stylist ("Parallax", "Phage", "Eye of the Needle", "Emanations", "State of Flux", "Cathexis", "Jetrel")
• Scott McKnight – Assistant Chief Lighting Technician ("Caretaker"–"Learning Curve")/2nd Unit Chief Lighting Technician ("Caretaker"–"Emanations", "State of Flux"–"Learning Curve")/Lamp Operator: Re-shoots ("Caretaker")
• Michael Meinardus – Extra Camera Operator: Steadicam ("Heroes and Demons"–"Cathexis")
• Richard Craig Meinardus – Extra Camera Operator: Steadicam ("Heroes and Demons"–"Cathexis")
• Meyer-Arnold – Dialect Coach ("Learning Curve")
• Ed Miarecki – Propmaker ("Caretaker"–"Learning Curve")
• S. Middleton – Extra Assistant Camera Operator ("Caretaker", "Time and Again"–"Phage", "Ex Post Facto", "Learning Curve")/2nd Unit Second Assistant Camera Operator ("Caretaker", "Time and Again"–"Eye of the Needle")/Second Assistant Camera Operator ("Time and Again"–"Phage", "Ex Post Facto"–"Emanations", "State of Flux"–"Heroes and Demons", "Faces"–"Jetrel")
• Middleton – 2nd Unit Extra Grip ("Phage"–"Eye of the Needle")
• Glen David Miller – Digital Artist ("Caretaker")
• P. Miller – 2nd Unit Cable Person/Blue Box ("Jetrel"–"Learning Curve")
• Andrew Millstein – Motion Control Camera Operator: Image G ("Caretaker")
• Minsky – Extra First Assistant Camera Operator "B" ("Caretaker")
• Barbara Minster – Hair Stylist ("Caretaker")
• Susie Money – Key Costumer ("Caretaker")
• Michael Moore – Hair Stylist ("Caretaker", "Phage")
• Michael Moore – Propmaker ("Caretaker"–"Learning Curve")
• Tom Moore – Grip ("Caretaker"–"Learning Curve")/2nd Grip ("Eye of the Needle"–Emanations", "Learning Curve")
• Robert Morey – Extra Camera Assistant ("Time and Again"–"Phage")
• Moseley – Electrician ("Caretaker")
• Gil Mosko – Makeup Artist ("Caretaker"–"Phage", "Eye of the Needle"–"Learning Curve")
• Murphy – Electrician ("Caretaker")
• Bill Myer – Makeup Artist ("Faces")
• Greg Nelson – Makeup Artist ("The Cloud", "Prime Factors")
• Janet Nemecek – Assistant Script Supervisor
• John Nesterowicz – Set Assistant Property Person ("Caretaker"–"Learning Curve")/2nd Unit Property Person ("State of Flux"–"Cathexis")
• A. Novis – Sideline Musician:Banjo ("Caretaker")
• Frank O'Hea – Painter ("Caretaker"–"Learning Curve")
• Oliver – Sideline Consultant ("Caretaker")
• Rose Ordile – Animal Wrangler: Criiters of the Cinema ("Caretaker")
• Orr – Makeup Artist ("Caretaker")
• Barbara Pace – Location Contact ("Caretaker")
• Maurice Palinski – Costumer ("Caretaker", "Heroes and Demons")
• John Palmer – Special Effects Project Supervisor: WonderWorks ("Caretaker")
• John Parenteau – Computer Animator: Amblin Imaging ("Caretaker")
• Peirano – Greensperson ("Caretaker")
• Brian Penikas – Makeup Artist ("Caretaker")
• Lowell Peterson – 2nd Unit Director of Photography ("Learning Curve")
• Janna Phillips – Makeup Artist ("Caretaker")
• Phillips – Special Effects Artist ("Caretaker")
• Catherine Pittman – Animal Wrangler: Critters of the Cinema ("Caretaker")
• Domi Piturro – Supervisor 3D Modeling and Scanning ("Caretaker")
• Dwayne Platz – Grip ("Caretaker")
• Gloria Ponce – Hair Stylist ("Caretaker")
