star trek picard season 3 (original series soundtrack)

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Published Jun 21, 2024

How the Picard Season 3 Soundtrack Unlocks All of Star Trek

For World Music Day, let's look at how Picard's final score stretches across the entire final frontier, from familiar themes to deep sonic cuts.

StarTrek.com

The music of the Final Frontier is one of the most grounding aspects of the entire Star Trek phenomenon. Rather than sounding overtly futuristic, the musical world Trek has always been the opposite — old-fashioned and classic. When Nicholas Meyer hired James Horner to compose the music for The Wrath of Khan , he asked for a score that was "nautical, but nice." This single phrase perhaps best describes a large swath of famous Star Trek scores; the music is rooted in an antique style, combined with a buoyant sense of optimism. The music of Trek looks forward, partly, by looking back. In real life, Star Trek scores have been played at the commissioning of space shuttles, at least one U.S. Presidential Inauguration , and on March 11, 2024, Jerry Goldsmith's themes from Star Trek: First Contact were played during a ceremony in which Sweden was inducted into NATO.

Sometimes, it seems the classical music of Star Trek is oddly more pervasive in everyday life than Star Trek itself. Yes, there have, of course, been examples of non-classical music in Star Trek ; from Steppenwolf's "Magic Carpet Ride," to Enterprise 's "Faith of the Heart," Kirk blasting The Beastie Boys' "Sabotage," and, in 2023, musical theater and pop stylings throughout " Subspace Rhapsody " in Strange New Worlds . But, for almost six decades, classical scores have been the sonic glue binding the Trek universe together. From Original Series composers like Alexander Courage and Sol Kaplan, to Jerry Goldsmith and James Horner in the classic films, to Dennis McCarthy in The Next Generation era, Michael Giacchino 's scores for the Kelvin Universe films, to Jeff Russo in Discovery and Chris Westlake in Lower Decks , Nami Melumad on Strange New Worlds and Prodigy , each Trek score often contains a piece of another. But, perhaps more than any orchestral Star Trek event to date, the soundtrack for Star Trek: Picard Season 3 bridges various eras simultaneously, but also created edgy, new directions for Trek scores that had never been tried before.

The Picard Season 3 score — composed by Stephen Barton and Frederik Wiedmann— is a rosetta stone of nearly all of Star Trek music, ever. Here's your guide to why this 2023 score is so unique, how it's the perfect place to start your Star Trek musical education, and why, if you haven't already, consider spinning this one on vinyl .

"All Good Things…Must Come To An End"

"The Last Generation"

While it's somewhat obvious that Star Trek: Picard Season 3 is a direct follow-up to Picard Season 2, a huge thrust of the series is also a coda to the era of The Next Generation TV series and four feature films. So, throughout this score, there are various musical references to the hugely famous main theme from Star Trek: The Next Generation composed by Jerry Goldsmith. But, within this musical cue, there's an Easter egg to 1979. As many fans know, the immortal TNG main theme was actually first composed by Goldsmith for the film Star Trek: The Motion Picture . And while the bombastic march opens that film, and every episode of TNG, a slower more ballatic version of the theme was created for the classic track "The Enterprise ," in which Scotty and Kirk view the newly refitted ship for the first time.

'The Next Generation'

In Picard Season 3, this dreamy arrangement of the TNG/TMP theme is on full display in the back-to-back tracks "Hello, Beautiful" and "Leaving Spacedock," in which Picard and Riker take a shuttle to the U.S.S. Titan -A, and we hear the gentle strings of "The Enterprise " from 1979. However, as this musical moment continues, and Commander Seven takes the Titan out of spacedock, a new musical theme emerges, which showrunner Terry Matalas has called " The Titan Theme, " since it plays in many instances in the series that focus on the scrappy starship itself. And yet, by the end of Picard Season 3, the Titan becomes a new version of the Enterprise . So, when Riker and Picard roll-up on the Titan and hear the TNG/TMP main theme, it's not just a neat Easter egg, the music becomes a foreshadowing element that helps tell the story.

Deep Cuts Reveal Myriad Star Trek Legacies

"The Next Generation"

Just as Beverly Crusher sends Picard a transmission as a myriad codec, the Picard Season 3 soundtrack contains a myriad of references to all sorts of other Star Trek music. Some of these cues are somewhat obvious. The end-credits for the series borrows from the First Contact main themes, first introduced in 1996, while Jeff Russo's arrangement of the TNG main theme, crafted for Picard Season 1 and Season 2, still exists as part of the brief title card at the top of each episode. But, once you start digging into the episode-by-episode tracks, deeper cuts start to reveal themselves, ever so slowly.

