voyager bridge set

Designing Voyager’s Main Engineering

Once the design of Voyager ’s bridge had been finalized, Production Designer Richard James had a fairly good idea of what he wanted to achieve with the rest of the ship’s interiors.

As with the bridge, the challenge for engineering was to produce something fresh without making it unrecognizable to Star Trek fans.

That challenge was made a little easier by the fact that the set would be a redress of The Next Generation ’s.

The Enterprise -D’s engine room had been mostly on one level with a small walkway around the top of the warp core. James wanted to make Voyager ’s more spacious. There was no room to make the set longer, so he concentrated on its height. James conceived the notion of a warp core around which the actors could walk with the camera following them. That would give the set greater depth and motion, and permit new camera angles and perspectives.

Illustrator Jim Martin produced several drawings which gave the set an upper level. That conceptual approach was approved. The second floor would be centered around the warp core: a catwalk permitted actors to be filmed climbing up to this level and moving while there. Adding ladders and a small vertical lift would add more new potential camera shots.

In the final version, James pushed the design further by taking engineering up to a third level.

This emphasis on verticalness also applied to the warp core itself. It had been established on The Next Generation that the core ran almost the entire height of the ship, but on the Enterprise this was not immediately apparent from a visit to engineering. Voyager ’s warp core disappears into a well in the floor and rises far above the actors’ heads, so when visual effects produced footage of the warp core being ejected, the effect was completely believable — viewers knew the core to be real, as they had seen a large part of it for themselves in engineering.

How a Set Fire Led to Star Trek: Voyager's Funniest Episode

A fire damaged the bridge set on Star Trek: Voyager, the writers went to the holodeck for 'The Bride of Chaotica,' one of series' funniest episodes.

• "The Bride of Chaotica" is considered to be Star Trek: Voyager 's funniest episode, and it was created because of a fire on the bridge set.
• The holodeck, which creates realistic virtual environments, is frequently used in Voyager, often for romantic storylines or character development.
• Lieutenant Tom Paris's fascination with 20th-century culture and technology led to the creation of the hilarious holodeck program, "The Adventures of Captain Proton."

While Star Trek is perhaps most known for its inclusive vision of the future and biting social commentary, that's not all is. As much as fans love the drama in the franchise, humor is an equally important part of its creative DNA. On Star Trek: Voyager , the fifth season episode "The Bride of Chaotica" is arguably the series' funniest, and it mostly exists because of a fire on the bridge set. A light-hearted holodeck romp, it's both a loving homage to old sci-fi and a brilliant send-up of Star Trek itself.

While most people think the holodeck was created for Star Trek: The Next Generation , it actually first appeared in The Animated Series . Essentially the next evolution in virtual reality, the futuristic holographic technology creates real environments, down to people, the crew can talk to and even touch. Where Star Trek: Voyager is concerned, the holodeck usually means an episode where Kate Mulgrew's Captain Kathryn Janeway explores a little romance. The decision was made early on that, unlike Captain Jim Kirk, Janeway would not delve into romance, especially dalliances with the crew. In later episodes, ex-Borg Seven of Nine uses a holographic recreation of Voyager and its crew to "practice" social skills and learn to be more human. Yet, the best use of the holodeck comes from Lieutenant (sometimes Ensign) Tom Paris, and his fascination with 20th Century culture and technology. He creates a holo-program called The Adventures of Captain Proton , where he plays the titular hero and faces off against the villainous Doctor Chaotica.

Voyager's Tom Paris Was Fascinated By 20th Century History And Culture

Star trek: voyager's seven of nine and chakotay romance was a mistake.

The Tom Paris character was based on Nick Locarno , an antagonist from Star Trek: The Next Generation recently brought back for the Season 4 finale of Lower Decks . He began as an irascible, formerly incarcerated character and eventually became a vital part of the crew. Paris had an affinity for 20th Century culture and technology. Originally included so the storytellers could reference the then-present, it led to Captain Proton.

"When it was just decoration it felt…gimmicky," actor Robert Duncan McNeill said in Star Trek Voyager: A Celebration , adding, "I thought [Captain Proton] was a little more emotionally character-connected to Tom's love of the 20th Century" than just the odd reference or knick-knacks in his quarters. It was introduced in the Season 5 premiere episode, "Night," but the cast and writers wanted to revisit the setting in a future episode.

Actor Martin Rayner played the holographic villain Doctor Chaotica , finding the perfect balance between committing to the role and over-the-top hammy acting. (Appropriate for the early 20th Century sci-fi serials they were parodying.) He was joined by his hapless dunce of a henchman, Lonzak, played by the late Nicholas Worth. Yet, the most unique (and risky) thing about the Captain Proton program was the whole thing was shot in black-and-white — a risk because 1990s channel surfers who might otherwise stop and watch Star Trek: Voyager could skip past the show thinking it was an old-school hokey sci-fi film.

A Fire On The Voyager Bridge Sent The Crew To The Holodeck

Star trek: lower decks just simplified voyager's biggest moral dilemma.

With 26 episodes to produce each year, the writers, directors, and cast of Star Trek: Voyager were always looking for a concept that could be repeated. Because the USS Voyager was traveling (throughout the series) 75,000 light-years back to the Alpha Quadrant and Earth, alien planets and culture could rarely be returned to. However, the holodeck went everywhere the ship did, and so Captain Proton, Lonzak and the hilariously named Satan's Robot could. The accidental fire on the bridge set forced the producers' hands.

On the Voyager rewatch podcast The Delta Flyers , hosted by McNeill and Wang, the full story of the fire is told for the first time. Producers used to cater lunch for the cast and crew on Fridays, and Wang and Neelix actor Ethan Phillips were eating their food at a picnic table overlooking the bridge. Executive Producer Rick Berman was also on set at the time, standing behind one of the ship consoles for a photo shoot for the now-defunct Yahoo! Magazine .

"The lights that were lighting this photoshoot," Wang says, "caught…that fabric we had over top of the bridge…on fire." Wang had his back to the set, but Phillips could see what was going on. His eyes grew wide, and he asked Wang if "the bridge was supposed to be on fire." They stood up and altered the crew as Berman ran clear of the blaze. Members of the crew grabbed fire extinguishers and put out the flames, but the damage done to the set was significant. Thus, "The Bride of Chaotica" came about as a way to shoot an episode primarily on other sets.

Why 'The Bride Of Chaotica' Was Voyager's Most Fun Episode

Janeway's coffee addiction on star trek: voyager is not the fault of the writers.

The premise of the episode involved the ship getting stuck in a sci-fi anomaly and creating a portal to a dimension populated by "photonic aliens." They visit the holodeck, believing the over-the-top characters to be life forms. Since Doctor Chaotica is evil, a very real war broke out between his Army of Evil and these aliens. However, the threat to the ship and the crew was very low, allowing the characters to lean into the silliness and fun of the episode. Mulgrew, for example, plays Arachnia the Spider-Queen, Chaotica's titular bride.

Despite thinking the whole thing is silly, Janeway eventually allows herself to get into the spirit of the game. The scenes in which Paris and Kim have to explain the Captain Proton program are hilarious, especially because the background cast seems barely able to contain their laughter. In the podcast, Wang notes Paris's explanation of the story is reminiscent of what it must sound like when Star Trek fans try to explain things like warp drive, transporter clones, and the other more out-there concept to those who don't know the show.

It also allows for plenty of in-jokes about Star Trek , like its obsession with caves . While walking through a cave set, Kim asks Paris why the planet looks like another one from an earlier chapter in the Captain Proton story. "Set were expensive," he says, a clear reference to Star Trek reusing the "Planet Hell" set over and over again across all the second wave shows. Since the ship is in no real danger, the characters can play the adventure for comedy instead of dire stakes. Both Wang and McNeill believe this was the episode the cast had the most fun doing.

Captain Proton Was Star Trek's Greatest Holodeck Program

Star trek: voyager predicted the ai debate - with a clever twist.

Beyond the comedy and the joy in the cast performances, Captain Proton, Doctor Chaotica, Satan's Robot, and all the rest represent the best use of the holodeck. (All due respect to Deep Space Nine's Vic Fontaine .) All too often, to create tension and stakes, the storytellers relied on malfunctions to make the harmless fun of the holodeck into something more lethal. What makes the Captain Proton episodes, particularly "The Bride of Chaotica," so fun is that they are never dangerous.

The lack of stakes allows the cast to play their roles for comedy while honoring the origin of Star Trek . The sci-fi serials and films of the early-to-mid 20th Century not only inspired Gene Roddenberry (if only to make Star Trek different), but they also inspired that other "Star" franchise. In fact, George Lucas wanted to make a Flash Gordon film but couldn't get the rights. So, he told his own story built on those foundations, giving the world Star Wars . Captain Proton honors that legacy and, at the same time, pokes fun at the more outlandish tropes.

Captain Proton and Doctor Chaotica could fly again, at least if Robert Duncan McNeill has his way. In the extended version of The Delta Flyers episode, he mentions that he actually pitched an idea for a podcast or animated special set in the "Captain Proton universe." He and Wang interviewed Martin Rayner who was delighted at the idea of getting to play Chaotica again. He told them when he encounters Star Trek fans they are passionate about his silly villain in ways that still surprise him. The concept and the characters are undoubtedly ridiculous, but there's also something about them that makes fans want more.