• Brick Price – Visual Effects: Miniatures: WonderWorks ("Caretaker")
• Price – Film Loader ("State of Flux")
• David Quashnick – Makeup Artist ("Caretaker", "Faces")
• Elizabeth Rabe – Hair Stylist ("Caretaker")
• Scott Rader – Visual Effects Compositing Editor: Digital Magic ("Caretaker")
• Maricella Ramirez – First Assistant Camera Operator ("Caretaker"–"Learning Curve")
• Randsdell – Makeup Artist ("Caretaker")
• J. Rathbun – 2nd Unit Property Person ("Caretaker"–"Emanations", "State of Flux", "Jetrel"–"Learning Curve")
• Craig Reardon – Makeup Artist ("Caretaker")
• Katherine Rees – Hair Stylist ("Caretaker")
• Mark Reilly – Electrician/Film Loader ("Caretaker")/Second Extra Camera Assistant ("Cathexis", "Learning Curve")
• Renich – Swing Gang ("Caretaker"–"Heroes and Demons")
• Riley – Hair Stylist ("Caretaker")
• Michael Risner – DGA Trainee: Re-shoots ("Caretaker")/DGA Trainee ("Time and Again"–"Prime Factors")
• Robbie Robinson – Still Photographer ("Caretaker", "Phage"–"The Cloud", "Ex Post Facto"–"Learning Curve")
• Jill Rockow – Makeup Artist ("Caretaker", "Emanations")
• Romero – Makeup Artist ("Heroes and Demons")
• Joshua D. Rose – Computer Animator ("Caretaker")
• Julia Rose – Production staff ("Caretaker")
• Karen Rose – Production staff ("Caretaker")
• Wally Rose – Stunt Safety ("Caretaker")
• Rosenberg – Hair Stylist ("Caretaker")
• Charlie Russo – Assistant Property Master/Set Property Person ("Caretaker"–"Learning Curve")
• Barry Safley – Digital Effects Artist: VisionArt ("Caretaker")
• George Santo Pietro – Dolly Grip ("Parallax"–"Learning Curve")
• Stewart Satterfield – Transportation Captain ("Parallax"–"Learning Curve")
• Chris B. Schnitzer – Motion Control Technician ("Caretaker")
• Bob Scribner – Makeup Artist ("Caretaker")
• Tony Sears – Art Department Assistant ("Caretaker"–"Learning Curve")
• Fernando Sepulveda – Swing Gang Lead Person ("Caretaker"–"Learning Curve")
• Daren Sherman – Second Second Assistant Director/Additional Second Assistant Director: Re-shoots ("Caretaker")/Second Assistant Director ("Time and Again"–"Ex Post Facto")
• Mark Shostrom &Ndash; Makeup Artist ("Parallax", "Eye of the Needle", "State of Flux", "Jetrel")/2nd Unit Makeup Artist ("Phage"–"Eye of the Needle")
• Tom Siegel – Costumer ("Parallax", "Phage", "Eye of the Needle", "Emanations", "State of Flux", "Cathexis", "Jetrel")
• Debbie Silverman – Animal Wrangler: Critters of the Cinema ("Caretaker")
• Judith Silverman – Makeup Artist ("Caretaker")
• Adele Simmons – 2nd Unit First Assistant Director ("Time and Again"–"Eye of the Needle")
• Adam Richard Sklena – Extra Camera Assistant ("The Cloud")
• B. Smith – Grip ("Caretaker")
• Smith – Extra Camera Operator ("Caretaker")
• Richard Snell – Makeup Artist ("Caretaker")
• L. Spadaccin – Teleprompter Operator: Q-TV 2nd Unit Paramount Promo ("The Cloud")
• Tim Stell – Motion Control Camera Operator: Image G ("Caretaker")
• Mark Stimson – Special Effects Artist ("Caretaker"–"Learning Curve")/2nd Unit Special Effects Person ("Learning Curve")
