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Hey nerds, I'm Wil Wheaton,
and this is "The Ready Room,"
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your official behind-the-scenes hub
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for all things Star Trek Universe.
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Today, we'll be diving headlong
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into Season 3, Episode 4
of Star Trek: Discovery,
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"Forget Me Not."
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And like a Trill symbiont and its host,
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the spoilers and I are one.
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So, if you haven't watched
Season 3, Episode 4 yet,
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you definitely wanna go check
that out before you watch us.
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And you're not gonna wanna
miss what we have in store
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for you this week, because we have
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another two-on-one
interview coming your way.
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I am joined today by the good doctor,
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and the good astromycologist,
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Wilson Cruz and Anthony Rapp are here,
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to talk about the latest
with Culber and Stamets.
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Then, a little later, we
have a new exclusive clip
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from next week's episode
of Star Trek: Discovery.
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Of course, this latest episode gave us
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some incredible insights into
Star Trek's newest characters,
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Adira and Gray, along with brand new lore
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surrounding the Trill.
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For more on that, we go to this week's
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"Moments of Discovery."
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Control room, engage.
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We go to Trill in an effort
to see if the individuals
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on Trill can help Adira
get their memory back.
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Speak your names.
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Um, Adira.
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Continue.
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That's it, that's my name, Adira.
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There's never been a successful joining
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of a symbiont and a human.
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So, here's this human
who has the symbiont,
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and everything's working out
fine, there's no problem,
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it's just that Adira can't
remember where it came from.
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She's unable to access the
memories of her symbiont.
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They know that something
is trying to come out,
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something needs to be said.
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So, Burnham takes them to
Trill, to the Caves of Mak'ala.
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The sacred Caves of Mak'ala.
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The traditional caves
where the symbionts reside.
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The Caves of Mak'ala.
It somehow, some way,
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may be in there, Adira can
get their memories back.
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In there is a pool, which
hosts other symbionts,
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but they think that this
is possibly the only way
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that I'll be able to connect
further with the symbiont.
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[Sonequa] And you believe
that Adira's symbiont
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will be able to communicate with her here.
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It's their ancestral home.
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If not here, then where?
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Our team here built the
entire cave by itself,
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and then the pool as well, which was
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this murky, white,
fairytale-looking water.
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We had Special Effects
build us a raised platform,
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so, at any point, the cast
could stand up on the platform,
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and not have to worry
about treading water.
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We had a bunch of rigs
attached, we had harnesses.
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We had Costume put a handle,
that I could grab onto,
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onto the back of their costume.
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So, he would be under the
water while we were filming,
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and laying back, and
kind of floating on top.
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I held my breath, swam to
the bottom of the pool,
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hung onto the weights
stack, hung on to the actor.
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I would get a verbal cue underwater
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that I could hear through a speaker.
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He would wait, give us a few seconds,
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and then just tap right
before, he had a rope,
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and would just pull us down.
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[water splashing]
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The actor knew that on the third tap,
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I would pull underwater.
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I'm gonna go "1001,
1002, 1003, 1004, 1005."
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It was really scary,
but really, really fun.
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That's it.
Yeah.
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Perfect.
Fine, we could go longer,
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as well.
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Exactly! Right?
Yeah, it's not, it's not--
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It's so easy.
Not bad at all.
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[Sonequa] It's so much
easier than I thought
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it was gonna be.
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So, it really, really felt
like we were in there.
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It was the coolest thing I've ever done.
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It actually worked out very, very well.
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What's happening?
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I don't know.
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I've never seen anything like this.
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[Adira gasps]
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When Adira comes out of that experience,
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they have reconnected
with the symbiont inside,
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reconnected with all of those memories,
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and, because of that, is
able to give us the location
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for Federation headquarters,
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and that sets up where
we're gonna go in Episode 5.
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I am now joined by the two wonderful men
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who bring Dr. Hugh Culber
and Paul Stamets to life
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on Star Trek: Discovery,
Wilson Cruz and Anthony Rapp.
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Thank you so much for
taking some time to talk
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with me today.
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It's super awesome to see both of you.
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Same to you, man.
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Well, Wilson was even
a bigger Next Gen fan
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than I was before we did the show,
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and then I became one after I got cast,
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so, we're both geeking out, too.
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Also, we get to talk
to you, so, thank you.
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Yes, yes, absolutely,
we're big fans, thank you.
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Nice to be here with you.
That's so totally cool.
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All right, let's start with
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the two of you being back together again!
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In Season 3!
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Oh, I cannot tell you
how hard it was for me,
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to watch these two men who
love each other so much,
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be torn apart, and then to struggle
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through trying to come back together.
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And after everything they
went through last season,
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there is still so much
turmoil in this new future.
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It is such a relief to
see that these two men
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are at least communicating again.
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[Anthony laughs]
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And do you feel like they're
able to see eye to eye?
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We're very early in the season,
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I imagine this will play out.
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This is an arc that's gonna
take a little bit of time,
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but would you guys just talk a little bit
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about where your characters are right now,
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and how you, as actors, got them there?
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Well, I mean, I'm in the coma
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at the beginning of the
season, or comatose-ish,
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or induced coma. And I do believe
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that the presence of
Culber, of Hugh being there,
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in that moment, does penetrate.
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But I think it's still, Stamets wakes up,
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and you're like, this is real?
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We really are here and you're really here?
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Yeah, I think that alone,
the fact that he stayed,
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that Hugh stayed, it doesn't need to go
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through a lot of extra
resolution beyond that,
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because that is such a
statement in and of itself.
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That's such a being-- I am
here, I made this choice.
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The letting go was really difficult.
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The double letting go, almost
like a triple letting go?
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Yeah.
Was really hard, but when he comes back,
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I think it doesn't need to be,
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now I don't need you to prove it.