In "Old Communicator," ominous woodwinds play as Picard riffles through his stuff, to find his TNG-era red uniform. These notes are reminiscent of Ron Jones' music for " The Best of Both Worlds " in The Next Generation , reminding us of that time Jean-Luc lost a uniform just like this when he was assimilated by the Borg. But, for composers Barton and Wiedmann, this is just the first of many musical cues from the past.

"The Bounty"

When the Titan arrives at the Fleet Museum in the sixth episode, " The Bounty ," we get a track called "Legacies," which has rapid-fire sonic Easter eggs like no other piece of Star Trek music before or since.

As Seven and Jack observe the various ships in the museum, each one gets his own theme; for the Defiant , we hear Dennis McCarthy's main theme for Deep Space Nine , for the movie-era Enterprise -A, an arrangement of the Alexander Courage TOS theme, and as Seven waxes nostalgic about the U.S.S. Voyager , a triumphant and bittersweet rendition of the Jerry Goldsmith main title from Star Trek: Voyager plays. Impressively, these musical cues are packed into three minutes and fifteen seconds, meaning "Legacies," tells the story of four starships, through music, in a very short amount of time.

Did we say four ships? Yes! Because in addition to the Defiant, Enterprise -A, and Voyager , the medley of "Legacies" eventually concludes with Leonard Rosenman's 1986 themes from Star Trek IV: The Voyage Home . And that's because Jack realizes that the captured Klingon Bird-of-Prey, which Bones christened the H.M.S. Bounty all those years ago, has a cloaking device that the crew of the Titan can use. And so, this wonderful nod to Rosenman's music not only references The Voyage Home , but also moves the present tense of the story forward.

That Cinematic Feeling

A Musical Legacy: Scoring the Final Season of Star Trek: Picard

On the liner notes to Picard Season 3, Terry Matalas specifies that the score for this season was designed to remind fans of the big, epic music from the films. Even though this was a season of a TV series, the sound of Picard Season 3 is cinematic. "I knew early on that Picard Season 3 needed to sound like the great Trek film scores that came before it," Matalas writes in the liner notes. "[When] I was five…the track 'The Enterprise ' was imprinted onto my brain."

And so, in collaboration with composers Barton and Wiedemann, Matalas steered the music of Picard Season 3 into a massive tribute to the entirety of previous Star Trek film scores. This was accomplished by the sonic Easter eggs we've just pointed out, but this feeling also exists more broadly throughout the entire soundtrack. The dark track "Dominion" isn't one that contains any sonic Easter eggs, but is unique to this soundtrack, as is the heroic hero theme for the Titan , heard in "Leaving Spacedock" and throughout the all ten episodes of the season.

But, the brilliance of the Picard Season 3 soundtrack isn't that it simply checks-off various Star Trek musical boxes. Instead, it seamlessly blends the old with the new. In "Legacy and the Future," longtime fans will be reminded of Denis McCarthy's tender music from 1994's Star Trek Generations , but as the track builds, we move from the immortal Alexander Courage fanfare, and into the new , future-facing music created for the Titan , which is destined to become Captain Seven's ship, the Enterprise-G , boldly headed into the future.

And so, the Picard Season 3 soundtrack isn't just a series of nostalgia hits. Its music allows us to revisit stories from across the whole timeline of Star Trek , but, also, imagine an unfolding new future, full of wonder, hope, and adventure.

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Ryan Britt is the author of the nonfiction books Phasers on Stun! How the Making and Remaking of Star Trek Changed the World (2022), The Spice Must Flow: The Journey of Dune from Cult Novels to Visionary Sci-Fi Movies (2023), and the essay collection Luke Skywalker Can’t Read (2015). He is a longtime contributor to Star Trek.com and his writing regularly appears with Inverse, Den of Geek!, Esquire and elsewhere. He lives in Portland, Maine with his family.