Star Trek: Voyager is streaming on Paramount+ and available to own on Blu-ray or DVD, and The Delta Flyers can be found on all podcast platforms or on Patreon.

Star Trek Voyager

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Interview: Garrett Wang And Robbie McNeill On Fighting Being “The Guys” And ‘Star Trek: Voyager’ Bridge Fire

| June 19, 2020 | By: Laurie Ulster 47 comments so far

In part one of our interview with Star Trek: Voyager ’s Garrett Wang (Harry Kim) and Robert Duncan McNeill (Tom Paris), they talked about their new podcast, The Delta Flyers ,  where they’re making their way through every Voyager episode in chronological order.

In this second part of the interview, the two actors take a thoughtful deep dive into their experience working on Star Trek: Voyager,  and despite their disappointments about various unfulfilled possibilities, they clearly remember it with great affection, and laughed a lot as they were telling stories about it.

When you guys look back at the prep for the pilot, do you remember what you were told about your characters and Harry and Tom’s arcs?

Garrett Wang: Mine was pretty basic. He’s fresh out of Starfleet Academy, the young, eager duty-minded ensign. Ensign Kim had the most blank canvas to work with, right?  He was so green.

But did they ever discuss character arcs with me? Very rarely, to be honest. Every now and then I would get a call saying, “Hey, we’re thinking about doing an episode that revolves around your character, and this is what going to happen.” I knew before the hundredth episode, “Timeless,” that that episode was going to revolve around Kim. That call came from Brannon Braga probably two weeks before we started filming that one. And he said, “Listen man, this is going to be Voyager ’s signature episode. So just want to make sure you prepare for this, get a lot of sleep, focus well, because you’re all over this one.”

And then there was another time they called up and said, “Hey, we’re going to do an episode next season, it’s gonna be our Quantum Leap episode… Kim wakes up in the body of a serial killer in modern-day Los Angeles. And he’s being chased by the FBI for the entire episode to try to get back to Voyager . I thought, ‘Wow, this is like The Fugitive mixed with Quantum Leap .’ I was so excited—and they never filmed it. [laughs] They ended up not doing it at all and that bummed me out.  Robbie, did they talk to you about your character and your arc?

Robbie McNeill: They never did really, no. I think they’d been doing it for so long, and they had so many projects going on. They’d just wrapped up Next Gen on television, now they’re doing movies, and they had DS9 going and Voyager and they didn’t have time to walk every actor through all of their individual character arcs and nuances. There were very few long-term conversations that I recall.

Robert Picardo is famous for pitching ideas to the writers, did you guys do much of that?

Robbie McNeill: I didn’t really pitch, no. Most of the time with Star Trek. I looked at it as, ‘You guys, tell me what you want, and I’ll do it.’ Because I wanted to direct, too. I was like, ‘I don’t want to confuse them with trying to be a writer and a director and an actor. Let me just do my actor job and keep focused on the directing’. So that’s where I put my energy.

Garrett Wang: I tried, but I wasn’t as persistent as Robert Ricardo. Bob Picardo just kept calling them until they finally capitulated. I gave it a shot, ‘cause I kept saying, “Listen guys, my strength is my impersonations, my ability to do accents and presentations. Let us have a B-storyline where the crew has a ship-wide talent show. And Ensign Kim gets up and does his impersonation at The Doctor, of Janeway, of whoever.” And they were like, “Eh…. no.”

And then what was so frustrating was that through the seven years, there’s a few times that actors on Voyager got to basically impersonate other characters; specifically, when the doctor is in Seven of Nine’s body , you remember that? And Seven of Nine has to basically impersonate The Doctor. And then the other time was when Barclay from TNG was in the mess hall. And he ends up doing his impersonation of Janeway . Now, both of these scenes: Guess who they had in that scene right next to the actor doing their impersonation? Yours truly. So it was almost like they said, “Not only are we not going to let you have what you ask for, we’re gonna rub salt in your wound and make you watch other people do their substandard, not-as-good impersonation of that person,” and it was killing me.

Barclay (Dwight Schultz) doing his Janeway impersonation in “Inside Man”

And then another time I said, “I know that Worf did judo in TNG. I’d love to introduce some other martial arts where Kim gets to do that, maybe on the holodeck.” And I even went and trained—I chose Krav Maga—but they said no to that too. And so the only thing they finally agreed to over the seven years was I said, “The clarinet is not a very manly instrument. [laughs] Could you please give me a saxophone?” So they removed the clarinet, and the saxophone ended up in my quarters. So there’s an episode where do you see a saxophone in there, and that’s the only thing that I got pushed through.

Just the saxophone!

Garrett Wang: Just the damn saxophone. And I don’t think I ever—Robbie, did I even play it?  I don’t even think I even played the sax, I think I Just play the clarinet pretty much.

Robbie McNeill: Yeah, I think you did at the very end.

Garrett Wang: Every time you see Kim playing an instrument, it’s always been the clarinet. And then season seven, they threw me a bone. They’re like, “Well, we turned him down on the whole impersonation talent show thing. We turned it down on the Krav Maga suggestion, let’s give the kid the damn saxophone, but we won’t show him playing it. We’ll just put it in his quarters, just to show that we’re still in control.” And that’s what happened.

Harry finally got to play his saxophone in season seven’s “Lineage”

On a podcast, Bryan Fuller said he felt bad that in later seasons, Harry and Tom fell into a sort of a trap of just being “the guys.” Do you agree with his assessment?

Garrett Wang: I definitely agree with Bryan. Part of that is because, as writers, it’s a lot easier to write for Seven of Nine. It’s a lot easier to write for Janeway, it’s a lot easier to write for The Doctor. Because the later seasons—I joke about this, I say season five, six and seven, it wasn’t Star Trek: Voyager . It was Star Trek: Janeway, Seven, Doctor Show, is what it was. [laughs] So Bryan is dead-on in his analysis that we just became sort of dull guys.

Robbie McNeill: Yeah, I agree. I think the one thing that I was grateful for in the later few seasons was the B’Elanna/Tom relationship because it allowed them to take a character that I think they struggled with early on… and they experimented with, in the middle a little. But like Garrett said, in a science fiction premise, it’s much easier to write for these kinds of amplified characters that are archetypes. You put the captain into any situation and it deals with the archetype of authority and the leader and the head of the ship. You use the archetype of this doctor who is not human, but yet has the character traits that he had. To come up with sci-fi stories for, like Bryan puts it, “the guys,” is a lot harder. It’s a lot harder to find something where our characters make that story better because of who we are, when our characters were, in a lot of ways, very undefined. Garrett’s character was very much the everyman of the innocent younger rookie, and that’s why he was always the ensign, because they wanted that archetype. And I was just the everyman who got to redeem themselves, I guess.

So I think we sort of faded into a lot of support roles and for me, at least I had the opportunity with B’Elanna to be involved in some stories that were about relationships and love and family and commitment, and because she was half Klingon, it allowed for science fiction stories that were easier for them to write.

Garrett Wang: The other thing that we were fighting against was the fact that we had the most series regulars. So when you talk about nine, compared to like TNG six and then you just don’t have enough episodes to share the wealth, especially when you focus everything on The Doc, and Seven, and Janeway. There’s just not enough episodes to go around. It’s not that they didn’t like us, or anything like that. [laughs] It just was easier just to write for those characters.

And I think at the beginning, your characters were the accessible ones, a good entry point because they were the more human ones people could relate to. And then as the show went on, they had accomplished that.

Garrett Wang: Yeah. I am surprised about how much Tom and Harry are in all these season one episodes that we’re watching. That’s one thing that was new to me—oh, goodness, we’re everywhere. [laughs]

When you’re watching from the beginning… I know you guys talked about the Maquis, and how wacky Neelix was initially—do you feel like there’s potential that wasn’t explored as much as it could have been on the show?

Garrett Wang: Regarding Neelix, I really felt that his comedic sensibility is awesome. But they didn’t allow him to really blossom. Most of the comedy went to The Doctor. It was sort of like, ‘Okay, of this comedy cake, we’re going to give every slice but a little bit to The Doctor,’ and I felt that could’ve been developed more to see some more comedy amongst the human characters, amongst Paris and Kim even more. And even Chakotay. Why do we have to relegate all the funny stuff to one character? That always kind of ate away at me and I felt that we kind of lost out on that.

Robbie McNeill: I actually think the thing that was not developed was Neelix’s… they turned him into this cute cuddly, people-pleasing alien when he was really this paranoid street-kid junk trader. He was not a warm fuzzy guy when we first met him. The whole… costume design to writing, I think Neelix could have been a much more complicated character than they gave Ethan the opportunity to play.

Garrett Wang: It could have been edgier and they kind of took that away from him.

Robbie McNeill: They took all that away from him very quickly; he had it in the pilot. But he changed very quickly into this people-pleasing helpful… he was like the social director, it was very soft. In the long run, it could have been made for a much more interesting character.