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That's the proof.
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You stuck around, you stayed,
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you left everything else behind.
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In their own way, I think
they have this back and forth
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about them.
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They kind of nudge each other,
and poke each other a bit,
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and I think that's our way,
in a way, of making love.
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It's kind of how we show each
other we love each other.
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And
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I think we do that in
the first few moments
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we have together.
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I think there's such a
deep connection there
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that we know that we're
back in a good place.
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The love that these two
characters have for each other
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is one of the great
Star Trek loves stories.
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Just seeing how much they
deeply care for and accept
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one another, and are
there for one another,
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is really inspiring to me.
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I really felt that a lot of Season 2 was,
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if you took and made of a
broad view of the season,
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that it's very much about sacrifice.
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What will we give up for each other?
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And, here, at the beginning of Season 3,
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I feel like we are experiencing
a little bit, from the crew,
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the consequences of that sacrifice,
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and that need to make a
connection with each other.
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So, the characters all feel like,
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okay, the sacrifice was worth it.
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This is scary, we're a
thousand years in the future,
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and we don't know where,
we barely know when we are.
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[Anthony] Yup.
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And the crew, as a whole,
is not doing very well,
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emotionally, as a result of that.
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So, in this episode that we just watched,
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we got to see
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some really intense conflict on Star Trek.
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Which, surprisingly, is not
very common on Star Trek.
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My Star Trek, we had a rule:
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"There's no conflict
among the bridge crew.
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We're all on the same page."
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[Anthony] Right.
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There is this amazing, beautiful,
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uncomfortable dinner scene
that Saru puts together,
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and brings everyone together.
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And we get to see you guys as a family,
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at this family dinner.
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Who hasn't been at a
family dinner like that?
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But at one point during that dinner,
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it just blows up,
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and we know it's coming.
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And it feels awful, but we
know it's gonna be there.
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Would you both talk a little
bit about the emotional state
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of the crew, and how
your characters relate
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to the crew's emotional state,
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as you're getting
specifically to that moment?
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Which just feels like
such an important moment
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in the development of these characters
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and their relationships.
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Well, I think one of the things
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that our writers have
done such a beautiful job
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is giving us inner lives and
things to really dig into.
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And, yeah, we're all on
duty, we all have our jobs
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that we do, but not neglecting the fact
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that we're all people, and
people going through something
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as profound as letting
everything you know behind
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is going to have effects.
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You can still be really good at your job,
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you can still be
professional, but inevitably,
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there's gonna be jagged
edges that come out.
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So, it felt very satisfying to us
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that we were given that
opportunity to explore that.
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And then, the manner
in which it is explored
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feels very authentic and real.
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So, it felt very, very satisfying
to get to do that scene.
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So, as that emotional turmoil is beginning
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to express itself, as that
emotional turmoil is beginning
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to get worked out,
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I am aware of Culber taking on
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some mental health
responsibilities for the crew.
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And what I saw-- and I
could be projecting--
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but what I see is maybe the
foundation of, Starfleet
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in the 24th century, putting
a counselor on the ship.
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Do you feel like he's going
to perform that function
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for the crew?
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Yeah, I do.
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I mean, you, the actor, know the answer,
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cause you filmed the entire season.
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I am asking you, from
more of a fan perspective,
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do you feel like, yeah,
this is something that,
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this feels right, this feels good,
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this is helpful for me and them.
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Do you feel like that's
kind of where he's at?
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Yeah, I think it feels earned
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and I think it feels necessary.
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And I think it presents a
lot of opportunities for me,
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as an actor, but also for the show,
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to deal with those kinds of issues.
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So, yeah, I think it's
exciting for Dr. Culber
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to bring those two things together.
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That the physical and the mental,
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we look at a person's health holistically,
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and that that is the way of the future.
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Let's switch gears a little bit.
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On a lighter note, Stamets
and Culber have both taken
251
00:11:33.760 --> 00:11:37.000
an interest in the ship's
newest crew member, Adira.
252
00:11:37.000 --> 00:11:40.280
For Stamets specifically, do
you think he sees a little bit
253
00:11:40.280 --> 00:11:44.950
of himself in this other
brilliant engineer?
254
00:11:44.950 --> 00:11:45.783
Yeah. [laughs]
255
00:11:45.783 --> 00:11:49.360
And could that possibly
be why the two characters
256
00:11:49.360 --> 00:11:51.300
hit it off right away?
257
00:11:51.300 --> 00:11:54.130
Yeah, I think that Adira comes on
258
00:11:54.130 --> 00:11:59.130
like this blaze of confidence, this child.
259
00:11:59.430 --> 00:12:01.540
To Stamets, Adira is a child.
260
00:12:01.540 --> 00:12:03.487
How old are you, 17?
261
00:12:03.487 --> 00:12:04.320
16.
262
00:12:04.320 --> 00:12:07.180
Would you please remove
your 16-year-old fingers
263
00:12:07.180 --> 00:12:08.220
from my life's work?
264
00:12:08.220 --> 00:12:09.053
What did I just say?
265
00:12:09.053 --> 00:12:10.800
This is an interface of some kind.
266
00:12:10.800 --> 00:12:14.230
Okay, we get it, you're smart,
everybody here is smart.
267
00:12:14.230 --> 00:12:17.130
But comes on knowing what's going on
268
00:12:17.130 --> 00:12:17.963
and figuring it out.
269
00:12:17.963 --> 00:12:22.963
And while there's irritation
at the chaos that's ensuing,
270
00:12:23.590 --> 00:12:26.163
there's also immediate admiration.
271
00:12:28.290 --> 00:12:33.290
So, yeah, it's an unusual
thing to see Stamets soften
272
00:12:33.560 --> 00:12:38.340
as quickly as he does, but
what Stamets has always done
273
00:12:38.340 --> 00:12:43.340
is responded to excellence,
responded to skill.
