WEBVTT
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Hey, nerds!
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I'm Wil Wheaton,
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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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This week's episode of
Star Trek: Discovery
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was so amazing,
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as the Disco crew made contact
with the new Federation.
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Now, if that's news to you,
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you probably wanna hit pause right now
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and make sure you've
seen Season 3, Episode 5,
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"Die Trying", to avoid spoilers,
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because boy, do I have
spoilers for you today!
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Then come back here and hit play
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so you can watch us talk all about it.
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I am not giving anything away,
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but there may have been a new starship
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with a familiar name that
you probably wanna see.
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Have I piqued your interest?
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Good, because today we have
another double interview
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planned for you.
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First, I'll be chatting with Discovery's
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resonant Barzan officer, Rachael
Ancheril, who plays Nhan.
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Then a little later
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Lead Visual Effects
Supervisor Jason Zimmerman
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will be joining me
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to talk about some of the
jaw-dropping visual effects
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we've seen this season.
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As always, we have an exclusive clip
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from next week's episode
of Star Trek: Discovery
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coming your way as well.
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But before we get to any of that,
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did I mentioned the new Federation,
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[chuckling] Because. yeah,
Starfleet is back in a major way
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and with a fresh coat of paint.
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For more, let's check out our latest
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"Moments of Discovery" video.
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Control room, engage.
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[electrical crackling]
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Star Trek has always reflected
the world that we live in.
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What better way to portray that
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than via the state of the
Federation in the future?
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Mr. Bryce, hail Federation Headquarters
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and tell them the U.S.S.
Discovery is reporting for duty.
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We find that we have
a place to belong now.
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And with that comes Admiral Vance,
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played by the delicious
Oded Fehr, he's wonderful.
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Charles Vance,
Commander-in-Chief, Starfleet.
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We put Vance in a very difficult position
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right from the beginning.
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He has to be cautious,
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because he is in charge of holding
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what's left of the Federation together,
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and if he makes the wrong call
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everything could get
worse than it already is.
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And he can't risk that.
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Our intelligence says
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that Discovery was destroyed in 2258,
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with no mention of a
displacement-activated spore drive.
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So, two truths now exist in one space.
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That never goes well.
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We are surprised to find
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that the Federation has shrunk a bit.
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I am curious as to what remains
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of the rest of the Federation.
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Thirty-eight member worlds,
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that we're aware of,
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down from 350 at its peak.
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They find themselves victims of the Burn
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and find themselves
disconnected from each other,
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from other planets,
and from other species.
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There may be others,
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but since the subspace relays went down
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we're having difficulty
finding each other.
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They couldn't help them
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in the way that the
Federation wants to do,
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not because they didn't want to go
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and help their member worlds,
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but because they simply couldn't.
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They were just simply unable
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to get where they needed to get.
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One fact is unassailable,
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we have a spore drive and it works.
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We can travel anywhere
in the blink of an eye.
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And we want to help.
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For our heroes to be able to
go anywhere and do anything,
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it gives them immediately an
ability to serve Starfleet
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and the Federation in the
way that they want to,
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and in the way that they
sacrificed everything
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to come forward in time to be able to do.
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Admiral, I would ask
that you allow Discovery
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to serve as she is able.
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It and Commander Burnham
are ideally suited
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for this kind of away mission.
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Having the spore drive,
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we then get to kind of be a conduit
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to helping make some things
happen that couldn't happen,
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because they couldn't get places.
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And we can get places [fingers
snapping] in an instant.
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Let's show them who we are.
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By the end of the episode,
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Vance recognizes that, and is
willing to put them to work.
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[electronic crackling and whirring]
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The spore drive made Discovery
unique 930 years ago,
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and it makes it unique even now.
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In fact, it's even more important now
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than it ever was before,
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because dilithium is gone.
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When Discovery shows up,
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we are a reminder of what the
Federation was in the past.
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Discovery is a beacon of hope,
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of what we can become again.
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Captain. Commander.
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Welcome home.
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My first guest and I
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were both once members of the Enterprise.
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More recently, her character, Nhan,
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joined up with the Discovery crew
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and is now on to bigger and
better and Barzon things
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aboard the U.S.S. Tikhov.
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Rachael Ancheril, thank
you for joining me here
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in "The Ready Room."
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It's so cool to meet you!
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So cool to meet you, too.
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Thank you for having me. [chuckling]
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Let's start at the
beginning of the season.
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Your character, Nhan, is very interesting
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in that she originally came
over from the Enterprise,
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which is going on in Strange New Worlds,
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but in the 11th hour of Season 2,
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she makes this choice
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to jump a thousand years into
the future with Discovery.
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Would you talk a little bit
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about what Nhan sees in
this crew specifically,
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and what her motivation
was to leave the Enterprise
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and join the Discovery,
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and then stay with the Discovery
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and go into a future from
which she never gets to return?
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I think if I were to go back a little bit
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and even look at-- Nhan's a Barzan,
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and even being a part of
Starfleet, is very unusual.
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So right there that told
me about the character,
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that she tries to go above and beyond
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and sort of break that Barzan mold.
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So I think going from the
Enterprise to Discovery,
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I think it's a matter of
where she feels she's needed,
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where she feels she can
use her capabilities
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and serve best for the greater picture,
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the greater whole.
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Yours is the most we have ever
seen of a Barzan character
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in Star Trek.
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Like, we know that the Barzans exist,
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but from now on when people think Barzon
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they're gonna think Nhan,
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they're gonna think you.
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Talk about bringing her to life
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and how you, as an actor,
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wanted to make your mark on this species.
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Did you have conversations
with the creators
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and the showrunners?
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And what specific things
did you get to bring to her
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that are all you, that
weren't on the page?
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Well, I think that it was
so cool to have a reference
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to look at.
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So Bhavani, to see her
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and to see what I could glean
about the Barzan characters
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just from her.
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But it was so nice that
there was just one episode
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with a Barzan,
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and I didn't have to
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really study and mold myself
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against a group that are so well-known
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in the Star Trek Universe.
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So it was neat to watch her.
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I felt bad for Barzans.
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I mean, they don't necessarily have,
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like, you know, they're not
super strong and powerful.
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And I mean, they're kind of,
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you know, they're in poverty,
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and a lemon with this wormhole,
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that was an opportunity.
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So with Nhan, she's
obviously broken the mold.
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She's not like the Barzans
that we've heard of.
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But I imagine that she was
very structured, very obedient.
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She obviously followed rank
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and was very serious about what she did.
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She listens to what she's told,
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and she's, you know, just very structured.
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And I tend to play
military-style characters
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or police officers,
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so it was kind of neat to just be able
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to sort of rest on that,
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and just follow rank and
listen to Captain Pike
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and listen to Saru and Burnham,
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and whoever else I was following.
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So, yeah, very structured. [laughing]
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You know, it's interesting
that you mention structure,
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and it's interesting,
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I didn't know that you played
a lot of military characters,
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a lot of cops,
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because she carries herself,
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and I was gonna ask you if
that was a choice you made,
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she carries herself with a confidence.