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

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Star Trek: Picard, Season 3 (Original Series Soundtrack)

Stephen Barton & Frederik Wiedmann

45 SONGS • 2 HOURS AND 30 MINUTES • APR 20 2023

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STEPHEN BARTON|Star Trek: Picard, Season 3 (Original Series Soundtrack)

Star Trek: Picard, Season 3 (Original Series Soundtrack)

Stephen Barton & Frederik Wiedmann

• Released on 4/20/23 by Lakeshore Records
• Main artists: STEPHEN BARTON Frederik Wiedmann
• Genre: Film Soundtracks

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STEPHEN BARTON, Composer, MainArtist - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

(C) 2023 Lakeshore Records (P) 2023 Lakeshore Records

STEPHEN BARTON, Composer, MainArtist - Alexander Courage, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

STEPHEN BARTON, Composer, MainArtist - Jerry Goldsmith, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

STEPHEN BARTON, Composer, MainArtist - Jerry Goldsmith, Composer - Alexander Courage, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

STEPHEN BARTON, Composer, MainArtist - James Horner, Composer - Alexander Courage, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

STEPHEN BARTON, Composer, MainArtist - Jerry Goldsmith, Composer - James Horner, Composer - Alexander Courage, Composer - Dennis McCarthy, Composer - Leonard Rosenman, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, Composer, MainArtist

STEPHEN BARTON, MainArtist - Alexander Courage, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, Composer, MainArtist

STEPHEN BARTON, MainArtist - David Donnelly, MasteringEngineer - Frederik Wiedmann, Composer, MainArtist

STEPHEN BARTON, MainArtist - Jerry Goldsmith, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, Composer, MainArtist

STEPHEN BARTON, MainArtist - Jerry Goldsmith, Composer - Alexander Courage, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, Composer, MainArtist

STEPHEN BARTON, Composer, MainArtist - Alexander Courage, Composer - Dennis McCarthy, Composer - David Donnelly, MasteringEngineer - Frederik Wiedmann, MainArtist

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• 1 disc(s) - 45 track(s)
• Total length: 02:30:16
• Composer: Various Composers
• Label: Lakeshore Records
• Genre: Soundtracks Film Soundtracks

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Star Trek: Picard, Season 3 [Original Series Soundtrack]

Stephen barton / frederik wiedmann.

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Star Trek: Picard, Season 3 (Original Series Soundtrack)

Stephen Barton & Frederik Wiedmann

45 SONGS • 2 HOURS AND 30 MINUTES • APR 20 2023

• TRACKS TRACKS
• DETAILS DETAILS

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Soundtrack Information

Star Trek: Picard - Season 3

Lakeshore Records

Release Date: April 20, 2023

Formats: Digital, Vinyl

• Star Trek: Picard (2020) [TV Series]
• Stephen Barton
• Frederik Wiedmann

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• Buy Vinyl Record from Amazon.com

Track Listing

Related albums.

Star Trek: Picard - Season 2 Lakeshore Records

Released: April 29, 2022

Format: Digital (84 min)

Star Trek: Picard - Season 1 Lakeshore Records

Released: April 3, 2020

Format: Digital (157 min)

Star Trek: Picard: Blue Skies (Single) Lakeshore Records

Released: March 26, 2020

Format: Digital (3 min)

Star Trek: Picard - Season 1 - Chapter 1 Lakeshore Records

Released: February 7, 2020

Format: Digital (67 min)

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Stephen Barton, Frederik Wiedmann Star Trek: Picard, Season 3 (Original Series Soundtrack)

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For all your film, tv and game soundtrack review needs, star trek: picard (season 3) – soundtrack review.

Stephen Barton and Frederik Wiedmann’s score for the third season of Star Trek: Picard is utterly brilliant, and a spellbinding showcase of what the music for the show frankly should have sounded like in the first place. Gorgeous thematic reprisals and rich stylistic callbacks are amazingly abound in this two and a half hour Star Trek music extravaganza, and it’s just utterly captivating as a result. Stellar, even.

So the third season of Star Trek: Picard has been leaps and bounds better than seasons one and two, with one of the most enjoyable aspects being the music. Stephen Barton and Frederik Wiedmann have taken over compositional duties for this season – replacing Jeff Russo – and above all else seem to have brought an immense love and affection for all things thematically Star Trek to the series’ new music. Jerry Goldsmith, Alexander Courage, James Horner, Dennis McCarthy – they’re all here and here in spades, and the music just sounds so immense, so full of life, so fundamentally… Star Trek as a result. Take the first few cues of the album here for instance; ‘Old Communicator’ kicks the thematic reprisals off quietly with a gently serene rendition of the classic Alexander Courage Trek theme on strings, before ‘Hello Beautiful’ then harkens back to the musical style of James Horner – complete with flurrying strings and bold brass notes – while also teasing Jerry Goldsmith’s Star Trek: The Motion Picture theme, or The Next Generation (TNG) theme as it essentially later became.

