star trek enterprise vulcan neuropressure

Vulcan Neuro-Pressure

Vulcan neuropressure is a mental and physical technique for relaxing the mind and muscles. It is very difficult and takes years to master. Very personal, it requires a great deal of physical contact. An application of neuropressure for combat is the so-called Vulcan nerve pinch. (ENT: "E²")

T'Pol was skilled in the discipline and began administering it to Commander Charles Tucker after his sister died, as he was having trouble sleeping. Tucker soon became quite skilled in neuropressure, mastering techniques such as the surah'tahn and the khavorta posture (which was difficult because of the necessity for a certain breathing method and a relaxed jaw). (ENT: "The Xindi", "Rajiin")

Vulcan science states that neuropressure causes the body to create its own medicines, which means it may have been based on chiropractic. Some chiropractors believe the body's spine can heal any disease or wound. There is no scientific evidence to support this, however. It may also be based on the similarly named accupressure, which is equally lacking in evidence for efficacy.

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Screen Rant

Why enterprise’s trip & t’pol romance was so controversial (but still good).

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Scott Bakula Returns To Talk Star Trek: Enterprise For The First Time In Years

Lila & five’s umbrella academy season 4 relationship & impact on diego explained by star: “throws a spanner in the works”, avery brooks said no, jake sisko’s girlfriend in star trek: ds9 can't be rom's wife.

The romance between human Charles "Trip" Tucker III & Vulcan T'pol on Star Trek: Enterprise was very controversial for a few reasons, but still fun to watch. Star Trek: Enterprise , which ran from 2001-2005, has long been regarded as one of the least successful iterations of the franchise, but it introduced many unique story elements not seen in other Star Trek series. Nearly two decades since the series ended, their romance is still a subject of heated fan debate. For all that it remains controversial, Trip and T’Pol’s relationship was ultimately a good addition to the franchise, allowing Star Trek to explore relationships in ways it never had before.

This relationship was controversial for several reasons, and one big one is that it involved more obvious sex than other Star Trek relationships. In most Star Trek romances (such as Star Trek: The Next Generation 's William T Riker and Deanna Troi’s love story ), physical intimacy is more implied than shown. For instance, viewers see passionate kisses, and then the door is kicked closed. If a couple is in bed together, the light level is too low to see anything explicit. In Star Trek: Enterprise , however, viewers saw extended, well-lit love scenes, such as the infamous steamy shower scene. While some didn't enjoy this departure from the norm, others liked seeing a show for adults explore relationships in this way.

Related: Star Trek Just Missed A Perfect Enterprise Archer Cameo

The Problems with Enterprise's Trip & T'Pol Romance

However, Star Trek: Enterprise fans who enjoyed the more explicit aspects of the relationship could still see some problems with it. First, it seemed to come out of nowhere. T’pol and Trip had no lead-up to a relationship until the end of season 2 when tragedy struck with the Xindi attack on Earth. Their weapon killed millions, including Trip’s sister, Elizabeth. As a result of his grief, Trip couldn't sleep. T'Pol was asked by starship Enterprise doctor, Dr. Phlox, to use Vulcan neuropressure to help him relax. This was the catalyst for T'Pol and Trip developing feelings for each other, culminating in sex.

After they were somewhat improbably brought together, Trip and T'pol faced many threats to their relationship. Trouble and heartache existed around every corner. No sooner had T'pol confessed her feelings to Trip than she was convinced to go through with a long-arranged marriage to another Vulcan. She quickly divorced, but then she and Trip discovered that a rogue group had stolen their DNA and created a child. They warmed to the idea of raising a child, but it turned out that errors in the genetic engineering of the baby meant she would not survive. In the end, Trip’s self-sacrificial death for the Enterprise denied them both any chance of a happy resolution to their relationship.

Trip & T'Pol Are Defined By Their Romance (But That's Good)

Nearly 20 years after Star Trek: Enterprise ended, the romance between T’pol and Trip still defines them, but that's not necessarily a bad thing. It was a controversial relationship, but it did allow the characters to explore and grow. T'pol was more emotional than most Vulcans but definitely more detached than most humans. Conversely, Trip was rash and arrogant even by human standards. These differences caused friction but also allowed them to learn from each other. T'pol had to really think about whether she wanted to pursue the Vulcan culture of duty or a human one of choice. Trip became a safe way for her to explore her emotions, and T'pol became that for Trip as she helped him through trauma and grief.

Ultimately, Trip and T’Pol’s failed Star Trek romance was important for Star Trek: Enterprise to explore. After all, the show was set in the pre-United Federation of Planets era of space exploration. This means that, chronologically, theirs would have been one of the first relationships between a human and a compatible species. As controversial as it was, it made sense for such an uncharted relationship type to be as full of drama as it was.

Next: How Old Would Enterprise's T'Pol Be If She Returns In Strange New Worlds

• SR Originals
• Star Trek: Enterprise (2005)

Star Trek: Strange New Worlds Season 3 To Feature A Famous Friendship

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Star Trek: Section 31 Actor Debunks Popular Fan Theory About His Character

Star trek star hopes netflix will see prodigy's potential and renew it for season 3 or more, doctor who showrunner confirms they will employ old method in season 15.

• Kirk and Spock's friendship will take center stage in Star Trek: Strange New Worlds Season 3, exploring their close bond.
• The dynamic between Kirk and Spock as opposites who complement each other will be a slow burn in the upcoming season.
• Despite fan theories about a romantic relationship, Star Trek writer David Gerrold confirmed Kirk and Spock are just close friends.

One Star Trek: Strange New Worlds actor shared new updates about the upcoming third season. According to him, Season 3 would delve into the friendship between Captain James T. Kirk and the half-human and half-Vulcan Spock.

Star Trek : Strange New Worlds is a spinoff of Star Trek: Discovery and a prequel of Star Trek: The Original Series . It follows Captain Christopher Pike and the starship Enterprise crew as they explore new worlds and carry out missions through the galaxy decades before TOS . It stars Anson Mount, Ethan Peck and Rebecca Romijn as Pike, Spock and Number One, respectively. All three characters were from The Original Series . Several actors also appeared as guest stars, including Eugene Cordero (Sam Rutherford), Tawny Newsome (Beckett Mariner), Jerry O'Connell (Jack Ransom), Jack Quaid (Brad Boimler), Noel Wells (D'Vana Tendi), and Paul Wesley (James T. Kirk). One of them shared some key details about what fans could expect in Star Trek: Strange New Worlds Season 3.

One Star Trek: Section 31 actor clarified his role in the film after the first trailer was released at San Diego Comic-Con.

Wesley appeared at STLV: Trek to Vegas to discuss his career, including The Vampire Diaries and his take on the iconic role of Captain Kirk in Strange New Worlds . While speaking at the event, Wesley tried to avoid spoilers as he answered fans’ questions, Screen Rant reported. He teased that "amazing stuff" was coming. He also spoke about Kirk's blossoming friendship with Spock, which would be featured in the new season of Star Trek: Strange New Worlds . He said, "We have some amazing stuff in season 3. Yeah, it’s a slow burn. You don’t wanna, out of the gate, explore everything. It’s nice to have the characters slowly get to know one another, because that friendship is so important to this series. It’s really nice to [give] sprinkles and hints of what’s to come."

Since the next season would feature Kirk and Spock's tight bond , Wesley offered some details about the duo. According to him, the pair are connected, and even if they are opposite, they complement each other. Strange New Worlds will feature the friendship at a slow pace. Wesley said, "Hints of how connected they will be, even though they could not be more opposite. Kirk and Spock are very yin and yang in a good way. But we explore that… The short answer is yes. We very much explore that in season 3. But I think we intentionally let it slowly build.”