• Phil Stirling – 2nd Unit Boom Operator ("Time and Again", "The Cloud", "Ex Post Facto"–"Emanations", "State of Flux"–"Cathexis")/Sound Cable Person ("Jetrel")/Mike Operator ("Learning Curve") (also listed as "R. Stirling")
• B. Stradling – 2nd Unit Camera Operator ("Time and Again"–"Eye of the Needle")/Extra Camera Assistant ("The Cloud", "Ex Post Facto"–"Prime Factors", "Heroes and Demons", "Faces")
• J. Stradling – 2nd Unit Second Assistant Camera Operator ("Caretaker")
• Michael Stradling – 2nd Unit First Assistant Camera Operator ("Caretaker"–"Emanations", "State of Flux"–"Jetrel")/First Assistant Camera Operator/Film Loader ("Caretaker")/Second Assistant Camera Operator ("Caretaker"–"Ex Post Facto", "Prime Factors"–"Learning Curve")
• Robert Stromberg – Matte Artist ("Caretaker")
• Surika – Grip ("Caretaker")
• Thomas E. Surprenant – Makeup Artist ("Caretaker", "Phage", "Learning Curve")
• Ken Suzuki – Electrician/Lamp Operator ("Caretaker"–"Learning Curve")
• Gerald Szillinsky – Crab Dolly Grip ("Caretaker"–"Heroes and Demons")
• Tandy – Electrician ("Caretaker")
• S. Tate – 2nd Unit Extra Camera Operator ("Time and Again"–"The Cloud")
• Taylor – Electrician ("Caretaker")
• Jamie Thomas – Costumer ("Time and Again", "The Cloud", "Ex Post Facto", "Prime Factors", "Heroes and Demons", "Faces", "Learning Curve")
• Kimberly Thompson – Costumer ("Caretaker", "Time and Again", "The Cloud", Ex Post Facto", "Prime Factors", "Heroes and Demons", "Faces", "Learning Curve")
• Wil Thoms – Special Effects Artist ("Caretaker"–"Learning Curve")
• Erik Tiemens – Main Title Storyboard/Design: Santa Barbara Studios ("Caretaker")
• Toral – Craft Service ("Caretaker")
• Nancy P. Townsend – Additional Second Assistant Director ("Caretaker")
• Chris Trent – Foley Mixer ("Caretaker"–"Learning Curve")
• Jerry Trent – Foley Artist ("Caretaker"–"Learning Curve")
• Barry Tugendhaft – Greensperson ("Prime Factors")
• Donna Turner-Culver – Hair Stylist ("Caretaker")
• Pernell Youngblood Tyus – Camera Operator ("Time and Again", "Phage"–"The Cloud", "Ex Post Facto")
• Faith Vecchio – Hair Stylist ("Caretaker")
• Patricia Vecchio – Hair Stylist ("Caretaker"–"Parallax")
• Patrick J. Vitolla – Grip ("Caretaker"–"Learning Curve")
• S. Volpe – Hair Stylist ("Caretaker")
• Walker – First Assistant Camera Operator ("Cathexis")
• Lazard Ward – Set Security ("Caretaker"–"Learning Curve")
• Wyatt Weed – Visual Effects: Miniatures ("Caretaker")
• Mark Wendell – Digital Effects Artist: Santa Barbara Studios ("Caretaker", "The Cloud")
• Karen Westerfield – Makeup Artist ("Caretaker", "Heroes and Demons")
• Scott Wheeler – Makeup Artist ("Time and Again", "Ex Post Facto", "Heroes and Demons", "Learning Curve")
• White – Hair Stylist ("Caretaker")
• Joe White – Visual Effects Artist ("Caretaker")
• Chris Whitman – Electrician/Lamp Operator ("Caretaker"–"Parallax")
• R. Wilbar – 2nd Unit First Assistant Camera Operator ("Learning Curve")
• J. Williams – 2nd Unit Sound Video Blue Box Operator ("Emanations", "State of Flux")/Boom Operator ("Ex Post Facto")
• Natalie Wood – Lens Tech ("Faces"–"Jetrel")/Makeup Artist ("Jetrel")
• Edmond Wright – 2nd Unit Key Grip ("Caretaker"–"Parallax")
• Brad Yacobian – Line Producer ("Parallax")

