WEBVTT 00:00:05.190 --> 00:00:06.570 Hey, nerds. I'm Wil Wheaton 00:00:06.570 --> 00:00:08.530 and this is The Ready Room. 00:00:08.530 --> 00:00:11.730 And, [sighs] remember when we started The Ready Room, 00:00:11.730 --> 00:00:12.950 how we were on a set 00:00:12.950 --> 00:00:14.530 and people came in and talked to me 00:00:14.530 --> 00:00:15.890 and we had actual conversations 00:00:15.890 --> 00:00:16.723 and then a pandemic happened 00:00:16.723 --> 00:00:20.060 and we all had to be far apart from everyone? 00:00:20.060 --> 00:00:21.330 Guess what? 00:00:21.330 --> 00:00:23.560 We get to be back together again. 00:00:23.560 --> 00:00:25.150 Thank you, vaccines. 00:00:25.150 --> 00:00:28.350 Control room, one to beam up. 00:00:28.350 --> 00:00:31.243 [transporter beam whirring] 00:00:40.912 --> 00:00:43.912 [transporter beam whirring] 00:00:48.280 --> 00:00:51.450 Now this is The Ready Room. 00:00:59.940 --> 00:01:01.850 Since we last spent some time together, 00:01:01.850 --> 00:01:03.900 my beloved control room joined forces 00:01:03.900 --> 00:01:06.090 with an extraordinarily talented team 00:01:06.090 --> 00:01:08.940 of designers and builders to construct this, 00:01:08.940 --> 00:01:11.060 the ultimate Ready Room. 00:01:11.060 --> 00:01:13.130 Starting with a concept that paid homage 00:01:13.130 --> 00:01:15.030 to every Star Trek era, 00:01:15.030 --> 00:01:17.720 followed by construction, lighting, and set dressing, 00:01:17.720 --> 00:01:21.500 down to the smallest tachyon-sized details. 00:01:21.500 --> 00:01:22.333 Check it out. 00:01:22.333 --> 00:01:24.560 We've got a state-of-the-art viewscreen monitor. 00:01:24.560 --> 00:01:27.810 Seating for myself and all of my awesome guests 00:01:27.810 --> 00:01:28.940 who will be showing up. 00:01:28.940 --> 00:01:31.900 Not to mention my very own shelf 00:01:31.900 --> 00:01:34.950 of Star Trek props and memorabilia. 00:01:34.950 --> 00:01:37.510 Uh, those tribbles are screen-used 00:01:37.510 --> 00:01:41.240 from Short Treks, by the way. Nerd flex. 00:01:41.240 --> 00:01:43.140 And how about that view? 00:01:43.140 --> 00:01:46.140 If this isn't the ultimate, 00:01:46.140 --> 00:01:48.040 official behind-the-scenes hub 00:01:48.040 --> 00:01:50.480 for all things Star Trek Universe, 00:01:50.480 --> 00:01:53.510 I think maybe it doesn't exist. 00:01:53.510 --> 00:01:55.093 Now, follow me. 00:01:57.140 --> 00:01:59.930 Oh yeah. It just feels right. 00:01:59.930 --> 00:02:02.320 And our timing couldn't be better 00:02:02.320 --> 00:02:04.720 because today we're breaking in our new set 00:02:04.720 --> 00:02:05.820 with a deep dive look 00:02:05.820 --> 00:02:08.370 into the Season 4 premiere of Star Trek: Discovery. 00:02:08.370 --> 00:02:11.570 An all new episode called, "Kobayashi Maru." 00:02:11.570 --> 00:02:14.650 Yes, it is that Kobayashi Maru. 00:02:14.650 --> 00:02:16.000 Red alert! [siren blaring] 00:02:16.000 --> 00:02:18.470 Suffice to say, full spoilers follow from here on out. 00:02:18.470 --> 00:02:20.000 So, if you haven't watched the episode yet, 00:02:20.000 --> 00:02:23.730 definitely go check that out first, before you watch us. 00:02:23.730 --> 00:02:26.130 And trust me, you will absolutely want to come back 00:02:26.130 --> 00:02:27.950 because unlike the Kobayashi Maru, 00:02:27.950 --> 00:02:31.620 my guests this week are the epitome of a win-win scenario. 