Neelix and Tuvok evaluating each other in “Caretaker”

Robbie McNeill: In this rewatch, one thing that I’ve seen so clearly and learned is that Chakotay could have been.. if they had put some time and effort into really trying to ground his character in the Native American tradition, in a real way—I heard that in an effort to not offend any tribe, they made him from some generic non-tribe that didn’t really exist. And so they gave themselves permission to make it up. I think that that really hurt that character. Chakotay, if he had been grounded in real, authentic Native American tradition, that could have been much more interesting. And I felt like it was just sort of a token gesture at this generic Indian thing.

It makes me frustrated because—not that I’m the PC police, but I think that’s a real missed opportunity for the character. There are native people around this country and indigenous people around the world that get exposed to Star Trek. And that would have meant a lot to them, if that had been taken a little more seriously. I think they could have really seen themselves and connected and been inspired in a way that that sort of broad-stroke cartoony version probably didn’t connect to them.

Right, it was more of just a representation.

Robbie McNeill: It’d be like [having] a Black character on and saying– imagine the most racist, stereotypical things you could think of that might be offensive potentially—but saying, “Oh, this Black character just likes these things,” and that’s as much as you explored it. If they’d done that on Deep Space Nine with Sisko, can you imagine? What was beautiful about DS9 is they really explored what it means to be a Black father, what it means to be a Black leader. They did not shy away from the opportunity to explore in a real way, the racial side of that character in that experience. But with Chakotay, they didn’t really.

B’Elanna uses the Coyote stone to help Chakotay (Robert Beltran) find his way home in “Cathexis”

Looking back to when Jennifer Lien was let go and Jeri Ryan was brought in, do you remember how they presented that to the cast?

Robbie McNeill: I don’t recall. Garrett, do you remember how we found out?

Garrett Wang: I don’t recall that either. I think someone just said, “Yeah, they’re not renewing her contract. They’re bringing another character in,” or something. That baton handoff was so awkward because Kes’ last continuous episode—she showed up later for that one firestorm episode [“Fury”]— her last episode was Seven of Nine’s first one and they were on the set at the same time too, and that was just so awkward. But they never really prepped us for it.

I do remember that Kate had a dinner for Jennifer Lien. Robbie, you went to that dinner, I’m sure. And everyone was there except for me. I completely forgot, I completely spaced. I was at IKEA of all places, just walking around. I wasn’t even buying anything. And then I remember I get a message on my answering machine from Kate [in Kate Mulgrew voice], “I’m so disappointed in you, how could you not show up to Jennifer’s farewell dinner?” She was so pissed. I remember I was cowering from listening to her on the voicemail, I wasn’t even being directly spoken to by Kate. I was just sitting there getting smaller and smaller as that message went on. [laughs]

But just like Robbie said, there was no cast meeting saying, “Hey, this is what we’re going to be doing.”

Robbie McNeill: There was not typically a touchy-feely inclusive approach with actors on Star Trek that I remember. You found out when you got a memo or you got the scripts. I guess I would say there wasn’t a big “we’re one big family” kind of vibe from the office and the writers. It did feel like we were one family on set, when we were actually filming. The cast and the crew? Very close, really an amazing crew, a wonderful group of actors that all, I think we all felt very close. But from the management side of things, there was not a warm, fuzzy, “Hey, we’ll talk to you guys as a group about things that might be sensitive.”

I remember when Neelix wrapped on the series, a few episodes before everybody else… they wrote him out early. And I don’t think Ethan had been told that until he had seen the script. Or maybe he was told the day we got the script.

Garrett Wang: Yeah, there’s definitely a certain level of disconnect from the management, just like Robbie said. And it’s very indicative of… if you’re talking about Berman being the primary showrunner, Rick Berman. I’ve been very critical of him in the past. And I’m just going to say in this particular case, I’m not going to talk about his character or anything about that. I’m just going to say: In seven years, I saw him on the set twice, okay? Two times in seven years. And one of those times was to do an interview for Yahoo magazine, and he was standing in my station.

On Fridays, we would get catered dinner. And so the two actors that were released to go eat first were Neelix [Ethan Phillips] and myself. They set up this huge long picnic table right in front of the bridge. So I’m sitting with my back to the bridge and I see Berman doing this interview looking all smug and you know, “I’m the ruler of the universe” kind of confidence and I go, “Berman’s in MY station, why couldn’t he have been in Tuvok’s station? Why does he have to stand where I gotta stand?” And then while we’re eating, Ethan Phillips goes [in Ethan Phillips voice], “Um, are the steps supposed to be on fire?”

And I go, “WHAT?” I turn around, and to light Berman for the photo shoot one of the lights caught this really thin gauzy scrim that was right above the bridge. It caught it on fire. And literally I turned around in time to see Berman see the fire and run out of there. He made a sound and he ran. Billy Peets, the gaffer, he comes in and all the crew, we yelled for them to come in, and they came in and helped put the fire out. But the showrunner ran from the scene. Now you know how I feel. [laughs] It’s out there.

Well, you can’t fire me so I can say whatever I want to say, right? Robbie’s always good about trying to pull me back a little bit… I tell the truth.

Robbie McNeill: There were a lot of people running off that stage. I think I was outside when it happened, but I remember people pouring out, hysterical—lots of people. I think in those situations, the group panic sort of takes over.

Garrett Wang: But the group panic, Robbie, started with Berman. When the showrunner runs out screaming then everyone else was like, “Whoa, has the Tasmanian devil been released on the set? Are people being killed?”  He set the tone. Right?  The only people that didn’t run were Ethan and I. We were like, ‘Okay, so what do we have to do, we have to call somebody’ and we went to the little fire extinguisher thing on set. We didn’t run, we were still there.

I really feel that that that set would have been less damaged if Berman just handled it a little differently. I shake my head when I think about that day.

Rick Berman (center) on set to celebrate Star Trek: Voyager’s 100th episode

I think it was because of that fire that they sped up the filming of some of the “Bride of Chaotica” stuff, because they needed to do some work on the set.

Robbie McNeill: I don’t remember that detail, but you’re probably right, I think they did have some work to do it and change their schedules.

That’s what I’ve read. So I know you guys have talked about reviving Captain Proton , and when I interviewed Kate Mulgrew recently, I asked if she would ever want to do it, and she told me it was the most fun she’d ever had in all of her years on Voyager.

Garrett Wang: She loved it. She loved it! Robbie, were you on set when Kate walked in for the first time in her Arachnia costume? She didn’t walk in: She promenaded. She was in character. She had this really amazing stride. You could see her enthusiasm just from her walking onto the set–we weren’t even filming yet. It was great.

Robbie McNeill: Very funny. She was great!

Have you guys made any progress on trying to revive Captain Proton? And would you ask her to do it, because she sounded to me like she would love to.

Robbie McNeill:   I would love to. I haven’t really made a concrete effort, but I’ve talked to a few people, we’ll see. There’s a chance that there could be some version of it coming, getting developed and coming back.

Garrett Wang: My goal is to really try to keep Robbie from doing other projects and kind of focus at some point and focus on getting Captain Proton done. Kidding! He’s literally the busiest man in Hollywood, and if we could get him to focus on Proton, maybe that will become a reality. So we’ll see.

Kate Mulgrew as Arachnia in “Bride of Chaotica,” loving every moment

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It figures Berman would be the first to run from the fire. He is just like Michael Scott from The Office in the famous fire scene: the person in charge ran from the fire first. Dude, just grab the fire extinguisher and put it out! It’s not hard!

Such a shame.

When the big blackout hit NYC about 17 years ago or so, the CFO of my company was the first to run down 17 flights of steps, abandoning the rest of us as we tried to figure out what was going on. Ha!

I literally just saw the exact source location of that blackout this week. A tree branch grew into a 500kV transmission line which caused the chain reaction. Rest easy though, the grid is much better maintained now.

Wow! Where is that? I remember that day so vividly. (I was pregnant and got to ride in our company helicopter!)

You need to consider the source. The source has a personal grudge here and so I take that with a grain of salt. I would like to here others’ versions of the story who were there before I choose to believe this account.

My bet is that Berman, as the lead CBS official there, was trying to get everyone off the set pronto. Comparing him to Michael Scott of the office, based on “another Garrett Wang personal attack on Berman,” is uncalled for.

*Berman worked for Paramount, CBS wasn’t in the picture until many years later.

A Captain Proton Short Trek would be delightful. Just them having fun years later.

A Captain Proton Short Trek ought to be doable. FINGERS CROSSED!

At least as a fun animation, surely.

Berman give us the best Star Trek years, cry all you want about that, it does not change the fact.

I would argue that Michael Piller, Ira Behr, and Brannon Braga (and to a lesser extent Ron Moore and Jeri Taylor) are far more responsible for the success of those years than Rick Berman.

Rick Berman gave us TNG’s first two seasons, and it’s widely acknowledged that Michael Piller’s arrival in season 3 is what really helped the franchise take off.

TNG first 2 seasons was Gene Rodenberry. Berman took after Gene. Get your facts together.

Berman WAS on production even while Gene was there. Denise Crosby mentioned him hassling her multiple times, and other cast have referred to him as the man who would show up more often than Gene with news from on-high.

Agreed, while Pillar, Behr, Moore and Braga were excellent and deserve a ton of credit, it was Berman’s go ahead all their ideas needed.