274
00:12:43.391 --> 00:12:44.224
Yes.
275
00:12:44.224 --> 00:12:45.249
Responded to people who demonstrate
276
00:12:45.249 --> 00:12:46.900
that they are worthy of being there.
277
00:12:46.900 --> 00:12:49.750
So, Adira clearly knows what's up.
278
00:12:49.750 --> 00:12:52.620
And so, that is immediately something
279
00:12:52.620 --> 00:12:55.830
that draws him to Adira.
280
00:12:55.830 --> 00:12:57.750
And then, Stamets has
shown himself to be willing
281
00:12:57.750 --> 00:12:59.940
to be a mentor, I mean,
certainly to Tilly.
282
00:12:59.940 --> 00:13:00.773
Yeah.
283
00:13:00.773 --> 00:13:04.020
So, it's not so out of
the realm of likelihood.
284
00:13:04.020 --> 00:13:08.440
But, yeah, there's something
especially special about Adira,
285
00:13:08.440 --> 00:13:12.033
including the fact that Adira
is also a little flinty.
286
00:13:15.240 --> 00:13:18.060
There's a phrase that our
new cast member, David Ajala,
287
00:13:18.060 --> 00:13:20.660
likes saying, "Iron forges iron."
288
00:13:20.660 --> 00:13:21.940
Yes.
It's a form of that.
289
00:13:21.940 --> 00:13:22.820
Yes.
290
00:13:22.820 --> 00:13:26.570
They kind of go clash, but with respect.
291
00:13:26.570 --> 00:13:27.820
Yes.
292
00:13:27.820 --> 00:13:29.410
Yeah, so, it's immediate.
293
00:13:29.410 --> 00:13:32.040
And then, one of my very favorite things
294
00:13:32.040 --> 00:13:35.380
about this whole season is
what continues to evolve
295
00:13:35.380 --> 00:13:36.650
between Stamets and Adira,
296
00:13:36.650 --> 00:13:39.720
and then, also, Hugh
and Stamets and Adira.
297
00:13:39.720 --> 00:13:42.680
It's one of the best things
I've gotten the chance to do,
298
00:13:42.680 --> 00:13:44.990
of all three seasons.
299
00:13:44.990 --> 00:13:49.990
I, too, am very excited about
what's about to transpire.
300
00:13:50.120 --> 00:13:53.410
One of the brilliant additions to the cast
301
00:13:53.410 --> 00:13:58.410
is amazing actor and comedian
Tig Notaro, and, Jett Reno,
302
00:13:58.490 --> 00:14:03.490
wow, what a perfectly
drawn character, just--
303
00:14:03.630 --> 00:14:05.108
What a great name, too, right?
304
00:14:05.108 --> 00:14:06.990
What a great name for
a character. [laughs]
305
00:14:06.990 --> 00:14:07.823
Right?
306
00:14:07.823 --> 00:14:11.680
Jett Reno sounds like, could
have been written in 1928
307
00:14:11.680 --> 00:14:13.636
as a pulp hero.
308
00:14:13.636 --> 00:14:14.469
Yeah.
For sure.
309
00:14:14.469 --> 00:14:19.469
And I love the relationships
that both of your characters
310
00:14:19.960 --> 00:14:24.360
have with Jett, but I
particularly get so excited
311
00:14:27.402 --> 00:14:31.984
when Stamets and Reno
are in a scene together.
312
00:14:31.984 --> 00:14:34.340
I would love it if both of
you would talk a little bit
313
00:14:34.340 --> 00:14:36.693
about working with Tig, and
what she brings to the set.
314
00:14:37.560 --> 00:14:40.133
Well, I mean, on a very personal level,
315
00:14:41.260 --> 00:14:44.150
Tig was already somebody
that I really admired,
316
00:14:44.150 --> 00:14:45.610
and whose work I really enjoyed.
317
00:14:45.610 --> 00:14:48.530
But, I lost my mom to cancer in 1997,
318
00:14:48.530 --> 00:14:52.040
and the way that Tig talked
about her experience with cancer
319
00:14:52.040 --> 00:14:56.640
and her experience of losing
her mom was so moving to me,
320
00:14:56.640 --> 00:14:58.440
and I felt a very strong connection to her
321
00:14:58.440 --> 00:14:59.980
before I ever met her.
322
00:14:59.980 --> 00:15:01.590
And so, the people always say,
323
00:15:01.590 --> 00:15:03.440
be careful of meeting your heroes.
324
00:15:03.440 --> 00:15:04.430
Well, guess what?
325
00:15:04.430 --> 00:15:06.500
Sometimes meeting your heroes
can be a wonderful thing.
326
00:15:06.500 --> 00:15:10.320
And Tig has been an incredible
person to be around,
327
00:15:10.320 --> 00:15:13.090
to share this experience with,
328
00:15:13.090 --> 00:15:16.730
and she's just always a total delight.
329
00:15:16.730 --> 00:15:18.753
One of the things that's
most delightful about her is
330
00:15:18.753 --> 00:15:22.750
that she doesn't think
that she belongs there,
331
00:15:22.750 --> 00:15:24.740
and she doesn't have any ego about it.
332
00:15:24.740 --> 00:15:26.340
She's like, "What am I doing here?
333
00:15:26.340 --> 00:15:27.360
I'm on a starship?
334
00:15:27.360 --> 00:15:29.730
Sure, okay, yeah, I'm
talking about engineering.
335
00:15:29.730 --> 00:15:31.250
What? I don't care."
336
00:15:31.250 --> 00:15:33.830
She's so free with it.
337
00:15:33.830 --> 00:15:38.830
And she brings such a level
of, there's no pressure on her.