Kirk and Spock's relationship is interesting to explore because they are really close in the Star Trek franchise. Some even speculated a potential romantic relationship between the two. However, David Gerrold, writer of Star Trek: The Original Series , had shut down the "slash" theory about the pair. In an interview with Tim Farley and Randall Landers , Gerrold shared that the two fictitious characters are not lovers or boyfriends but just good friends. Their friendship is evident in Star Trek: TOS. For instance, in Season 2, Episode 1, "Amok Time," when Kirk noticed Spock behaving erratically and the latter explained " pon farr ," an overpowering hormone imbalance that Vulcan males and females experience every seven years that may cause insanity, loss of self-control or even death unless they engage in sexual intercourse, Kirk rerouted the Enterprise to planet Vulcan against orders to help his friend. The move showed that he chose his friend over his duty.

The pair relied on each other and were willing to die for one another. For instance, when their ship was put at risk by the Genesis Device in Star Trek II: The Wrath of Khan , Spock didn't hesitate to sacrifice his life for Kirk and the latter once again disobeyed Starfleet's orders to ensure his friend’s soul would be at peace. Kirk and his crew stole the decommissioned USS Enterprise to return Spock's body to his homeworld. Kirk and Spock are among those who have a solid friendship in Star Trek and exploring their relationship will always be a treat for Trekkies.

Star Trek: Strange New Worlds Season 3 will stream on Paramount Plus in 2025.

Star Trek star Robert Picardo said Prodigy had potential, and he was hoping the show would be renewed on Netflix.

Source: Screen Rant

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Published Mar 17, 2023

T’Pol’s Inner Strength: Lessons from Enterprise’s First Vulcan Officer

One fan uncovers T'Pol's true power.

StarTrek.com / Rob DeHart

Star Trek , fortunately, is not lacking in strong women characters, providing role models for fans of all gender identities. Characters like Captain Kathryn Janeway, Kira Nerys, Seven of Nine, and Jadzia Dax immediately come to this seasoned Trekkie’s mind. An admirable pillar of strength throughout Star Trek: Enterprise is T’Pol due to her integrity and resilience in the face of adversity.

Taking a cue from the titular character and stepping outside my comfort zone, I'm here to share insights I’ve gained about her dynamic character development from re-watching the series as an adult. T’Pol’s strength comes not from the volume of her voice, but the integrity of her character. As an alien minority on a ship of humans, her character illustrates how one can stay true to oneself whilst maintaining an open mind.

StarTrek.com

In accordance with Star Trek ’s message of IDIC — infinite diversity in infinite combinations — it’s essential that we as global citizens of this interconnected world are receptive to diverse worldviews that enable us to grow as individuals. For me, T’Pol teaches that these intercultural exchanges don’t necessitate compromising one’s own sense of self. Even when faced with extreme opposition, T’Pol resolutely stands by her core values but is never so inflexible that she can’t learn from new experiences. That is where her true power lies. My hope is that my fellow Star Trek fans also find attributes of T’Pol’s character empowering, or at least have a moment’s reflection on the value of inner, sometimes silent, strength.

Personally, I was a mid-'90s kid who caught Trekkie fever in elementary school when most of the different Star Trek series had already come to an end. It started with me watching Star Trek: The Original Series and Star Trek: The Next Generation marathons on cable and renting the movies from Blockbuster. I became obsessed. TNG is the series that holds the most nostalgia for me. I fell in love with all of the characters and treasured the messages of valuing diversity and resolving conflict through dialogue, not violence. However, Star Trek: Enterprise was addressing more current political and social issues in the early 2000s. As I was starting high school, Enterprise became a way for me to try and understand the post-9/11 America that I was growing up in, and thus, became the series I gravitated toward.

As I waded through graduate school and truly “adulting,” I continued to watch and re-watch Star Trek . The unique thing about this franchise is that I can take away something new — a unique insight or different perspective — with each re-watch. Recently, I successfully indoctrinated my sister into the world of Star Trek where we, of course, binge-watched Enterprise . It had been some time since I had last seen many of the episodes, and I had come to a realization — I identify with T’Pol’s character more than any other in Star Trek .

When I was a younger, first-time watcher, I admired T’Pol’s intelligence, and actor Jolene Blalock’s grace and poise while she played the character. Now, as I watch Enterprise , I see myself in a lot of ways. Not to say that I am as brilliant and stoic, but as a professional woman engaged in predominantly intellectual labor, I understand the prejudices and social pressures T’Pol experiences as the Enterprise ’s first Vulcan second-in-command. Moreover, individuals of all gender identities can relate to entering a new environment and struggling to balance outside expectations with one’s own values and identity.

Being True to Yourself is Only Logical

Before T’Pol even steps onto the Enterprise , Captain Jonathan Archer has preconceived notions of who she is and what she is like — cold and arrogant with a superiority complex. In canon, this is attributed to the fact that she is Vulcan, and Archer harbors resentment towards the Vulcans for stalling Earth’s warp 5 program. At first, he is belligerent and somewhat racist to T’Pol. He puts words in her mouth, questions her recommendations, or just ignores her professional opinions. In the first season especially, Archer and Commander ‘Trip’ Tucker have a tendency to gang-up on T’Pol pressuring her to loosen up, to be more human.

Strangely, one of the things that is frequently commented upon is T’Pol’s Vulcan diet and eating habits. Though these differences may be pointed out in order to flesh out the Vulcans as a species, it comes across as purposefully othering her character. A moment in which T’Pol subtlety yet effectively claps back at the men’s teasing is when she expertly eats a breadstick with a knife and fork. In the pilot episode, “Broken Bow,” the senior officers debate the values of humans versus Vulcans in deciding if humanity is ready for deep space exploration. Archer notices T’Pol having difficulty eating an aperitif breadstick with her fork, commenting it would be easier to use her hands. After explaining Vulcan’s don’t touch food with their hands, T’Pol proceeds to carefully cut a breadstick with a knife and fork, punctuating her overall point in the discussion, “With the proper discipline, anything is possible.” Even when in the minority, T’Pol gracefully maintains her own cultural values and identity.

Moreover, T’pol stays true to who she is as an individual despite external expectations. As aforementioned, subcommander T’Pol’s maiden voyage as Enterprise ’s Vulcan first officer wasn’t exactly smooth sailing. T’Pol takes the risk of accepting a post on a predominantly human vessel, something a Vulcan had never done before. Though members of the crew, Archer included, criticize her for not making an effort to interact with her shipmates as she is known for sequestering herself in her quarters and turning down social invitations. Some could interpret her reserved demeanor as being superior or inflexible, though who can’t relate to needing some time to oneself?

Despite these critiques, T’Pol does not change who she is to try and win her crewmates’ approval and instead initiates cultural exchanges on her own terms in ways that are meaningful to her. Usually, these on-screen interactions are predominantly one-on-one and involve her sharing something of her Vulcan heritage as well as learning about human culture. A scene I frequently reflect on is in the episode “Sleeping Dogs,” when T’Pol offers to assist Hoshi in managing her anxiety by teaching her a Vulcan meditation technique. This is a rare character-defining interaction between the two women that demonstrates early on how Vulcans and humans have a lot to offer one another when they work together.

Realizing Silence is Power

[ CONTENT WARNING : The below section discusses instances of assault from the Star Trek: Enterprise episodes “Fusion” and “Stigma.” Feel free to skip to the next section. ]

The power of an individual’s voice is not simply in its volume, but in the weight it carries. This is perfectly exemplified by T’Pol who demonstrates her own unique personal strength through a few carefully chosen words or, in some cases, silences. Silence as a form of power is most clearly illustrated in the second season episode “Stigma.” T’Pol uses silence to do what she believes is morally right and never wavers from her convictions regardless of the consequences. T’Pol comes under investigation following the revelation she has contracted Pa’nar Syndrome from a non-consensual mind-meld. Following an inappropriately probing interrogation, the Vulcan physicians in question effectively attempt to end her career by sending her home rather than try to treat her medical condition.