The classically titled ‘Leaving Spacedock’ then brings the score to its first emboldened orchestral crescendo, with the TNG theme playing loudly and proudly on flourishing brass to start. As the track continues however the composers then introduce a brand new theme of their own making; an eight note motif for the U.S.S. Titan, the primary starship of the season. Now it’s a pretty memorable theme just by itself, but the absolutely exquisite use of a very James Horner-y musical style to essentially ‘launch’ the ship is what makes this track absolutely incredible overall, and ultimately sells this new Titan theme in about the most musically impeccable way possible as a result. I must say as well, Stephen Barton certainly proved a knack for emulating classic film composer styles with Star Wars Jedi: Fallen Order (in emphasising John Williams) and he certainly seems to be doing so again here to amazing effect with Horner. What a track! Subsequent cue ‘I Like That Seven’ then briefly breaks the epic-ness with a quietly solemn rendition of the new Titan theme on strings, before ‘Breaking The Beam’ then kicks off the score’s first major action setpiece. Thunderous brass and frenetic percussion occupy the majority of the track’s four minute runtime, with tensions rising and the pace quickening throughout until the track then comes to a pretty dramatic finishing crescendo.

‘The Shrike’ then introduces a motif of sorts for the villainous Vadic and her supremely powerful titular ship. The music here plays quietly and ominously for much of the three minute cue, with quiet strings and moody electronics dropping hints towards a theme before loud brass then crashes out the track. ‘Picard’s Answer’ then continues the frantic action kick-started by ‘Breaking The Beam’ with loud bursts of brass hinting back toward that classic Jerry Goldsmith-esque Star Trek sound with short renditions of the Titan theme playing infrequently throughout. An absolute plethora of action cues then follow this excellent introduction, with ‘Call Me Number One’ kicking things off with frenetic strings and emphatic percussion, ‘No Win Scenario’ then building to crescendo with the Shrike motif held villainously high, ‘Blood In The Water’ hitting dramatically back with the Titan theme on loudly thunderous brass, ‘Let’s Go Home’ building tension again with increasingly frenetic orchestra and finally ‘Flying Blind’ then bringing it all to dramatic conclusion with the Titan and Shrike motifs locked in vicious orchestral combat togehter with several James Horner-isms until the track then closes on a particularly tense crescendo. All-in it’s got to be said, for a lengthy series of similar-sounding action cues this section of the score is actually a pretty entertaining listening experience, with the way the new motifs are fleshed out and the composers’ excellent use of orchestra being particularly standout.

A brand new theme is then introduced in ‘A New Family’. The track starts with a particularly victorious flourish of the Titan motif followed by a brief reprisal of Goldsmith’s TNG theme, before said new motif is then introduced at the 00:57 mark; it’s a rather gorgeous piece of music overall – played on simply luscious-sounding strings and brass – and it gets a happily lengthy introduction here, with the absolute cherry on top then being another playthrough of the TNG and Titan themes to crown off the pretty stellar track. Thematically though, this is only where the fun begins for the next couple of cues; subsequent piece ‘Klingons Never Disappoint’ for instance reprises none other than Jerry Goldsmith’s Klingon theme from Star Trek: The Motion Picture amongst a frenetic action orchestral spread (complete with thunderous brass and percussion), with ‘Legacies’ then bringing thematic cameos galore with loving reprisals of Alexander Courage’s Original Series theme, Dennis McCarthy’s main motif from Deep Space Nine and even Jerry Goldsmith’s wonderful theme for Voyager , and the new Family theme then bringing the track to a gentle strings-based close. A rapid pace then kicks into gear with action cue ‘Invisible Rescue’, with frenetic strings and worrisome brass locking the Titan theme and James Horner’s classic danger motif in frantic orchestral battle for the majority of the track’s three minute runtime.

Dramatic villainy arrives in the eight minute atmospheric setpiece ‘Dominion’; a rather eerie piano kicks off the cue, with serene strings then gradually picking up the pace for the first few minutes. As the track continues more and more instrumentation then starts to join the fray, all the time getting louder and more intense with emboldened brass eventually taking over the musical charge until a particularly malevolent crescendo is then reached to bring the cue to a emphatically villainously grand finale. The heroic counterattack then begins in the subsequent ‘Lower The Partition’ with the Titan theme building amongst hopeful strings and brassy bursts abound, before ‘Get Off My Bridge’ then unleashes the Family theme in a thunderously victorious rendition at spectacular volume to start, and then brings in the Titan motif once again to close out the track on a fist-pumpingly heroic finish. Another wondrous thematic reprisal then occurs in ‘Family Reunion’ as Goldsmith’s TNG theme finally plays again in full, gorgeously orchestral form (though still not for long enough) with Courage’s classic Star Trek motif reprising in similarly upbeat style in ‘Frontier Day’ on celebratory brass and strings.