338
00:15:39.220 --> 00:15:41.953
So, when she's on set,
339
00:15:41.953 --> 00:15:44.978
it just brings a lightness and joy,
340
00:15:44.978 --> 00:15:46.433
and sense of play.
341
00:15:47.680 --> 00:15:51.880
So, yeah, to play ball
with her is the ultimate
342
00:15:51.880 --> 00:15:55.240
in fun and pleasure.
343
00:15:55.240 --> 00:15:57.026
Yeah, I don't even know how to top that.
344
00:15:57.026 --> 00:15:59.884
I think what Tig brings
345
00:15:59.884 --> 00:16:03.008
is a sense of spontaneity,
346
00:16:04.064 --> 00:16:07.077
and you have to be on your toes. [laughs]
347
00:16:07.077 --> 00:16:07.910
[Anthony laughs]
348
00:16:07.910 --> 00:16:08.840
Yeah.
349
00:16:08.840 --> 00:16:10.903
'Cause anything could
come out of her mouth.
350
00:16:12.900 --> 00:16:16.000
But it's always fun and we're
always having a good time.
351
00:16:16.000 --> 00:16:19.890
And the thing about the scenes with her is
352
00:16:19.890 --> 00:16:22.513
there's always gonna be some element of,
353
00:16:24.200 --> 00:16:26.710
it's always fresh and
it's always light and fun,
354
00:16:26.710 --> 00:16:28.910
but she can turn it on you, too,
355
00:16:28.910 --> 00:16:30.993
and it's very effective when she does.
356
00:16:32.080 --> 00:16:35.327
So, I love being with her, period.
357
00:16:35.327 --> 00:16:38.920
You said something about
always being ready,
358
00:16:38.920 --> 00:16:41.250
and Anthony, you talked
about playing, right?
359
00:16:41.250 --> 00:16:44.720
And I have an improv background,
and a big part of that
360
00:16:44.720 --> 00:16:46.090
is just playing catch.
361
00:16:46.090 --> 00:16:48.060
Just "Yes, and...," just having fun,
362
00:16:48.060 --> 00:16:49.840
knowing that we can all trust each other.
363
00:16:49.840 --> 00:16:54.380
And, Wilson, I just
flashed on this piece now.
364
00:16:54.380 --> 00:16:56.380
I don't know if this makes
the final cut of the show,
365
00:16:56.380 --> 00:16:58.830
so this question might get
cut from the episode, but,
366
00:16:58.830 --> 00:17:01.330
there was a moment in the dinner scene
367
00:17:01.330 --> 00:17:04.680
where you all are doing haiku.
368
00:17:04.680 --> 00:17:09.680
And Hugh gets to the
last line of the haiku
369
00:17:10.080 --> 00:17:11.720
and blows it.
370
00:17:11.720 --> 00:17:12.703
Is that a haiku?
371
00:17:15.010 --> 00:17:16.370
Yes.
372
00:17:16.370 --> 00:17:20.460
Emperor Georgiou, feasting
on the finest cuts,
373
00:17:20.460 --> 00:17:22.130
snarfs cookies on the down-low.
374
00:17:22.130 --> 00:17:23.319
I screwed up the last line.
375
00:17:23.319 --> 00:17:24.152
[actors laugh]
376
00:17:24.152 --> 00:17:24.985
Even better, hear, hear!
377
00:17:24.985 --> 00:17:28.430
Just, as an actor, it looked
to me like Wilson, the actor,
378
00:17:28.430 --> 00:17:30.420
went, "Ah, man, I screwed that up."
379
00:17:30.420 --> 00:17:34.150
But in the context of it, it feels real.
380
00:17:34.150 --> 00:17:35.740
It feels like a very real moment.
381
00:17:35.740 --> 00:17:37.140
I almost got there and I blew it,
382
00:17:37.140 --> 00:17:40.290
and I can hear someone off-camera laugh.
383
00:17:40.290 --> 00:17:41.740
Which, makes me think--
384
00:17:41.740 --> 00:17:44.100
'cause I saw a rough cut,
so, it makes me think,
385
00:17:44.100 --> 00:17:46.970
was that a real moment from the set
386
00:17:46.970 --> 00:17:48.220
that was inspired by that?
387
00:17:48.220 --> 00:17:49.640
Or was that actually in the script
388
00:17:49.640 --> 00:17:51.490
and you are just such an amazing actor,
389
00:17:51.490 --> 00:17:53.110
I completely believed it?
390
00:17:53.110 --> 00:17:53.943
Oh, buddy.
391
00:17:53.943 --> 00:17:54.776
Yeah, it's the latter.
392
00:17:54.776 --> 00:17:55.817
Oh, wow.
393
00:17:55.817 --> 00:17:56.650
[Wilson laughs]
394
00:17:56.650 --> 00:17:58.060
It's the latter.
Wow, wow!
395
00:17:58.060 --> 00:18:03.047
I, 100%, thought that was a real moment.
396
00:18:03.047 --> 00:18:04.680
Amazing, sir.
397
00:18:05.630 --> 00:18:07.190
Well, can I say that--
398
00:18:07.190 --> 00:18:08.910
First of all, thank you, that's
very sweet of you to say.
399
00:18:08.910 --> 00:18:10.750
And, yes, those are all their words.
400
00:18:10.750 --> 00:18:12.710
They wrote everything
and I just say the words.
401
00:18:12.710 --> 00:18:16.470
But I think what's
important about that moment?
402
00:18:16.470 --> 00:18:17.303
Yes?
403
00:18:17.303 --> 00:18:19.883
I realized, actually,
as I was acting it, is,
404
00:18:22.570 --> 00:18:25.040
there's no reason to believe
that Hugh Culber doesn't know
405
00:18:25.040 --> 00:18:27.450
how to create a haiku.