To keep her on the Enterprise , both Archer and Phlox pressure her to tell the Vulcan doctors that she contracted Pa’nar Syndrome through an un-consensual meld. However, T’Pol clearly communicates that she does not want to discuss her medical history nor the circumstances under which she contracted the disease. T’Pol states, “If I use that as a defense, as a way to keep from being taken off Enterprise , I’d be condoning their prejudice and, in the process, indicting every member of the minority. I won’t do that.”

Archer believes, at first, that her silence signals her surrender, that she is submitting to prejudice and is accepting her forced removal from her position. As viewers, we may also come to the same conclusion that she is a victim of assault, now a stigma that will ruin her life. However, T’Pol repeatedly states throughout the episode that she is electing to stay silent because she doesn’t want to become complicit in the societal violence against this mind-melding minority. T’Pol’s silence is her way of realizing her agency in a situation where, as Archer sees it, she doesn’t have a choice. But she does.

Although in the end, tragically and problematically, a member of the mind-melding minority that she is trying to protect outs himself as a melder and then exposes the non-consensual circumstances of T’Pol’s meld. Even after her choice to keep the secret is taken, she still remains silent. It is then that Archer finally realizes what she is trying to do and how strongly she feels. When the Vulcan inquisitors demand Archer explain these circumstances, he simply states, “Seems my science officer doesn't want to discuss it. That’s good enough for me.” Now he gets it. T'Pol ultimately refuses to be defined by her trauma and remains proactive in her defiance of this injustice in Vulcan society. She does not need defending or protecting, she effectively makes her point by refusing to speak out.

Furthermore, it is worth noting that the gendered aspect of T’Pol’s character is significant. Typically, in Western society, women who are outspoken and use their voice to occupy space are generally considered more empowered as they mirror the ways in which men are socially encouraged. Women’s silence is often associated with submission, traditionally with how women should behave in a patriarchal society. It is seen as being weak and passive, commonly assigned feminine traits within the patriarchy. Writing against these gendered stereotypes, feminist literary scholar Patricia Lawrence proposes, “women’s silence... may be read as a strategy of resistance and choice – a ritual of truth.” T’Pol effectively demonstrates that silence is an act of agency when she maintains her own truth for the sake of her own values and protecting the civil rights of others.

Though perhaps not in such extreme circumstances, we can identify a time when we felt pressured to do or not do something that ran contrary to our own moral code. I have certainly been in adverse situations where complacency was the easier path in the short term but wasn’t really an option where my conscious was concerned. Living though a global pandemic these past few years particularly highlighted a number of such social issues. Whether the situation calls for speaking out or staying silent, T’Pol demonstrates true strength of character by standing resolutely by her convictions even when faced with extreme opposition.

Maintaining an Open Mind

I find the character T'Pol so compelling not only because she remains true to herself and her core beliefs, but that she also bravely confronts new cultures and ideas enabling herself to learn and grow from those experiences. From my own intercultural exchanges, I’ve found it is by placing ourselves into unfamiliar situations and in encountering new ideas that we can take the opportunity to look into ourselves. T’Pol’s character admirably resists pressures to assimilate into the dominant human culture on Enterprise to maintain her Vulcan identity, while simultaneously remaining open-minded.

Eventually, T’Pol develops more respectful and meaningful relationships with Archer and Trip. Both characters come to trust her and value her insights. Though she does take on some “human habits,” and occasionally attends movie night, she never changes the core of who she is, part of which is being an explorer. Before she boarded Enterprise , she worked at the Vulcan Embassy on Earth because she was curious about meeting new people and learning about other cultures. Not to say that T’Pol’s character doesn’t develop, she grows in a lot of ways, but she also stays true to herself and her own values. Throughout the series, T’Pol clearly has sovereignty over her own destiny. She follows her own moral code and finally joins Starfleet, not to conform, but in the hope of creating a better future for all. Likewise, I can be open to new experiences without compromising my own values and who I am. Without succumbing to external social pressures, I can grow and develop as an individual on my own terms, as much as it is in my power.

To sum up, I will quote a comment I contributed to Women at Warp’s podcast episode on T’Pol that punctuates this point nicely, “[T’Pol’s] character shows that one can be open to new experiences and ideas without compromising one’s own values and sense of self. Through her interactions with [but not limited to] her crewmates, T’Pol illustrates how one can grow as a person without succumbing to external social pressures about what a woman, or a Vulcan, is or how she should behave in any given social environment.”

Looking back at Star Trek: Enterprise , I see a lot of myself and my experiences in T’Pol and I admire how she learns from navigating complex interspecies relations and confronting adversity without compromising the integrity of her character. Though as a woman I particularly identify with some more gendered aspects of T’Pol’s character, people of all gender identities can relate to similar experiences of entering into a new context and having to negotiate various expectations with one’s own values and sense of self. T’Pol teaches that with patience and perseverance, we have the strength overcome what challenges may confront us so long as we maintain an open mind and our core values as we boldly go into the future.

Kaja Gjelde (she/her/hers) is a Sami-American writer and researcher with an MA in Indigenous Studies. Gjelde is a life-long Trekkie, feminist and linguaphile who lives a semi-nomadic lifestyle with her Norwegian Lundehund. Find her on Twitter @KGjelde.

Stay tuned to StarTrek.com for more details! And be sure to follow @StarTrek on Facebook , Twitter , and Instagram .

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Amanda Cole

• 1.1 Early life
• 1.2 Enterprise
• 1.3 Alternate timeline
• 2 Background information
• 3 External link

Biographical details [ ]

Early life [ ].

Cole was a native of the Florida region on Earth , growing up in the same area as Commander Charles Tucker III ; she went to a high school rivaling Tucker's own, and even visited the same movie theaters as him. Her hometown was destroyed in the Xindi attack on Earth but, fortunately, her family had moved north a few years beforehand. She held the team record for sharpshooting .

Enterprise [ ]

Aboard Enterprise , Cole expressed a romantic interest in Tucker, though the situation was complicated by his interest in T'Pol . He had been giving Cole Vulcan neuro-pressure sessions, which he had learned from T'Pol. T'Pol was jealous of the interest Tucker and Cole displayed in each other and mildly injured Cole during a neuropressure session performed to correct some damage that Tucker had inflicted. ( ENT : " Harbinger ")

Alternate timeline [ ]

In an alternate timeline where Enterprise was stranded in 2037 , Cole had nine children with Doctor Phlox ; many of the crew were her descendants , including a young boy . ( ENT : " E² ")

Background information [ ]

Cole was played by Noa Tishby .

In the final draft script of " Harbinger ", Cole was described as "a striking MACO in her mid-twenties."

In retrospect, Noa Tishby once recalled that, at the time she had informed her friends of the upcoming part, it was "when I booked the role." Tishby extremely enjoyed portraying Cole. " It was a great part, " she remarked. " First of, I loved the opportunity to play a romantic role of sorts, getting to stir up things on the ship. Also, everything that had to do with the martial arts and the whole physicality of the role was great. I'm also extremely attracted to anything to do with astronomy, physics and science fiction. "( Star Trek: Communicator  issue 151 , p. 45)

Amanda Cole was the only MACO character whose full first name was given.

External link [ ]

• Amanda Cole at Memory Beta , the wiki for licensed Star Trek works
• 1 Alyssa Ogawa
• 3 Patti Yasutake

Watch the First Ever ‘Strange New Worlds’ and ‘Star Trek: Lower Decks’ Cast Crossover

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The Big Picture

• The final season of Lower Decks features an extended finale episode, promising an exciting conclusion and growth for the characters.
• Season 3 of Strange New Worlds will feature a Vulcan episode and a Hollywood murder mystery.
• Despite challenges, the crossover episode between the two shows was a success, with a unique blend of tones and fun experiences for the cast.