Thankfully though we don’t have to wait around too long for the TNG theme to appear again. Action track ‘You Have The Conn’ for example teases it slightly with a short heroic rendition, but it’s subsequent and standout cue ‘Make It So’ where things then really get cracking. Courage’s classic Star Trek theme kicks off the track, with gently upbeat strings hinting toward things to come as the music then slowly starts to build. A little hint towards Dennis McCarthy’s Star Trek: Generations overture plays at the two minute mark, with brief reprisals of Goldsmith’s TNG and Courage’s classic themes following on initially quiet brass. From here though the track then just starts to go, with orchestra building, volume increasing and intensity reaching fever pitch until the TNG theme is then utterly unleashed in about as gloriously heroic a rendition as you could possibly get, I mean seriously. It’s absolutely. Utterly. Outstanding. You can tell the entire score so far has been building up to this one musical moment, and oh boy was it worth it. And the best part? This is only the beginning. From here the action finale of the score then properly begins, with track ‘Annihilate’ for example thundering along with frenetic brass and strings until a loud and very First Contact -esque rendition of the TNG theme plays right as the track crescendos. ‘Trust Me’ then pulls Courage’s Trek theme into the fight with a pretty spectacularly heroic rendition towards the end of the track.

As the album starts to draw to a close, the rather beautiful ‘The Missing Part Of Me’ slows things down in its first half with a rather downtrodden orchestral take on the Family theme before then building back up in the back half to loud orchestral epic-ness. ‘Must Come To An End’ then picks up where this leaves off with the orchestra now at grandiose fever-pitch, and from here until pretty much the end of the score now it simply doesn’t let up. ‘A New Day’ for instance reprises the Courage Trek, Family and Titan themes in loudly hopeful form on strings, with ‘Legacy And Future’ then lovingly bringing back Dennis McCarthy’s ‘To Live Forever’ motif from Star Trek: Generations alongside the Titan theme. ‘Names Mean Everything’ then grandly closes the chapter on the Titan’s epic story with the loudest, most thunderously triumphant rendition of its theme yet on fist-pumping brass, and to finish up the composers then have one last treat in store with final track ‘The Stars – End Credits’. The Titan motif makes a brief appearance at the start of this wonderful cue, but it’s the TNG theme that then takes centre stage as it reprises in its longest playthrough of the score on typically heroic and very Goldsmith-sounding orchestra. In essence, it’s a full new playthrough of the theme akin to the Trek movie end credits tracks of old, and so naturally is about as amazing a finale as you could get here really. Just brilliant.

Overall, Stephen Barton and Frederik Wiedmann’s absolutely astounding score for the third season of Star Trek: Picard is, quite honestly, exactly what the music for the entire show should have sounded like in the first place. Let’s start with the themes; there is a very clear love for all things musically Star Trek displayed throughout this utterly sublime two and a half hour album – complete with very Goldsmith-inian and Horner-esque stylistic quotes throughout – but it’s the way the themes are used, both iconic old and spectacular new, that are the absolute stars of the show here. Barton and Wiedmann expertly use all the classic themes you’d expect them to to stunning effect, teasing Goldsmith’s Next Generation theme in particular – the one they know we all want to hear – throughout the score until finally unleashing it in all its glory towards the end, and it sounds so utterly immense as a result. ‘Make It So’, ‘Annihilate’, ‘The Stars – End Credits’ – every time it appears, it just excels, and it appears in full as well, not just in tiny little cameos. We also hear a ton of other thematic material from Goldsmith, as well as motifs from Dennis McCarthy, James Horner and Alexander Courage of course, and the music just sounds so rich, so utterly Star Trek as a result. It’s truly spellbinding. The new themes too – Titan and Family being the standouts – also fit with the classic material here impeccably well, altogether weaving this immense thematic tapestry which combined with the excellent orchestral style make the composers’ work here an absolute triumph, from enjoyable start to impeccable finish. What a send-off!

Score: 8.5/10

Standout Cues: 32. Make It So/45. The Stars – End Credits

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2 thoughts on “ star trek: picard (season 3) – soundtrack review ”.