Another point I’d like to add, I’m glad Behr and Moore were kept on a tight leash by Berman, especially during TNG, I just watched Moore in an interview on the TNG Blu-Ray’s and it was clear he wanted to make Star Trek dystopian.

Piller WAS That show, he was reworked all the best episodes. Berman was the hack who rejected every good idea.

And now for a song!:

“I miss you more than Rick Berman missed the mark, when he made Voyager, I miss you more than that show missed the point, and that’s an awful lot, girl, and now, now you’ve gone away, and all I’m trying to say, is Voyager sucked – and I miss you”

I understand his frustrations and he’s not wrong about most of his assessments of the show, but the chip on Wang’s shoulder is enormous after 20 years. I’m sure people who have seen his impressions can vouch for them, but he never really rose above his meager material to make me think he could carry meatier stories. He did alright by Timeless most of the time, and he’s good in The Chute and Captain Proton. They should have done more to keep him (and Beltran and McNeil) engaged, but he was lucky not to have been let go instead of Lien.

I agree that the chip on the shoulder is really off-putting.

It’s especially so given that Wang didn’t seem to be able to deliver some of the challenging material in season one. I recall being quite disappointed by his stiffness in the episode with Libby in the false apartment story.

I’d been very excited that Trek finally had an Asian cast as one of the main ensemble, as a world without the presence of Asian people doesn’t look like where I grew up. So, I was disappointed when Wang was struggling in the first season.

On the other hand, he had principally theatre credits before that, so I was hoping he’d be supported to grow his craft in the role. It doesn’t sound as though Berman or the other EPs had an interest in enabling that, which is really on them since they wanted someone young and had a policy of hiring actors with theatre background.

I hadn’t heard previously about the writers being locked into Kim being the young officer point of view. This shows that they didn’t have the even the softer serialization of DS9’s minor characters in their vision.

His ”woe is me” makes me want to vomit. He must make peace with the fact Ensign Kim was one of the worst characters in Trek.

Not sure that I’d say “one of the worst”, Wil Wheaton got a lot of hate for Wesley Crusher who was another character stuck in a badly written ‘young point of view’ role.

Now that I think about it, Chekov suffered much the same fate.

Tilly, for whom the writing has been wildly inconsistent, has lurched from being an object of humour to genuine growth in late S1 and early S2 back to poorly written comic relief. And there is no question Mary Wiseman has the acting skills, just that the writers room keeps resetting back to the initial ‘annoying Tilly’ from the series bible.

In Picard, an entire episode was devoted to bringing Evan Evagora’s character on board, but he was only very marginally used after that.

Pretty much all the young main ensemble characters have been stagnant and unrealistically stuck or advanced in unrealistic ways. Any young officer with a main shift bridge posting that doesn’t get promoted, is not going to stay at that station for 5 or 7 years.

Jake and Nog were the only ‘youth point of view’ characters that were permitted reasonable growth and 1) they were recurring characters, and 2) they were on DS9 which was not only serialized, but also plotted growth and change for all the characters.

There has got to be a lesson for the franchise in this.

Why do the showrunners believe that including a point of view character that didn’t grow and mature with the audience would hold attention? If anything, it led to viewers who identified with the characters at the start to turn away from them as failures.

A few more thoughts along these lines…

Jennifer Lien’s Kes on Voyager was supposed to grow rapidly as a person from a rapidly maturing and ageing species. However, the writers didn’t really know what to do with that, especially as Kes seemed to also be targeted to cover off the ‘titillation’ element for Voyager until replaced by Seven as a Borg in a catsuit.

And it’s not just the youth of the actors. For Tilly, Mary Wiseman was cast and she’s older than Sonequa Martin-Green, the chef de compagnie.

Not managing the character growth of youth representation in Star Trek a definite pattern at this point. Both the fans and the (often bitter) actors, can see it.

It’s so incredibly weird and unfortunate given how so many people become fans when they are youth or young adults. Sincerely, I’m wondering if this is one of the nagging, baked-in problem blind spots with the franchise that is holding it back from broad mainstream success.

Frankly, I suspect that Wang would get more fan support if he could look beyond Voyager, and his own disappointments, and say that the Star Trek franchise has a real problem with creating younger characters within the ensemble and supporting the development of younger actors in the companies. He could then speak to his own experience, but then relate it to that of Walter Koenig or Wil Wheaton.

Nice insightful posts as always TG47, I always enjoy reading them.

Thanks Dvorak,

I’m always concerned that I might just be analysing on to myself. Analysis is pretty baked-in for me at this point in my life. I can’t not do it. 😉

And he loves blaming others — he has a history of verbally attacking Berman, Bragga, Mulgrew and others. This has all been covered by his own statements over the years.

I don’t get a chip-on-the-shoulder sense from him at all. I must have read a different interview.

At the point of the interview where Wang did his usual “throwing Rick Berman under the bus” shtick, I would have liked to see the interviewer call him to task on his history of verbally attacking Berman, Bragga, Mulgrew and others. In this interview, he made it sound like Rick Berman wasn’t allowed to stand on a part of the set that Wang stood on for a TV interview, and then indirectly suggested that Rick Berman behaved like a coward with the fire on the set. That’s just smacks of someone trying to score points against someone they have a grudge against — I would bet that the truth on that event isn’t quite what he is suggesting?

Don’t feel Too badly about being ‘the guys’…on a show that I worked on, The Torkelsons, in Season Two the two middle kids were Written Out! The family moved to a new town and just Left Them Behind! :)

Man, I’d forgotten about The Torkelsons – I loved that show as a kid!

Oh my. They got Chuck Cunninghamed

I really really enjoy these interviews. To this day, Voyager has such a special place in my heart :) I would love love love a Captain Proton miniseries!

What a funny story

In other Trek-related news, LeVar Burton narrates the Juneteenth Google Doodle today.

The chip on Wangs shoulder is interesting, I could’ve sworn I read somewhere he was always late to set and forgetting lines but it was years ago, anyone else recall this?

..and throwing Mulgrew and Bragga under the bus. And here’s an actual quote of him on Berman:

“If there is a hell in this existence that we have that people can go to, he’s first on the list.”

And his whining for years about not getting a promotion or getting to direct just gets so tiresome.

Garrett Wang is great! Outstanding Trek actor and personality. He always says the right thing and he’s awesome treatment of the rest of the cast and producers has been tremendous over the years.

THANK YOU MR. WANG FOR BEING SUCH A GREAT ROLE MODEL FOR STAR TREK PRODUCTIONS!

Was this written by Garret Wang?

I wrote a post on my thoughts on Garrett Wang continually attacking Berman (like he did AGAIN in this article) and other Trek producers and actors over the years and Trekmovie censored it — it was not mean-spirited, and I clearly stated it was my personal option based on known things he has said against others over the years.

So I give up — I’ll just softball him and pretend he’s a great man like the interviewer here did.

My first episode. Huge Star Trek fan

That was a great discussion and some inside .

I think it was that episode where Harry and Tom were on that prison ship together and I had hoped that the series would further develop that friendship and bond to the end. Unfortunately, like Garret is saying, the show became more Janeway/Seven/Doctor featured, which is unfortunate.

“Listen guys, my strength is my impersonations, my ability to do accents and presentations. Let us have a B-storyline where the crew has a ship-wide talent show. And Ensign Kim gets up and does his impersonation at The Doctor, of Janeway, of whoever.” And they were like, “Eh…. no.”

Good call by the producers. The B-story sounds terrible (admittedly, many B-stories were during the TNG-VOY era), and I doubt Wang could top Picardo.

Also, the show’s not SNL.

No way to know for sure, but he likely played the politics badly or did not put in the work and this didn’t get into the director’s workshop unlike McNeil, Russ and Dawson in that cast. Berman was hardly above being vindictive, but Wang had it out for Berman and hasn’t gotten over it 25 years later. Just seems sad to me.

The episodes that never happened: “The day after” and “The aftermath”. The Voyager runs out of shuttles, photon torpedos and hull plates.

I’m a vendor at STLV and usually, Garrett is behind us, selling T-Shirts. I’d find it difficult, after being on a Trek series, only to be flogging shirts at cons. Now, to his defense, he poses for endless photos, signs autographs and he’s always laughing. It must be hard to have a peer who went into directing..

Funny, it always seemed to me that we got TOO MUCH Harry Kim and Tom Paris. I wanted a lot more Tuvok and Torres and a LOT less Harry Kim.

You guys think YOUR characters were short-changed? You got tons of air time compared to Tim Russ and Roxann Dawson, which was especially annoying, given that Russ and Dawson were better actors than Wang.

Russ really shined when given the spotlight. I can’t say the same for Wang. Also, his gripes about the cast being huge cut both ways. Yes, the human males on the show got the short end of the stick with the lesser scripts and their development tapered off after the first couple seasons with Tom caring the best out of the three overall. Once Seven came in that was that, he’s right to say the Doc, Seven and Janeway were the easiest characters to write for so the writers chose the path of least resistance, probably too much.

However, DS9 had a cast that was just as big starting in season 4, plus a huge recurring guest cast. Voyager never had to deal with the likes of say, Jeffrey Combs, Marc Alaimo, Andrew Robinson or Aaron Eisenberg coming in every other week, and yet DS9 still have the main cast meaty material. I would say that after season 4 once Worf settled down, only Jake, O’Brien and Jadzia got a bit of short shrift, and in O’Brien’s case that’s partly because he DID get along with Berman and took time off for films.