406
00:18:27.450 --> 00:18:28.283
Of course.
407
00:18:28.283 --> 00:18:30.840
What he's doing in that moment
is giving people permission
408
00:18:30.840 --> 00:18:32.060
to make a mistake.
409
00:18:32.060 --> 00:18:35.637
Oh, of course.
410
00:18:37.662 --> 00:18:40.240
Because, if you can make a
mistake, you can be vulnerable.
411
00:18:40.240 --> 00:18:41.073
Yeah.
412
00:18:41.073 --> 00:18:43.580
And I think that's what Dr.
Culber is asking of people
413
00:18:43.580 --> 00:18:44.520
to be at this dinner.
414
00:18:44.520 --> 00:18:46.530
That's why the dinner was a good idea,
415
00:18:46.530 --> 00:18:48.000
because there's a way to
get that information out.
416
00:18:48.000 --> 00:18:49.480
So, Dr. Culber, in that moment, is like,
417
00:18:49.480 --> 00:18:52.600
"I can be perfect and
create this beautiful haiku,
418
00:18:52.600 --> 00:18:55.180
or I can show you that
I, too, am fallible,
419
00:18:55.180 --> 00:19:00.030
which gives you permission to
be fallible and vulnerable."
420
00:19:00.030 --> 00:19:02.770
That is such a beautiful choice.
421
00:19:02.770 --> 00:19:03.883
That's wonderful.
422
00:19:05.040 --> 00:19:08.840
Star Trek has always
been super groundbreaking
423
00:19:08.840 --> 00:19:10.620
in terms of representation.
424
00:19:10.620 --> 00:19:14.170
I think that's really important,
and I love that a lot.
425
00:19:14.170 --> 00:19:16.330
And the announcement that
Star Trek was introducing
426
00:19:16.330 --> 00:19:19.450
non-binary and transgender
characters in Discovery
427
00:19:19.450 --> 00:19:22.830
Season 3, continues that
groundbreaking tradition.
428
00:19:22.830 --> 00:19:25.580
The two of you broke
incredible ground on Star Trek,
429
00:19:25.580 --> 00:19:30.010
being an openly gay couple,
and that is so important,
430
00:19:30.010 --> 00:19:31.640
so wonderful. And I'm
wondering what it means,
431
00:19:31.640 --> 00:19:35.340
to you specifically, as
groundbreaking members of Star Trek,
432
00:19:35.340 --> 00:19:39.250
to be working on a show
with more characters
433
00:19:39.250 --> 00:19:41.503
who are breaking more ground on Star Trek?
434
00:19:42.740 --> 00:19:44.916
Early on, we were talking,
actually, Wilson and I,
435
00:19:44.916 --> 00:19:46.627
at some point, I don't
remember exactly when
436
00:19:46.627 --> 00:19:48.840
but we were like, "How and when
437
00:19:48.840 --> 00:19:51.320
will we have trans
representation on the show?"
438
00:19:51.320 --> 00:19:52.153
It's seemed like
439
00:19:52.153 --> 00:19:53.120
it's inevitable.
Season one,
440
00:19:53.120 --> 00:19:53.953
we were talking about that.
441
00:19:53.953 --> 00:19:54.786
And it has to happen, yeah.
442
00:19:54.786 --> 00:19:57.980
But, so, in the future,
how will that be addressed,
443
00:19:57.980 --> 00:19:59.760
and what will the dynamics around it be?
444
00:19:59.760 --> 00:20:02.030
So, it's really just
exciting, on that level,
445
00:20:02.030 --> 00:20:04.250
to see what's come of it.
446
00:20:04.250 --> 00:20:06.780
But the most exciting thing
about it is that there is,
447
00:20:06.780 --> 00:20:08.760
among the most exciting things
about it, for me personally,
448
00:20:08.760 --> 00:20:10.940
are that, these two
actors that they've cast,
449
00:20:10.940 --> 00:20:13.210
Blu del Barrio and Ian Alexander,
450
00:20:13.210 --> 00:20:14.690
they're not just wonderful actors,
451
00:20:14.690 --> 00:20:19.590
but they are such a demonstration
to me of the future,
452
00:20:19.590 --> 00:20:21.750
that we're gonna be
standing on the shoulders
453
00:20:21.750 --> 00:20:23.480
of the young people, right now.
Yeah
454
00:20:23.480 --> 00:20:26.290
Especially the young people
in the LGBTQ community.
455
00:20:26.290 --> 00:20:30.510
If you go and follow Ian's
Instagram and Twitter,
456
00:20:30.510 --> 00:20:33.730
and what he is saying and
sharing with the world
457
00:20:33.730 --> 00:20:38.730
about his experience, is so
incredibly brave, beautiful.
458
00:20:39.460 --> 00:20:43.370
But, also, just being around
him, and I think this is true
459
00:20:43.370 --> 00:20:45.920
of so many of the young
members of the LGBTQ community,
460
00:20:45.920 --> 00:20:50.081
it's like, there's no other way to be.
461
00:20:50.081 --> 00:20:52.920
It's so evident that he
is ready for this moment,
462
00:20:52.920 --> 00:20:56.170
and he and Blu are ready
for this moment to be.
463
00:20:56.170 --> 00:20:57.530
And there's not just,
they're gonna be like,
464
00:20:57.530 --> 00:21:00.990
"Yeah, I'm a role model." They
just are themselves so fully,
465
00:21:00.990 --> 00:21:03.173
and unapologetically.
466
00:21:03.173 --> 00:21:06.590
So that infuses their performances,
467
00:21:06.590 --> 00:21:08.550
and infuses the way that
their characters come across.