My favorite score of the year so far! And best Star Trek score in years (one of the best ever). Love all the call backs, but some of the cues enhance the originals. Love “Make it so” track! Thanks for the review.

It misses the MAIN THEME that is the best music of the show!!!

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Star Trek Picard (Original Series Soundtrack - Season 3) - Stephen Barton & Frederik Wiedmann

Double lp on sky blue with white burst colored vinyl, with full color gatefold sleeve and inserts, “one of the best things about this season of picard the music” junkee.com.

Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters)

Star Trek: Picard features Sir Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on Star Trek: The Next Generation and in 4 feature length films.  The new series will follow this iconic character into the next chapter of his life.

Pulled out of retirement (again) by a distress call from old flame Beverly Crusher (Gates McFadden), Jean-Luc Picard (Patrick Stewart) enlists the help of Captain Riker (Jonathan Frakes) and sets out to save the day.  What he uncovers, however, is a conspiracy reaching to the furthest corners of the Federation, and the return of an old foe, long thought defeated.

Track Listing: Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind

Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion

Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began

Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

Release on or around 05/12

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Starting from August 1-4, the trio and their team will be hosting a wide swath of special panels on the DeForest Kelley theater, the second-largest venue in the STLV convention space. Covering everything from scriptwriting to directing, comics to cartoons, and everything in between, we’re already thinking we may spend more time in the  Treksperts hall than at the convention’s main stage!

Along with the trio of  Treksperts , panels will be also moderated by Scott “Movie” Mantz (host, Enterprise Incidents podcast), Matt Mira & Andrew Secunda (hosts, Star Trek: The Next Conversation podcast), Peter Holmstrom & Daniel Noa (hosts, The Young Indy Chroniclers podcast), and more.

Here are just some of the highlights, starting with Thursday, August 1:

VIEWER ON: STAR TREK: THE MOTION PICTURE AT 45 Won’t you please sit down as Daren Dochterman (associate producer, Star Trek: The Motion Picture – Director’s Edition) presents an exclusive look at the history of ST: TMP for its 45th anniversary and a presentation about the making of the critically acclaimed Director’s Edition.

SHE’S A BEAUTIFUL LADY AND WE LOVE HER: THE ENTERPRISE – FROM A TO G A look back at the history of designing and creating the Starship Enterprise from 1964 to today with John Eaves (illustrator/concept designer, multiple Trek series), Doug Drexler (make-up and visual effects, concept designer, multiple Trek series), Dave Blass  production designer, Star Trek: Picard) and Daren Dochterman (visual effects supervisor, Star Trek: The Motion Picture – Director’s Edition). May history never forget the name… Enterprise.

NOTED & LOGGED: THE MUSIC OF TREK Trek composers Jay Chattaway (composer, The Next Generation), Nami Melumad (composer, Strange New Worlds) and Chris Westlake (composer, Lower Decks) sound off about the history of scoring the final frontier in a conversation moderated by The Music of Star Trek author, Jeff Bond. Plus: giveaways from La-La Land Records!

Friday, August 2:

SLIPPERY DIPSY-DOODLE: EXPLORING THE PRODIGY GALAXY Star Trek: Prodigy co-showrunner/co-creator Dan Hageman is joined by writer Aaron Waltke (co-executive producer, Prodigy) and Bonnie Gordon (“Computer Voice,” Prodigy) as they look back at the first two groundbreaking seasons of the series and reflect on their hopes for future adventures of the Protostar.

SPOTLIGHT: OUR MAN BASHIR Join the hosts of the popular SpyHards podcast as they do a deep dive into this delightful James Bond/Derek Flynt Deep Space Nine homage as well as espionage and spycraft and Section 31 in Trek with Cam Smith and Scott Hardy and Deep Space Nine showrunner Ira Steven Behr and writer/producer Ronald D. Moore (co-creator, For All Mankind, Battlestar Galactica).

LOST IN SPACE: VOYAGER WRITERS REUNION We find coffee in that nebula as we reunite the Voyager writers room with showrunner Brannon Braga (The Orville, Salem) and writers Bryan Fuller (Hannibal, American Gods), Lisa Klink (Pandora), Andre Bormanis (The Orville) and Michael Sussman (Perception, The Last Ship).