Production companies [ ]

• Brazil-Fabrication & Design – Visual Effects
• Cogswell Video Services, Inc. – Post Production Video Company ("Faces")
• Critters of the Cinema – Animals ("Caretaker", "The Cloud", Ex Post Facto")
• Cynthia's Distinctive Catering – Catering ("Caretaker", "Eye of the Needle")
• Digital Filmworks – Special Visual Effects ("Caretaker")
• Joan Pearce Research Associates – Research Company (Pre-Production)
• Mario's – Catering ("Caretaker")
• Michaelsons – Catering ("Caretaker")
• The Arrangement – Catering ("State of Flux")
• VisionArt Design & Animation – Digital Effects ("Caretaker")

Media releases [ ]

• VOY Season 1 UK VHS
• VOY Season 1 US VHS
• VOY Season 1 DVD

External links [ ]

• Star Trek: Voyager season 1 at Memory Beta , the wiki for licensed Star Trek works
• Star Trek: Voyager Season One Credits at StarTrek.com
• Star Trek Voyager Season 1 episode reviews  at Ex Astris Scientia
• 2 ISS Enterprise (NCC-1701)

For IEEE Members

Ieee spectrum, follow ieee spectrum, support ieee spectrum, enjoy more free content and benefits by creating an account, saving articles to read later requires an ieee spectrum account, the institute content is only available for members, downloading full pdf issues is exclusive for ieee members, downloading this e-book is exclusive for ieee members, access to spectrum 's digital edition is exclusive for ieee members, following topics is a feature exclusive for ieee members, adding your response to an article requires an ieee spectrum account, create an account to access more content and features on ieee spectrum , including the ability to save articles to read later, download spectrum collections, and participate in conversations with readers and editors. for more exclusive content and features, consider joining ieee ., join the world’s largest professional organization devoted to engineering and applied sciences and get access to all of spectrum’s articles, archives, pdf downloads, and other benefits. learn more →, join the world’s largest professional organization devoted to engineering and applied sciences and get access to this e-book plus all of ieee spectrum’s articles, archives, pdf downloads, and other benefits. learn more →, access thousands of articles — completely free, create an account and get exclusive content and features: save articles, download collections, and talk to tech insiders — all free for full access and benefits, join ieee as a paying member., how nasa is hacking voyager 1 back to life, engineers found space in the geriatric spacecraft’s memory to deal with a stuck bit.

Voyager 1 whizzes through interstellar space at 17 kilometers per second.

On 14 November 2023, NASA’s interstellar space probe Voyager 1 began sending gibberish back to Earth. For five months, the spacecraft transmitted unusable data equivalent to a dial tone.

In March, engineers discovered the cause of the communication snafu: a stuck bit in one of the chips comprising part of Voyager’s onboard memory. The chip contained lines of code used by the flight data subsystem (FDS), one of three computers aboard the spacecraft and the one that is responsible for collecting and packaging data before sending it back to Earth.

JPL engineers sent a command through the Deep Space Network on 18 April to relocate the affected section of code to another part of the spacecraft’s memory, hoping to fix the glitch in the archaic computer system. Roughly 22.5 hours later, the radio signal reached Voyager in interstellar space, and by the following day it was clear the command had worked. Voyager began returning useful data again on 20 April.

NASA engineers managed to diagnose and repair Voyager 1 from 24 billion kilometers away—all while working within the constraints of the vintage technology. “We had some people left that we could rely on [who] could remember working on bits of the hardware,” says project scientist Linda Spilker . “But a lot of it was going back through old memos, like an archeological dig to try and find information on the best way to proceed.”

Minuscule Memory

Voyager 1 and its twin, Voyager 2—which also remains operational—were launched nearly 50 years ago, in 1977, to tour the solar system. Both spacecraft far surpassed their original missions of visiting Jupiter and Saturn, and in 2012, entered interstellar space .

“That mission literally rewrote the textbooks on the solar system,” says Jim Bell , a planetary scientist at Arizona State University and author of a book recounting 40 years of the mission. “We’ve never sent anything out that far, so every bit of data they send back is new.” The 1960s and 1970s technology, on the other hand, is now ancient.

Decades after the tech went out of vogue, the FDS still uses assembly language and 16-bit words . “These are two positively geriatric spacecraft,” says Todd Barber , a propulsion engineer for Voyager. Working to fix the issues, he says, is “like palliative care.”