Last year, two of the best Star Trek shows came together to maximize their joint sci-fi slay with an epic crossover episode between the adult animated series Lower Decks and the episodic prequel series Strange New Worlds . However, because that episode dropped during the industry-wide writers and actors strikes, press for such a momentous fandom occasion was sadly limited. Now, by a stroke of luck and timing, Collider can bring you the first shared interview between these two casts. Last week at San Diego Comic-Con, Editor-in-Chief Steve Weintraub was chatting with the Lower Decks crew ahead of their final season, when their live-action pals from the Enterprise decided to crash the party for an epic joint interview.

During their 30-minute conversation, Weintraub spoke to both casts about filming the crossover episode, working with Jonathan Frakes , and how Tawny Newsome and Jack Quaid were largely responsible for bridging the tone between the two shows . They also discussed the final season of Lower Decks , which will feature an extended finale episode , and what changes they had to make when they learned Season 5 would be the show's last. Season 3 of Strange New Worlds was also a hot point of conversation as Weintraub asked how they plan to top a crossover and a musical in the coming episodes.

The cast also teased Frakes’ highly anticipated return to the director's chair, which he has called the best episode he’s ever directed, as well as the teaser footage which sees five crew members turned into Vulcans . You can read the full conversation with Strange New Worlds ’ Ethan Peck , Rebecca Romijn , showrunners Akiva Goldsman and Henry Alonso Myers , and Lower Decks ' Tawny Newsome , Jerry O’Connell , Noel Wells , and creator Mike McMahan in the transcript below or watch it in the video player above!

Star Trek: Lower Decks

Behind every great captain, is a crew keeping the ship from falling to pieces. These are the hilarious stories of the U.S.S. Cerritos.

COLLIDER: I am a huge fan of your series, and I'm really bummed that it's ending, but I'm also grateful that you guys got to make five seasons. It's like winning a lottery to make any show. Everyone watching this knows the show by now, but what can you tease about Season 5?

MIKE MCMAHAN: We've got some amazing Orion episodes. Noël, as Tendi, goes back to Orion for a little while, and you learn a lot more about Orion culture.

TAWNY NEWSOME: What do I do?

MCMAHAN: You do a lot of growing. You actually did a lot of growing last season.

NEWSOME: Growth and grappling.

MCMAHAN: Then Ransom is actually both equal parts dumbass and beloved commander, so as he's always been, but maybe more than ever before. We knew this was gonna be our last season pretty early, so instead of going out feeling final, it feels more like a fireworks show when they blast everything off at the very end. So it's like a huge celebration with everything I've been planning on doing put into one big party all season.

I’m so happy that you knew going in that this was going to be the end. How much did that allow for exponential character growth and lead everyone toward where they're ultimately going to go in the future?

MCMAHAN: We did not jump them ahead of where they are in the story. Instead, it feels like the end of a chapter. It feels like we're in chapter one of the story of Lower Decks. So it still feels like Lower Decks . It's still funny, it's exciting, it feels like it fits into canon, but it does feel like we've said something by the end of it. So, you could take the first five seasons and be like, “This is a full idea,” but it does not feel final , which I think is the best way for a comedy to be.

JERRY O’CONNELL: Wow, that was so well-put, Mike.

MCMAHAN: Thanks, guys.

O’CONNELL: He's a smart guy, our boss. He worded that perfectly.

NEWSOME: It’s like when you make a cheesecake, and then you put it in the fridge to chill. It firms, but it's not solid. You can still puncture it.

O’CONNELL: You can still puncture us!

NEWSOME: You can still puncture us.

O’CONNELL: It's funny, being a performer on it, I felt very satisfied with this season. I felt Mike did a great job.

How much does it cost for him to say that?

MCMAHAN: Too much.

O’CONNELL: It doesn't at all, really. To quote Tawny, “If I didn't have a good time, I would just be quiet.”

NEWSOME: [Laughs] That’s true.

O’CONNELL: It's really funny, I'm very proud as a performer, I'm very proud as an employee, but also, I'm really proud of my Lower Deck ers. I'm really proud of them.

NEWSOME: I’m proud, too.

Without spoilers, have you recorded all of Season 5? You're done?

NEWSOME: Yeah.

'Star Trek: Lower Decks' Season 5 Will End With an Extended Finale

What was it like reading that last script and seeing ultimately where it was all going to be going?

NEWSOME: I refused at first. I said, “If I don't end it, it won't end, and we can just live here forever.” Then they tackled me in my home and asked me to come down to the studio to do it, so eventually we did it. It was bittersweet but lovely.

MCMAHAN: You joke, but we did keep adding and adding and adding to the finale because nothing was ever satisfying enough and there weren't enough goodbyes to tell in a funny way. Ultimately, what we ended up with is a gigantic episode that's really fun.

Is it longer than a typical episode?

MCMAHAN: Oh yeah.

MCMAHAN: I think a lot of the season actually is. It's a big season.

NEWSOME: It's a double-stuffed Oreo of an episode, for sure.

O’CONNELL: It was really interesting working on the finale of a series and watching Mike's process because you did a version, you honed it, you did a version, you honed it. It's funny, by the time that I did my last recording, you really did a great job, Mike.

NOËL WELLS: I feel like when I first recorded the episode, we didn't know that it was the final episode, but then when we had to make some changes…

NEWSOME: We're reading it, going like, “Well, this sure sounds like the end.”

WELLS: We had to make changes to some things just to adjust to that.

MCMAHAN: Comedies that end, comedies that have a final episode, that's usually not anybody's favorite episode. On a serious level, on this , we may have broken that. This might be somebody's favorite episode. A lot of people's.

A lot of the episodes are like 25 to 30 minutes?

MCMAHAN: They want them at 22, but because we're on Paramount+, we can rob from some episodes and add to the others and be a little more flexible.

Do you know the running time of the last episode? Is it like 35?

MCMAHAN: We're still working on it. The last I saw—my editor and line producer would kill me—right now, we're, like, eight minutes longer than an episode usually is, which is like an entire other act, basically.

NEWSOME: That's gargantuan at a half hour.

MCMAHAN: It’s really big, and we're not done with it. So, I don't know. We'll see.

I have so many follow-ups to that. Was it hard coming up with the last shot? The last thing?

MCMAHAN: No, that was the easiest part.

NEWSOME: No, at first you didn’t have…

MCMAHAN: The last shot . The very last shot.

NEWSOME: Oh, I'm talking about the last scene . At first, you didn't have that. I remember, I was like, “I can’t believe we're not doing blah, blah, blah. Doing et cetera, et cetera.” And then you did it.

MCMAHAN: We added a couple of things at the very end, and… Oh, man.

WELLS: Our fans are here!

MCMAHAN: The Strange New Worlds gang banging on the window.

NEWSOME: Akiva Goldsman is banging on the window like one of his monsters in I Am Legend .

'Strange New Worlds' and 'Lower Decks' Cast Finally Reunite to Talk About the Crossover Episode

I loved, loved the crossover episode. So let's talk a little bit about that because I don't know if you guys have ever done an interview together.

ETHAN PECK: No, we haven’t.

REBECCA ROMIJN: We barely got to talk about it because of the strikes. We wanted to talk about it from the mountaintops, and we couldn't.

NEWSOME: We just talked to each other about it. We were like, “Pretty cool, right?”

HENRY ALONSO MYERS: Mike and I were on the phone a lot .

Fans loved the episode, I loved the episode. Let's talk a little bit about the planning stages. Was it difficult to do? What was it like for the cast? Let's get into it.

MYERS: We didn't know what we signed up for. We wanted to do something that was a merge. A crossover episode is a classic Star Trek element and we really wanted to do that, and we love their show so much. We thought this would be one that no one would expect. We knew it was also a challenge because we had to animate a huge section of it, and then we knew we were gonna have to work with all of the folks that we could bring over into our world. Honestly, we wanted to get everyone in it. We had time for about two of them to do live-action, but we really wished we could have found a way to absolutely have everyone there.