Kim could have been prioritized better, but the large cast was not the problem.

Excellent cast and crew you obey the prime directive of non inference i was not so lucky i was forced by USA authorities violate the prime directive of non inference and i was taken away and punished may 9 1989 until today cost me the life of family and friends and almost cost me my life as well. Congressional committee is having hearings on this matter and i want justice asap

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Published Sep 15, 2017

A Day on the Discovery Sets

Stardate: August 21, 2017.

On this day, all across North America, millions of people trained their eyes on the skies above, as they checked out the rare total eclipse. Meanwhile, over at Pinewood Studios in Toronto, Canada, a couple of dozen journalists from outlets worldwide – including yours truly from StarTrek.com -- happily missed the eclipse in order to experience something even more infrequent: a visit to the sets of the upcoming Star Trek: Discovery series.

Now, let me put this in some perspective. Over the years, for New York Times Syndicate, Starlog , the official Deep Space Nine and Voyager magazines, as well as Star Trek Monthly , I’ve had the honor of visiting the sets of The Voyage Home, TNG, DS9, Voyager, Enterprise, Generations, First Contact, Insurrection and Nemesis . My visit to The Voyage Home set will never, ever be beat, as it was the day the cast and crew transformed the parking lot at Paramount into the San Francisco Bay, wind and lightning machines crackled and whirred, and Leonard Nimoy stood, in a white robe, megaphone in hand, orchestrating the chaos like a conductor as Shatner, Kelley, Takei, Nichols, Doohan, Koenig and Catherine Hicks stepped off a Klingon Bird-of-Prey and into the drink. That was pure, old-school Hollywood magic. I’d not visited the set of any of the J.J.-verse films, however, so I was stoked to see what was in store when it came to Discovery .

Aaron Harberts, Discovery 's executive producer and co-showrunner, proceeded to lead our group through an informative, time-efficient, well-structured Discovery set visit experience that started with us watching a bit of filming of a scene from later in the season. All in all, the production utilizes as many as eight stages at Pinewood, including the largest one in North America. Some sets, like the mess hall, which Harberts identified as one of his favorites (because interpersonal character stories play out there) were already down, while others were being erected right as we looked on; sorry, we’re not allowed to describe those! And, for the record, Brutalist architecture dominates everything, everywhere around here. Here are some highlights:

U.S.S. DISCOVERY

The U.S.S. Discovery bridge is a sight to behold. It’s sleek and clean and shiny. Oh, and massive. Size-wise, it’s worth noting, it seemed comparable to the Enterprise-D and Voyager bridge sets, as well as more colorful/less muted than both. The centerpiece is Captain Lorca’s chair, though he apparently hardly ever sits in it. He’s a standup guy, literally, and prefers to move about and get his hands dirty. But for the sake of providing an overview, assume Lorca’s chair is dead center. Just in front of him, to his left and right, are ops stations, and right in front of them is where audiences will see a viewscreen. But don’t get too used to viewscreens. Holographic projections will be the preferred method of communicating.

Right behind Lorca’s chair, on either side, are Burnham and Saru’s stations, and further along both sides are other crew stations. At the back of the bridge, there’s a turbolift and also Lorca’s super-spartan ready room. And lit monitors on the wall reveal the current state of the Federation-Klingon war; we’re not sure, but it doesn’t seem to be going well for the good guys.

A closer examination of some of the above reveals actual buttons and knobs on the assorted consoles. Harberts referred to it as “a little bit of analog stuff.” Conversely, the transparent screens at the crew stations are uber-high-tech. They’re monitors that are actually future televisions developed by a company and soon to become available to the public. The previous sets I’d been on had nothing like it, though the J.J.-verse sets likely did. “We’re trying to bring things up just a little bit so that we were living in our present-day language or what the future's going to be bringing us,” Harberts explained, “but also continuing to sort of stay nestled in those 10 years before The Original Series .” All of the graphics are pre-programmed, so if a character interfaces with the graphics, they will either do it in time with the graphics or the graphics will be burned in later during post-production.

ENGINEERING

Anyone who has ventured up to Ticonderoga, New York, to check out The Original Series Set Tour surely marveled that the engineering room was far smaller than their imagination probably compelled them to believe. It’s the same thing up here in Toronto. Discovery 's engineering section is highly functional and there’s an enclosed, well-illuminated set called a “reaction cube.” Harberts suggested keeping an eye out for the reaction cube as events on the show unfold. “Engineering is a really important set for the show,” the executive producer noted. “Burnham and Tilly are here a lot. Stamets is often on the other side.” This set, FYI, was previously utilized as a torpedo bay. I’d seen that a lot on various Trek sets in the past, as the construction crews carefully and inventively redressed sets as required by the demands of a script, budgetary concerns and/or space limitations.

U.S.S. SHENZHOU

The Shenzhou is probably a brilliant set, but our group of intrepid visitors sadly did not get to explore it. For several reasons. One, construction work was being done on it. Two, it apparently takes many steps to reach and, once you’re inside, it features several sunken areas, stations the characters/actors must step down into, and more than a few people have bonked their heads or tripped, or both. Cue the blooper reel. Three, the entire Shenzhou set is raised, as the ship’s bridge is based at the bottom of the saucer section.

From our vantage point on the ground, though, it’s worth noting that the Shenzhou set faced a huge green screen/curtain. The Shenzhou is located on stage, #8, is Discovery ’s green screen stage. So, not only does the Shenzhou crew see space ahead of them courtesy of the green screen and subsequent VFX, but, for example, scenes set on Vulcan were shot in front of the green screen. Visiting this particular set reminded me of what I witnessed when I toured the First Contact sets. The Enterprise-E hull set, which would be walked on by Picard, Worf and Hawk, featured a huge green screen around and behind it, and the set pretty much filled a soundstage on its own.

“The Shenzhou feels almost more like a battle ship, even though it's a Starfleet vessel and intended for exploration, diplomacy,” Harberts said. “There's an intensity when you step onto this bridge. Not to say that Discovery isn't (intense, too), but the angles, the sharp lines, the ceiling kind of comes down to a much... The headroom there is a lot narrower. I would say it's almost more Hunt for Red October inside that bridge. It feels a little more cramped."

U.S.S. DISCOVERY CORRIDORS, TRANSPORTER & MORE

Stage #4, the aforementioned largest soundstage in North America, is home to pretty much all the major U.S.S. Discovery sets, except the bridge. There are the corridors, which are solid and feature guide lighting. The med bay is here, too, as is an airlock. So is the brig, which is, quite appropriately, a claustrophobic little space. As a veteran of Trek set visits, these all felt very familiar to me. Also here – and quite unique to anything I’d ever experienced -- was the quarters shared by Stamets and Culber. Harberts happily pointed out the bathroom and noted that the characters will share information about their respective days as they brush their teeth.

And then there's the transporter room. It’s every Trek fan’s dream to “energize,” and all of us visitors got our moment to stand on the transporter and flash the Vulcan greeting, grouse like Dr. McCoy or hum a beaming sound. This was one cool, elaborate set and, whereas the engineering room somehow felt small, this one feels enormous and wide open. I’d swear that, physically, it was bigger than I remember the transporter room sets from the various other Trek productions.

“This is another one of my favorite sets, just because it's so iconic, and it photographs so beautifully,” Harberts explained. “When you see our cast on the pads, you just can't help but get a rush. We switch this room back and forth between Discovery transporter room and Shenzhou transporter room. It's a huge switch."

"The transport technology on the Shenzhou is different, is older, quote-unquote, so you'll see a different style of transport. The shower stalls, as we call them, echo more the TOS version. But we're in here quite a bit. Off to the sides, you have lockers for EV suits, phasers, pulse rifles, things like that, for landing teams.”

So, while a set is a set is a set, the Discovery sets were mighty impressive. They’re also highly, highly detailed, as HD cameras and HD televisions can -- and do -- reveal so much more than ever before. And, clearly, the permanent sets have been built to last, which signals that the Discovery team is thinking far beyond season one. May the show live long and prosper.

Star Trek: Discovery will debut September 24 on CBS All Access in the U.S. and Space Channel in Canada. The series will premiere on Netflix in the rest of the world on September 25.

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Paramount Stage 9

• View history

Paramount logo found at the intro of many Star Trek films

Paramount Stage 9 is located on the Paramount Pictures lot in Hollywood, California.

Stage 9 was used in most Star Trek productions including the first seven feature films , Star Trek: The Next Generation and Star Trek: Voyager .

It was used through the four-year run of Star Trek: Enterprise and also housed sets for the 2009 film Star Trek .

• 1 1977-1986
• 2.1 Break-in
• 3 1994-2001
• 4 2001-2005
• 6 Productions
• 8 External links

1977-1986 [ ]

During its 1977 pre-production, sets for Star Trek: Phase II were slated for construction and permanent use on Stage 9.

Main bridge from Star Trek VI: The Undiscovered Country

Main engineering from Star Trek: The Motion Picture

Most of Phase II 's sets were completed when that series gave way to production of Star Trek: The Motion Picture , at which point they were modified and expanded for use in the feature film.