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Like, her feet are firmly on the ground.
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She just reminds me of Worf,
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as the Lead Security
Officer who's just like,
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"This is my ship, these are my rules.
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I'll follow my instructions,
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but this is how we do things.
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And if you mess with me,
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you're gonna super-regret it."
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Did I read those choices correctly?
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Were those choices you made for her?
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Amen.
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Yes, you did.
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You read those totally correct.
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I mean, that's a little
bit of Rachael with yoga,
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being so grounded and
rooted into that ground.
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But there has to be.
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I don't know if a female
versus male situation
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is in play there,
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but I know that you have to be,
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I mean, I wanted to be a police officer.
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I was on my way to
becoming a police officer.
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So I know that it can be
very difficult as a female
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in those types of roles where you are,
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you are the boss.
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And so Nhan is--
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she needs that confidence
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and she needs to have her shoulders back
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and not look sort of
simpering and, "Okay, Sir."
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You know, like, she's very strong.
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She has to be.
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As you get into her character,
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an enormous part of who
she is are the prosthetics
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that you, as an actor, put on,
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including the super-cool
breathing apparatus.
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How long does it take you
usually to get into your makeup?
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And what was your experience like
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performing through those pieces?
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Well, you might've even gotten from me
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that I can be very animated with my face.
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So I think if anything,
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the prosthetics maybe
calmed me down a little bit.
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But it was a three-and-a-half
hour process,
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Wow!
sometimes three hours.
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So each was an hour.
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So prosthetics was an hour,
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hair, and then beauty/makeup was an hour.
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And the prosthetics was
difficult for those guys,
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in the sense that it's not just one piece
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that went on my face,
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but it was like, sort of
like puzzle pieces, you know?
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And that, I mean, that
experience was really cool.
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The breathers was very interesting,
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in the sense of like, ooh,
there's something by my mouth
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all the time.
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So eating was interesting
on set. [chuckling]
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But that whole process was amazing,
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because I loved that
time in hair and makeup,
261
00:11:06.680 --> 00:11:08.030
and especially with the prosthetics,
262
00:11:08.030 --> 00:11:08.930
because for me
263
00:11:08.930 --> 00:11:12.210
that's just my character
coming alive a little bit more.
264
00:11:12.210 --> 00:11:15.320
Every piece, she comes
alive a little bit more.
265
00:11:15.320 --> 00:11:16.640
So I become more and more Nhan,
266
00:11:16.640 --> 00:11:18.940
which is awesome.
267
00:11:18.940 --> 00:11:21.670
The first little bit, I was
worried about the prosthetics,
268
00:11:21.670 --> 00:11:25.520
because I didn't know if
emotions or anything I was--
269
00:11:25.520 --> 00:11:27.220
is this reading properly?
270
00:11:27.220 --> 00:11:29.920
This was my first time
dealing with prosthetics.
271
00:11:29.920 --> 00:11:33.630
So the first couple of episodes
I'd get back to my trailer
272
00:11:33.630 --> 00:11:35.040
after everything was said and done,
273
00:11:35.040 --> 00:11:37.400
I'd get in my uniform and
I'd look in the mirror,
274
00:11:37.400 --> 00:11:38.680
and I'd just move my face
275
00:11:38.680 --> 00:11:42.110
and see what the scope
was, what I could do.
276
00:11:42.110 --> 00:11:43.380
So it was fun.
277
00:11:43.380 --> 00:11:44.900
You've gotten to be involved
278
00:11:44.900 --> 00:11:48.070
in some incredibly cool action sequences.
279
00:11:48.070 --> 00:11:48.903
Would you talk a little bit
280
00:11:48.903 --> 00:11:50.510
about the preparation and choreography
281
00:11:50.510 --> 00:11:53.500
for some of these amazing
fights you've gotten to do?
282
00:11:53.500 --> 00:11:54.333
Yeah.
283
00:11:54.333 --> 00:11:55.590
That has been so fun.
284
00:11:55.590 --> 00:11:59.320
I mean, what actor doesn't
want to be able to do action
285
00:11:59.320 --> 00:12:01.710
and to do the physicality?
286
00:12:01.710 --> 00:12:03.630
And especially because Nhan is so,
287
00:12:03.630 --> 00:12:04.900
for the most part you see her
288
00:12:04.900 --> 00:12:07.040
and she's very, like, solid and straight,
289
00:12:07.040 --> 00:12:11.330
and so to be able to move
a bit more is amazing.
290
00:12:11.330 --> 00:12:12.410
When I was back in my trailer,
291
00:12:12.410 --> 00:12:15.740
I'd do planks all the time. [laughing]
292
00:12:15.740 --> 00:12:18.060
But working with rehearsals
293
00:12:18.060 --> 00:12:19.610
and working with the other cast members,
294
00:12:19.610 --> 00:12:22.570
so, Hannah and Sonequa in
the first season in was in,
295
00:12:22.570 --> 00:12:23.650
in Season 2.
296
00:12:23.650 --> 00:12:28.650
And then working with Michelle and Alan
297
00:12:29.170 --> 00:12:33.170
for the Season 2 finale,
298
00:12:33.170 --> 00:12:35.290
what an amazing thing to be able to do.
299
00:12:35.290 --> 00:12:36.123
Yeah.
300
00:12:36.123 --> 00:12:37.790
But I still love being with my phaser,
301
00:12:37.790 --> 00:12:38.650
and I love the big boy,
302
00:12:38.650 --> 00:12:40.570
the big phaser is great. [laughing]
303
00:12:40.570 --> 00:12:42.770
I never got to hold one of those,
304
00:12:42.770 --> 00:12:46.420
and, man, they just look so cool.
305
00:12:46.420 --> 00:12:47.380
So cool.
306
00:12:47.380 --> 00:12:48.250
I'm not gonna lie.
307
00:12:48.250 --> 00:12:49.480
So cool. [laughing]
308
00:12:49.480 --> 00:12:51.850
I got to wear a type-2 phaser
309
00:12:51.850 --> 00:12:53.210
for "Yesterday's Enterprise,"
310
00:12:53.210 --> 00:12:55.830
when Wesley was in the mirror universe.
311
00:12:55.830 --> 00:12:58.000
And I never got to draw it.
312
00:12:58.000 --> 00:13:01.530
Like, the prop department was
like, "Don't play with this.
313
00:13:01.530 --> 00:13:03.260
You're gonna break it."
314
00:13:03.260 --> 00:13:05.910
And I was like, "Come on,
it's wood, it's fine!"
315
00:13:05.910 --> 00:13:09.830
And I was so excited
to have just that prop.
316
00:13:09.830 --> 00:13:12.060
I can't imagine how cool it must have felt
317
00:13:12.060 --> 00:13:13.783
to have a full-on phaser rifle.
318
00:13:14.660 --> 00:13:15.910
Amazing.
319
00:13:15.910 --> 00:13:18.260
I mean, come on, you
and I, this is a thing,
320
00:13:18.260 --> 00:13:20.630
we're gonna have to do this
together sometime. [laughing]
321
00:13:20.630 --> 00:13:21.463
Yeah, right.