AKIVA GOLDSMAN: Here's the thing that nobody will tell you: it was really hard . Fundamentally, it seemed like, “Well, they'll just come over.” But it turns out that they're animated, and we're real, and we have different tones in our show. The integration of their tone and our tone was a full-on job.

MCMAHAN: But you know what? Everything I heard from both casts was, “This is the most fun we've had.” It was a synergistic effect. It was hard, but it was getting to have the most fun doing both shows at once that we couldn't have gotten separately, which I thought was really cool.

GOLDSMAN: Real costumes. They like that.

MCMAHAN: No, we have them recording costumes!

NEWSOME: And we got paid more, so that was fun.

WELLS: You got paid more?

GOLDSMAN: That was a secret. That part was quiet.

ROMIJN: It was really fun watching Jack and Tawny make these minute adjustments to fix tonally what was the divide between animation and real. It was really fun watching you guys.

NEWSOME: Thank you. All props also go to Jonathan Frakes for helping guide that so expertly.

ROMIJN: He massaged that a lot.

NEWSOME: I don't mind being told to tone it down when it's Jonathan Frakes. Most people, I’m like, “Mmm, disagree.”

MCMAHAN: Did he ever tell you to?

NEWSOME: No. [Laughs] He did say, “Go harder.” At one point, he said, “Please say the script.” He said, “The writers would really like for you to say the words on the page.”

MYERS: I gotta say there were a bunch of ones that we were like, “We're gonna use this one,” because it was fun and funny. There were things that we didn't expect. The way that Boimler walked? When Jack did that, we were like, “Well, we have to use that shot because he's actually doing the walk,” which he's never gotten to do in real life before, so I think it excited him.

NEWSOME: I've seen him do it. That's just how he walks.

The thing about that crossover episode is it's so nice when everyone loves something, and rather than tearing things down online, it's all like, “Oh, that's great.”

'Strange New Worlds' Season 3 Turns the Crew Vulcan

With Strange New Worlds and the upcoming season, you did a musical episode, which was phenomenal, and you did this crossover episode. What can you tease about the upcoming season?

GOLDSMAN: We’re doing Vulcans.

MYERS: In addition to seeing a lot of people become Vulcans who you wouldn't expect, we get to see other people on the ship behave in ways—some of them who might actually be present today—that you've never seen them do before.

GOLDSMAN: That's mostly Jerry.

I saw the five-minute clip of the cast getting turned into Vulcans and not being able to get back, and it was fantastic. What's interesting for the cast is that you are having to act like a Vulcan and you're not used to doing something like that. What was it like for you having your fellow castmates acting as Vulcans? Are they talking to you about, “How should I do this?”

ETHAN PECK: Well, I didn't appreciate being the half-Vulcan and being ostracized and criticized for that. But they did seek my advice a little bit, the actors. I spoke probably most thoroughly to Celia [Rose Gooding], who plays Uhura. It was really fun to see everyone turn into Vulcans. It was kind of shocking, too. And funnily enough, it made me feel like I belonged more to see more pointed ears. But then, of course, they were very offensive.

MYERS: Weirdly, the hardest part wasn't the performance—performance came very easily to them—it was the hair. The hair was the hardest part, but also to give each of them their own specific feel and look. Yes, they are Vulcans, but that doesn't mean they all act the same.

NEWSOME: Vulcans are not a monolith.

ROMIJN: They all have their own brand of Vulcan. That was pretty surprising and fun to play off of.

Where is that in the season?

MYERS: It's Episode 8.

Is it really? Oh, wow. When you're in the writers’ room, you're coming up with pie-in-the-sky ideas, and then it's about, “How do we get this on the page? How do we get this to be filmed?” Are there certain things in animation that are more expensive than others? And how much does that dictate how much you can do in an episode? With Strange New Worlds , you obviously have a budget for the season. Can you talk about where and when you want to deploy the big resources in an episode, and how much does that impact two other episodes when you go big in Episode 6?

MCMAHAN: Mine is easy because red costs a lot more. If you use red on screen, it costs twice as much. The ink is just really expensive. For us, it's just, “How many voices do we have in the episode? How many minutes do we have?” Every minute is just compounding for us, and every voice, we only have a certain amount of people we can have on the show. So, we use every penny.

WELLS: But the great thing about animation is that you can invent anything and go anywhere, and there is no cap on what your imagination can be.

MCMAHAN: We can put in a lot more aliens, we're not paying for prosthetics, and we can do a lot more ships. We're not building new sets. We're drawing all that stuff.

MYERS: We did spend a bit of time beforehand talking about what were the existing sets from Lower Decks that we could use. I remember having a long conversation with you about, “What angles on the ship already exist? Which ones can we use? If they go in this direction, can we see this? Can we see that?” And then there was a whole thing where the set that we built on the AR wall, which existed both digitally, practically, and also in an animated style, was probably the most interesting one because these are divisions that probably never have to work together and we had to get them all in line. So, that was challenging.

We spent a lot of time beforehand trying to decide where the money's gonna go big and where the money is gonna go small. It's more like we're gonna spend a lot on this episode for TBD reason like we have a creature effect that's really expensive, we have a visual effect that is gonna cost a lot of money because we're gonna be out in space for a while. That's one thing. If we are gonna take that away, we have to give something else, like maybe turn a lot of people into Vulcans, for instance.

O’CONNELL: This is crazy too. Ethan’s body makeup is…

GOLDSMAN: And the CG that we have to do afterwards.

O’CONNELL: I've seen the cost, and it's astronomical.

MYERS: That was all set up for the original deal that he made on the show, and we're not actually allowed to change it.

GOLDSMAN: We're doing it in real-time right now, which is really pricey.

NEWSOME: You look great.

MYERS: You wouldn’t believe the effects that this has.

When you think about the episodes you've done thus far in Strange New Worlds , what scene or sequence do you consider the toughest one to have pulled off?

ROMIJN: Personally, I think the most work I put in was a scene that you and I had in the third season. It's a sequence of scenes that we got to do together.

PECK: Oh, I remember.

O’CONNELL: You guys are being so shady.

ROMIJN: In Episode 8.

PECK: Mine might have been the sequence in which Spock has an anxiety dream and fights himself. I had to play both sides of the fight, obviously. That was pretty complicated.

Obviously, you can read something on the page, and you could be like, “Oh, this is really good.” Sometimes it turns out better than you expected, and sometimes not so much. For all of you guys, what is an episode that you are just so happy with the way it turned out in terms of it being better than you imagined and it’s one of your favorite episodes of Star Trek?

O’CONNELL: The crossover episode that we all did. I don't recall in recent memory anyone else doing that, and the tone was perfect. They really pulled it off. I gotta say, I was extremely doubtful when it was announced.

ROMIJN: When they pitched it, I couldn't understand how they could possibly make it work, and it totally worked. I'm gonna go with the crossover episode, as well.

NEWSOME: I wanna shoot some love your way, Rebecca. The trial episode.

ROMIJN: “Ad Astra per Aspera.”

NEWSOME: When that episode came on, I don't think I read it ahead of time or anything. I think I just heard, “Oh, they're doing a trial episode,” and as a lifelong Trek fan, we've seen a lot of trial episodes, and so I was like, “Sure. This will be good and fine and whatever.” I was really blown away because of the portrayal that you brought to it. Also, it's really hard to do trial episodes in Star Trek that still feel like there's something new to say or to discuss in that way, and I thought you guys really nailed it.

ROMIJN: Thank you. It was a beautifully written episode.