Stage 9 contained the primary interiors of the refit Enterprise and the USS Enterprise -A including the main bridge , transporter room , sickbay , corridor complex , Captain Kirk's cabin , and engineering .

Paramount Stage 8 housed the rec deck of the Enterprise , seen in The Motion Picture .

After the first feature, the dilithium chamber was added to engineering for the climax of Star Trek II: The Wrath of Khan . The sets remained mostly unchanged for Star Trek III: The Search for Spock .

The stage was used through Star Trek IV: The Voyage Home for Bird-of-Prey and Enterprise -A interiors, until it was taken over for permanent use in Star Trek: The Next Generation .

1987-1994 [ ]

In 1987 , with the start of Star Trek: The Next Generation , the sets on Stage 9 underwent modifications to become the USS Enterprise -D , the most drastic of which being the overhaul of the engineering and main bridge sets – the latter becoming the battle bridge .

Corridors from Star Trek: The Next Generation

Edward K. Milkis and Robert H. Justman viewed the existing film sets for the first time in October 1986 to determine what could be reused for the new series. They found the sets in poor shape due to damage caused by cats living on the stage. ( Star Trek: The Next Generation Companion  (3rd ed., p. 8))

With new bridge and living quarters sets being constructed on Stage 6 for season one , Stage 9 contained the Enterprise -D's engineering, sickbay, crew quarters, transporter room, shuttlebay , and corridor complex sets. Other sets included the fullsize shuttlecraft mockups and interiors.

Sickbay doubled as the observation lounge : the observation lounge windows were covered with carpet during the sickbay scenes. A new conference lounge was built on Stage 8 for season two . ( Star Trek: The Next Generation Companion  (3rd ed., pp. 10 & 65))

Space across from the transporter room was saved for swing sets such as Troi's office and the battle bridge doubled as Data 's lab and other locations, on and off the Enterprise .

Stage 8 housed the remaining Enterprise -D interiors used post TNG Season 2 and Generations .

Over the seven season run of TNG, the sets were refined – the corridors were expanded for longer tracking shots – but remained mostly unchanged even through the production of the seventh feature, Star Trek Generations .

The vast TNG interior sets were redressed for the final two original series movies, Star Trek V: The Final Frontier and Star Trek VI: The Undiscovered Country in 1988 and 1991 respectively.

Temporary sets filmed on Stage 9 included the Rutian plaza in the episode " The High Ground " as well as scenes aboard the Talarian observation craft in the episode " Suddenly Human ", filmed on 27 July 1990 . Stage 9 also housed the workout room seen in episodes such as " Clues ", filmed on 29 November 1990 . The Tamarian bridge seen in the episode " Darmok " was built on Stage 9, filmed on 24 July 1991 and 25 July 1991 .

Break-in [ ]

On 10 January 2007 , a user on the video sharing website YouTube posted four videos entitled Stage 9 Interlopers

Consisting of four parts, the videos were shot on the night of 10 March 1988 by (at least) two fervent Star Trek fans who had broken onto the Paramount lot. Wandering through the darkened sets of Star Trek: The Next Generation (circa season one), the fans were able to light select parts of the sets, including most of the ship's display terminals and part of the warp core . Dressed in a makeshift Starfleet uniform (with white socks), one of the fans acted as the host of what was likely intended to be a homemade documentary – at one point climbing onto a sickbay biobed , then accidentally knocking it to the floor. Taking still photographs of the various "working" control panels, the fans can be heard discussing ways of removing set pieces from the stage.

According the YouTube user's description of the videos, when the fans were caught, they dropped the camcorder containing the footage and fled. [1]

1994-2001 [ ]

After their use in Generations , the sets on Stage 9 underwent yet another revamp for their debut as the USS Voyager . ( Star Trek: The Next Generation Companion  (3rd ed., p. 321)) Richard James used his TNG experience and designed the Voyager sets to be easier to film than previous ones. ( A Vision of the Future - Star Trek: Voyager , page 91)

Corridors from Star Trek: Voyager

As on TNG , Stage 9 housed engineering, sickbay, transporter room, junior officers' quarters, the corridor complex, and the shuttlebay/cargo bay/holodeck. A large science lab was eventually constructed here as well. ( A Vision of the Future - Star Trek: Voyager , page 83)

While most sets retained their general positions, the Voyager engineering set was dramatically expanded, gaining a large second level. In its previous incarnation, engineering stood as part of the corridor complex and was often modified to represent a junction or living area. The revamp for VOY corrected this problem by making engineering its own compartment – a permanent standing set.

Sickbay was joined by a small biomedical laboratory for the second season , to the consternation of some crew members who felt the space would be better utilized for production storage. ( A Vision of the Future - Star Trek: Voyager , page 91)

Stage 8 housed the remaining Voyager interiors used in VOY.

In 1996 , Voyager 's sickbay was modified for use in Star Trek: First Contact and again in 1998 for Star Trek: Insurrection . The entrance to main engineering also represented the USS Enterprise -E 's library, while the transporter room was also reused and slightly redressed.

For the second season episode " Resistance ", Stage 9 housed the set of Caylem 's shelter. The scenes were filmed on Monday 25 September 1995 and Tuesday 26 September 1995 .

On Monday 2 April 2001 , Stage 9 housed the sets for the cave interiors, jungle sets, and rocky side areas during second unit for the seventh season episode " Natural Law ".

The science lab set was the first standing Voyager set on Stage 9 to be demolished, on 22 March 2001 . Tuvok's hospital room from " Endgame " was constructed in its place. Engineering was dismantled over 29 March 2001 to 5 April 2001 . Demolition started on the cargo bay set on 5 April 2001 as well. ( Star Trek: The Magazine Volume 2, Issue 4 , pages 69-71)

2001-2005 [ ]

In 2001 , following the end of Voyager 's final season , all of the sets in Stage 9 were permanently removed.

Star Trek: Enterprise , " In a Mirror, Darkly "

Instead of being home to the interiors of Enterprise NX-01 for Enterprise , Stage 9 housed only that series' cave set and various swing sets. Paramount Stages 18 and 8 housed all of the NX-01 interiors used in Enterprise .

Stage 9 housed the following sets:

• Captain's mess ( ENT : " Terra Nova ")
• Terra Nova underground tunnels , caves , gutting room , and well ( ENT : " Terra Nova ")
• Underground catacombs , stairwell , archway, meditation room, and reliquary at the monastery at P'Jem ( ENT : " The Andorian Incident ")
• Surface of Archer's Comet ( ENT : " Breaking the Ice ")
• Shuttlepod 1 interior, Akaali forest clearing , and basement mine control room and stairwell ( ENT : " Civilization ")
• Risan bistro, nightclub, and basement under the nightclub and Hoshi Sato's apartment ( ENT : " Two Days and Two Nights ")
• Rura Penthe ( ENT : " Judgment ")
• Bridge of the USS Defiant ( ENT : " In a Mirror, Darkly ", " In a Mirror, Darkly, Part II ")
• Rigel X ( ENT : " These Are the Voyages... ")

Stage 9 roof in " These Are the Voyages... "

The ceiling of the stage was actually seen in the scenes of " These Are the Voyages... ", as it was deemed a good fit for the interior of the complex.

Stage 9 was home to the mines of Remus in 2002 for the filming of scenes from Star Trek Nemesis .

Following the cancellation of Enterprise in 2005 , Stage 9 was, for the first time in many years, put into use in non- Star Trek productions.

According to a May 2007 news item from The Trek Movie Report website, J.J. Abrams ' 2009 film, Star Trek , was – in part – filmed on Paramount's Stage 9.

Set construction was scheduled to take place in July 2007 , utilizing other "historic" Star Trek sound stages including Stages 8, 11 , 14 , 15 , and 18. [2]

Productions [ ]

• Star Trek: Phase II
• Star Trek: The Motion Picture
• Star Trek II: The Wrath of Khan
• Star Trek III: The Search for Spock
• Star Trek IV: The Voyage Home
• Star Trek: The Next Generation
• Star Trek V: The Final Frontier
• Star Trek VI: The Undiscovered Country
• Star Trek Generations
• " Caretaker " ( Val Jean Int., Transporter room, corridors, Kazon bridge, Cardassian bridge, Neelix' junk ship, Neelix' Quarters and bathroom, sickbay, Mark's House, Engineering)
• Star Trek: First Contact
• Star Trek: Insurrection
• Star Trek: Enterprise
• Star Trek Nemesis
• Star Trek ( 2009 )

Sources [ ]

• Judith and Garfield Reeves-Stevens , Star Trek Phase II: The Lost Series
• Stephen Edward Poe , A Vision of the Future - Star Trek: Voyager
• Michael and Denise Okuda , Star Trek Nemesis (Special Edition) text commentary
• Michael Okuda, A Brief History of Paramount Stages 8 & 9 , StarTrek.com [3] (X)

External links [ ]

• Paramount Pictures – official website
• StarTrek.com , the official Star Trek website
• 1 Abdullah bin al-Hussein

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Set blueprint exchange

Discussion in ' Fan Art ' started by Redgeneral , May 10, 2014 .