322
00:13:21.463 --> 00:13:23.064
You take me to the phaser range!
323
00:13:23.064 --> 00:13:24.910
- Right?
324
00:13:24.910 --> 00:13:27.230
So at the end of this episode,
325
00:13:27.230 --> 00:13:31.750
so I am really sort of
conflicted right now,
326
00:13:31.750 --> 00:13:33.150
having watched this episode.
327
00:13:34.370 --> 00:13:36.070
The fan in me who loves Nhan
328
00:13:36.070 --> 00:13:38.210
and wants what is best for her
329
00:13:38.210 --> 00:13:43.210
is so happy that she has chosen
to stay behind on Barzon.
330
00:13:43.800 --> 00:13:47.543
Like, that is an incredible
character moment.
331
00:13:48.460 --> 00:13:50.200
The part of me that has come
332
00:13:50.200 --> 00:13:52.720
to really enjoy watching you work,
333
00:13:52.720 --> 00:13:56.080
and has enjoyed watching
this character interact
334
00:13:56.080 --> 00:13:57.570
and grow and change,
335
00:13:57.570 --> 00:14:00.700
is devastated that she's
not gonna be there anymore.
336
00:14:00.700 --> 00:14:05.500
Now, Nhan is no longer on the Discovery,
337
00:14:05.500 --> 00:14:08.970
but she is absolutely still
a member of Starfleet.
338
00:14:08.970 --> 00:14:11.923
And she's caring for
that seed bank right now.
339
00:14:14.150 --> 00:14:16.870
I invented head canon for my character.
340
00:14:16.870 --> 00:14:18.590
Like, afterwards, right,
341
00:14:18.590 --> 00:14:20.960
I decided that Wesley
Crusher is a Time Lord.
342
00:14:20.960 --> 00:14:21.890
He's just like Doctor Who,
343
00:14:21.890 --> 00:14:23.210
he travels all over the universe
344
00:14:23.210 --> 00:14:24.220
and he kinda goes everywhere,
345
00:14:24.220 --> 00:14:25.490
does everything with the Traveler.
346
00:14:25.490 --> 00:14:26.720
That's my head canon.
347
00:14:26.720 --> 00:14:30.110
It's probably not at all
what actually happened.
348
00:14:30.110 --> 00:14:31.350
And if they ever bring him back
349
00:14:31.350 --> 00:14:33.840
it's probably not gonna
reflect my head canon at all,
350
00:14:33.840 --> 00:14:35.310
but let's play the head canon game.
351
00:14:35.310 --> 00:14:38.040
What's going on in your head canon?
352
00:14:38.040 --> 00:14:40.580
Like, you get to make up
what Nhan's future is.
353
00:14:40.580 --> 00:14:42.490
What does it look like for her?
354
00:14:42.490 --> 00:14:43.790
Well, I think I should go with you,
355
00:14:43.790 --> 00:14:45.833
and we should just have fun
with phasers everywhere.
356
00:14:45.833 --> 00:14:47.740
I mean,
I'm totally into it!
357
00:14:47.740 --> 00:14:49.740
How fun would that be? [laughing]
358
00:14:49.740 --> 00:14:50.800
I'm totally into it.
359
00:14:50.800 --> 00:14:52.170
Okay, that's awesome.
360
00:14:52.170 --> 00:14:54.030
Nhan finds Wesley Crusher,
361
00:14:54.030 --> 00:14:55.680
and they spend,
362
00:14:55.680 --> 00:14:56.513
and they go around,
363
00:14:56.513 --> 00:14:59.660
in maybe kind of like a
Bonnie and Clyde kind of way,
364
00:14:59.660 --> 00:15:02.240
just, like, phaser rifling everybody.
365
00:15:02.240 --> 00:15:03.100
I love it.
366
00:15:03.100 --> 00:15:06.840
Okay, I am a hundred percent
into that. [laughing]
367
00:15:06.840 --> 00:15:08.451
But I get the big phaser, though.
368
00:15:08.451 --> 00:15:09.284
Yeah, right.
369
00:15:09.284 --> 00:15:12.140
Yeah. And Wesley only gets
to have the little phaser,
370
00:15:12.140 --> 00:15:14.110
and he's constantly trying
to get the big phaser,
371
00:15:14.110 --> 00:15:15.960
and she just won't let him have it.
372
00:15:15.960 --> 00:15:17.170
I love this.
373
00:15:17.170 --> 00:15:18.660
Fan fiction writers, get to work.
374
00:15:18.660 --> 00:15:20.381
This is a great idea.
Get to work.
375
00:15:20.381 --> 00:15:21.553
[laughing]
376
00:15:21.553 --> 00:15:23.560
Nhan is gonna live on forever
377
00:15:23.560 --> 00:15:26.711
in the hearts of Star
Trek fans and cosplayers.
378
00:15:27.880 --> 00:15:30.180
Have you been to any Cons?
379
00:15:30.180 --> 00:15:32.100
And if so, have you been to any Cons
380
00:15:32.100 --> 00:15:34.617
where you have seen
people cosplaying as Nhan?
381
00:15:34.617 --> 00:15:36.117
Has that happened for you yet?
382
00:15:37.150 --> 00:15:37.983
No.
383
00:15:37.983 --> 00:15:39.790
So I hang my head in shame
384
00:15:39.790 --> 00:15:41.590
that I haven't been to any Cons yet.
385
00:15:42.890 --> 00:15:44.440
That's always made me a little nervous,
386
00:15:44.440 --> 00:15:46.330
so I just haven't gone,
387
00:15:46.330 --> 00:15:49.833
but that's something I
definitely want to test out.
388
00:15:50.780 --> 00:15:52.970
But I have had people send me photos.
389
00:15:52.970 --> 00:15:54.310
I didn't realize
390
00:15:54.310 --> 00:15:57.731
that people would love
Nhan as much as they did.
391
00:15:59.630 --> 00:16:02.610
Someone sent me the breathers
that they were working on,
392
00:16:02.610 --> 00:16:06.220
and variations of the outfit.
393
00:16:06.220 --> 00:16:08.360
And, I mean, Nhan has,
394
00:16:08.360 --> 00:16:10.930
she's got a pretty, pretty hefty wardrobe.
395
00:16:10.930 --> 00:16:13.440
I think in her room she's got a big closet
396
00:16:13.440 --> 00:16:16.493
because she's got so many
different uniforms and looks.
397
00:16:18.338 --> 00:16:21.660
So any variation of that,
when people send it to me,
398
00:16:21.660 --> 00:16:22.850
I'm so impressed.
399
00:16:22.850 --> 00:16:23.980
I'm impressed with the talent.
400
00:16:23.980 --> 00:16:24.890
It's incredible.
401
00:16:24.890 --> 00:16:26.080
Yeah.
402
00:16:26.080 --> 00:16:27.203
I hope that,
403
00:16:28.260 --> 00:16:29.430
well, I just hope for humanity
404
00:16:29.430 --> 00:16:30.810
that this pandemic is over soon,
405
00:16:30.810 --> 00:16:32.750
but I hope specifically for those of us
406
00:16:32.750 --> 00:16:33.820
in the Star Trek world,
407
00:16:33.820 --> 00:16:35.450
so we can go to conventions again.