To first diagnose the issue, NASA’s engineers first tried turning on and off different instruments, says Spilker. When that proved unsuccessful, they initiated a full memory readout of the FDS. “That’s what led to us finding that piece of hardware that had failed and that 256-bit chunk of memory,” she says. In one chip, the engineers found a stuck bit, fixed at the same binary value. It became clear that the chip was irreparable, so the team had to identify and relocate the affected code.

However, no single location was large enough to accommodate the extra 256 bits. “The size of the memory was the biggest challenge in this anomaly,” says Spilker. Voyager’s computers each have a mere 69.63 kilobytes of memory.

To begin fixing the issue, the team searched for corners of Voyager’s memory to place segments of code that would allow for the return of engineering data, which includes information about the status of science instruments and the spacecraft itself. One way the engineers freed up extra space was by identifying processes no longer used. For example, Voyager was programmed with several data modes—the rate at which data is sent back to Earth—because the spacecraft could transmit data much faster when it was closer to Earth. At Jupiter, the spacecraft transmitted data at 115.2 kilobits per second; now, that rate has slowed to 40 bits per second, and faster modes can be overwritten. However, the engineers have to be careful to ensure they don’t delete code that is used by multiple data modes.

Having successfully returned engineering data, the team is working to relocate the rest of the affected code in the coming weeks. “We’re having to look a little harder to find the space and make some key decisions about what to overwrite,” says Spilker. When their work is completed, the Voyager team hopes to return new science data, though unfortunately, all data from the anomaly period was lost.

Built to Last

The cause of the stuck bit is a mystery, but it’s likely the chip either wore out with age or was hit by a highly energetic particle from a cosmic ray. Having entered interstellar space, “Voyager is out bathed in the cosmic rays,” Spilker says. Luckily, the spacecraft was built to take it, with its electronic components shielded from the large amount of radiation present at Jupiter. “That’s serving us quite well now in the interstellar medium.”

When Voyager was built, the 12-year trip to Uranus and Neptune alone was a “seemingly impossible goal for a 1977 launch,” says Barber. The longevity of Voyager is a testament of its engineering, which accounted for many contingencies and added redundancy. The mission also included several firsts, for example, as the first spacecraft with computers able to hold data temporarily using volatile CMOS memory. (An 8-track digital tape recorder onboard stores data when collected at a high rate.)

Importantly, it was also the first mission with a reprogrammable computer. “We take it for granted now,” Bell says, but before Voyager, it wasn’t possible to adjust software in-flight. This capability proved essential when the mission was extended, as well as when issues arise.

Going forward, the Voyager team expects to encounter additional problems in the aging spacecraft—though they hope to make it to the 50-year anniversary before the next one. “With each anomaly, we just learn more about how to work with the spacecraft and are just amazed at the capabilities that the engineers built into it using that 1960s and ’70s technology,” Spilker says. “It’s just amazing.”

• 50 Years Later, This Apollo-Era Antenna Still Talks to Voyager 2 ›
• Voyager 1 Hasn't Really Left The Solar System, But That's OK ›
• Mission Status - Voyager ›
• Voyager 1 ›

Gwendolyn Rak is a contributor to IEEE Spectrum .

Management Versus Technical Track

A skeptic’s take on beaming power to earth from space, femtosecond lasers solve solar panels' recycling issue, related stories, satellite radar sharpens ukraine dam collapse questions, the most hackable handheld ham radio yet, faster, more secure photonic chip boosts ai training.

• The Inventory

Right, This Is the Moment on Star Trek: Discovery Where Everything Has to Go Sideways

The breen come calling in "erigah," giving discovery some of its greatest diplomacy... even in the face of the dread inevitability of a season finale..

We’re getting close to the end of Star Trek: Discovery , which means we’re getting close to a season finale. And if there’s one thing Star Trek: Discovery loves— more than love , more than time travel , more than being deeply unsubtle —it is presenting you with a scenario of hope that then has to come crashing down, because you remember this is happening in episode seven of a season and not episode 10.

