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The second season of the American television series Star Trek: Discovery is set roughly a decade before the events of the original Star Trek series and follows the crew of the USS Discovery as they investigate seven mysterious signals. The season was produced by CBS Television Studios in association with Secret Hideout and Roddenberry Entertainment, with Alex Kurtzman serving as showrunner.

Sonequa Martin-Green stars as Michael Burnham, along with the returning Doug Jones, Anthony Rapp, Mary Wiseman, and Shazad Latif; they are joined by Wilson Cruz—promoted from a recurring guest role—and Anson Mount as original Star Trek captain Christopher Pike. Ethan Peck recurs as another original series character, Spock. These characters and their starship, the USS Enterprise, were included as part of the series' attempt to explain its connections to the larger Star Trek franchise. The season was officially ordered in October 2017, and filming took place in Toronto, Canada from April to December 2018. Gretchen J. Berg and Aaron Harberts, the first season's showrunners, returned for the second but were fired during production; co-creator Kurtzman replaced them.

The 14-episode season was released from January 17 to April 18, 2019, on CBS All Access. A third season was ordered in February 2019.^[1]

Ten years before Kirk, Spock, and the Enterprise, the USS Discovery. 'Star Trek' continues to break barriers, putting women at the center of the story in 'Star.

• 2Cast and characters
• 3Production
• 6Reception

Episodes[edit]

Cast and characters[edit]

Main[edit]

• Sonequa Martin-Green as Michael Burnham^[2]
• Doug Jones as Saru^[3]
• Anthony Rapp as Paul Stamets^[4]
• Mary Wiseman as Sylvia Tilly^[4]
• Shazad Latif as Voq / Ash Tyler^[5]
• Wilson Cruz as Hugh Culber^[6][7]
• Anson Mount as Christopher Pike^[8]

Recurring[edit]

• Mia Kirshner as Amanda Grayson
• Tig Notaro as Jet Reno^[9][10]
• Bahia Watson as May Ahearn
• Michelle Yeoh as Philippa Georgiou^[11]
• Alan van Sprang as Leland^[12]
• Rachael Ancheril as Nhan
• Jayne Brook as Katrina Cornwell
• Ethan Peck as Spock^[13]
• Sonja Sohn as Gabrielle Burnham / Red Angel

Notable guests[edit]

• James Frain as Sarek^[14]
• Mary Chieffo as L'Rell^[15]
• Kenneth Mitchell as Kol-Sha and Tenavik
• Rebecca Romijn as Number One^[16]
• Melissa George as Vina
• Rob Brownstien as the Keeper
• Yadira Guevara-Prip as Me Hani Ika Hali Ka Po

Production[edit]

Background[edit]

On November 2, 2015, CBS announced a new Star Trek television series to premiere in January 2017, 'on the heels' of the original series' 50th anniversary in 2016.^[17] In February 2016, Bryan Fuller, who began his career writing for the series Star Trek: Deep Space Nine and Star Trek: Voyager, was announced as the new series' showrunner.^[18] CBS did not have a plan for what the new show would be when Fuller joined,^[19] and he proposed an anthology series with each season being a standalone, serialized show set in a different era, beginning with a prequel to the original series. CBS told Fuller to just start with a single serialized show and see how that performs first, and he began further developing the prequel concept.^[20] By the end of 2016, Fuller had left the series due to further conflicts with CBS and other commitments, with Gretchen J. Berg and Aaron Harberts replacing him as showrunner.^[21] In June 2017, co-creator Alex Kurtzman said that he and Fuller had discussed plans for future seasons before the latter's departure.^[22]

Development[edit]

In August 2017, before the series premiere, executive producer Akiva Goldsman stated that though the series is not an anthology as Fuller first proposed, 'it's kind of a hybridized approach. I don't think we're looking for an endless, continuing nine or 10 year story. We're looking at arcs which will have characters that we know and characters that we don't know.'^[23] Kurtzman elaborated that the Federation-Klingon War story arc of the first season would not continue in a second.^[24] However, he was not interested in a full anthology series because 'I wouldn't necessarily want to throw [the characters] away at the end of the season for a new show',^[25] and instead felt that the aftereffects of the first season would be felt moving forward: 'The results of the war are going to allow for a lot of new storytelling', with 'the casualties, the things that have grown in Starfleet as a result of the war' carrying over to the next season.^[24] By the end of the month, Berg and Harberts had developed a 'road map' for a second season.^[26] After the first season premiered, Kurtzman explained that a 'big idea' had been proposed mid-way through production on that season which became the 'spine' of the second season, with the writers' 'emotional compass' having pointed them to using that idea. He added that the series' producers wanted to avoid announcing release dates for future seasons just to delay them, but he hoped a second season would be available in early 2019 as long as the quality and scope of the series was not compromised to achieve that.^[27]

On October 23, a 13-episode second season was officially ordered by CBS All Access.^[28][29]CBS Interactive President Marc DeBevoise cited the increased subscriptions for All Access since the series' debut, as well as critical acclaim and fan interest, when announcing the renewal.^[28] In June 2018, during production on the season, CBS Television Studios fired Berg and Harberts. The studio and network were pleased with the scripts for the season and early cuts of already filmed episodes, but the first episode of the season had gone significantly over budget—to the point that the budgets for later episodes of the season would have to be cut to cover the difference—and the pair were allegedly abusive towards the series' writing staff, with multiple writers becoming uncomfortable working with them. Some had apparently been threatened by Harberts after stating their intention to file a formal complaint. Kurtzman was made sole showrunner in their place, and was described as the 'glue holding Discovery together'. With this change came news that Goldsman had not returned as executive producer for the second season, after serving as Kurtzman's 'right-hand man', because he had a 'management style and personality that clashed with the writing staff'.^[30] At the end of the month, James Duff joined the series as an executive producer, specifically to help Kurtzman run the series' writers room. Olatunde Osunsanmi, who served as a director and co-executive producer during the first season, became a full executive producer as well and was set as producing director for the rest of the season's production. Additionally, Jenny Lumet, who joined as a consulting producer at the beginning of the season, was promoted to co-executive producer.^[31] In July, the season was confirmed to premiere in January 2019.^[16] Star Anson Mount revealed in December that the season had been extended to 14 episodes to allow CBS to amortize the cost of production delays following the showrunner change.^[32]

Writing[edit]

The series' writers began work on the second season in December 2017, and were considering 'science vs. faith' as the main theme of the season. Harberts said the season would be 'jam packed' with things that they were not able to do in the first.^[33] Without the first season's Federation–Klingon War storyline, Kurtzman said that there would be much less of a focus on the Klingons in the second season and far fewer Klingon-only scenes, but that Klingon characters would still appear.^[5] He later added that the Klingons would grow their hair back to show that they are no longer at war, something he said was always intended and not a response to fan criticisms of the bald Klingons in the first season.^[34] The season has a single serialized story just as the first season had, but the writers intentionally tried to move towards a more episodic feel than the first. This 'classic episode feel' was created by having a central character or question for each episode whose story also contributed to the season-long story.^[11]