408
00:16:35.450 --> 00:16:38.700
It's a very fun experience.
409
00:16:38.700 --> 00:16:40.570
It's a really fun part of,
410
00:16:40.570 --> 00:16:43.480
like, when you work on Star
Trek you get a special,
411
00:16:43.480 --> 00:16:44.520
you get a multipass,
412
00:16:44.520 --> 00:16:46.460
and you get to go to these things
413
00:16:46.460 --> 00:16:48.640
and be around people who love this thing
414
00:16:48.640 --> 00:16:50.980
in a way that no one else does.
415
00:16:50.980 --> 00:16:54.360
I'm very excited for you to
receive the love of your fans.
416
00:16:54.360 --> 00:16:56.270
That's gonna be really, really cool.
417
00:16:56.270 --> 00:16:58.640
And there's a non-zero
chance I'll be at that Con
418
00:16:58.640 --> 00:17:00.550
when that happens and I'll get to see it.
419
00:17:00.550 --> 00:17:02.461
'Cause it is really special.
420
00:17:02.461 --> 00:17:03.730
A "Nhan-zero," is that what you said?
421
00:17:03.730 --> 00:17:04.910
A "Nhan-zero," yes.
422
00:17:04.910 --> 00:17:05.990
Yes, that is right, yes.
423
00:17:05.990 --> 00:17:06.823
Thank you very much.
424
00:17:06.823 --> 00:17:09.830
I appreciate you catching my auditory pun.
425
00:17:09.830 --> 00:17:11.733
Thank you so very much.
426
00:17:14.070 --> 00:17:17.760
Rachael, you are such a wonderful addition
427
00:17:17.760 --> 00:17:19.243
to Star Trek canon.
428
00:17:20.560 --> 00:17:24.970
I hope that we get to
see more in the future.
429
00:17:24.970 --> 00:17:29.970
I'm so curious to know where
she goes and what she does.
430
00:17:30.230 --> 00:17:34.410
And I deeply appreciate your time today.
431
00:17:34.410 --> 00:17:35.970
Thank you for coming and
spending some time with us
432
00:17:35.970 --> 00:17:37.750
in "The Ready Room."
433
00:17:37.750 --> 00:17:38.583
Thank you for having me.
434
00:17:38.583 --> 00:17:39.720
It's been a real pleasure.
435
00:17:39.720 --> 00:17:40.860
And I must say something.
436
00:17:40.860 --> 00:17:43.090
My mom is the first person
437
00:17:43.090 --> 00:17:44.239
that introduced me to Star Trek.
438
00:17:44.239 --> 00:17:47.180
She was one of those people
that wrote in to the network
439
00:17:47.180 --> 00:17:48.970
when they were talking about canceling it.
440
00:17:48.970 --> 00:17:50.350
No way!
441
00:17:50.350 --> 00:17:51.640
My mom is like,
442
00:17:51.640 --> 00:17:55.300
she had this pink suitcase
that had everyone's headshot
443
00:17:55.300 --> 00:17:56.680
with their autograph in,
444
00:17:56.680 --> 00:17:59.830
so when I do this I think of my mom
445
00:17:59.830 --> 00:18:00.970
and I think of Lucille Ball.
446
00:18:00.970 --> 00:18:04.270
So I'm grateful to both. [laughing]
447
00:18:04.270 --> 00:18:06.420
That's wonderful, and so special.
448
00:18:06.420 --> 00:18:08.716
Thank you for sharing that with us.
449
00:18:08.716 --> 00:18:09.549
Thank you.
450
00:18:09.549 --> 00:18:11.710
Thank you for listening and
thank you for having me.
451
00:18:11.710 --> 00:18:12.893
It's such a pleasure.
452
00:18:29.580 --> 00:18:31.270
My next guest and his team of artists
453
00:18:31.270 --> 00:18:33.610
are responsible for creating
Star Trek: Discovery's
454
00:18:33.610 --> 00:18:35.250
incredible visual effects,
455
00:18:35.250 --> 00:18:37.170
from the larger-than-life space battles
456
00:18:37.170 --> 00:18:39.690
to the tiniest bits of
programmable matter.
457
00:18:39.690 --> 00:18:42.410
Please welcome Lead
Visual Effects Supervisor
458
00:18:42.410 --> 00:18:43.670
Jason Zimmerman.
459
00:18:43.670 --> 00:18:46.060
Jason, thank you so much
for being here today.
460
00:18:46.060 --> 00:18:47.120
Oh, thank you so much for having me.
461
00:18:47.120 --> 00:18:48.160
It's an honor to be here.
462
00:18:48.160 --> 00:18:49.900
One of the big new additions to the season
463
00:18:49.900 --> 00:18:51.930
has been the programmable matter,
464
00:18:51.930 --> 00:18:55.190
a really cool addition to Star Trek canon
465
00:18:55.190 --> 00:18:58.982
and just visually so striking
and interesting to watch.
466
00:18:58.982 --> 00:19:03.300
How did you define the look
and the physics of that,
467
00:19:03.300 --> 00:19:04.950
based on your scripts
468
00:19:04.950 --> 00:19:08.370
and your conversations with
the different creative teams?
469
00:19:08.370 --> 00:19:09.203
Sure. So I mean,
470
00:19:09.203 --> 00:19:10.230
you know, obviously it starts
471
00:19:10.230 --> 00:19:12.050
with talking to the writers
472
00:19:12.050 --> 00:19:14.350
and talking to the art
department production design,
473
00:19:14.350 --> 00:19:15.420
all of those sorts of things.
474
00:19:15.420 --> 00:19:17.547
And then it gets down to what
does it actually look like?
475
00:19:17.547 --> 00:19:19.730
You know, we write it,
we see it on the page,
476
00:19:19.730 --> 00:19:20.830
but what does that actually,
477
00:19:20.830 --> 00:19:23.590
what does it actually look like in a shot?
478
00:19:23.590 --> 00:19:26.260
So we spent a lot of time
having conversations.
479
00:19:26.260 --> 00:19:28.500
And then it was about,
you know, doing tests.
480
00:19:28.500 --> 00:19:30.390
Look dev. What does it--
481
00:19:30.390 --> 00:19:31.820
does this work, does this not work?
482
00:19:31.820 --> 00:19:34.283
And I think in a lot of ways,
483
00:19:35.490 --> 00:19:38.190
you know, we experimented
with different ideas.
484
00:19:38.190 --> 00:19:40.390
And I think Alex Kurtzman was the first
485
00:19:40.390 --> 00:19:43.243
to recommend ferrofluid.
486
00:19:43.243 --> 00:19:48.210
Ferrofluid is like a magnetic
fluid that we have nowadays.
487
00:19:48.210 --> 00:19:50.560
It's a good approximation,
488
00:19:50.560 --> 00:19:52.200
but at the same time it's, you know,
489
00:19:52.200 --> 00:19:53.700
how do we apply that to the show?