468
00:21:08.550 --> 00:21:11.020
But, as much as anything else,
the way that they're going
469
00:21:11.020 --> 00:21:15.603
to be representatives of their
470
00:21:15.603 --> 00:21:17.794
sectors of this community
471
00:21:17.794 --> 00:21:20.623
are really, really, really
inspiring to the whole.
472
00:21:22.770 --> 00:21:24.128
Yeah, I mean,
473
00:21:26.036 --> 00:21:30.802
you know Anthony and
I have been out actors
474
00:21:30.802 --> 00:21:32.070
for all of our careers.
475
00:21:32.070 --> 00:21:33.130
Yeah.
476
00:21:33.130 --> 00:21:36.705
So, we come to this knowing
477
00:21:39.338 --> 00:21:43.096
just how resonant
478
00:21:43.096 --> 00:21:45.790
this is going to be
for millions of people.
479
00:21:45.790 --> 00:21:48.660
I spoke to Alex, I sent
him a little email,
480
00:21:48.660 --> 00:21:51.263
Alex Kurtzman, after the
announcement was made.
481
00:21:52.690 --> 00:21:55.810
And I just wanted him to realize that,
482
00:21:55.810 --> 00:22:00.010
by just putting these two
characters on the show,
483
00:22:00.010 --> 00:22:01.833
just their visibility alone,
484
00:22:03.580 --> 00:22:07.260
the power of that act, of
putting them on the show,
485
00:22:07.260 --> 00:22:11.680
and making them centered,
their story centered,
486
00:22:11.680 --> 00:22:14.580
is going to save millions
of people's lives.
487
00:22:14.580 --> 00:22:16.240
Young people are going to decide
488
00:22:16.240 --> 00:22:19.410
that they actually understand what it is
489
00:22:19.410 --> 00:22:22.270
that they've been confused
about for all of these years.
490
00:22:22.270 --> 00:22:24.580
They're finally going to
have a name, and a word,
491
00:22:24.580 --> 00:22:27.220
and a definition for their own feelings.
492
00:22:27.220 --> 00:22:32.120
And that alone will save
millions of people's lives.
493
00:22:32.120 --> 00:22:36.280
So, I produced an entire documentary
494
00:22:36.280 --> 00:22:37.950
about the power of visibility,
495
00:22:37.950 --> 00:22:40.030
and how it changes people's perspectives,
496
00:22:40.030 --> 00:22:42.223
and how it changes our culture.
497
00:22:43.570 --> 00:22:46.130
I think this, if I had
made this documentary
498
00:22:46.130 --> 00:22:49.330
in two more years, these two characters
499
00:22:49.330 --> 00:22:51.200
would have been central to that story.
500
00:22:51.200 --> 00:22:55.892
Because, when we put
501
00:22:55.892 --> 00:22:57.291
the most marginalized people
502
00:22:57.291 --> 00:23:00.160
in our society in the
center of our stories,
503
00:23:00.160 --> 00:23:04.930
and we shed a light on them,
we free millions of people
504
00:23:04.930 --> 00:23:07.260
to feel and own their own stories.
505
00:23:07.260 --> 00:23:11.630
And, so, that's what's happening
with these two characters,
506
00:23:11.630 --> 00:23:13.790
and I couldn't be more proud
to be a part of a series
507
00:23:13.790 --> 00:23:18.000
that is as committed to their
stories as Discovery is.
508
00:23:18.000 --> 00:23:21.003
Let's wrap up where we started.
509
00:23:22.230 --> 00:23:24.460
I told you how much I love Paul and Hugh,
510
00:23:24.460 --> 00:23:26.496
I think they're amazing.
511
00:23:26.496 --> 00:23:30.710
And I'm just crazy about your
portrayal of each of them
512
00:23:30.710 --> 00:23:33.330
and the relationship that they share.
513
00:23:33.330 --> 00:23:35.853
And, just as an admirer of your work,
514
00:23:37.620 --> 00:23:40.220
it's been such a pleasure
to speak with both of you.
515
00:23:41.160 --> 00:23:43.780
I am honored to share Star Trek with you.
516
00:23:43.780 --> 00:23:45.075
Thank you so much.
I'm honored to share it
517
00:23:45.075 --> 00:23:45.908
with you.
518
00:23:45.908 --> 00:23:46.741
We stand on your shoulders.
519
00:23:46.741 --> 00:23:48.691
We stand on all your shoulders.
520
00:23:48.691 --> 00:23:49.590
Amen.
Oh, thank you so much.
521
00:23:49.590 --> 00:23:51.048
Thank you, that means a lot to me.
522
00:24:06.630 --> 00:24:09.680
Now, this season, we've already
seen some really cool stuff
523
00:24:09.680 --> 00:24:11.840
from Star Trek: Discovery's design team,
524
00:24:11.840 --> 00:24:14.130
and today, we have an inside look
525
00:24:14.130 --> 00:24:16.320
at a few of the new outfits this season,
526
00:24:16.320 --> 00:24:19.500
from Discovery's own Costume
Designer Gersha Phillips.
527
00:24:19.500 --> 00:24:20.350
Check it out.
528
00:24:35.910 --> 00:24:40.440
So, these two costumes are
what we see in Episode 301.
529
00:24:40.440 --> 00:24:43.230
This is our Burnham costume,
and this is a new character
530
00:24:43.230 --> 00:24:45.550
that we're introducing,
who gets introduced in 301,
531
00:24:45.550 --> 00:24:47.630
called Cleveland Booker, or "Book."
532
00:24:47.630 --> 00:24:51.960
We first meet him on a planet
where Burnham has just crashed
533
00:24:51.960 --> 00:24:54.540
into his ship, so she's
wearing just her under suit,
534
00:24:54.540 --> 00:24:55.450
which is under here.
535
00:24:55.450 --> 00:24:57.910
Cover that uniform. Try to look normal.