In March 2018, Harberts clarified that the series would not just be looking at religion, but also 'patterns in our lives. It means connections you can't explain. Who enters your life and who leaves your life and these indelible impressions people make ... that is one of our biggest ideas now and it is threading through all of our characters' lives.'^[35] Something that Kurtzman felt 'all the best' Star Trek series had was examinations of the real world at the time of their creation, and so this season would address 'building walls around ourselves, literally, to keep people out' and how that can 'chip away at our essential understanding of Starfleet doctrine, and what it means to assume diversity'. Mount felt that the season was able to 'get back to those big questions' because it was no longer questioning the leadership of the Discovery as was done with Captain Gabriel Lorca in the first season.^[36] Kurtzman noted that religion is a controversial topic among Star Trek fans, and the series' study of faith was 'never about picking on religion as much as it was about faith in each other and in themselves'. He felt that protagonist Michael Burnham 'really wrestled' with faith in the season because she was not raised with it, but in the end was rewarded for finding it. He interpreted this message as being, 'If you believe in yourself, ultimately, the best outcome presents itself.'^[37]

The season begins with the arrival of the USS Enterprise (where the first season ended) on a specific mission, which ties into a larger story that does not involve the Enterprise and is the main arc for the whole second season;^[38] the storyline involves seven mysterious signals and a strange 'red angel' figure that appears to several characters in visions.^[11] Harberts wanted to explore the character Christopher Pike, captain of the Enterprise, feeling that he had not been seen much in Star Trek previously and provided 'an interesting opportunity ... to delve into and flesh out a character who I think is a pretty darn heroic and selfless captain'. Burnham's adoptive brother Spock is also a crew member of the Enterprise, but Harberts was less interested in him given his many appearances throughout previous iterations of Star Trek,^[39] and was reluctant to have an actor other than Leonard Nimoy or Zachary Quinto portray the character.^[40] However, Spock was confirmed to be included in April 2018,^[41] and his relationship with Burnham became the most important part of the season for Kurtzman.^[37] The writers wanted to tell a new story with Spock that would show him become closer to Nimoy and Quinto's versions over time, visually signified by having the character shave his beard at the end of the season to look more like them.^[42] The season also reveals that it was Burnham's relationship with Spock that led to him 'fully actualiz[ing] himself' with James Kirk in the original series, which was important to Kurtzman in telling this part of Spock's life.^[37]

The season finale had to answer all the season's mysteries, complete its character arcs, feature a large battle, and set-up stories for the next season. While planning this, the writers realized that they could not do justice to it all within a single episode's length. It was around this time that CBS added an additional episode to the season's order, which allowed the writers to expand their finale plans to a two-part season finale. Executive producer Michelle Paradise compared the scope of the finale to a feature film.^[43] A goal of the showrunners for the season was to 'cement Discovery firmly in the timeline' by reconciling some of the apparent continuity errors caused by the first season, such as why Burnham has never been mentioned by Spock in the franchise before, or why the advanced spore-drive technology used on the USS Discovery is not used on other starships in later Star Trek series.^[44] The season ends with Discovery and its crew traveling over 900 years into the future, and Spock recommending to Starfleet that the starship or its crew never be mentioned again to prevent the events of the season from ever being repeated. Kurtzman said this solution was chosen after months of work with the writers, and was additionally made because of the implications it has for the future of the series; he compared the decision to that of the film Star Trek (2009) starting a new timeline to avoid established continuity.^[37]

Casting[edit]

The season stars the returning Sonequa Martin-Green as Burnham,^[2]Doug Jones as Saru,^[3]Anthony Rapp as Paul Stamets,^[4]Mary Wiseman as Sylvia Tilly,^[4] and Shazad Latif as Voq / Ash Tyler.^[5]Wilson Cruz reprises his guest role of Hugh Culber, who died in the first season,^[6] and is promoted to the main cast for the second.^[7]

In April 2018, Anson Mount—who was considered for the role of Lorca in the first season—was cast as Pike, a 'key role' for the season,^[8][32] and a young Spock was confirmed to be appearing in flashbacks;^[41] Kurtzman noted that casting for Spock took into consideration a balance between Vulcan logic and revealing 'emotion in the eyes and in the small gestures'.^[38] Mount revealed in July that he would star for the full season,^[45] and that Rebecca Romijn would portray the original series character Number One.^[16] Mount and Romijn both signed one year deals for the series, with their characters included as part of the series attempt to have the season align closer to the wider Star Trek continuity.^[46] In August, Ethan Peck was announced as portraying Spock in the season. Kurtzman compared the actor to both Nimoy and Quinto and stated that he believed Peck 'would, like them, effortlessly embody Spock's greatest qualities, beyond obvious logic: empathy, intuition, compassion, confusion, and yearning'.^[13]

In March 2018, an alternate ending to the first season was revealed in which a Section 31 agent named Leland is introduced, portrayed by Alan van Sprang. The producers confirmed that Sprang would be portraying the character in the second season.^[12] Van Sprang had worked with Berg and Harberts on the series Reign, and they had been trying to find a character for him to play throughout production on the first season. The actor described his role in the second season as a 'massive part of it'.^[47] The alternate ending saw Leland approach Michelle Yeoh's Philippa Georgiou about joining Section 31,^[12] and in February 2018 Kurtzman said that it was possible for Yeoh to reprise the role in the second season along with Jason Isaacs as Gabriel Lorca.^[5] Yeoh was confirmed to be appearing in the season to continue the Section 31 storyline in October 2018,^[11] while in January 2019, Kurtzman said that Isaacs would not be appearing in the season but could still return to the series in the future.^[48]

In April 2018, Tig Notaro was cast in the guest role of Denise Reno;^[9] she later revealed that this would be a recurring role for the season, and that she had been able to rename her character to Jet Reno.^[49][10] That October, Martin-Green announced that her husband Kenric Green had been cast for the season, and would be making an 'indelible contribution'.^[11] He portrays Burnham's father Mike in a flashback in the episode 'Perpetual Infinity', while Sonja Sohn portrays her mother Gabrielle. The latter is revealed to be the 'Red Angel', a character seen throughout the season. Several other recurring guests also return from the first season, including James Frain as Sarek,^[14]Mia Kirshner as Amanda Grayson, Mary Chieffo as L'Rell,^[15] and Jayne Brook as Katrina Cornwell. Introduced in the season are Bahia Watson as May Ahearn and Rachael Ancheril as Nhan. Kenneth Mitchell, who had a recurring role in the first season as the Klingon Kol, appears in the second season as Kol's relative Kol-Sha. He also portrays the older version of Tenavik, the son of L'Rell and Tyler.

Hannah Cheesman took over the role of Airiam for the season, with original actress Sara Mitich recast in the role of Nilsson. Other returners include Emily Coutts as Keyla Detmer,^[4]Patrick Kwok-Choon as Gen Rhys, Oyin Oladejo as Joann Owosekun, Ronnie Rowe Jr. as R. A. Bryce, Ali Momen as Kamran Gant, and Julianne Grossman as the voice of Discovery's computer. David Benjamin Tomlinson also appears throughout the season as Linus. Hannah Spear and Yadira Guevara-Prip respectively reprise their Star Trek: Short Trek roles of Saru's sister Siranna (from the short 'The Brightest Star') and Tilly's friend Me Hani Ika Hali Ka Po (from the short 'Runaway'). The episode 'If Memory Serves' begins with archival footage from the original Star Trek pilot 'The Cage' featuring the original actors for several characters seen in the series, including Spock, Pike, and Number One, as well as Vina and the Keeper, portrayed in Discovery by Melissa George and Rob Brownstein, respectively.