MCMAHAN: I think to some extent, every single episode goes through this process of, “I like this– Oh no, it's a disaster. Wait, an army of talented, amazing, passionate artists are making it better and better and better.” For me, once you get music into an episode, it's such a relief because that's where the heart comes from. You've edited it, and you've lived with all these lines. So, I can't think of a single episode where you don't go through waves of joy and panic and then ultimately are just so relieved that it's good and that you're telling a story and making people laugh, and being in space together. I don't know. It's great. Star Trek's great.

I’ve got good news and bad news. The good news is Strange New Worlds , you’re going to stay with me, but Lower Decks , you need to leave and do another interview.

Your show is one of my favorite things to watch. I love it so much. I'm so excited for Season 3. The thing a lot of people don't realize is that you were originally going to film Season 3, and then the strike happened. How did the scripts for Season 3 possibly change because of the extra time, or were they just locked?

GOLDSMAN: It's not quite as simple as it sounds because we were down, so we didn't actually have a lot of time. We had the time we had, then we stopped. Everything ground to a halt, and then we picked up again six weeks out of production. Really, what was problematic, or at least was unique, is the machine is typically really running six weeks out. When you're just six weeks out, everybody's getting it, and now we were starting all over again in terms of momentum six weeks out. So, it was energetically complicated, creatively annoying, but fundamentally, we made the episodes we planned to make.

One of the things about Season 2 is you really did it—the musical episode, the crossover. You were very ambitious. How ambitious is Season 3 compared to Seasons 1 and 2?

ROMIJN: Surprisingly ambitious. We didn't know how they were gonna push the envelope, and they did! We're really proud of some things in Season 3.

GOLDSMAN: It is amazing what you can do if you get polaroids of your cast and then offer not to put them on the internet. They will do things that are extraordinary.

PECK: Things you won't believe.

What can you tease without spoiling about Season 3?

PECK: The Robocop episode.

GOLDSMAN: The Star Wars crossover.

ROMIJN: The all the all-nude episode.

GOLDSMAN: I love that one.

PECK: The Godzilla episode’s gonna be great.

'Strange New Worlds' Season 3 Picks Up Immediately After Season 2

So Season 3, Episode 1, is there a big time jump from the last episode?

MYERS: No time jump at all. So, just almost an instantaneous pickup.

ROMIJN: Mid-battle.

Jonathan Frakes has said that he directed something in Season 3 that he considers his favorite thing that he's directed. I don't know if he's directed more than one episode.

MYERS: He directed one this season and one last season.

Can you say what episode number he directed?

MYERS: Episode 4.

When he said that out loud and announced that it was his favorite thing he's ever directed, were you like, “Yeah, he's probably right.” Because there must be something to this episode.

MYERS: That is a spectacular episode. I'm delighted with it.

ROMIJN: It was a really special experience. When he wrapped that episode, he and I were on the same flight going home that weekend, so we were at the airport, which was delayed by three hours, so I got to listen to him talk about, for three hours, how it was his favorite hour of television that he's ever directed.

What can you tease?

MYERS: It’s a very unique version of Kirk, one that we have not seen on the show before. All of our actors get to do things that we've never seen them do before.

GOLDSMAN: It's a Hollywood murder mystery. I think he’s said that, and if he hasn't, let us say it officially now. We are, as always, striving to create a different genre within ours, so there's a reason for it. It's not somebody having a dream, although we did once in the room have a thing about a dream and many Unas.

MYERS: That was the Godzilla episode.

GOLDSMAN: So, because of that, our actors get to do things that they haven't gotten to do previously. As you've been asking, and as Rebecca was saying, we do keep trying to push, because we were so delighted ourselves with the musical episode that we kind of were like, “Oh, fuck, what are we gonna do now?”

MYERS: It is like a genuine Star Trek episode. No one who knows and is familiar with Star Trek will say, “Oh, that doesn't feel like a normal episode.” They will be like, “Oh, I get it.” But it will surprise them.

How quickly during shooting are you able to let go and then turn it back on in the morning and how much is a piece staying with you the entire time?

ROMIJN: I'm able to let it go really quickly because I have kids who are there with me sometimes, and I gotta get home and make sure they're okay and make sure they're fed. You gotta be able to turn it off and on. But I think it's different for Ethan.

PECK: Well, I spend probably more hours as this character than I do as Ethan during the season, so I'd be lying if I said I wasn't altered a little bit. I do take a little bit of it home with me, which isn't so bad because he's a great guy, a person of integrity, a half-man of integrity. He's very aspirational and wants to be something pure, and I think that's beautiful. So, I'll take that home.

How much do you want to leave set wearing the uniforms and just go to Starbucks?

PECK: I would love to. All the time.

ROMIJN: I remember one time Melissa Navia’s family, her sister and brother-in-law and their kids came to visit us, and it was also during COVID, so we weren't really allowed to see anybody, but we all stepped outside on the street to go take a picture with them. We were just walking down the street in Mississauga in our uniforms. We were like, “This is weird.” It was awesome, though.

PECK: I would love to just go on a Starfleet field trip.

I personally think some viral stuff when you're filming Season 4 is just for all of you guys to go to the local supermarket in costume and just act like you're on an away mission, and just don’t acknowledge anybody, and let them film it.

MYERS: The problem is they wouldn't have money.

With currency, but in full costume.

GOLDSMAN: Do we own the idea? I'm just checking.

You can have it for free.

MYERS: That's very kind of you. Thank you.

When do you start filming Season 4?

MYERS: We start next year.

'Strange New Worlds' Season 4 Is Already In Development

Already knowing that Season 4 is coming up, are you writing on Season 4 already?

MYERS: We're in the room. We have the cards with the episodes, we know what they are, we know what the 10 episodes are going to be about. The network doesn't yet, but they will soon.

MYERS: We're excited for them to find out.

What is it like when you're in that blue sky in the writers’ room when anything is possible? Do you think about, “We want Episode 8 to go fucking big, so how do we save on these other three?”

MYERS: Yes. That is the conversation we have, but we don't look at it that way. We don't want every giant-budget episode to be back-to-back. We want to separate them because it takes some recovery time. Also, there are other things we can do in the meantime that also require a different kind of work. If there's one that is a romantic episode, we'll have that in one place and then we'll have a comedy and then we'll have a horror movie or a big space battle. We'll try to separate these with some space so that we're not doing everything hard altogether.

GOLDSMAN: Within reason, we start with all the kids being equal. So, we don't actually build with the idea of size as an organizing principle. Because remember, our show is a little different in that we rotate characters. We're an ensemble piece, but our lensing changes. Most typically, you hear it in the captain's log or the first officer's log, so you know who's walking you through the show, right? So fundamentally, in that way, just as we try to keep all the actors getting a shot, all the episodes get the same shot, and then as we lay them out creatively, some sort of go, “Oh, I could be big or small. Oh, I could only be big. Oh, I really need to be small.” Then we sort of move it around like that. But our show is pretty, again, within reason, evenly distributed where there's not a terrible swing between our most expensive episode and our least. They’re all right in the same strike zone.

At the beginning of Season 3, when you're in the writers’ room and you're figuring out the arcs, are you coming up with where Spock is in Episode 1 and where Spock is in Episode 10?

MYERS: Yes.

What can you tease about your character's journey in Season 3, from where it starts to where it goes?

ROMIJN: You get to see a lighter side of Una now that she no longer is hiding behind her shame of the Illyrian side of her character. You get to see a lighter side of Una.

PECK: At the beginning of Season 3, Spock is alive, and then he’s still alive at the end.

MYERS: Spoiler alert.

How much are you thinking in terms of, “We have a five-year plan, we have a seven-year plan,” or how much is it, because of the freedom of this show being able to do so many different things, just episode by episode and season by season?

MYERS: Episode by episode and season by season. We really try to treat everything like, “If this was our last episode, what would it be like?” We want to do the best version of everything. If this was all we got to do, what are the cool things that we will be really upset that we never got to do? We look at every season like that.