Saturday, August 3:

SATURDAY MORNING FEVER: THE ANIMATED SERIES TO PRODIGY Join us in your pajamas and get ready for some breakfast cereal (while supplies last) and vintage TV commercials as we party like its 1973 with a look back at the original animated series with the Inglorious Treksperts and Aaron Harvey (author, The Making of The Animated Series) and then jump forward in time to celebrate Lower Decks and Prodigy with Dan Hageman (co-creator/showrunner, Star Trek: Prodigy) Aaron Waltke (co-executive producer, Prodigy) and Bonnie Gordon (“Computer Voice,” Star Trek: Prodigy).

TAKING THE HELM: DIRECTING TREK Directors David Carson (Emissary, Yesterday’s Enterprise), Rob Bowman (Q Who,  Elementary, Dear Data, Brothers; The X-Files), David Livingston (Power Play, Flashback, Borderland) and Paul Lynch (The First Duty, 1001001, A Matter Of Time) talk about the triumphs and challenges of directing for Trek.

LET’S GO: ENTERPRISE WRITERS ROOM REUNION Go back to the Enterprise writers room and learn why it was a long road getting from there to here with showrunner Brannon Braga and writers David A. Goodman (The Orville, Family Guy), Andre Bormanis and Michael Sussman.

STAR TREK III: THE SEARCH FOR SPOCK – 40th ANNIVERSARY REUNION We still haven’t had enough of you as we reunite the cast and crew of Star Trek III for a remarkable reunion as we take you to the Promised Land with producer Ralph Winter, star Robin Curtis (“Saavik”) and Leonard Nimoy’s personal assistant, Kirk Thatcher (Inside Out 2, Muppet Haunted Mansion, Werewolf By Night).

STAR TREK: GENERATIONS – 30th ANNIVERSARY REUNION Time is the fire in which we burn as we discover time is a predator with teeth as we reunite director David Carson and screenwriters Ronald D. Moore and Brannon Braga as they talk about the challenges of continuing The Next Generation on the silver screen and killing Captain James Tiberius Kirk.

STAR TREK V: THE FINAL FRONTIER – 35th ANNIVERSARY REUNION Everyone hides a secret pain, so get ready as we grow stronger through the sharing, with the cast and crew of Star Trek V: The Final Frontier including Laurence Luckinbill (“Sybok”), Cynthia Gouw (“Caitlin Dar”) and producer Ralph Winter (X-Men, Star Trek VI).

Sunday, August 4: 

HELLO, LARRY: UP CLOSE & PERSONAL WITH LAURENCE LUCKINBILL We get up close and personal with Laurence Luckinbill as we discuss his long career including Star Trek V, The Boys In The Band, Cocktail as well as his new memoir, Affective Memories. Followed by a book signing at the Inglorious Treksperts booth!

WRITING FOR STAR TREK & GENRE TELEVISION We assemble writers from across the Star Trek universe to talk about the unique challenges of writing in the 23rd, 24th, 25th and 31st centuries. Join Onitra Johnson (Strange New Worlds), Robert Hewitt Wolfe (Deep Space Nine, Elementary), Gabrielle Stanton (Deep Space Nine, Haven, The Vampire Diaries), Michael Sussman (Voyager, Star Trek: Enterprise; The Last Ship, Perception), Lisa Klink (Star Trek: Voyager, Pandora), Jesse Alexander (Star Trek: Discovery, Lost), David A. Goodman (Star Trek: Enterprise, The Orville), Christopher Monfette (Star Trek: Picard), Deric Hughes (Quantum Leap, The Flash), Matt Okumura (Star Trek: Picard) and Aaron Waltke (Star Trek: Prodigy).

SPOTLIGHT: THE LAST GENERATION The hosts of Star Trek: The Next Conversation, Matt Mira & Andrew Secunda, sit down with Picard: Season Three showrunner, Terry Matalas (showrunner, 12 Monkeys, Vision) and Picard: Season Three writers Christopher Monfette and Matt Okumura to talk about the Picard series finale, and Terry’s lasting Trek legacy.

In addition to all those Trek-takular panels, the  Inglorious Treksperts stage will also be hosting a cast reunion  Picard showrunner Terry Matalas’ time-travel series  12 Monkeys on Saturday, August 3 — with series leads Aaron Stanford , Amanda Schull , Todd Stashwick , Emily Hampshire , and Kirk Acevedo joining Matalas and writer/producer Christopher Monfette on stage.

(We also have it on good authority that the Treksperts will be hosting several exclusive signings at their booth in the STLV vendor’s room during the convention weekend, plus more surprises still in the works!)