Related Content

Usually, this has been a problem for Discovery in the past—because our heroes can’t help but feel like they have to be compromised out of nowhere or blindsided in some silly manner as the stakes of a grand finale to the season come crashing down around them. Any good they do, whether it’s sitting down and talking with their foes, or making a breakthrough on a mystery, has to be upended, because structurally they were doing too well too soon. And while “Erigah,” the seventh episode of Discovery ’s fifth and final season, does have that problem in some ways, it’s not actually all that impactful on the main plot of the episode—which delivers a strong, tense game of politicking and aggressive negotiation over spectacle in a very satisfying manner.

“Erigah” smushes together three simmering plotlines from across the season—the hunt for Moll and L’ak; the hunt for the next clue to the Progenitor tech puzzle; and the simmering threat of the Breen Imperium—into a pressure cooker it opens with Michael suddenly learning that Starfleet has managed to capture Moll and L’ak, bringing them both into custody at Federation HQ. There’s a problem though: the Federation and the Breen have not really yucked each other’s yum for nearly a millennia now, and the wounds a dying L’ak sustained running into Michael on the ISS Enterprise can’t be treated with their limited knowledge of Breen physiology. On top of that, Moll and L’ak were doing the open comms equivalent of screaming “please, come find me, I have a very obvious targeted painted on my forehead” when they were captured, which is how Starfleet found them... and how the Breen and L’ak’s uncle know exactly where they are now, too.

It’s a fascinating race against time, as Dr. Culber has to try and mitigate L’ak’s injuries long enough for Michael to find out any information he has about the current power dynamics of the Breen Imperium before Primarch Ruhn—tense not just because L’ak is on the verge of biting it for most of the episode, but also tense because it’s rare to see Starfleet and the Federation absolutely shitting their own pants with fear like they do here. Remarkably, it turns out the Federation and the Breen haven’t directly interacted since the latter entered the Dominion War , about 800 years prior—and when that happened, the Breen became the first species in hundreds of years to directly assault Earth, leveling San Francisco in the process. That this is the next time they’re meeting—for a volatile hostage exchange and attempt to try and talk the Breen down from just blasting their way into getting what they want—just dials up the pressure on everyone here (that being mostly Michael and Rayner, Admiral Vance, and T’Rina, who steps up to act as the Federation’s representative while President Rillak stays way the hell away on a different diplomatic mission, which is an incredibly funny way for them to frame the fact that Chelah Horsdal didn’t come back for a few scenes). And it’s a good pressure, that gets people to crack in very interesting ways.

The first is Rayner, who, even for as gruff as he’s been trying to balance his personal axes to grind over the hunt for Moll and L’ak with integrating into Discovery ’s command structure, gets decidedly fiery in a sit-down meeting with Vance and T’Rina. It’s clear to us and Michael alike that there’s something more to his biting commentary here than his usual irascibility, as Michael learns sitting him down afterwards to try and get him to cool: another Breen Primarch was responsible for invading Kelleran and subjugating Rayner’s people, leaving him the sole survivor of his family. To him, the fear the Breen represent isn’t some long-ago dustup in Federation history like it is for T’Rina and Vance, it’s his life . But having lived in the face of Breen aggression, it’s Rayner that gets our heroes to realize that they have to play hardball with Ruhn in order to make it out of this in one piece—they can’t back down in the face of his warship towering over Federation HQ, they can’t capitulate, they can’t show their fear: Starfleet has to come prepared to play, and throw down if necessary.

What follows is a genuinely fantastic scene—perhaps one of the best in Discovery . Making full use of the circular Federation HQ set, Ruhn and a cadre of Breen soldiers beam in to meet T’Rina, Vance, Rayner, and Michael—and T’Rina of all people goes on the attack . She matches Ruhn word for word, never backing down, never hiding behind the cool facade of Vulcan logic. T’Rina knows what she has to do to buy Culber as much time to keep L’ak alive, and using the info on the rival Primarch that Rayner revealed discussing Kelleran’s history, the Federation makes its demands, rather than it being the other way around: they keep L’ak in custody and off the board from the Breen’s ongoing power vacuum for the Imperial throne, the Breen back the hell off, and no one has to blow a hole in the side of anyone else’s starship today. This shouldn’t work. It’s a Vulcan, not exactly known for their fiery demeanors, going up against a Breen, who are all rage and bluster but also locked behind a big old mask. But Discovery sells the hell out of it, even if it has to just be a bluff on T’Rina’s part, and it’s just captivatingly tense and triumphant—and rooted in these characters having to step up and take on what they’ve learned about the people they’re confronting and carry the day with words rather than phaser bolts. It’s great! It’s so great.