490
00:19:53.700 --> 00:19:58.700
So I think it was a lot of
research and development
491
00:19:58.930 --> 00:20:00.750
specifically saying, "Does this work?"
492
00:20:00.750 --> 00:20:01.930
And it was like, "No, it doesn't work."
493
00:20:01.930 --> 00:20:03.870
And so, you know, coming back
and go, "What about this?"
494
00:20:03.870 --> 00:20:06.230
And trying to figure out
what looks good on camera
495
00:20:06.230 --> 00:20:08.113
versus what the logic of it is.
496
00:20:09.540 --> 00:20:12.040
But yeah, it was a fun experiment,
497
00:20:12.040 --> 00:20:14.020
to try something that had
never been done before.
498
00:20:14.020 --> 00:20:18.350
The original Star Trek
inadvertently gave us flip phones
499
00:20:18.350 --> 00:20:23.350
and Next Generation sort
of gave us what we expect
500
00:20:24.550 --> 00:20:25.840
from smartphones today,
501
00:20:25.840 --> 00:20:28.520
from tablets and video conferencing.
502
00:20:28.520 --> 00:20:31.400
And I don't think any
of the designers working
503
00:20:31.400 --> 00:20:34.730
on those two shows
really stopped to think,
504
00:20:34.730 --> 00:20:37.710
like, "Oh, we're kind of
designing the future."
505
00:20:37.710 --> 00:20:40.860
Programmable matter is so far ahead,
506
00:20:40.860 --> 00:20:42.640
it's a thousand years
ahead of us, obviously,
507
00:20:42.640 --> 00:20:45.100
but are you prepared for
that moment in around 2050,
508
00:20:45.100 --> 00:20:47.530
when something that you imagined today
509
00:20:47.530 --> 00:20:50.050
just shows up in whatever the equivalent
510
00:20:50.050 --> 00:20:52.130
of the future Sharper Image Store is?
511
00:20:52.130 --> 00:20:54.220
Man, if that happens,
512
00:20:54.220 --> 00:20:56.397
I would be super-honored and
also horrified at the same time
513
00:20:56.397 --> 00:20:57.690
that I had something to do with it.
514
00:20:57.690 --> 00:20:59.743
But yeah, I hope it happens, for sure.
515
00:21:00.800 --> 00:21:04.010
I don't know if the
average viewer realizes
516
00:21:04.010 --> 00:21:08.093
how much your team augments
the special effects makeup.
517
00:21:09.010 --> 00:21:12.560
You know, we just take for
granted so much as an audience.
518
00:21:12.560 --> 00:21:14.350
Things just look real.
519
00:21:14.350 --> 00:21:19.350
And your collaborative
work with Glenn and Neville
520
00:21:19.850 --> 00:21:24.560
is creating this incredible illusion
521
00:21:24.560 --> 00:21:29.560
of these prosthetics being
actual working things.
522
00:21:29.660 --> 00:21:31.270
I wonder if you would talk a little bit
523
00:21:31.270 --> 00:21:35.270
about helping them push their
creature designs even farther
524
00:21:35.270 --> 00:21:37.210
after you get a chance to work with them,
525
00:21:37.210 --> 00:21:39.030
that may exist on the set.
526
00:21:39.030 --> 00:21:40.410
Sure. I mean, you know, Glenn,
527
00:21:40.410 --> 00:21:42.880
Glenn and Neville are pros,
528
00:21:42.880 --> 00:21:45.470
to an extent that we don't have to,
529
00:21:45.470 --> 00:21:48.100
when they do their work we
don't have to do much for them,
530
00:21:48.100 --> 00:21:50.710
unless it's an agreed upon collaboration,
531
00:21:50.710 --> 00:21:51.960
in which case we do.
532
00:21:51.960 --> 00:21:53.280
So, like, you know,
533
00:21:53.280 --> 00:21:56.515
in the case of the trance worm, Molly,
534
00:21:56.515 --> 00:21:58.040
in 301,
535
00:21:58.040 --> 00:22:00.820
we discussed that ad nauseum to make sure
536
00:22:00.820 --> 00:22:04.249
that we understood the
science behind the creature,
537
00:22:04.249 --> 00:22:06.940
because again, Trek is a
very science-based show,
538
00:22:06.940 --> 00:22:09.530
and so as such, you're
going to want to make sure
539
00:22:09.530 --> 00:22:11.160
that you're honoring why--
540
00:22:11.160 --> 00:22:14.500
you have to have an answer
for everything, you know?
541
00:22:14.500 --> 00:22:16.980
So in a case like that,
for sure, I mean, we are.
542
00:22:16.980 --> 00:22:19.820
But at the same time those guys
are so good that they don't,
543
00:22:19.820 --> 00:22:22.380
you know, unless it's an
agreed upon collaboration,
544
00:22:22.380 --> 00:22:23.213
they don't need us.
545
00:22:23.213 --> 00:22:25.803
We are there to help out, for sure.
546
00:22:27.250 --> 00:22:29.190
When we get into the Molly of it all,
547
00:22:29.190 --> 00:22:30.870
it is such a blast.
548
00:22:30.870 --> 00:22:32.120
I mean, especially this year,
549
00:22:32.120 --> 00:22:33.650
to be able to stretch our legs
550
00:22:33.650 --> 00:22:37.240
and do some creature work has been so fun
551
00:22:37.240 --> 00:22:39.410
with those guys and with Neville,
552
00:22:39.410 --> 00:22:41.080
and to discuss how the creature moves,
553
00:22:41.080 --> 00:22:43.630
and why it moves that way,
and why it acts that way.
554
00:22:45.250 --> 00:22:46.640
It's so fun to be able to do that
555
00:22:46.640 --> 00:22:50.260
and have our moment for
doing creature work,
556
00:22:50.260 --> 00:22:54.853
they didn't really do that
much in Seasons 1 and 2
557
00:22:54.853 --> 00:22:56.560
so to have that has been great.
558
00:22:56.560 --> 00:22:59.250
I can't even imagine how cool it must be
559
00:22:59.250 --> 00:23:02.270
to talk with Neville Page
about creature design.
560
00:23:02.270 --> 00:23:04.250
That would be like getting
to talk makeup design
561
00:23:04.250 --> 00:23:05.170
with Michael Westmore,
562
00:23:05.170 --> 00:23:09.443
or getting to talk graphic
design with Michael Okuda.
563
00:23:10.290 --> 00:23:13.970
To have collaborated on
one of his creatures,
564
00:23:13.970 --> 00:23:17.800
that's like such a special
thing to get to do.
565
00:23:17.800 --> 00:23:18.890
It is, it is.
566
00:23:18.890 --> 00:23:20.950
And like, you know, I was
telling my wife the other day,
567
00:23:20.950 --> 00:23:21.783
we were sitting there,
568
00:23:21.783 --> 00:23:23.460
and Neville texted me to
talk about a creature.
569
00:23:23.460 --> 00:23:24.840
And he was like, "Hey, is everything cool?
570
00:23:24.840 --> 00:23:25.673
Do you need anything?"