Design[edit]

Several new sets for the Discovery were built for the second season, adding to the ones constructed for the first. These included a new 'loop corridor' and new entrances to the mess hall and sick bay sets. The engineering set from the first season was also renovated for the second, with production designer Tamara Deverell explaining that the cinematography department had been complaining about the large amount of light coming from the spore chamber in that set in contrast to the rest of the room.^[50] Additionally, some season one sets were repurposed for the second season, with Lorca's season one ready room becoming a new science lab for Burnham in the second season.^[51]Glenn Hetrick and Neville Page of Alchemy Studios, who provide prosthetics and armor for the series, teased in May 2018 that the season would feature a 'truly alien' character for which they had to figure out new ways to reduce the weight of the prosthetics and make it breathable for the actor, as well as try improve the actor's vision because the eyes of the creature did not align with where human eyes are positioned. Hetrick added that there would be more interesting prosthetics for extras playing background characters, while the pair were able to use a species from earlier Star Trek canon that had not been in the first season of Discovery after producing a list for the executive producers featuring all the species they would like to use.^[52]

John Eaves and Scott Schneider, designers of the starships for the series, were required to redesign the USS Enterprise for Star Trek: Discovery, making it 25 percent different from Matt Jefferies' original design due to legal concerns regarding the ownership of different Star Trek elements. CBS ultimately confirmed that they were free to reuse Jefferies' design in Star Trek: Discovery, but stood by the changes made by Eaves and Schneider as creative improvements that took advantage of modern visual effects. These changes included adding elements that could realistically be removed or replaced in the time between this series and the beginning of the original series. The visual effects department made further adjustments to the design after Eaves and Schneider completed their work.^[53] The final version of the ship seen in the series also adopts some of the characteristics of the Enterprise from the films, such as being 'a little bit fatter, a little bit bigger', to fit into the aesthetic of the series.^[54] Elaborating on this, Kurtzman explained that the original designs for the Enterprise would look out of place within the series due to the far more advanced modern technology being used to produce the show. He added that any sets designed for the Enterprise would bridge the look of the original series and Discovery while still trying to adhere to canon and remain consistent with the original designs where possible.^[5]

There had been plans to show the interior of the Enterprise during the first season finale, but this was ultimately saved for the second season. Deverell did extensive research on the original sets before trying to recreate them using Discovery's 'new methodology', including searching through the CBS archives to do color tests on the original bridge sets which feature a distinctive red that sometimes appeared to be orange on the original series (the series includes a joke about it being orange, though Deverell insisted that it is red). The Enterprise bridge set was built on a new soundstage for the series specifically for the two-part season finale, rather than being a repurposed set.^[51]James Cawley, owner of the Official Star Trek Set Tour, provided reproductions of the buttons from the original bridge set for Deverell to base her buttons on.^[55]

Filming[edit]

Star Trek Discovery Season 2 Episode Guide

Filming for the season began at Pinewood Toronto Studios on April 16, 2018,^[3][56] under the working titleGreen Harvest. Production was set to take place on the series at the studio until November 8.^[56] At the time of Berg and Harberts' firing, production was underway on the fifth episode of the season, and a hiatus in filming was planned to follow that. This allowed Kurtzman to take the time to 'regroup' the series' writing staff without delaying the series' production.^[30] The production was ultimately delayed enough that it needed to extend its time at Pinewood in order to complete the season, and to amortize these costs CBS added an additional episode to the season's run, which pushed the end of filming on the season to December 21.^[32] Due to the delay, episodic director Jonathan Frakes ultimately directed the ninth episode of the season instead of the originally planned tenth.^[41][32]

Kurtzman hoped that if the series was projected in a theater it would appear indistinguishable from a feature film, and chose to use anamorphic lenses for the season to 'immediately [convey] a sense of scope and scale'. He also pushed the lighting and design departments to use color in ways that are not traditionally considered for television, and challenged the episode directors to each shoot a scene where they would not use the same shot twice; this was to encourage them to use more inventive shot choices rather than just typical 'coverage' (filming a master shot of the scene followed by angles from several different sides if time permitted). Kurtzman also wanted as many options available to the editors as possible during post-production. Addressing the fact that Star Trek was originally inspired by naval tradition, Kurtzman said that the season would be leaning further into that than the first did, especially in the way that they filmed the bridge scenes and a funeral sequence. He named Crimson Tide (1995) as an influence for the filming style.^[57] Frakes reiterated the cinematic approach to the series, especially comparing the camera work to the style of the Star Trek films directed by J.J. Abrams. He added that Osunsanmi encouraged the episodic directors to 'express ourselves visually in as exciting a way as possible' which was different to the restrictions Frakes was used to from other series.^[58]

During filming of one of the season's episodes in August 2018, Mount was involved in an 'on-set physical altercation' with the episode's director when he touched the director while rehearsing a pointing action before beginning a scene. The incident was reported to CBS's HR department who reviewed it and decided against any disciplinary action for Mount. The actor had apologized to the director at the time. The incident had no affect on Mount's involvement with the series, as work on the season continued without interruption and the series production was believed to be interested in working with Mount further despite his contract being for the second season of the series only.^[46]

Music[edit]

Composer Jeff Russo planned to begin work on the second season in May 2018, after receiving the first script for the season. He did not expect to significantly change the tone of his music for the season, feeling that so much work in the first season had gone towards creating a unique sound for the series within the Star Trek franchise which he would like to continue moving forward.^[59] Russo did feel that the score for the second season would focus more on the 'swashbuckling' aspects he wrote at times for the first season. Russo generally works directly with the showrunners rather than any of the episodic directors but discussed his score for the season's second episode with director Frakes.^[60]

Marketing[edit]

The season was promoted at San Diego Comic-Con in July 2018, with Notaro moderating a panel that featured Kurtzman, Martin-Green, Jones, Latif, Wiseman, Rapp, Cruz, Chieffo, Mount, and executive producer Heather Kadin. The first trailer for the season debuted at the panel before being released online.^[16]

Release[edit]

The season premiered on January 17, 2019 on CBS All Access in the United States.^[11]Bell Media broadcasts the series in Canada on the specialty channels Space (English) and Z (French) before streaming episodes on Crave, while Netflix has streaming rights for the series in another 188 countries. Netflix releases each episode of the series for streaming within 24 hours of its U.S. debut. ^[61]

Reception[edit]

Critical response[edit]

The review aggregator website Rotten Tomatoes reported an 82% approval rating with an average rating of 7.15/10 based on 26 reviews. The website's critical consensus reads, 'The second season of Discovery successfully—if stubbornly—cleans up the problematic storylines of Trek past while still effectively dramatizing new takes on the lore.' The average rating for each of the season's individual episodes is 82%.^[62]Metacritic, which uses a weighted average, assigned a score of 73 out of 100 based on reviews from 9 critics, indicating 'generally favorable reviews'.^[63]

References[edit]

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38. ^ ^ab'Recasting Spock, Pike's Command Style And More Season 2 Details From 'Star Trek: Discovery' Crew'. TrekMovie.com. July 22, 2018. Archived from the original on July 23, 2018. Retrieved July 23, 2018.
39. ^Britt, Ryan (February 11, 2018). 'Showrunners Talk Captain Pike and Spock in 'Star Trek: Discovery' Season 2'. Inverse. Archived from the original on February 13, 2018. Retrieved February 14, 2018.
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43. ^Lovett, Jamie (April 14, 2019). ''Star Trek: Discovery' Executive Producer Explains Why the Finale Was Extended'. ComicBook.com. Archived from the original on April 14, 2019. Retrieved April 19, 2019.
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45. ^Pascale, Anthony (July 22, 2018). 'Exclusive: Anson Mount Talks Playing Pike, Reveals How Many Episodes He's In Of 'Star Trek: Discovery''. TrekMovie.com. Archived from the original on July 23, 2018. Retrieved July 23, 2018.
46. ^ ^abAndreeva, Nellie; Patten, Dominic (March 18, 2019). ''Star Trek: Discovery': Two Major New Characters To Exit At End Of Season 2'. Deadline Hollywood. Archived from the original on March 19, 2019. Retrieved March 23, 2019.
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60. ^Score: A Film Music Documentary. 🎵Score: The Podcast #12 | Jeff Russo, Behind the Score & Name That Score. YouTube. Retrieved June 5, 2018.
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The first season of the American television series Star Trek: Discovery is set roughly a decade before the events of the original Star Trek series, and follows the crew of the USS Discovery during the Federation–Klingon war. The season is produced by CBS Television Studios in association with Secret Hideout, Roddenberry Entertainment, and Living Dead Guy Productions, with Gretchen J. Berg and Aaron Harberts serving as showrunners, and Akiva Goldsman providing producing support.