Alas, like we said, this is episode seven, not episode 10. So while T’Rina’s bluff works, back over at Discovery ’s medbay things have to go terribly wrong, and Moll and L’ak try to stage a breakout... largely involving L’ak killing himself by pumping himself full of drugs. While Moll gets away briefly, Book and special returning guest/premiere phaser pointer Nhan get her to realize that it’d be much better trying to spend L’ak’s final moments with him, instead of running off... just in time for her to be there just as Ruhn and a Breen medic beam in to try and save L’ak, only to see him die. Naturally, Ruhn is pissed—he just lost his leverage and Starfleet just lost its bargaining chip—and so is Moll (turns out, people die when they try to kill themselves as a distraction!). Now, the two are teaming up, with Moll using herself as the bargaining chip by revealing that the Federation have been lying about the real game at play here—the hunt for the Progenitor tech, powerful enough to completely level the Imperium’s power vacuum and grant them even more dominance in the galaxy. With nothing left for her to lose, there’s nothing left for the Federation to bargain with, and much to an incredibly hypocritical Book’s condemnation—yes, people learn from their mistakes, but my guy, you did detonate an incredibly illegal bomb a season ago after engaging in a lot of crime!—they have to let Moll go with the Breen, whisking them away to find the last piece of the Progenitor puzzle.

So yes, the finale stakes are here, but at least this time around they relied on a rash decision by our antagonists, rather than our heroes, to come crashing in here. And in Moll and L’ak’s decision, that rashness works: they were desperate to do anything, even die, because the thought of being puppeted in the Breen’s power plays and politics was worse than anything else. The plan was stupid—very stupid, even—but it was driven by their desperation and their love for each other. It’s much better than having our heroes’ hard work undone in a blink just because they needed to not quite succeed yet in the structure of the season.

Alas, that does bring us to the bit of “Erigah” where that has to happen—the B-plot about the next clue in the puzzle, which basically involves Tilly and Adira walking around the ship and having to pretend that the very basic discoveries they make about the Betazoid doctor’s clue they found are astonishingly revelatory. They discover that the doctor wrote a manuscript that is now very rare and out of print (“discover” here being they put the title of the manuscript, written on the clue , to the ship’s computer and ran a search). Then they discover that the original work might be kept in a rare galactic collection that occasionally moves around the universe (by having a completely random Jett Reno walk-and-talk in between fiddling with bits of the set, so Tig Notaro can read off a little exposition with a tone that really is nothing more than “I am reading some expository-ass expositition here”). Then, they finally figure out that the moving galactic archive is moving in pretty much a slightly curved line (they draw a holographic line on the map), aided by Book using his empath powers on the clue (another revelation treated as unthinkably clever, but the revelation is “Betazoids are telepaths,” which is basically the thing we know about Betazoids ) to chart out potential systems.

All this is very simple puzzle work but it is drawn out across the background of the entire episode, and it not only distracts from the thrilling tension of the main plot, it’s the bit where our heroes are forced to look stupid because each of these simple steps is treated like they’ve just made a Holmesian breakthrough that no one could’ve possibly ever thought of. They did the Star Trek equivalent of googling for 45 minutes! Thankfully, it’s all just a means to an end compared to the part of “Erigah” that really works—and the stage is set for a high-stakes finale to Discovery as the Breen and the Federation alike race towards the final piece of the puzzle. Hopefully, as things inevitably go from bad to worse the closer we get to the last episode, we’ll chart that rocky path in a manner a bit more akin to the A-plot we got this week, rather than the B-plot.

Want more io9 news? Check out when to expect the latest Marvel , Star Wars , and Star Trek releases, what’s next for the DC Universe on film and TV , and everything you need to know about the future of Doctor Who .