571
00:23:25.673 --> 00:23:26.860
And I'm just like, "This is my life.
572
00:23:26.860 --> 00:23:29.190
Like, I'm sitting here talking
to Neville about a creature."
573
00:23:29.190 --> 00:23:30.023
And then he was like,
574
00:23:30.023 --> 00:23:32.070
you know, he asked to see some of the work
575
00:23:32.070 --> 00:23:33.130
we had done with Molly.
576
00:23:33.130 --> 00:23:36.930
And he was so, you know,
effusive in his praise,
577
00:23:36.930 --> 00:23:38.770
and it was so nice to get that.
578
00:23:38.770 --> 00:23:40.890
And to have Neville say like,
"Hey, this looks great,"
579
00:23:40.890 --> 00:23:42.430
like, I mean, what are you
going to say about that?
580
00:23:42.430 --> 00:23:44.490
Like, you have to be proud.
581
00:23:44.490 --> 00:23:47.750
What I am seeing of Season 3,
582
00:23:47.750 --> 00:23:49.560
you know, just full
disclosure for the audience,
583
00:23:49.560 --> 00:23:51.330
we're recording this long before
584
00:23:51.330 --> 00:23:52.740
you actually watch the episode.
585
00:23:52.740 --> 00:23:54.700
That's just the realities of production.
586
00:23:54.700 --> 00:23:58.140
So I am seeing visual effects
that are 90% finished.
587
00:23:58.140 --> 00:23:59.910
And every now and then I see an effect
588
00:23:59.910 --> 00:24:00.880
that's completely done.
589
00:24:00.880 --> 00:24:03.530
And it blows my mind.
Thank you.
590
00:24:03.530 --> 00:24:07.030
I cannot wait to actually
sit down and watch this.
591
00:24:07.030 --> 00:24:10.720
And one of the sequences
that was completed
592
00:24:10.720 --> 00:24:14.240
when I watched it is a
striking, beautiful sequence
593
00:24:14.240 --> 00:24:15.500
that we all as an audience
594
00:24:15.500 --> 00:24:18.320
just experienced in the
most recent episode,
595
00:24:18.320 --> 00:24:21.793
and that is the reveal of the
new Starfleet Headquarters.
596
00:24:22.760 --> 00:24:23.783
It is just,
597
00:24:24.980 --> 00:24:27.330
like, you made a new
Starfleet Headquarters!
598
00:24:27.330 --> 00:24:30.555
Starfleet has been the same place forever!
599
00:24:30.555 --> 00:24:33.100
And you're responsible
for, like, designing it
600
00:24:33.100 --> 00:24:34.870
and laying it out and building it
601
00:24:34.870 --> 00:24:35.810
and putting it there.
602
00:24:35.810 --> 00:24:38.220
Like, you're inventing canon.
603
00:24:38.220 --> 00:24:41.200
Would you talk about
working with the design team
604
00:24:41.200 --> 00:24:46.080
to bring brand new
Federation staples to life?
605
00:24:46.080 --> 00:24:50.527
Like, specifically, the
Voyager that made me go,
606
00:24:50.527 --> 00:24:53.800
"Ah! Voyager, oh my God!"
607
00:24:53.800 --> 00:24:55.270
That was so cool!
608
00:24:55.270 --> 00:24:59.730
And then all those amazing,
amazing set extensions
609
00:24:59.730 --> 00:25:03.140
that you have done for
Starfleet Headquarters.
610
00:25:03.140 --> 00:25:04.930
Please, please talk about that.
611
00:25:04.930 --> 00:25:07.800
Sure. I mean, the full credit goes
612
00:25:07.800 --> 00:25:09.420
to the art department, production design.
613
00:25:09.420 --> 00:25:11.760
I mean, they are the ones
that work with the executives
614
00:25:11.760 --> 00:25:15.000
to design things and get
us off on the right foot.
615
00:25:15.000 --> 00:25:17.040
You know, going back to
our conversation earlier
616
00:25:17.040 --> 00:25:19.323
about dealing with canon?
617
00:25:19.323 --> 00:25:20.167
[Wil] Mmhmm.
618
00:25:20.167 --> 00:25:21.520
This is new canon.
619
00:25:21.520 --> 00:25:22.950
And it's not just new canon,
620
00:25:22.950 --> 00:25:24.790
it's gonna be one of
the most beloved things.
621
00:25:24.790 --> 00:25:26.690
I mean, it's Federation
Headquarters, right?
622
00:25:26.690 --> 00:25:29.420
And so the fans are going to be rabid
623
00:25:29.420 --> 00:25:30.620
to see what this looks like,
624
00:25:30.620 --> 00:25:33.160
and then they're going to
be very, very scrutinizing
625
00:25:33.160 --> 00:25:34.150
in terms of how that looks.
626
00:25:34.150 --> 00:25:38.830
And so it's been a great honor
627
00:25:38.830 --> 00:25:40.540
to be able to do something
628
00:25:41.670 --> 00:25:43.420
on that magnitude for Star Trek.
629
00:25:43.420 --> 00:25:47.310
I mean, the Federation Headquarters,
630
00:25:47.310 --> 00:25:49.120
the look of it, the way
that it had to come down--
631
00:25:49.120 --> 00:25:50.680
the Voyager, like you mentioned before,
632
00:25:50.680 --> 00:25:52.330
I mean to be able...
633
00:25:52.330 --> 00:25:55.270
And any time something canon
comes up when we're doing it,
634
00:25:55.270 --> 00:25:57.190
whether it was the Enterprise in Season 1,
635
00:25:57.190 --> 00:25:59.320
or now the Voyager,
636
00:25:59.320 --> 00:26:00.890
it's an honor.
637
00:26:00.890 --> 00:26:01.920
It's also terrifying,
638
00:26:01.920 --> 00:26:04.210
because, you know, it's something
that belongs to the canon,
639
00:26:04.210 --> 00:26:07.670
but to do the Voyager now, outside of,
640
00:26:07.670 --> 00:26:09.210
I don't wanna say it's outside of canon,
641
00:26:09.210 --> 00:26:13.290
but certainly outside of the
timeline we've seen before,
642
00:26:13.290 --> 00:26:14.983
man, it's scary.
643
00:26:16.220 --> 00:26:18.720
All you wanna do is make sure
that every fan that sees that
644
00:26:18.720 --> 00:26:20.258
that loves Star Trek goes,
"Oh my God, it's Voyager."
645
00:26:20.258 --> 00:26:21.320
You know what I mean?
646
00:26:21.320 --> 00:26:22.360
Well, listen, I mean,
647
00:26:22.360 --> 00:26:25.330
my sample size is extremely
small and non-scientific
648
00:26:25.330 --> 00:26:27.320
and limited entirely to myself,
649
00:26:27.320 --> 00:26:31.950
but I lost my [bleep] when
I saw Voyager in Discovery.
650
00:26:31.950 --> 00:26:34.040
I was beside myself.
651
00:26:34.040 --> 00:26:35.300
But that's what we're going for, right?