Redgeneral Commander Red Shirt

Hi Over the years I've saved pictures off the internet of the various set blueprints, but going back to the sites have resulted in many 404s - sites dead. Some I can't find where they came from, even with google's reverse image search. As these are useful to fan art / productions, I've uploaded copies to my flickr account to allow people to access them instead of letting them vanish forever. I've titled this thread "exchange" as I hope that if people have other set blueprints, that they might also share them with this thread. Sovereign set blueprints (First contact onwards) Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644542637766/ NX Enterprise set blueprints Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644182742028/ TOS set blueprints: Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644583700231/ TMP set blueprints: Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644182510017/ TNG set blueprints: Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644182443257/ 2009 movie set elements blueprints: Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644596839965/ Voyager set blueprints: Flickr album: https://www.flickr.com/photos/99878876@N02/sets/72157644597012434/ I tried to post these as embed images but it didn't work - maybe because I am a new member  

Count Commander Red Shirt

I have complete Deep Space Nine and Defiant sets (Defiant also include redress plans as part of director notes for some episodes). I also have the battle bridge and BB ready room for TNG. Gotta figure out how to find time to upload them to flickr though. Pity the complete First Contact engineering/corridor sets aren't visible, I'd love to see how they did the twin horseshoe set up. EDIT: OMG, the Galley! that's the redress of Troi's quarters, the only room I couldn't get a layout for on the TNG set. Perfect!  

Those set plans would be great - Thank you I've managed to find a few more sets on my hard drive and uploaded them to flickr Romulan war bird set plans from TNG "Timescape": https://www.flickr.com/photos/99878876@N02/sets/72157644205918860/ Klingon Hall of Warriors from DS9 "Apocalypse Rising": https://www.flickr.com/photos/99878876@N02/sets/72157644620328445/ Runabout cockpit (series 1-4 of DS9): https://www.flickr.com/photos/99878876@N02/14180330923/ A few unknowns: voyager's bridge ceiling? - https://www.flickr.com/photos/99878876@N02/14159511424/ data quarters (sovereign?) - https://www.flickr.com/photos/99878876@N02/14156059331/ A bit of corridor - https://www.flickr.com/photos/99878876@N02/13972733919/in/photostream/ Klingon ship? from STVI - https://www.flickr.com/photos/99878876@N02/13972757540/in/photostream/ A bridge ceiling - https://www.flickr.com/photos/99878876@N02/14136223196/in/photostream/ A console - https://www.flickr.com/photos/99878876@N02/13972757720/in/photostream/ Any help identifying these set plans would be great I never knew that the galley was a redress of troy's quarters, makes sense seeing as a lot of STVI is TNG redressed I've put a list of set conversions here so that if a set plan is missing for one room, it might be inferred from an earlier/later version Set conversions: TMP bridge -> Battle bridge TNG -> TNG USS Lantree bridge "Unnatural Selection" -> Star gazer bridge TNG -> TNG court room "Measure of a Man" -> TNG Geophysical lab "Pen Pals" -> TNG Surgical suite "Samaritan Snare" -> TNG Tactical room "The Emissary" -> TNG Hathaway bridge "Peak Performance" -> TNG Science station "The Vengeance Factor" -> Enterprise C bridge "Yesterday's Enterprise" -> TNG cybernetics Lab "The offspring" -> TNG Moab IV lab "The Masterpiece Society" -> USS Boozeman bridge "Cause and Effect" - > Enterprise B bridge "Generations" (heavily altered) TMP engineering -> TNG engineering -> STVI engineering -> voyager engineering TMP corridors -> TNG corridors TNG ten forward -> STVI presidential office -> converted to voyager mess hall and the curved windows were flipped to be used in voyager ready room and briefing room DS9 Defiant bridge -> Ferengi bridge in "Inside Man" (voyager) TMP Transporter room -> TNG transporter room -> STV and STVI transporter room -> Voyager Transporter room -> sovereign transporter room in Star Trek Insurrection only TMP + II + III crew quarters -> TNG Tsiolkovsky quarters "The Naked Now" -> TNG data and worf's quarters TMP sickbay -> TNG sickbay DS9 runabout cockpit -> Insurrection Shuttle craft There are probably more instances of set conversion, but these are all I can think of at the moment  

The first bridge ceiling appears to be the centre bridge dome for voyager or the side roof part for the NX-01. those are Data's soveriegn quarters. The corridor looks like a piece from Nemesis showing the captains/guest quarters from the final set up (voyager sets had been struck, so they built new ones). Console looks like a sovereign class side console from the two port and starboard stations and hte other bridge roof piece that's spider-shaped is the First Contact E-E one. Oops, meant "Troi's counsellor office", but at least i got the owner right, lol. Yea, On the opposite side to the transporter room in Stage 9 for TNG (voyager turned it into the science lab), it was the following rooms first: TNG - Break Room (Where no one has gone before), Dining room (Haven), Guest Quarters (The Neutral Zone), Meeting Room (Outrageous Okona), Troi's office (Icarus Factor), Recovery Room (Transfigurations), and then converted between the science lab and Troi's office for the rest of the series with the occasional appearance as Mott's Barber shop. It's that weird trapezoidal shape you see on the galley, and the opposite doors in the corridor plans are from the transporter room. I also found that I have the klingon bridge floorplans from TNG/DS9, along with the redress instructions to make it look like the Rotaaran's dining room and captains' quarters. I'll upload those too. I have to check what else i have, i haven't been near my 3d modelling archives in a while. Also, interesting note, the end of the TNG stage 9 corridor on engineering (right side facing the warp core), actually led into a small corridor that opened up to the portside door of the TNG battlebridge that appeared as various science labs and Data's cybernetics lab. The corridor was made from pieces of the original TNG battle bridge ready room, they knocked out the wall and hten put in some cheap and quick carpeting and swing walls in the 2-3 appearances that a corridor showed up through that door (You can see it in "The Emmisary" and "Mind's eye" in particular, open door shots show the main engineering room down that way). I also have a set plan for the small science lab that is stuck between the transporter room and sickbay from TNG. It only appeared 3-4 times in the series, but it's a nice little easter egg, i reckon.  

F. King Daniel Fleet Admiral Admiral

It's quite a trawl to get through, but this thread has links to more set schematics from Star Trek Into Darkness , including the Trade Ship, Turbo Plaza, Warp Core and Brig. Resolution varies quite a bit. Also, maps of the NIF target building available via Google work pretty well as engineering set plans.  

Robert Comsol Commodore Commodore

Here is a link with some interesting side views and annotations of the TNG / TUC engine room set: http://ottens.co.uk/forgottentrek/designing-the-next-generations-engineering/ (in general a very interesting Trek website, I should add). This is a great and interesting thread, I'm still looking for authentic Klingon Bridge blueprints from TMP to enable an authentic reproduction of the torpedo bay from TWOK. I think this thread would get better attention in the "General Discussion" section because technically it's not fan but production art from various Star Trek incarnations. And, of course, welcome to the Trek BBS Redgeneral . Bob  

Mytran Rear Admiral Rear Admiral

What a great thread! I'll dig through my hard drive later, see if I can add anything to it.  

TNG Blueprints: http://s52.photobucket.com/user/count23/library/TNG%20Blueprints Deep Space Nine Blueprints (including runabout): http://s52.photobucket.com/user/count23/library/Deep Space Nine Blueprints Defiant Blueprints: http://s52.photobucket.com/user/count23/library/Defiant Blueprints - I have to admit, I was really hesitant to share these originally. I spent ages (literally, years) reconstructing the defiant sets before I had any breakthrough on these details. And there was one amateur filmmaker over on scifi-meshes.com that I used to help who would have loved these, but he bit the hand that fed him and I refused to help him anymore. I suppose the spite behind his being a jackass after all the assistance I gave him kinda made me unwilling to part with these, but still, not fair on anyone else. Although except for a few of them that have vanished from ebay now, most of them are still available online. Kinda annoyed, I'm pissed off that I can't find the Klingon BOP anywhere. Go figure! However, I do have a bonus, the Romulan Bridge/corridors/interrogation room from DS9. http://s52.photobucket.com/user/count23/library/Other Trek Blueprints Highest res I could get, some of the Defiant ones and the Romulan ones are from ebay previews, biggest images available. From a 3d modelling point of view, I was more after the shape/layout then the quality, so I could figure it out. The Defiant blueprints may be contradictory until you realize this. The "final" stage 18 design you see there is from season 7. In Season 6, they joined the mess hall to engineering (as per the director plans) and put that weird rhomboid room between the mess hall and the engine room. This was the Starbase Office/Valiant/Defiant ready room for the year before they struck it again. Also, the transporter room change from being at the top of the "T" bar of that bridge corridor segment, and became an extension of the mess hall in season 4. EDIT: I think I found the Rotaaran bridge, and put it in the "other" section with the romulan bridge. I think it's also a redress of the Saratoga bridge judging from the layout. Not too sure. EDIT2: Also, I found the K'Tinga Bridge Blueprint I had laying around. EDIT3: I know they're not trek, but I do have the Battlestar GAlactica (2003), Pegasus, COlonial one, and the various Stargate Series set blueprints as well. I might throw them up on my photobucket later if there's any interest.  

Count said: ↑ EDIT2: Also, I found the K'Tinga Bridge Blueprint I had laying around. Click to expand...