Sonequa Martin-Green stars as Michael Burnham, first officer of the USS Shenzhou and later the Discovery, along with Doug Jones, Shazad Latif, Anthony Rapp, Mary Wiseman, and Jason Isaacs. The new series was announced in November 2015, and Bryan Fuller joined as showrunner the next February. After disagreements with CBS over the direction of the show, and struggles with other commitments, Fuller left the series; Berg and Harberts took over day-to-day production using a broad story arc established by Fuller. The Klingon species was redesigned for the season, and its culture and biology was greatly developed. Filming took place in Toronto, Canada from January to October 2017, with additional filming on location in Jordan for the series premiere.

The season premiered on September 19, 2017, at ArcLight Hollywood, before debuting on CBS on September 24. The premiere episode was also made available on CBS All Access, where the rest of the 15-episode season was streamed weekly. The season was split into two chapters, with the first ending on November 12 and the second releasing from January 7 to February 11, 2018. The season's release led to record subscriptions for All Access, and generally positive reviews from critics who highlighted Martin-Green's performance, the series' production values, and its new additions to Star Trek canon. Some criticized the season's writing, particularly for the structure of the season and how its many subplots were handled. A second season was ordered in October 2017.^[1]

• 2Cast and characters
• 3Production
  • 3.4Design
• 5Release
• 6Reception

Episodes[edit]

1. ^The first episode had a special premiere on CBS alongside its release on CBS All Access.^[2][3]

In March 2018, a 'secret scene' was released depicting an alternative ending to the season finale. It features Mirror Georgiou being approached by an operative of Section 31, a storyline that is further explored in the second season of the series.^[4]

Cast and characters[edit]

Main[edit]

• Sonequa Martin-Green as Michael Burnham^[5]
• Doug Jones as Saru^[6]
• Shazad Latif as Voq / Ash Tyler^[7]
• Anthony Rapp as Paul Stamets^[8]
• Mary Wiseman as Sylvia Tilly^[9]
• Jason Isaacs as Gabriel Lorca^[10]

Recurring[edit]

• Michelle Yeoh as Philippa Georgiou^[11]
• Mary Chieffo as L'Rell^[12]
• James Frain as Sarek^[13]
• Kenneth Mitchell as Kol^[14]
• Jayne Brook as Katrina Cornwell^[15]
• Wilson Cruz as Hugh Culber^[16]

Notable guests[edit]

• Mia Kirshner as Amanda Grayson^[17]
• Rainn Wilson as Harry Mudd^[18]
• Katherine Barrell as Stella Mudd^[19]

Production[edit]

Development[edit]

On November 2, 2015, CBS announced a new Star Trek television series to premiere in January 2017, 'on the heels' of the original series' 50th anniversary in 2016, to be developed specifically for the on-demand service CBS All Access. In February 2016, Bryan Fuller was announced as the new series' showrunner.^[20] Fuller began his career writing for the series Star Trek: Deep Space Nine and Star Trek: Voyager, and had publicly called for Star Trek to return to television for years.^[21][22] When he first met with CBS about the series, the company did not have a plan for what the new show would be,^[23] and Fuller proposed an anthology series where each season would be a standalone, serialized show set in a different era, beginning with a prequel to the original series. CBS told Fuller to start with a single serialized show and see how that performs first, and so he began further developing the prequel concept.^[22] In June, Fuller announced that the first season would consist of 13 episodes,^[23] and a month later, at Star Trek's 50th anniversary San Diego Comic-Con panel, he revealed the series' title to be Star Trek: Discovery.^[24] He also said it would be set in the 'Prime Timeline' alongside the previous Star Trek series.^[25]

At the end of July, CBS hired David Semel, a veteran television procedural director who was under an overall deal with the studio, to direct the pilot for Discovery.^[26][22] Fuller did not approve of this decision, believing that Semel 'was wrong for the job'.^[22] Fuller wanted a more visionary director, and had personally reached out to Edgar Wright to direct the pilot before CBS hired Semel.^[27] As development and pre-production on the series continued, Fuller and Semel 'clashed' on the direction of the show. The series was also starting to overrun its per-episode budget, while Fuller was attempting to design new sets, costumes, and aliens for the series while heading the series' writers and also spending considerable time addressing his commitments as showrunner of another new series, American Gods. This caused frustration among CBS executives that were pushing for a January 2017 debut, a date that others believed was unrealistic.^[22] By August 2016, Fuller had hired Gretchen J. Berg and Aaron Harberts, who he had worked with on Pushing Daisies, to serve as co-showrunners with him on Discovery.^[5][28] A month later, Fuller and Kurtzman asked CBS to delay the series' release so they could realistically meet the high expectations for the series, and the studio announced that the series premiere had been pushed back to May 2017. The pair said that 'these extra few months will help us achieve a vision we can all be proud of.'^[29]

A few weeks after the delay, Fuller met with Sonequa Martin-Green about portraying the series' lead,^[22] a character that had been surprisingly difficult for the production to cast.^[28] Fuller 'felt he found the crucial piece of the puzzle', but the actress would not be released from a contract at AMC until her character's death on The Walking Dead which was not set to air until April 2017, meaning Discovery would have to be delayed again if Martin-Green was cast. At the end of October, CBS asked Fuller to step down as showrunner.^[22] They announced that the production was being restructured to keep Fuller actively involved with the series but not on a day-to-day production level as he shifted his focus fully to American Gods: Berg and Harberts were made sole showrunners, working off of a broad story arc and overall mythology established by Fuller; Kurtzman and Fuller would continue as executive producers, with Fuller still helping the writers break stories; and Akiva Goldsman would join the series in a supporting producer role, similar to the role he held on Fringe alongside Kurtzman, to help the showrunners and other producers 'juggle the demands of the series'. In a statement, CBS reiterated that they were 'extremely happy with [Fuller's] creative direction' for the series, and were committed to 'seeing this vision through'.^[28] However, some elements of the series that came directly from Fuller were dropped, including some 'more heavily allegorical and complex story' points and some of his design plans.^[22] Fuller later confirmed that he was no longer involved in the series at all, which he said was 'bittersweet ... I can only give them the material I've given them and hope that it is helpful for them.'^[30] By the end of the year, Martin-Green had indeed been cast as the series' lead,^[31] and in May 2017, the episode order was expanded to 15.^[32][33] That June, CBS announced a new premiere date of September 24.^[2] The season was divided into two chapters, with an airing break after the ninth episode to allow time for post-production on episodes in the second half of the season to be completed.^[2][34]

Writing[edit]

—Executive producer Akiva Goldsman on approaching the Federation-Klingon war from both sides.^[35]