652
00:26:35.300 --> 00:26:38.320
Like, I mean, we all we wanna
do is for people to see it
653
00:26:38.320 --> 00:26:39.920
and go, "Oh my God, it's Voyager."
654
00:26:39.920 --> 00:26:41.367
And you're not looking at it going,
655
00:26:41.367 --> 00:26:42.230
"That's good visual effects."
656
00:26:42.230 --> 00:26:44.380
You're looking at it and going
"That's Star Trek", right?
657
00:26:44.380 --> 00:26:45.730
You're not worried about the
visual effects of it all.
658
00:26:45.730 --> 00:26:50.690
So, I mean, it's been amazing
to work on the Federation,
659
00:26:50.690 --> 00:26:53.150
you know, the new HQ.
660
00:26:53.150 --> 00:26:55.240
It's terrifying every time.
661
00:26:55.240 --> 00:26:57.750
I mean, canon or not canon,
662
00:26:57.750 --> 00:26:58.930
I don't know what's worse.
663
00:26:58.930 --> 00:27:00.770
I thought canon would
be the worst part of it.
664
00:27:00.770 --> 00:27:01.997
And then when we got out
of canon and I'm like,
665
00:27:01.997 --> 00:27:03.330
"Oh, this is gonna be so much better,
666
00:27:03.330 --> 00:27:05.720
because I don't have to
worry about the past."
667
00:27:05.720 --> 00:27:07.560
But, you know, it's even worse,
668
00:27:07.560 --> 00:27:09.510
because you have to worry
about what people think.
669
00:27:09.510 --> 00:27:12.480
And you're building new
things for a fan-base
670
00:27:12.480 --> 00:27:15.470
that is as passionate as
you could possibly imagine.
671
00:27:15.470 --> 00:27:19.030
And so the responsibility
is as big as ever.
672
00:27:19.030 --> 00:27:21.240
And it's been fantastic, so.
673
00:27:21.240 --> 00:27:22.520
For, like, half a century,
674
00:27:22.520 --> 00:27:24.700
we've known what spaceships look like
675
00:27:24.700 --> 00:27:25.890
in the Star Trek Universe.
676
00:27:25.890 --> 00:27:28.700
You know, like, you've got a
saucer section and nacelles.
677
00:27:28.700 --> 00:27:32.370
We generally know what our
adversaries' ships look like.
678
00:27:32.370 --> 00:27:35.060
They haven't changed appreciably.
679
00:27:35.060 --> 00:27:37.840
But one of the very new ships
680
00:27:37.840 --> 00:27:41.270
that you have now put
into canon is Book's ship.
681
00:27:41.270 --> 00:27:44.120
This is unlike anything
we have ever seen before
682
00:27:44.120 --> 00:27:45.167
on Star Trek,
683
00:27:45.167 --> 00:27:48.310
and it's one of those things
that really make Star Trek--
684
00:27:48.310 --> 00:27:52.690
which had, to me, become
familiar and attainable--
685
00:27:52.690 --> 00:27:55.030
it turns Star Trek into
something that is once again
686
00:27:55.030 --> 00:27:57.410
in the far-off future.
687
00:27:57.410 --> 00:27:59.730
It is squarely in the
realm of science fiction.
688
00:27:59.730 --> 00:28:01.350
And I think that's really cool.
689
00:28:01.350 --> 00:28:03.530
Would you talk about working on a model
690
00:28:03.530 --> 00:28:06.230
that is so fluid in nature
691
00:28:06.230 --> 00:28:10.290
and is able to change shape so easily?
692
00:28:10.290 --> 00:28:12.840
Yeah. I mean, Book's ship
is an interesting one
693
00:28:12.840 --> 00:28:15.793
because it is so much
a departure from canon.
694
00:28:16.670 --> 00:28:19.180
And when you're designing it
695
00:28:19.180 --> 00:28:21.430
you're still referencing
in your mind, like,
696
00:28:21.430 --> 00:28:22.800
what did Star Trek do in the past?
697
00:28:22.800 --> 00:28:23.633
But then we're like,
698
00:28:23.633 --> 00:28:24.880
well, the technology has evolved, right?
699
00:28:24.880 --> 00:28:26.640
It's 900 years in the future.
700
00:28:26.640 --> 00:28:28.283
How's it gonna behave?
701
00:28:29.310 --> 00:28:32.170
I think the first part of it for us was,
702
00:28:32.170 --> 00:28:33.460
you know, obviously, again,
703
00:28:33.460 --> 00:28:35.036
credit to the art department
production design,
704
00:28:35.036 --> 00:28:36.610
they're the ones that started it off
705
00:28:36.610 --> 00:28:38.870
and got us off on the right foot.
706
00:28:38.870 --> 00:28:40.090
Above and beyond that,
707
00:28:40.090 --> 00:28:44.220
you know, it really is about
the utility of the ship,
708
00:28:44.220 --> 00:28:47.160
and how it behaves,
709
00:28:47.160 --> 00:28:48.790
and why it behaves that way for a reason.
710
00:28:48.790 --> 00:28:51.563
I think, you know, it can
do some very cool things,
711
00:28:52.600 --> 00:28:54.050
but does it need to do those cool things?
712
00:28:54.050 --> 00:28:55.470
Do we need to show that in every shot?
713
00:28:55.470 --> 00:28:56.303
And the answer is no.
714
00:28:56.303 --> 00:28:58.257
I mean, you know, the
reality is in Star Trek--
715
00:28:58.257 --> 00:28:59.630
Star Trek is a story-based show,
716
00:28:59.630 --> 00:29:01.890
it's always going to be that.
717
00:29:01.890 --> 00:29:03.730
And so making sure that we understand
718
00:29:03.730 --> 00:29:05.120
that that's what we're going for,
719
00:29:05.120 --> 00:29:06.900
we're trying to tell the story.
720
00:29:06.900 --> 00:29:07.890
Yes, it can evolve.
721
00:29:07.890 --> 00:29:08.780
Yes, it can change.
722
00:29:08.780 --> 00:29:09.700
Ye, it can transform.
723
00:29:09.700 --> 00:29:10.670
Should we do it all the time?
724
00:29:10.670 --> 00:29:11.503
Probably not.
725
00:29:11.503 --> 00:29:13.230
We should do it as is necessary.
726
00:29:13.230 --> 00:29:15.840
And so I think, you know,
treating it in that way
727
00:29:15.840 --> 00:29:18.130
I think is a lot cooler because
then when it does happen
728
00:29:18.130 --> 00:29:20.520
the fans are like, "Oh, yeah,
the ship had to do that."
729
00:29:20.520 --> 00:29:21.820
And I think that's a lot cooler
730
00:29:21.820 --> 00:29:24.010
than doing that a thousand times,
731
00:29:24.010 --> 00:29:26.410
because it's not really a visual thing,
732
00:29:26.410 --> 00:29:27.810
it's really a story-driven thing.
733
00:29:27.810 --> 00:29:30.230
And so, you know, for us it was
734
00:29:30.230 --> 00:29:32.660
making sure the ship
looked as real as possible.