536
00:24:57.910 --> 00:25:00.390
This piece was one from his closet, say,
537
00:25:00.390 --> 00:25:01.910
of his collection of things that he had.
538
00:25:01.910 --> 00:25:04.990
So we sort of combined,
we sort of used elements,
539
00:25:04.990 --> 00:25:08.310
of what we did for his costume,
and put it into this costume
540
00:25:08.310 --> 00:25:09.630
for Burnham.
541
00:25:09.630 --> 00:25:11.360
Sized it down just a teeny weeny bit,
542
00:25:11.360 --> 00:25:12.760
so it wasn't too oversized on her,
543
00:25:12.760 --> 00:25:14.220
although Sonequa really loved the idea
544
00:25:14.220 --> 00:25:16.000
of being swamped in this costume.
545
00:25:16.000 --> 00:25:18.200
We've advanced into the future.
546
00:25:18.200 --> 00:25:20.970
So, we tried to use technology,
and things like that,
547
00:25:20.970 --> 00:25:22.540
that felt more futuristic.
548
00:25:22.540 --> 00:25:25.020
Although Book's planet is
a little bit more organic,
549
00:25:25.020 --> 00:25:27.760
so some of his pieces had a
little bit more of that feeling,
550
00:25:27.760 --> 00:25:30.780
that they were not as slick and techie,
551
00:25:30.780 --> 00:25:33.190
they were more natural
and organic-feeling.
552
00:25:33.190 --> 00:25:36.300
So that's why we went for
the mesh shirt underneath,
553
00:25:36.300 --> 00:25:37.560
and the layers.
554
00:25:37.560 --> 00:25:39.010
And the leather itself, even,
555
00:25:39.010 --> 00:25:41.793
is like a three-tier treatment.
556
00:25:42.800 --> 00:25:45.870
We do a paint treatment,
then they foil it on top,
557
00:25:45.870 --> 00:25:47.593
and do all this really great stuff to it
558
00:25:47.593 --> 00:25:48.890
that makes it look like that.
559
00:25:48.890 --> 00:25:50.720
So, it has those layers
to it, and that depth,
560
00:25:50.720 --> 00:25:51.936
which is really fabulous.
561
00:25:55.100 --> 00:25:57.150
These are Burnham's courier outfits.
562
00:25:57.150 --> 00:26:00.360
The same idea that, like how
we created Book's costume,
563
00:26:00.360 --> 00:26:04.010
is that, things that
she found, bartered for,
564
00:26:04.010 --> 00:26:06.290
and maybe they're a little bit more alien.
565
00:26:06.290 --> 00:26:08.070
'Cause this is something that we use
566
00:26:08.070 --> 00:26:09.730
for a Cardassian costume that we did
567
00:26:09.730 --> 00:26:11.150
at the Mercantile Exchange.
568
00:26:11.150 --> 00:26:12.770
So, we pulled bits of that.
569
00:26:12.770 --> 00:26:15.430
We actually made a vest, a leather vest,
570
00:26:15.430 --> 00:26:17.460
and pulled this off of
a coat, and added it on,
571
00:26:17.460 --> 00:26:19.048
and it's really cool, I kind of love it.
572
00:26:19.048 --> 00:26:21.556
It has a really cool,
573
00:26:21.556 --> 00:26:25.480
futuristic, apocalyptic, alien look.
574
00:26:27.050 --> 00:26:29.260
And then, this was another beat
that we did that's similar,
575
00:26:29.260 --> 00:26:31.950
again, for that courier beat.
576
00:26:31.950 --> 00:26:35.090
We did about five or six
costumes, different little beats,
577
00:26:35.090 --> 00:26:37.270
when we see her on her
ship and things like that.
578
00:26:37.270 --> 00:26:38.390
We distressed the leather
579
00:26:38.390 --> 00:26:42.020
and added some interesting
components to that one, as well.
580
00:26:42.020 --> 00:26:43.810
And, also, this one we
put wire in the collar,
581
00:26:43.810 --> 00:26:46.140
which is another thing
that I really liked doing.
582
00:26:46.140 --> 00:26:47.840
Just to give it a little
bit of personality,
583
00:26:47.840 --> 00:26:49.549
you can mold it into
what you want it to be.
584
00:26:52.660 --> 00:26:54.810
The Earth Defense were like
the first uniforms we did
585
00:26:54.810 --> 00:26:56.440
for this season.
586
00:26:56.440 --> 00:26:59.200
The attempt was to make
something futuristic, different,
587
00:26:59.200 --> 00:27:00.810
and push forward with the look.
588
00:27:00.810 --> 00:27:03.503
I also wanted it to have a
piece of an armor element.
589
00:27:04.900 --> 00:27:06.380
The idea of this, that it would turn
590
00:27:06.380 --> 00:27:09.280
into a full attack vest.
591
00:27:09.280 --> 00:27:11.140
If we went further with these characters,
592
00:27:11.140 --> 00:27:12.381
we would create that--
593
00:27:13.689 --> 00:27:15.305
do that sort of thing
where it just expands
594
00:27:15.305 --> 00:27:18.140
into something more, more
coverage and more safety.
595
00:27:18.140 --> 00:27:19.410
So, this is the basis of it.
596
00:27:19.410 --> 00:27:21.070
So, we molded this piece.
597
00:27:21.070 --> 00:27:22.570
We 3D printed it, actually, first,
598
00:27:22.570 --> 00:27:24.610
and then we made a mold of it here.
599
00:27:24.610 --> 00:27:28.260
And then we covered it with this mesh.
600
00:27:28.260 --> 00:27:30.080
And then this is the
piece that goes over top.
601
00:27:30.080 --> 00:27:32.643
So, it was a three-layered
piece, like that.
602
00:27:33.914 --> 00:27:37.606
So that you can get into
it, we put a snap here.