You can check out the entire  Inglorious Treksperts  weekend-long panel lineup below:

The final schedule is subject to change, so watch for updates at the Creation Entertainment website. In the meantime, you can check out the Inglorious Treksperts podcast which drops new episodes every Thursday wherever you get your podcasts!

• Inglorious Treksperts
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Watch ‘Discovery’ and ‘Strange New Worlds’ EP Alex Kurtzman Explain Why ‘Star Trek Will Go on Forever’

Christian blauvelt.

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To celebrate the end of “Discovery” and also a second season of “Strange New Worlds” considered among the best runs of episodes in “Trek” history, Kurtzman joined IndieWire alongside his VFX Supervisor on these series, Jason Zimmerman — someone who’s done as much as anyone to shape the look of “Star Trek” in the 21st Century and give the franchise a whole new cinematic gloss — for our Consider This Event at The Grove June 8. The event was presented by Paramount+ , and you can watch the video of our interview above.

Kurtzman practically beams about where “Star Trek” is seven years after “Discovery” launched.

“I’m so proud of ‘Discovery’ because I think that it’s been enormous,” Kurtzman said. “It’s been enormous for ‘Star Trek,’ for sci-fi, for streaming, and in the area of representation. I think that it took hugely bold swings in terms of storytelling, with a leap 900 years into the future , which was a huge risk that could have just both ended ‘Discovery,’ and it could have ended any future ‘Star Trek’ shows, but in fact, it paved the way for more.”

His lead VFX Supervisor on all these shows, Zimmerman, shares that appreciation. When this writer suggests he’s able to do things that weren’t possible on previous “Trek” shows, he immediately rallies to those earlier series’ defense: “‘Star Trek’ was always at the cutting edge of visual effects,” Zimmerman said. “Even back in the day, the things that they were doing at the time were the absolute newest technology.”

Citing a number of “Trek” historians they have always working on the latest production, Zimmerman is careful to understand where the franchise has been so that what’s happening now is consistent with what came before. “The first thing we do, even with the new script that doesn’t seem to have as much to do with the past, is that we always go back and look at everything, see what the ships look like, see how they behave,” he said. “There are certain behaviors you still have to stick to. A starship is a massive thing. It needs to move like a battleship. It doesn’t matter if we’re doing that model from miniatures back in the day or if we’re doing it digitally now. But we also have a lot of reference to choose from.”

The evolved ship designs for the far future of the 32nd Century also built off what came before: The 29th Century Federation starship designs glimpsed in “Star Trek: Voyager” and the 31st Century designs seen on “Star Trek: Enterprise.” As Zimmerman put it, “You’re always looking, ‘Well, what’s the last closest era [that’s been depicted]?’ ‘What did we see there?’ And then ‘How would we evolve from there?’” You want to feel that each show in some form is represented in some total of what Discovery looks like or what anything in the 32nd century looks like.”

Those kind of choices build off the past, but don’t linger on it overly other than to evolve it: Such as the way “Discovery” in the final season used the previously mysterious “Deep Space Nine” villains, the Breen, in a whole new way that revealed more about their culture. They were a part of the previous show, so, for the worldbuilding of “Trek” going forward, they played an integral role again: It wasn’t just a shout-out for the sake of a shout-out, something Kurtzman is increasingly keen to avoid. “[Using the Breen] wasn’t really just like, ‘Oh, fan service,’” he said. “I think typically fan service can be very annoying. If you do it wrong and you are tipping your hat to it, but you’re not actually giving it any depth, it actually feels, weirdly, like it achieves the opposite of what you are intending to do.”

He’s also had a sounding board in Roddenberry’s son, Eugene “Rod” Roddenberry, who provides some guidance as to the original intent of the franchise, and was in attendance in the audience with his own 10-year-old son at IndieWire’s Consider This Event June 8. “I value my relationship with Rod so much because I think that he gives us the freedom to explore and to claim a certain authority over ‘Star Trek’ because we all understand that ‘Star Trek’ belongs to his father and to the family. That’s who it really belongs to. So we’re all stewards of it in the meantime, and our goal is to take care of it and to treat it like a very precious egg, and then hand it on to the next person, and hopefully they’ll treat it like a very precious egg.”

A gem, a precious egg, a gift. Just some of the things Kurtzman in the span of a 20-minute conversation likened “Star Trek” to. As the franchise boldly approaches its 60th anniversary and beyond, it’s hard not to think it’s in fantastic shape — and in the best hands.

Watch the video of our conversation with Kurtzman and Zimmerman above.

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