735
00:29:32.660 --> 00:29:34.580
That's always our end goal.
736
00:29:34.580 --> 00:29:38.070
And then is there a reason
for it to do what it's doing?
737
00:29:38.070 --> 00:29:41.430
And as such, that's what we
sort of approached it as.
738
00:29:41.430 --> 00:29:43.460
I know I'm not neutral.
739
00:29:43.460 --> 00:29:46.400
I have a strong opinion about the show,
740
00:29:46.400 --> 00:29:47.430
I have a strong opinion about your work,
741
00:29:47.430 --> 00:29:48.270
but I've loved it.
742
00:29:48.270 --> 00:29:52.260
I have felt that it is just beautiful,
743
00:29:52.260 --> 00:29:54.650
and everything that you have done,
744
00:29:54.650 --> 00:29:58.860
everything, traveling
through the mycelial network,
745
00:29:58.860 --> 00:30:00.670
to Starfleet Headquarters now,
746
00:30:00.670 --> 00:30:03.050
like, you have created the future for me.
747
00:30:03.050 --> 00:30:05.320
And I love it.
748
00:30:05.320 --> 00:30:08.180
Thank you for giving us
some of your time today
749
00:30:08.180 --> 00:30:10.790
and for spending some time
with us in "The Ready Room."
750
00:30:10.790 --> 00:30:11.623
Oh, it's my pleasure.
751
00:30:11.623 --> 00:30:12.490
Thank you so much for having me.
752
00:30:12.490 --> 00:30:13.490
It's an honor to be here.
753
00:30:33.900 --> 00:30:35.670
Now it's around this
time in "The Ready Room"
754
00:30:35.670 --> 00:30:38.040
that you might be asking
yourself, "Hey, Wil Wheaton,
755
00:30:38.040 --> 00:30:40.250
what's coming up next
on Star Trek: Discovery?
756
00:30:40.250 --> 00:30:43.020
Didn't you promise me an
exclusive brand new clip?"
757
00:30:43.020 --> 00:30:45.760
Well, your timing is impeccable,
758
00:30:45.760 --> 00:30:47.000
person I've made up,
759
00:30:47.000 --> 00:30:49.330
because right now we have
a brand new exclusive clip
760
00:30:49.330 --> 00:30:51.290
queued up for you from
next week's episode.
761
00:30:51.290 --> 00:30:53.160
It is entitled "Scavengers."
762
00:30:53.160 --> 00:30:53.993
Check it out.
763
00:30:53.993 --> 00:30:56.009
Welcome back to the fleet, Discovery.
764
00:30:57.410 --> 00:30:58.480
And your crew?
765
00:30:58.480 --> 00:30:59.510
Adapting.
766
00:30:59.510 --> 00:31:01.130
And retraining as needed.
767
00:31:01.130 --> 00:31:03.070
Commander Burnham is
overseeing the process.
768
00:31:03.070 --> 00:31:04.500
Thank you, Captain Saru.
769
00:31:04.500 --> 00:31:05.843
Okay, let's get to it.
770
00:31:06.931 --> 00:31:09.120
Reilling 7 needs additional shields,
771
00:31:09.120 --> 00:31:10.520
they're dealing with solar flares.
772
00:31:10.520 --> 00:31:11.360
Kardashev?
773
00:31:11.360 --> 00:31:13.010
We'll bring 'em some shade, sir,
774
00:31:13.010 --> 00:31:13.970
if they can last a week?
775
00:31:13.970 --> 00:31:14.830
They can.
776
00:31:14.830 --> 00:31:18.000
Kaijur 12 needs replicator
replacement technology.
777
00:31:18.000 --> 00:31:19.623
It's got a severe food shortage.
778
00:31:20.550 --> 00:31:22.810
Captain Rahma, that'll be your assignment.
779
00:31:22.810 --> 00:31:23.990
Aye, sir.
780
00:31:23.990 --> 00:31:26.230
Captain Bandra, Le Guin
will take the supply
781
00:31:26.230 --> 00:31:28.127
run to Na'Seth. We'll
see you in two months.
782
00:31:28.127 --> 00:31:28.960
Yes, Admiral.
783
00:31:28.960 --> 00:31:30.780
With respect, Admiral,
784
00:31:30.780 --> 00:31:33.170
given severely limited warp travel,
785
00:31:33.170 --> 00:31:34.190
if time is of the essence--
786
00:31:34.190 --> 00:31:36.260
No question, I could use
ten of you right now.
787
00:31:36.260 --> 00:31:38.610
But as my only rapid
responder, I need you here.
788
00:31:38.610 --> 00:31:40.070
[Captain L'Teis] Rapid responder?
789
00:31:40.070 --> 00:31:41.310
Sir?
790
00:31:41.310 --> 00:31:45.290
Discovery has an experimental
advanced-drive system
791
00:31:45.290 --> 00:31:48.090
that enables us to respond instantaneously
792
00:31:48.090 --> 00:31:49.170
anywhere in the galaxy.
793
00:31:49.170 --> 00:31:52.870
Word of this critical asset
will not leave this room
794
00:31:52.870 --> 00:31:54.300
until I say so.
795
00:31:54.300 --> 00:31:57.080
Now, Argeth is on yellow alert.
796
00:31:57.080 --> 00:31:59.170
Our intel says that the Emerald Chain
797
00:31:59.170 --> 00:32:01.860
might be making another
move in the next 12 hours.
798
00:32:01.860 --> 00:32:04.320
The Andorian/Orion syndicate?
799
00:32:04.320 --> 00:32:06.120
[Vance] In this part of the quadrant, yes.
800
00:32:07.250 --> 00:32:09.850
Osyraa and the Chain have
been pushing hard lately.
801
00:32:10.920 --> 00:32:13.420
I don't know what they're after on Argeth,
802
00:32:13.420 --> 00:32:15.630
but they're damn sure not going to get it.
803
00:32:15.630 --> 00:32:18.290
If things heat up I'm going
to need you to jump, Captain.
804
00:32:18.290 --> 00:32:19.690
We will be ready, Admiral.
805
00:32:20.860 --> 00:32:22.556
Dismissed.
806
00:32:22.556 --> 00:32:24.900
Thank you all, again, always,
807
00:32:24.900 --> 00:32:26.680
for joining me here in "The Ready Room"
808
00:32:26.680 --> 00:32:29.470
to talk about the latest
episode of Star Trek: Discovery.
809
00:32:29.470 --> 00:32:31.640
Isn't this season amazing?
810
00:32:31.640 --> 00:32:34.570
Don't forget, I will be
back one week from now,
811
00:32:34.570 --> 00:32:38.460
when I will be joined by one
of the finest alien aficionados
812
00:32:38.460 --> 00:32:41.010
in the universe, Star Trek: Discovery's
813
00:32:41.010 --> 00:32:43.610
own lead creature designer, Neville Page.
814
00:32:43.610 --> 00:32:45.150
You won't wanna miss it.
815
00:32:45.150 --> 00:32:47.530
Until then, I'm Wil Wheaton.
816
00:32:47.530 --> 00:32:49.604
Live long and prosper.