Fuller wanted to differentiate the series from the previous 700+ episodes of Star Trek by taking advantage of the streaming format of All Access and telling a single story arc across the entire first season. He and the writers had completely planned this arc by the end of June 2016.^[23] The story arc revolves around 'an event in Star Trek history that's been talked about but never been explored', 10 years before the events of the original series,^[36] which was later revealed to be the Federation-Klingon cold war.^[37] Fuller elaborated that the original series episode 'Balance of Terror', one of his favorites, would be 'a touchstone' for the season's story direction.^[38]

Because of the season's focus on Klingons and their culture, the producers decided that members of the species would speak their own language with subtitles throughout the show, which Berg said was 'very important for us ... They have their own pride. They have their own interests and talent. It's a very fascinating culture.'^[13] Noting that the Klingons historically represented the Soviet Union, becoming friendlier with the protagonists of Star Trek as the real Cold War ended, Harberts said they and Starfleet would represent different factions within the modern United States in this series, explaining that 'what we really wanted to do too is understand two differing points of view and really explore it ... making sure they aren't just the enemy. And then finding a way to come together. How do we bring everyone back together? [That] is what season one is all about.'^[39] Berg elaborated that 'one of the themes we are exploring is universal and is a lesson I feel like as human beings we have to learn over and over again—is you think you know 'the other,' but you really don't. You have to sort of cognitively re-frame or break or deviate from your own point of view to really understand. You have to forget what you knew before. One of the big steps in that journey is how to understand yourself. You have to understand yourself before you can better see others. The show is called Discovery and it is called Discovery for a reason, because our characters are on a journey.'^[39]

Goldsman said the story of the Klingon War would cover only the first season of the series, ending with the creation of the Neutral Zone, something Goldsman said is 'sufficiently inexact [in previous Star Trek stories] that we can now fill in how we got there.' He noted that the season is set in a time period that has been mentioned a lot in Star Trek previously, and that has been widely covered by previous Star Trek novels, and explained that the writers considered those novels to be non-canon, 'but we are aware of them. And, we are going to cross paths with components that Trek fans are familiar with'.^[40] Discussing some of the characters' relationships, the showrunners noted that previous Star Trek series revolved around the relationships between central male characters, but Discovery focuses more on female characters with a 'friendship structure' that goes from Captain Georgiou to First Officer Burnham, and from Burnham to Cadet Tilly. They also explained that the two main Starfleet captains in the series, Georgiou and Lorca, are 'metaphors for how people and institutions act in times of conflict and desperation', with Georgiou responding to war as would be expected of a Starfleet officer from previous series, but Lorca 'represents a more mysterious, complicated version of a Starfleet captain who can almost only exist during a time of war' and so differs from previous Starfleet depictions.^[41]

Rather than begin the season with Burnham boarding the USS Discovery and revealing her backstory through flashbacks, which a more traditional series may have done, the writers wanted to have a prologue that explored Burnham's initial actions and her relationship to Georgiou. Feeling that at least 'two hours' were needed to convey this, the first two episodes of the season (released as the two-part premiere of the series) cover this prologue, with the season's main story beginning with the third episode, which was considered to be the series' equivalent of a pilot episode.^[42] It begins six months after the prologue episodes, which was inspired by film sequels that begin with significant events having transpired since the previous installment such as Terminator 2: Judgment Day (1991).^[43] The third episode reveals that the season's story involves the development of a new form of space travel that could win the war for the Federation. When it was noted that this form of travel is not known in the previous Star Trek series (set later in the canon), actor Jason Isaacs stated that the writers were aware of this, and were 'very clear, in not a cop-out way, to both incorporate this stuff which is exciting and very visual, to make sure that it didn’t rankle canon.'^[44] The season's story is split into two 'micro-arcs', covering the first nine episodes and then the rest of the season, with a break in airing between the two.^[34] It ends with the end of the war, which comes down to an agreement between two characters.^[45] The negotiations are made entirely by female characters, which was an intentional choice that Kurtzman felt was justified by the Me Too movement.^[46] The writers felt this was true to the spirit of Star Trek, and allowed them to move beyond the war storyline that Fuller had established for the show. The second season is then set-up with the appearance of the USS Enterprise, with Harberts explaining that the writers knew they would have to acknowledge the existence of the Enterprise at some point, and after Fuller left the series they decided to just 'tell this story now' with the second season.^[45]

Casting[edit]

In addition to Martin-Green as protagonist Michael Burnham, the series also stars Doug Jones as Saru, an alien lieutenant commander;^[6]Shazad Latif as Ash Tyler, a former prisoner of war;^[14][47]Anthony Rapp as Paul Stamets, an astromycologist;^[6][8]Mary Wiseman as Sylvia Tilly, a cadet;^[48][9] and Jason Isaacs as Gabriel Lorca, captain of the USS Discovery.^[10] Isaacs was cast only for one season.^[49] Not all of the show's characters are introduced immediately, with the writers taking advantage of the streaming, serialized format to take their time introducing each character and spend time with them as they are introduced.^[50] Tyler is eventually revealed to actually be the Klingon Voq disguised as a human. Voq was initially credited as being portrayed by the actor Javid Iqbal, who was invented for the ruse and named for Latif's father to hide the fact that Latif was portraying both Voq and Tyler until their connection was revealed in the show.^[7]

In November 2016, series' writer and consulting producer Nicholas Meyer mentioned that Michelle Yeoh had been cast in Discovery,^[51] and she was soon confirmed to be portraying Captain Georgiou of the USS Shenzhou.^[52][6] With Latif's initial casting in December 2016, Mary Chieffo was cast as the Klingon L'Rell.^[12] In April 2017, Kenneth Mitchell was cast as Kol, the character that Latif was originally cast to play before he was given the role of Tyler.^[14] That July, Rapp revealed that Wilson Cruz, whom Rapp had previously worked with on the musical Rent, would portray Stamets' love interest Hugh Culber.^[16]Jayne Brook also has a recurring role in the season, as Admiral Katrina Cornwell.^[15] Additionally appearing throughout the season in 'co-starring' roles are Emily Coutts as Keyla Detmer,^[53] Ali Momen as Kamran Gant,^[53] Chris Violette as Britch Weeton,^[53] Romain Waite as Troy Januzzi,^[53] Sara Mitich as Airiam,^[54] Oyin Oladejo as Joann Owosekun,^[54] Ronnie Rowe Jr. as R.A. Bryce,^[55]Conrad Coates as Terral,^[56] and Patrick Kwok-Choon as Rhys.^[56]Tasia Valenza and Julianne Grossman provided the computer voices for the Shenzhou and the Discovery, respectively.^[53][54]

Fuller said in August 2016 that 'once we get through this first season and establish our own Star Trek universe' and characters, the series could 'open up to more familiar characters'. He did express interest in including the character Amanda Grayson, saying, 'there's much to be told about that'.^[36] She was later confirmed to be appearing in the season.^[43] By January 2017, James Frain was cast as Grayson's husband Sarek.^[57]Rainn Wilson was cast as another original series character, Harry Mudd, that March.^[18] In September, Harberts revealed that Mia Kirshner had been cast as Grayson.^[17]Katherine Barrell portrays Mudd's wife Stella.^[19]Clint Howard, who appeared in several previous Star Trek series, has a role in the season finale as an Orion drug dealer. The role was written specifically for Howard, who is friends with Goldsman.^[58]

Design[edit]