GOLDSMAN: And left to our own devices—which really means if Paramount will—we'll keep going into the TOS era, and we know how. That's the hope. But as Henry said, nothing is assured, so we come from a conservative place with great aspirations.

Both Strange New Worlds and Lower Decks are available to stream on Paramount+.

Star Trek: Strange New Worlds

Star Trek: Strange New Worlds follows Captain Christopher Pike (played by Anson Mount) and the crew of the starship USS Enterprise (NCC-1701) in the 23rd century as they explore new worlds throughout the galaxy in the decade before Star Trek: The Original Series.

Watch on Paramount+

All 10 Star Trek: TOS Episodes Written By D.C. Fontana, Ranked Worst To Best

• D.C. Fontana's influence on Star Trek cannot be overstated, as she crafted iconic episodes as a writer and story editor.
• Fontana proved her writing skills through episodes like "Charlie X," where she executed Roddenberry's concept effectively.
• "Journey to Babel" showcases Fontana's storytelling prowess, introducing Spock's parents and diving into Federation politics.

Screenwriter and story editor Dorothy "D.C." Fontana wrote or co-wrote ten episodes of Star Trek: The Original Series and her Star Trek legacy cannot be overstated. Aside from creator Gene Roddenberry, very few writers had as much influence on Star Trek as D.C. Fontana. Dorothy went from being Roddenberry's secretary to one of the few women writers working in Hollywood at the time, and Fontana eventually became one of the youngest story editors in television. Fontana helped craft some of Star Trek' s most influential characters and storylines, including several elements of Vulcan culture.

D.C. Fontana's first official Star Trek script was for "Charlie X," based upon a story proposed by Gene Roddenberry. After Fontana proved herself to be a strong writer, she began to develop her own ideas into stories, gaining more freedom as a screenwriter. Notably, Fontana came up with the idea for "Journey to Babel," which introduced Spock's parents, Ambassador Sarek (Mark Lenard) and Amanda Grayson (Jane Wyatt). Although Fontana left Star Trek's production team before the show's third season, she continued to pen scripts on a freelance basis. Here are D.C. Fontana's 10 Star Trek episodes ranked worst to best.

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"The Way To Eden" (Story With Arthur Heinemann, Teleplay By Arthur Heinemann)

Star trek: the original series season 3, episode 20.

When the USS Enterprise rescues a group of travelers from a stolen shuttle, the newcomers take over the ship in pursuit of the mythical planet of Eden. Led by a man named Dr. Sevrin (Skip Homeier), the members of this group have rejected modern society and embraced a nomadic lifestyle as they search for Eden. Oddly, Spock (Leonard Nimoy) understands these space hippies, despite their seemingly illogical views.

At the end of Star Trek 's "The Way to Eden," Sevrin and his followers steal a shuttlecraft and travel to Eden, only to find the planet to be dangerous. Although the planet looks beautiful, the plants secrete powerful acids and grow poisonous fruit. D.C. Fontana is credited under the pseudonym Michael Richards , as she was unhappy with the many changes made to the script. Her original teleplay, entitled "Joanna," featured the daughter of Dr. Leonard McCoy (DeForest Kelley).

"That Which Survives" (Story, Teleplay By John Meredyth Lucas)

Star trek: the original series season 3, episode 17.

When Captain Kirk and a landing party are stranded on a strange planet, a mysterious woman named Losira (Lee Meriwether) attacks both the landing party and the crew aboard the Enterprise. In command of the Enterprise, Spock works to get back to Kirk and the landing party, while a version of Losira wreaks havoc on the ship's systems. Another version of Losira kills one of the landing party members and injures Lt. Sulu (George Takei) .

On the planet, the landing party eventually finds and destroys a large computer, which had been powering the various Losiras as a security measure for the planet. A disease had previously wiped out the planet's inhabitants, leaving their security system defending an empty planet. D.C. Fontana was apparently frustrated by the way her original story was changed, and she used the pseudonym of Michael Richards for her story credit.

"Friday's Child" (Story & Teleplay)

Star trek: the original series season 2, episode 11.

When the Starship Enterprise visits Capella IV to negotiate a mining contract, they discover that the Klingons have already made an offer. Although the Capellan leader, Akaar (Ben Gage), initially sides with the Federation, another Capellan challenges him and they begin fighting amongst themselves. After Akaar is killed in the fighting, Captain James T. Kirk (William Shatner), Spock, and Dr. McCoy help his pregnant wife, Eleen (Julie Newmar) , escape into the nearby hills.

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Dr. McCoy helps Eleen deliver her baby, and she returns to her people, eventually becoming her son's regent and allying with the Federation. D.C. Fontana came up with the storyline of "Friday's Child" because she wanted to explore a story about a strong female character who did not necessarily want children. The final version of the story remains very similar to the idea Fontana pitched, although the Klingon presence was added later.

"By Any Other Name" (Teleplay With Jerome Bixby, Story By Jerome Bixby)

Star trek: the original series season 2, episode 22.

In Star Trek' s "By Any Other Name," Captain Kirk and his crew encounter Rojan (Warren Stevens) and Kelinda (Barbara Bouchet) of the Kelvan Empire, who immediately take control of the Enterprise. Non-humanoid beings who have temporarily taken human form, the Kelvans threaten Kirk and his crew by turning some of the crew members into blocks of chalk. To combat the Kelvans, Kirk begins appealing to their new human emotions, eventually causing them to question their purpose.

When Kirk points out that Rojan and his descendants will be far more human than his ancestors, Rojan returns control of the Enterprise to Kirk. When writer Jerome Bixby's original script was deemed too dark, D.C. Fontana helped lighten the tone, and the result is a perfectly fine episode that relies a bit too much on tropes Star Trek has visited numerous times before.

"Charlie X" (Teleplay, Story By Gene Roddenberry)

Star trek: the original series season 1, episode 2.

Based on one of Gene Roddenberry's original pitches for Star Trek as a series, "Charlie X" follows an unstable 17-year-old boy with extraordinary powers. The USS Enterprise picks up Charlie Evans (Robert Walker), a teenage boy who had survived alone on the planet Thasus after his ship crashed there years before. With no knowledge of social interactions, Charlie quickly gets under the skin of the Enterprise crew.

Charlie soon displays telekinetic abilities, causing crew members to vanish when they upset him and eventually taking control of the Enterprise . The Thasians return to retrieve Charlie, forcing him to join their society of non-physical beings in a surprisingly dark ending for Star Trek . Although the concept for "Charlie X" came from Roddenberry, D.C. Fontana proved her skills as a writer in the execution, making the story frightening and memorable.

"The Ultimate Computer" (Teleplay, Story By Laurence N. Wolfe)

Star trek: the original series season 2, episode 24.

When Dr. Richard Daystrom (William Marshall) upgrades the computers on the USS Enterprise, the new M-5 Multitronic System takes over the ship's controls. Initially, the M-5 system runs through tactical maneuvers, expertly defending the Enterprise against attack drills. Before long, however, the system begins initiating actual attacks on other Federation ships, and Daystrom cannot disable it.

The Daystrom Institute, one of the Federation's most prominent research facilities, is named after Richard Daystrom.

Having failed to replicate his earlier successes and now having caused unnecessary deaths, Daystrom begins suffering a psychotic break. Captain Kirk eventually talks the M-5 system into disabling itself, saving the Enterprise from destruction. Laurence N. Wolfe's initial concept focused even more on Daystrom and his computer, and D.C. Fontana did heavy rewrites to shift the focus more to Kirk and the Enterprise .

"Tomorrow Is Yesterday" (Story & Teleplay)

Star trek: the original series season 1, episode 19.

When the USS Enterprise inadvertently travels back in time to the 1960s, Captain Kirk and his crew must ensure they do not disrupt the timeline. Upon arriving in the past, U.S. Air Force pilot Captain John Christopher (Roger Perry ) flies to intercept the Enterprise and is beamed on board. Kirk initially decides that Christopher must remain on the Enterprise, but later learns he must return to Earth due to the future importance of his son.