603
00:27:37.606 --> 00:27:38.564
[Velcro tearing apart]
604
00:27:38.564 --> 00:27:41.220
Velcroes off and you zip
the zap jacket like that.
605
00:27:41.220 --> 00:27:45.240
Which was an interesting journey,
for us to figure that out.
606
00:27:45.240 --> 00:27:48.140
'Cause I didn't wanna do
the full vest-type thing,
607
00:27:48.140 --> 00:27:49.180
I wanted it to look different
608
00:27:49.180 --> 00:27:51.430
and have this idea of
suspending it this way.
609
00:27:52.360 --> 00:27:55.900
I am Captain Ndoye of the
United Earth Defense Force.
610
00:27:55.900 --> 00:27:58.070
Leave immediately, you
are not welcome here.
611
00:27:58.070 --> 00:27:59.640
She was the leader of the Earth Defense.
612
00:27:59.640 --> 00:28:01.810
We wanted her to have
this different uniform.
613
00:28:01.810 --> 00:28:03.680
So, instead of giving her the chest plate,
614
00:28:03.680 --> 00:28:05.100
this would be the same piece,
615
00:28:05.100 --> 00:28:06.270
but hers would do the same
thing that that would be,
616
00:28:06.270 --> 00:28:08.830
ideally, it would go on and
protect her in whatever way
617
00:28:08.830 --> 00:28:10.390
that was necessary.
618
00:28:10.390 --> 00:28:13.280
And then, adding these little collar bars,
619
00:28:13.280 --> 00:28:15.230
and things like that,
different ways of showing,
620
00:28:15.230 --> 00:28:17.890
how to show higher ranks, etc.
621
00:28:17.890 --> 00:28:19.380
And that's her.
622
00:28:19.380 --> 00:28:21.972
May your search be fruitful, Captain Saru.
623
00:28:52.460 --> 00:28:55.450
Next week, the U.S.S. Discovery
and her crew will attempt
624
00:28:55.450 --> 00:28:58.070
to reunite with their
long-lost Federation.
625
00:28:58.070 --> 00:29:00.110
And I think I speak for all of us
626
00:29:00.110 --> 00:29:02.670
when I say I cannot wait
to see what they find.
627
00:29:02.670 --> 00:29:05.750
As always, we have an exclusive sneak peek
628
00:29:05.750 --> 00:29:10.320
at what's to come in
Episode 5, "Die Trying."
629
00:29:10.320 --> 00:29:13.540
Oof, that is a rough title.
630
00:29:13.540 --> 00:29:15.063
Okay, check it out.
631
00:29:16.730 --> 00:29:18.580
[Saru] Captain's log, supplemental.
632
00:29:19.620 --> 00:29:22.107
After a journey of 930 years,
633
00:29:22.107 --> 00:29:25.690
and a return to Earth that we
could not have anticipated,
634
00:29:25.690 --> 00:29:29.760
we are finally on the verge
of reaching our destination,
635
00:29:29.760 --> 00:29:31.763
Federation and Starfleet headquarters.
636
00:29:33.230 --> 00:29:35.963
Separate entities that
must now abide together.
637
00:29:37.320 --> 00:29:39.653
A sign of this new time, I suppose.
638
00:29:40.800 --> 00:29:45.120
I can only hope that they
are as eager for us to arrive
639
00:29:45.120 --> 00:29:47.053
as we are to be home.
640
00:29:48.430 --> 00:29:49.263
Captain?
641
00:29:50.630 --> 00:29:52.332
Number One?
642
00:29:52.332 --> 00:29:54.170
[Burnham chuckles]
643
00:29:54.170 --> 00:29:56.280
Every report, record, and
log that you asked for
644
00:29:56.280 --> 00:29:57.923
is ready to be handed over to Starfleet.
645
00:29:59.735 --> 00:30:03.076
Words aren't enough, are they?
646
00:30:06.072 --> 00:30:08.420
930 years.
647
00:30:08.420 --> 00:30:12.480
I trust that what matters
most will have endured.
648
00:30:12.480 --> 00:30:13.950
I know that there will be protocol,
649
00:30:13.950 --> 00:30:17.653
I know that we'll have a lot
of questions about the Burn,
650
00:30:18.910 --> 00:30:23.040
but there are other things
that I'd like to inquire about,
651
00:30:23.040 --> 00:30:23.873
as well.
652
00:30:26.900 --> 00:30:29.130
You are thinking about your mother.
653
00:30:29.130 --> 00:30:29.963
Yes, sir.
654
00:30:32.350 --> 00:30:35.140
And I know that I'm lucky
to have someone to hope for.
655
00:30:35.140 --> 00:30:40.140
I believe that, here,
there are answers for you,
656
00:30:40.610 --> 00:30:42.813
and solace for all of us.
657
00:30:44.100 --> 00:30:45.303
I really hope so, sir.
658
00:30:46.630 --> 00:30:48.330
Thank you all so much for joining me here
659
00:30:48.330 --> 00:30:50.470
in "The Ready Room" today, to
talk about the latest episode
660
00:30:50.470 --> 00:30:52.070
of Star Trek: Discovery.
661
00:30:52.070 --> 00:30:53.730
I will be back in one week
662
00:30:53.730 --> 00:30:57.080
to discuss Season 3,
Episode 5 of the series,
663
00:30:57.080 --> 00:30:59.820
which I can already tell you,
664
00:30:59.820 --> 00:31:01.670
without getting into too much trouble,
665
00:31:01.670 --> 00:31:04.860
is going to have some very cool reveals.
666
00:31:04.860 --> 00:31:05.990
All right, I've said too much.
667
00:31:05.990 --> 00:31:07.720
Until then, I'm Wil Wheaton.
668
00:31:07.720 --> 00:31:09.303
Live long and prosper.