The design of the USS Discovery is based on an unused Ralph McQuarrie design for the USS Enterprise from the unproduced film Star Trek: Planet of the Titans.^[25] The USS Shenzhou was designed to look older than the Discovery,^[59][60] and was described as being closer to a submarine from The Hunt for Red October (1990) than previously seen Star Trek spaceships.^[61] The Shenzhou is a Walker-class starship, a new designation created for the series that is named for test pilot Joe Walker.^[62] Sets for the Shenzhou and the Discovery's interiors were built for the series,^[59] described as a 'tangle of corridors and rooms'.^[63] Because the bridge of the Shenzhou is on the bottom of that ship, the 'massive' set for that room was built 12 feet (3.7 m) off the ground and upside down, and became a challenge for the crew to work in.^[60][64] In some cases, such as the transporter rooms and corridors, the same sets were used for both ships, though dressed differently with alternate lighting, graphics, and paint.^[60] The 'turn over' process took up to a week.^[61]

Mark Worthington and Todd Cherniawsky served as initial production designers for the series,^[65] with Tamara Deverell taking over around production on the sixth episode. She is the first female production designer for the Star Trek franchise. During production, the network told the series' writing staff to write an excursion to a planet for an upcoming episode, which became the visit to Pahvo. Deverell had 10 minutes to pitch a design for the new sets, and came up with the idea of a yurt consisting of membranes based on a mathematical structure. This set was then placed in a forest through visual effects. For the second half of the season, Deverell had to redesign the Mirror Universe, a classic location from previous series in the franchise. Rather than how it was previously portrayed where designers 'just slapped a logo on the wall', Deverell's team created a multi-dimensional version of the Terran Empire logo and then augmented sets with new mirrors. For the Terran flagship ISS Charon, Deverell used a 'monolithic, Brutalist, concrete form' for her designs.^[66]

Fabric for the Starfleet uniforms seen in the series were custom-dyed in Switzerland; the costumes were cut and assembled in Toronto by costume designer Gersha Phillips and her department. For officers in combat situations or hazardous away missions, jumpsuit-versions of the main uniform are paired with armored vests. Also designed for the series was a Starfleet long haul space suit, which was built in the United Kingdom from sections of high-density foam that were then covered in fiberglass.^[67] Phillips designed traditional Vulcan robes for Sarek which were meant to reflect his devotion to logic and 'serious intellectual pursuits'. Vulcan pendants celebrating 'Infinite Diversity in Infinite Combinations' were 3D printed and hand painted. For Harry Mudd's costume, primarily made of leather, Phillips was inspired by Adam Ant.^[67][68]

Klingons[edit]

Fuller had 'really, really wanted' to redesign the Klingons, which he felt had inconsistent designs throughout the franchise's history. He wanted to portray the race as 'sexy and vital and different' rather than 'the thugs of the universe', and spent months working with prosthetics designer Neville Page and production designer Mark Worthington on the new look.^[37][69][70] Page was aware that changing the look of the Klingons would be controversial with Star Trek fans.^[71] The idea was to 'create a high level of sophisticated detail—for a race that had long been perceived as brutal, one-minded, and simplistic—in order to breathe new life into the Klingon race'.^[60]

They first designed a generic, realistic Klingon skull,^[71][72] based on real biology.^[70] The different Klingons were developed from that base in a 'practical evolutionary' way.^[72] The skull design assumed that the Klingons are 'an apex predator' and have heightened senses, 'specifically extra sensory receptors running from the top of their heads to their backs.' Page explained that because of this, it made more sense for the Klingons to be bald 'because of these heightened senses on the top of their heads.' He added that the Klingons being bald was a 'mandate' from Fuller.^[71] Different designs for the Klingons clothing, weapons, and armor were then created for the 24 different Klingon houses.^[37][73] It was important to the producers to show diversity within the Klingons as well, so the series depicts both light and dark skinned members of the species.^[70] Elaborating on the differences between the houses, Glenn Hetrick, co-founder of Alchemy Studios with Page, said, 'The [Klingon] empire is very big. They don't all grow up on Qo'noS. They don't all live on the same planets and certainly those different planets would have different environments. So how would the cultures have evolved differently?'^[71]

Armor and weapons were created by Hetrick and Page using 3D printing, as well as hand carving models of weapons to then be cast from aluminum. Some props, such as helmets, were also designed to be augmented with CGI. Weapons like Klingon ceremonial blades and gun-like 'disruptors' were reimagined versions of props from Star Trek: The Next Generation and other Star Trek films and series, with the overall design for weapons, helmets, and armor being based on the culture notes created for the Klingons in the original series, which included influences from Middle Eastern, Mongolian, and Byzantine culture.^[74] Recurring design elements for the Klingons' weapons and armor include their skull and vertebrae, 'Klingons poised to thrust themselves into the honor of battle', and 'a Klingon sacrificing himself for the honor of battle' which harkens to the emblem of the Klingon Empire.^[71]

Phillips and Larlarb created the clothing worn by the Klingon T'Kuvma and his followers, inspired more by 'ancient Klingon ways' than the costumes seen previously in Star Trek. T'Kuvma wears a tunic created from three different types of leather and a chest plate made with 3D printed beads, decorated with Swarovski crystals. Costumes for his followers were created with individually stained, painted, modelled, and hand-pressed pieces of leather, with each suit taking ten costumers 110 hours to complete. Different colored leather was used to differentiate males and females.^[74][68] A notable set of armor created for the season is the Torchbearer armor, which is part of a sacred ritual to unite the Klingon houses, and consists of a hundred individually 3D printed pieces.^[68] When first describing the Torchbearer armor, Fuller referred to baroque and samurai styles.^[71] For Kol, a member of the house of Kor that previously appeared in the original series, his look is much closer to that of previously seen Klingons, wearing 'more leather and a different set of armor'.^[73] US$3 million was spent on a 'massive' ship set for T'Kuvma's house,^[63][37] designed as an alien cathedral.^[37] Known as the 'Klingon sarcophagus ship', it had 'to be a church, a ritual space, and a functioning bridge for the Klingon Empire.'^[60] The outside of the ship is covered in coffins, 'some are 300 years old, some are just two days old. Downstairs is the death room, where they prepare their dead; then the coffins get raised up and put on the outside.'^[75] The set is 40 feet (12 m) tall, 100 feet (30 m) long, and 50 feet (15 m) wide, and includes multiple levels, mezzanines, and cantilevers. The set also includes Klingon text and glyphs inspired by the novel The Final Reflection, from which the designers also took details such as the strategy game Klin zha and Klingon bloodwine cups.^[60] Research was done on how written languages evolve to accurately depict the ancient form of Klingon written on the ship. Instead of physical displays like the Federation ships, the sarcophagus ship uses holographic displays created with visual effects.^[64]

The Klingon homeworld of Qo'noS is visited in the season finale, though the town depicted is an Orion outpost. The production team attempted to reuse existing sets given any new sets would potentially not be reused. The graveyard chamber from the sarcophagus ship set was turned into an Orion sex cabaret, with other sets including a Klingon drinking tent and street stalls. The Orion elements were inspired by Indian architecture, with fabrics from Morocco and other 'far east' countries, as these were the inspirations for the original Orion designs in previous Star Trek series. Deverell described the sets as 'lush like a bordello in the 1800s. We were allowed to go crazy.'^[66]

Filming[edit]