When Kirk is captured on Earth, Christopher helps Spock and the Enterprise crew rescue their Captain. Spock and Lt. Mongomery Scott (James Doohan) eventually devise a way for the Enterprise to travel back to the future and undo any changes they made to the timeline. Although D.C. Fontana had previously written the teleplay for "Charlie X" based on Gene Roddenberry's idea, "Tomorrow is Yesterday" was the first Star Trek episode written solely by a woman.

"This Side Of Paradise" (Teleplay, Story With Nathan Butler)

Star trek: the original series season 1, episode 24.

The Starship Enterprise arrives at Omicron Ceti III to find the people living a happy and healthy existence despite the dangerous Berthold rays bathing the planet. One of the colonists, Leila Kalomi (Jill Ireland), had previously been in love with Spock , although he had been unable to return her affections. When Leila shows Spock the plants that allow the colonists to thrive on the planet, he becomes affected by the plant's spores.

Captain Kirk realizes negative emotions counteract the spores, and he uses this theory to free Spock and the rest of the colonists from their influence. The colonists then agree to be evacuated to a new planet, and Spock laments that he felt true happiness for the first time in his life. It was D.C. Fontana's rewrite of "This Side of Paradise" that landed her a role as story editor in September 1966.

"The Enterprise Incident" (Story & Teleplay)

Star trek: the original series season 3, episode 2.

In Star Trek 's classic "The Enterprise Incident," Captain Kirk takes the USS Enterprise into Romulan space where Romulan ships quickly capture Kirk and Spock. Aboard the Romulan vessel, Spock declares that Kirk has gone insane, and he begins to ingratiate himself with the Romulan Commander (Joanne Linville). After Kirk is supposedly killed, he returns to the Romulan ship disguised as a Romulan in order to steal a cloaking device.

6 Amazing Star Trek Missions When Starfleet Officers Become Aliens

Through costuming or surgical intervention, Starfleet officers might have to become aliens to complete their Star Trek missions.

The Enterprise's trip into Romulan space was planned from the beginning, and Spock aids Kirk in acquiring the cloaking device for the Federation. "The Enterprise Incident" ends with the Romulan Commander a prisoner on the Enterprise, as Spock acknowledges that not all of his feelings for her were feigned. "The Enterprise Incident" is the first Star Trek episode to feature a woman in command of a starship, and D.C. Fontana's script makes the unnamed Romulan Commander a fascinating guest character.

"Journey To Babel" (Story & Teleplay)

Star trek: the original series season 2, episode 10.

In one of Star Trek: The Original Series' most iconic episodes , several important dignitaries visit the USS Enterprise, including Spock's father, Ambassador Sarek . When one of the delegates is murdered, suspicion falls on Sarek and the stress exacerbates his heart condition. Dr. McCoy determines that Sarek needs emergency surgery, and Spock must act as a blood donor. The situation grows more complicated when Kirk is attacked and Spock must take over command.

In addition to introducing Spock's parents, "Journey to Babel" also includes the first appearances of the Andorians and the Tellarites.

The injured Kirk relieves Spock on the bridge so he can assist with his father's surgery, and Kirk uncovers that the Andorain delegate, Thelev (William O'Connell), was behind the attacks and was actually an Orion in disguise. After Sarek awakens from his successful surgery, he and Spock begin to reconcile their differences as Amanda lovingly expresses her exasperation with both of them. With insight into Spock's backstory and a look at Federation politics, "Journey to Babel" remains one of the most important episodes of Star Trek: The Original Series and the best example of D.C. Fontana's writing prowess.

Star Trek: The Original Series

Cast Nichelle Nichols, Walter Koenig, William Shatner, George Takei, Leonard Nimoy, Deforest Kelley, James Doohan

Release Date September 8, 1966

Showrunner Gene Roddenberry

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Star Trek: Enterprise

A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the ... Read all A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the formation of the Federation. A century before Captain Kirk's five-year mission, Jonathan Archer captains the United Earth ship Enterprise during the early years of Starfleet, leading up to the Earth-Romulan War and the formation of the Federation.

• Rick Berman
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• Trivia Based on the official Star Trek Chronology, the series begins 10 years prior to the founding of the United Federation of Planets, and 88 years after the events of Star Trek: First Contact (1996) . The first episode, Broken Bow, Part 1 (2001) , takes place approximately 114 years prior to the start of Star Trek (1966) , and 213 years before Star Trek: The Next Generation (1987) . The majority of the series mainly takes place between 2151 and 2155.
• Goofs Whenever the video signal is being lost, instead of pixelating, as a digital signal would, the picture shows analog "snow," which would be unheard of by that era.

Commander Tucker : You aren't saying much tonight. Don't tell me you're still upset about me and Amanda.

Subcommander T'Pol : I'm not upset.

Commander Tucker : Sure sounds like it.

Subcommander T'Pol : You're mistaken.

Commander Tucker : Why would a few neuropressure sessions between me and a MACO be such a big deal. Unless...

Subcommander T'Pol : Unless what?

Commander Tucker : Unless you're a little jealous.

Subcommander T'Pol : I don't experience jealousy.

Commander Tucker : You're doing a pretty fair imitation of it.

Subcommander T'Pol : I am not, in any way, jealous of you and Corporal Cole.

Commander Tucker : You know, your voice is tensing up. That's a dead giveaway.

Subcommander T'Pol : I didn't know you were an expert in vocal inflections.

Commander Tucker : I don't need to be an expert to read you. Come on, admit it. You're a little jealous.

Subcommander T'Pol : Are you implying that I'm attracted to you?

Commander Tucker : That kind of goes along with the assumption, doesn't it?

• Crazy credits The opening credits video footage of the Sojourner rover approaching the "Yogi" rock, taken by the Mars Pathfinder lander, make Star Trek: Enterprise the first television show or movie in history to use footage taken on another planet.
• Alternate versions The Region 1 DVD release of Season 3 modifies the opening credits of the first three episodes of the season to say "Star Trek: Enterprise" instead of "Enterprise", in order to be consistent with the rest of the season.
• Connections Featured in How William Shatner Changed the World (2005)

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• September 26, 2001 (United States)
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• Dolby Digital

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• Star Trek Series | 2151 - 2270
• Star Trek: Enterprise

Trip and T'pol come together without having Vulcan neuropressure

• Thread starter sekundant
• Start date Jun 28, 2018

Fleet Captain

• Oct 7, 2018

Hopeful Romantic

Mom's little girl.

• Oct 8, 2018

My favoritest place for Trip/T'Pol fanfiction is at the great House of Tucker, a lovely watering hole for T/T fans back in the day. Wonderful, creative, tons of talent. The archive is closed to new stories now, but if you want to look at some fine fanfic, check it out: Trip/T'Polers Fanfiction Archive If you don't know where to start, you might try Ragua's "Miscommunication," one of my all-time favorites.  

• Oct 9, 2018
• Oct 17, 2018
• Oct 18, 2018
• Oct 20, 2018

I do wonder sometimes how Season 3 and the T/T storyline would have developed if the network hadn't insisted on ramping up the sexy Click to expand...

With Manny Coto there to tell great stories like "Similitude," I think T/T would have progressed, rather than be derailed in Season 4. And no stupid breakup and stooopid Trip suicide in stupendously stupid TATV. More like, hopefully, a metaphor for the growing Earth/Vulcan alliance, and a trail blazed for Sarek and Amanda to follow. Click to expand...

• Oct 22, 2018
• Nov 3, 2018

More like, hopefully, a metaphor for the growing Earth/Vulcan alliance, and a trail blazed for Sarek and Amanda to follow. Click to expand...

• Nov 4, 2018

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