Ah, upon closer examination I see you've got a couple of my old paste-ups already! (in the TOS section). Nice to know they're still doing the rounds  

Thanks for the set plans Count, the defiant ones are extremely interesting as they give the curve of the captains control panels With your identifications, I've moved the pictures from the unknown album to the albums where they should be. King Daniel Into Darkness, thanks for the link to reach more reboot trek plans I've found a few additional set plans The DS9 episode "Trials and Tribulations" recreated the TOS set and these are the set plans for the corridors https://www.flickr.com/photos/99878876@N02/sets/72157644685508143/ The USS relativity (voyager) set plans: https://www.flickr.com/photos/99878876@N02/sets/72157644230068558/ Admiral Paris' office and pathfinder lab (voyager) set plans: https://www.flickr.com/photos/99878876@N02/13984981209/ Another bit of enterprise E Jeffries tubes https://www.flickr.com/photos/99878876@N02/14191926023/ Full size mock-up of the type 15 shuttle (it was a set element, so I'm including it in set plans) - similar to what was built, but not quite https://www.flickr.com/photos/99878876@N02/14169135602/  

You might wish to add this one to the "Trials and Tribulations" section. It does not seem to match up perfectly with the other sketches, but it is a pretty good match to what we see in the episode: http://img3.wikia.nocookie.net/__cb...Doug_Drexler_Question_7_TOS_Spotting_Plan.jpg The page it comes from has a pretty good interview as well!  

No worries General. Keep an eye out for the Sovereign horse-shoe blueprints if you can ever find it. That would be an amazing find, those sets for the E-E in First contact were as comprehensive as DS9's promenade, I would love to see a fully realised layout of it one day, everything shown in the movie except the bridge, sickbay and weapons room were part of one gigantic set that spanned two stages. It would have been incredible to view. I'm also not too sure on the one i labelled as BOP bridge, I think that may be one of the other guest bridges, I'm still searching for the real one i saw. It was a trilogy of blueprints showing the Rotaaran bridge, one of the bridge set with a wall near the viewscreen turning it into Martok's office, and one of the rear of the bridge that was the mess hall, so keep an eye out.  

oh, also. That one you've labelled as "ship bridge" in your unknown section is the TMP era bird of prey bridge set from 4, 5 and 6. I think it's pre-6 Kronos 1 modifications though as the transporter room has not been built into the hallway yet, so it's probably from the 4/5 era.  

Good to see such a promising thread die so fast, oh well. Also, this "bit of corridor" https://www.flickr.com/photos/99878876@N02/13972733919/in/photostream/ Is the Enterprise-E sets from Nemesis. the large room that's in between the two "arcs" of corridor is the sickbay/engineering lab area. The large room on the outer circle is the quarters/picard office (non ready room) set and then long straight corridor at the bottom left is the Data leap one. The reman firefight was in the arc near the quarters door and they replaced that door with a jefferies tube hole for that scene. Engineering was built away from the corridors in Nemesis, probably because they were on a smaller soundstage then 14 for this movie, and that would always explain why engineering was only ever filmed facing the warp core, due to a lack of assembled corridor sets at it's doorway.  

The corridor is now in the enterprise e section, and the renamed klingon stv bridge is in its own klingon album I've just found a new set of voyager set plans (53 images!) and I've uploaded them to the voyager flickr ablum (scroll down for the newer stuff): https://www.flickr.com/photos/99878876@N02/sets/72157644597012434/ Added: Alternate Future Admiral Janeway's timey-wimey shuttle (I can't think of the vessel name) Damaged bridge (as appeared in "The Caretaker") Undamaged bridge Delta flyer interiors Mess hall and tables crew quarters shuttle class 2 interiors astrometric lab (set plans and set model) corridor walls engineering console profile science lab transporter room (with clear and legible numbers) turbo lift Also, Count, is it ok if I add the set plans you provided to the flickr albums? I would add a description to each image of "Provided by Count of Trek BBS"  

Great to see the Astrometrics lab and Delta Flyer, thanks!  

Hey Red General, sure, go nuts on the blueprints. Nice on the voyager ones, pity the turbolift and transporter pad measurements are not legible, I'd love to get confirmation on whether the turbolifts are 10' wide or not. Oh well. I'll keep looking for blueprints, I've been focusing heavily on the E-E recently as well as the missing Rotarran blueprints I did have, will post em as I find em.  

If you look at the set plans the turbolifts are wider than the corridors - and those have been 8' wide since the days of TMP. Since every Trek series basically used those same sets with just minor tweaks, I'd say it's a safe bet that the turbolifts were not 10' wide.  

See, the thing about that is, the corridors are actually wider then 8', they're definitely 8' tall, but they're closer to 10' wide (Using voyager as a reference, the corridors were practically square, so I use 9' in my width for mappings that fits with the door dimensions for single and double doors sans-ten forward).  

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Built with contributions from  Star Trek: The Next Generation vet Michael Okuda, the four builds are the first nearly-completed replications from the forthcoming  Enterprise- D bridge set replica which Cawley projects to be completed for public visitation in the fall of 2023.

The LCARS interface panels on the first  Next Gen console replicas were designed by Okuda himself, Cawley told us this weekend, with live video consoles featuring animated versions of familiar TNG-era display screen graphics recreated by the Set Tour design team — during our inspection, we caught graphics from “Descent,” “Night Terrors,” “A Matter of Perspective,” “Redemption II,” “Ménage à Troi,” and more on the different bridge stations.

Because modern builds use LED lighting which backlights the interface panels very evenly, we learned that Mike Okuda engineered dark gradient ‘falloff’ coloring into the panels to emulate the 1980s-era incandescent internal lighting which lived in the original TNG sets.

The Ops and Conn stations this weekend are missing their upholstered seats, as they are currently being reworked to be more accurate to the Season 7-era looks featured on the series.

A 28,000-square-foot, two-story building adjacent to the Original Series tour complex is set to be the home to the Galaxy -class expansion, which along with the bridge is expected to eventually house an Enterprise- D corridor replica, a recreation of the two-story Main Engineering set, and more as time, space, and budget allows.

Here's some of the new digital displays build into the @startrektour TNG bridge consoles — which episodes can you see represented here? #StarTrek pic.twitter.com/qL0IDLegat — TrekCore.com 🖖 (@TrekCore) August 20, 2022

If you’re in the upstate New York area, you can head to the official Star Trek: The Original Series Set Tour in Ticonderoga, NY, which operates tours six days a week during their main season. The  Star Trek: The Next Generation expansion is projected for a Fall 2023 opening.

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The Intrepid Interiors , which should not be confused with the earlier Intrepid Bridge pack, are a set of canon recreations of the U.S.S. Voyager interior from both 2371 (its launch) and 2410.

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The 2371 version features Voyager's interior as it was when it was launched. Namely, it features the original Mess Hall with replicators and a normal cargo bay. The 2410 version shows Voyager having received its improvements from the Delta Quadrant. This includes Neelix 's kitchen in the Mess Hall, Borg alcoves in the Cargo Bay and Astrometrics.

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Leased RAF Voyagers set for Rwanda asylum seeker flights

Rishi Sunak is planning to deploy RAF Voyager aircraft to deport migrants to Rwanda after the Home Office failed to find an airline that would charter the flights.

The government is poised to activate a clause in a contract with AirTanker, an aviation services provider that leases a fleet of 14 Airbus A330 aircraft to the RAF.

The terms of the deal, signed in 2008, allows the Ministry of Defence to repurpose the aircraft for “specialist tasks”.

Downing Street has drawn up plans to order the MoD to activate the clause to use at least one of the Voyager aircraft for the Rwanda deportation flights , The Times understands.

AirTanker also has its own pilots and cabin crew that could be used, although the option

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• Moscow State University: The tallest of Moscow's Seven Sisters, it's been housing the State University since 1953, being the tallest educational building in the world with its 240m of height.
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Cate Blanchett Poses in Chic Leather Boots at Louis Vuitton Women’s Pre-Fall 2024 Show 

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Cate Blanchett always dresses to the nines, and her latest look is no exception. The Australian actress attended the Louis Vuitton Women’s Voyager pre-fall 2024 collection show on April 18 in Shanghai, channeling her chic side with black leather boots .

The mid-calf boots feature a block heel of about 3 to 4 inches and a pointy toe. The leather material adds a hint of edginess to her minimalist black-and-white outfit.

For a similar shoe to Blanchett’s, you can tap into Louis Vuitton’s extensive catalog. The Louis Vuitton Donna High Boot , retailing at $2,310, is a calf-high boot with a similar structure to Blanchett’s. The Donna Ankle Boot shares similarities and retails at $1,800. For a more price-friendly boot, you can check out Steve Madden’s Bixby Black Leather boot , retailing at $199.95.

Cate Blanchett’s Shoe Style

Blanchett’s shoe style varies on the event. The actress tends to wear high heels on the red carpet. Meanwhile, for fashion show or casual events, Blanchett has been photographed wearing boots and loafers. Some of Blanchett’s favorite shoe brands include Christian Louboutin, Casadei, Givenchy, Giuseppe Zanotti, Gucci, Roger Vivier and Stella McCartney.

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