Filming for the season began at Pinewood Toronto Studios on January 24, 2017,^[76][65] with cinematographers including Guillermo Navarro, working on the pilot, and Colin Hoult.^[65][77] Set construction had initially been set to begin within a month of June 2016, for a filming period of that September to around March 2017,^[23] but by that September, production was not expected to begin until November.^[29] After Fuller stepped down as showrunner, set construction was expected to be completed by the end of 2016, with filming to begin 'shortly thereafter'.^[78] By mid-May 2017, filming for scenes set on an unidentified planet had taken place on location in Jordan.^[11] Some of the series' sets took over six weeks to create,^[59] and new sets were being built up until the end of production on the season.^[61] Some episodes for the season were filmed solely on existing sets, making them bottle episodes, though Harberts said the series would not do anything 'as bottle-y as 'everyone is stuck in the mess hall!'^[61] Filming for the season concluded on October 11, 2017.^[79]

Robyn Stewart, an expert in the Klingon language, and linguist Rea Nolan worked closely with the Klingon actors to ensure they could both speak and understand their lines in the language, having the actors practice while their makeup and prosthetics were being applied, which took three hours each day.^[73][72] They would first rehearse their lines in English, and worked to 'inhabit [the lines] emotionally'.^[80] Chieffo felt that 'it makes sense that when we are speaking to each other we are speaking in our native tongue and really adding a fluidity and nuance', while Mitchell said, 'It's an incredibly complex language ... it feels alien. Because it is incredibly difficult and I don't speak the language it takes a lot of muscle memory to memorize each separate syllable over and over and over.'^[73] For a sequence where L'Rell and Tyler are shown having sex, Chieffo required full-body prosthetics which took four hours to apply. Though these are only seen for around 30 seconds in the episode, Chieffo felt it was important to do and for her to be the one in the shot rather than a body double to accurately tell the story and convey the character's movements. Chieffo chose to wear only the prosthetics on set for the day rather than cover herself with a shirt, explaining, 'I’m pretty free. I’m not walking around topless normally, but I’m very comfortable with whatever you need to do to get the job done.'^[81]

Visual effects[edit]

The season has 5000 visual effects shots, which visual effects supervisor Jason Zimmerman said was similar to one feature-length film. He went on to say that the department was aiming for 'high-end' effects, similar to those seen in films, and that the number of visual effects in each episode was always driven by the story.^[82]Pixomondo was the primary visual effects vendor for the series,^[83] with Spin VFX and Crafty Apes also working on the show.^[84][85] The shot that went through the most iterations during the season was a simple composite of computer screen graphics onto an on-set monitor, with 146 different iterations of the graphics tried before the final design was chosen.^[82]

Music[edit]

Composer Jeff Russo wrote several themes for the series, in addition to the main title theme, but not necessarily for the different characters in the show as would often be done.^[86] Instead, Russo wanted to focus on the emotions of the characters over the story beats, for instance 'even when you are shooting, you’re still feeling, so why not play that as opposed to 'Oh my god, he’s got a gun,'.^[87][86] Like the rest of the series' departments, Russo's aim was to make the score feel as cinematic as possible.^[86]

For the Kasseelian Opera that Stamets talks about later in the season, Russo did not want to attempt to make a 'futuristic opera', believing instead that 'opera is opera' and that it should have the same style as what is heard now. For the seventh episode, source music from Wyclef Jean is used which Russo compared to people in the current day listening to the music of Johann Sebastian Bach.^[87] Singer Ayana Haviv recorded arias for the opera, and in a 'moment of inspiration' Russo asked her to sing the vocal section of the original Star Trek theme. Russo and Kurtzman responded positively to her rendition, and Russo arranged the theme for the series' 74-piece orchestra to play over the end credits of the season finale after the USS Enterprise appears. Haviv altered her voice for the final recording to match the original 1960s style of the theme.^[88]

A soundtrack album for the first chapter of the season was released digitally on December 15, 2017, by Lakeshore Records.^[89] Another, for the second chapter, was released digitally on April 6, 2018.^[90] CD versions of both albums, along with a vinyl release featuring selections from each, are being released in 2018.^[89][90] All music composed by Jeff Russo:^[89][90]

Marketing[edit]

With the announcement of the series' title in July 2016 came a promotional video giving a first look at the USS Discovery. The video did not feature final designs, as the producers had 'three weeks to throw that together. We wanted to show fans ... The concepts of the ship are totally what we're going for and they'll be honed up until, I think, the day we deliver'.^[91] In January 2017, a YouTube video presented by Alcatel was released, using 360° technology to showcase digital models of previous Star Trek ships.^[92] The first full trailer for the series was released in May 2017.^[93] Chris Harnick of E! News described the trailer as 'gorgeous' and 'truly cinematic', and because of the appearances of Sarek and the Klingons in the footage, 'this is the Star Trek you know and love.'^[94] Aja Romano at Vox called the trailer's visuals 'sumptuous' and 'modern, but still very much in keeping with the aesthetic of previous Trek series'. She continued, 'What gets short shrift in this trailer is the series' overarching plot'.^[95]

In July 2017, Discovery had an 'extensive' presence at San Diego Comic-Con, including a panel featuring Martin-Green, Isaacs, Jones, Latif, Wiseman, Rapp, Frain, Kurtzman, Berg, Kadin, Harberts, and Goldsman, and moderated by Wilson.^[96] Footage from the series was screened at the panel, with a new trailer released online soon afterwards.^[13] CBS also created a 'fully immersive' art experience at the Michael J. Wolf Fine Arts Gallery, featuring the USS Discovery's captain's chair and other props, costumes, and sketches from the series, as well as limited edition posters for the show and a shop selling item exclusive to Comic-Con. Pedicabs inspired by the series will give free rides through the Gaslamp District, while a '#TrekDiscovery Challenge' competition will see fans have to take pictures with 'authentically costumed Trek ambassadors', one each representing the crews of the five previous Star Trek series, as well as the captain's chair at the art gallery, and post them online with the hashtag #TrekDiscovery to be eligible to win a Roku streaming stick and a subscription to CBS All Access.^[96] At the convention, Gentle Giant Studios revealed that they had just picked up the license to create mini-busts and statues based on the series, and planned to particularly focus on the series' Klingons.^[97] At the beginning of August, an afternoon of four panels at the Star Trek Las Vegas event was dedicated to the series, featuring producers and writers, actors who were not present at Comic-Con, creature designers, and writers involved with related books and comics.^[72]

By the beginning of September, promotion for the series was taking place around the world: Isaacs was involved in the launch of the Blackpool Illuminations festival in the UK to promote Discovery; cast and crew promoted the series at the Fan Expo Canada; a USS Shenzhou-themed photobooth, that took pictures of fans as Klingons, was in operation at the IFA consumer electronics trade show in Berlin; and an outdoor campaign of posters and billboards was underway for the show, including a large billboard on the roof of an LAX Airport building.^[98] The night before the series premiered on CBS, a model of the USS Discovery was flown above the Hudson River on Manhattan's west side. Created by Remarkable Media, the 50 feet (15 m) rig consisted of a truss skeleton covered in LEDs, and was suspended from a Black Hawk helicopter.^[99] On October 7, panels for the series were held at both the PaleyFest television festival and at New York Comic Con.^[100]

Release[edit]

Star Trek: Discovery premiered at the ArcLight Hollywood on September 19, 2017.^[101] The first episode aired in a 'preview broadcast' on CBS in the United States on September 24,^[2] and was made available for free on CBS All Access along with the second episode (which required an All Access subscription).^[2][102] Subsequent first-run episodes, making up the first chapter of the season, were streamed weekly on All Access through November 5. The second chapter streamed from January 7 to February 11, 2018.^[2][3]

CBS Studios International licensed the series to Bell Media for broadcast in Canada, and to Netflix for another 188 countries. In Canada, the premiere was broadcast on September 24, 2017, on both the CTV Television Network and on the specialty channels Space (English) and Z (French) before being streamed on CraveTV, with subsequent episodes just broadcast on Space and Z before streaming on CraveTV. In the other countries, Netflix released each episode of the series for streaming within 24 hours of its U.S. debut. This agreement with CBS also saw Bell and Netflix acquire all previous Star Trek series to stream in their entirety.^[21]

Broadcast breach[edit]

After reviewing the episode 'Choose Your Pain', Space chose to air it uncensored despite its use of the word 'fuck' and depictions of violence. The Canadian Broadcast Standards Council received an official complaint about this given the channel aired the episode before 9pm, after which series intended for adult audiences should be shown according to the Canadian Association of Broadcasters' Code of Ethics and Violence Code. The complainant, the Council, and Space itself acknowledged that the use of the word was unexpected given the franchise's '51 year track record of being fairly clean with regards to its content.' The Council found Space to have breached the regulations in not censoring the episode or scheduling it post-watershed, and required the channel to air an announcement stating as such twice during the week following April 19, 2018. At the time, Bell Media accepted the decision and agreed to comply with the ruling, but did not indicate any intention to change their approach to broadcasting future seasons of the series.^[103]

Reception[edit]

Ratings and viewership[edit]

According to Nielsen Media Research, the CBS broadcast of the first episode was watched by a 'decent' audience of 9.5 million viewers.^[104][105] The premiere of the series led to record subscriptions for All Access, with the service attributing its biggest day, week, and month of signups to the debut of Star Trek: Discovery.^[106] According to 'app analytics specialist' App Annie, the premiere of the series caused the number of downloads of the All Access mobile app to more than double. Following a 7-day trial period for new subscribers, revenue from the app for CBS doubled on October 1 compared to the average in-app revenue during the previous 30 days.^[102]

Critical response[edit]

The review aggregator website Rotten Tomatoes reported an 82% approval rating with an average rating of 7.07/10 based on 67 reviews. The website's critical consensus reads, 'Although it takes an episode to achieve liftoff, Star Trek: Discovery delivers a solid franchise installment for the next generation—boldly led by the charismatic Sonequa Martin-Green.' The average rating for each of the season's individual episodes is 87%.^[107]Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on reviews from 20 critics, indicating 'generally favorable reviews'.^[108]

Matt Zoller Seitz of Vulture praised the series' premiere, feeling it 'stands tall alongside the best-regarded incarnations of the Trek franchise... with an almost entirely new slate of characters... and casts them with actors you can't help but like even when they're getting on your last nerve.'^[109] Writing for Vox, Todd VanDerWerff noted 'the best thing about Discovery is that Michael Burnham, played beautifully by Martin-Green, does stuff. She gets in trouble. She breaks rules. She violates Starfleet protocol. She has emotions that get the best of her, even as she knows they shouldn't. She is, in other words, very human'. Overall, he declared that 'Star Trek is best when it's hopeful, but hope shines brightest amid horror. On some level, Discovery knows both of those things'.^[110] Writing for TVLine, Dave Nemetz graded the premiere episode a B+, saying 'the nail-bitingly tense premiere delivered a cracking good action story, eye-popping special effects and a number of gasp-worthy twists' that was worth the wait.^[111] Maureen Ryan of Variety, after watching the first two episodes, said the series 'has yet to prove itself a worthy successor to [previous Star Trek series] The Next Generation or Deep Space Nine. But there are reasons to hope that Discovery will be a promising addition to the Trek canon'.^[112]

Chaim Gartenberg for The Verge criticized the 'extended prologue' approach, but called the two-part premiere 'surprisingly satisfying'. He praised Burnham as a 'far more rounded, human character than any of the previous captains, with some serious trauma from a Klingon attack in her youth that's left her predisposed to hate the warrior race. And while Star Trek has plumbed the 'main character has demons' well in the past—most notably with Sisko in Deep Space Nine, and Picard in the later films, when it comes to the Borg—Burnham feels far more compelling for not being a flawless human being in other respects, as her series-protagonist predecessors were.'^[113] Writing for Entertainment Weekly, Darren Franich gave the two-part premiere a B grade, praising Martin-Green's performance as the lead and the production design as well as commenting on the 'undeniable appeal' of the 'introduction of a new ship, the revelation that we're watching that ship's final voyage, the cliffhanger possibility that our new hero is a fallen angel.' However, he felt that the series' third episode retroactively made the two episode prologue 'feel even more overextended'.^[114] Patrick Cooley of cleveland.com criticized the dialogue and 'wooden, bewilderingly stupid' characters in the first two episodes.^[115] Brian Lowry from CNN called the first three episodes 'Star Trek Lite', criticizing the bridge crew and lore, and describing the series as an 'unspectacular addition' to the franchise that was 'perhaps most notable for its commercial mission, which is to entice new subscribers to CBS All Access.'^[116]

Download Torrent Star Trek Discovery Episode 2 Free

Discussing the season as a whole, Seitz praised it as the strongest first season of any Star Trek series since the original and defended it against fan criticisms, believing that most complaints about the series could be applied to all Star Trek series or were about intentional differences from those prior series that Seitz saw as 'honorable attempts' to modernize the franchise 'while still keeping the whole thing recognizably Trek.' Seitz in particularly praised the more serialized storytelling, visual effects, original characters like Burnham and Saru, existing characters like Frain's Sarek and Wilson's Harry Mudd, and the themes of science vs. war that the series explored. On the latter, Seitz felt Discovery improved on the efforts of the J.J. AbramsStar Trek films.^[117] Discussing the 'hits' and 'misses' of the season, Witney Seibold of IGN praised the characters, effects, and design as 'hits', but criticized as 'misses' the tone and storytelling for respectively being too busy and having too many subplots.^[118] Gartenberg criticized the writers for over-using science fiction tropes, repeating plot elements, inconsistently portraying characters' attitudes, and for being unsubtle with the values of Starfleet in the finale. He was optimistic for further seasons though, feeling that the end of the season left 'the entire slate of the show ... wiped clean for whatever comes next.'^[119] At Mashable, Chris Taylor felt the Klingons' prosthetics made it difficult to see the actors' emotions, the development of the characters Tyler and Lorca was wasted, the rest of the bridge characters were not explored enough, and the ending of the Klingon war storyline was rushed in the season finale before the Enterprise reveal 'left us on the oldest, safest, most recognizable piece of Trek fan service ever.'^[120]

Accolades[edit]

Netflix listed Star Trek: Discovery fourth in its list of series most watched together by families in 2017.^[121] Martin-Green was named TVLine's Performer of the Week for her performance in 'The Wolf Inside', in which Burnham is 'put through the emotional wringer with a barrage of jaw-dropping twists, giving Martin-Green an opportunity to deliver her finest performance of the season.'^[122] In January 2019, Comic Book Resources rated Discovery's first season as the ninth best season of all Star Trek series up to that time, comparing its high production values to a feature film and calling Michael Burnham 'the most interesting character Trek has provided us in generations'.^[123]

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Further reading[edit]

• Star Trek Discovery: Official Collector's Edition. Bankside, London, England, United Kingdom: Titan Books. November 14, 2017. ISBN1785861905.

Free Star Trek Discovery Episodes

External links[edit]

• Star Trek: Discovery on IMDb
• Star Trek: Discovery at TV.com