00:02:31.620 --> 00:02:34.050 First up, Discovery's own fearless leader 00:02:34.050 --> 00:02:36.560 and newly appointed captain, Sonequa Martin-Green, 00:02:36.560 --> 00:02:39.060 will be joining us in the studio. 00:02:39.060 --> 00:02:41.740 Then the Voyager queen herself, Kate Mulgrew, 00:02:41.740 --> 00:02:43.180 will be patching in to talk about 00:02:43.180 --> 00:02:45.250 what hologram Janeway's been up to 00:02:45.250 --> 00:02:47.370 on Nickelodeon, Star Trek: Prodigy. 00:02:47.370 --> 00:02:49.030 And yes, nerds, I am fully aware 00:02:49.030 --> 00:02:50.670 and fully freaking out that we will have 00:02:50.670 --> 00:02:54.220 two iconic Star Trek captains in one Ready Room. 00:02:54.220 --> 00:02:56.250 Don't ever let anyone tell you 00:02:56.250 --> 00:02:58.320 that your fan fiction can't come true. 00:02:58.320 --> 00:03:01.890 And if that wasn't enough--you're so hard to please-- 00:03:01.890 --> 00:03:04.130 I have an exclusive clip from the next episode 00:03:04.130 --> 00:03:06.600 of Star Trek: Discovery coming your way a little later on 00:03:06.600 --> 00:03:09.670 and because the show is not already big enough. 00:03:09.670 --> 00:03:10.503 I'm here to tell you 00:03:10.503 --> 00:03:11.620 that The Ready Room isn't the only set 00:03:11.620 --> 00:03:12.950 to get an upgrade this year. 00:03:12.950 --> 00:03:15.480 For the first time ever, Star Trek: Discovery 00:03:15.480 --> 00:03:18.360 is using cutting-edge AR wall technology 00:03:18.360 --> 00:03:20.100 to bring its fantastic worlds to life 00:03:20.100 --> 00:03:22.540 without even leaving the soundstage. 00:03:22.540 --> 00:03:23.640 How do they do it? 00:03:23.640 --> 00:03:25.440 I'll let the experts answer that one 00:03:25.440 --> 00:03:28.480 in our very first video package of the season. 00:03:28.480 --> 00:03:31.182 Control room, engage. 00:03:37.290 --> 00:03:39.389 So this AR wall is a trip. 00:03:43.965 --> 00:03:46.490 Such a technological wonder. 00:03:49.285 --> 00:03:54.285 [Sonequa] The artistry and, you know, technical acuity 00:03:54.340 --> 00:03:56.934 that goes into that AR wall... 00:04:01.730 --> 00:04:04.820 The AR wall is absolutely incredible. 00:04:04.820 --> 00:04:07.530 For those of you viewers who are not familiar with it, 00:04:07.530 --> 00:04:11.920 it's massive, like, 250 or 270 degree LED screens 00:04:11.920 --> 00:04:13.270 that go all the way around. 00:04:14.190 --> 00:04:16.030 What's really cool about it is that 00:04:16.030 --> 00:04:19.340 it projects the image of the place right on the wall 00:04:21.764 --> 00:04:24.570 and what's on the screens move along with our cameras. 00:04:24.570 --> 00:04:27.780 So, as a viewer, you have the experience 00:04:27.780 --> 00:04:29.440 of our actors moving through the space 00:04:29.440 --> 00:04:32.890 in the way that you would if they were really in a space. 00:04:32.890 --> 00:04:34.780 The AR wall puts you in the environment 00:04:34.780 --> 00:04:35.990 so you can actually see it. 00:04:35.990 --> 00:04:37.830 You can actually live and breathe in it. 00:04:37.830 --> 00:04:41.620 The difference between playing a scene on a green screen 00:04:41.620 --> 00:04:46.620 and playing a scene on this AR wall, for an actor, 00:04:46.800 --> 00:04:49.570 is revolutionary, right? 00:04:49.570 --> 00:04:54.570 Like, the wall does 40% of the work for you. 00:04:55.090 --> 00:04:57.440 [Rillak] I wish I could properly thank you all 00:04:57.440 --> 00:04:59.510 for everything you left behind. 00:04:59.510 --> 00:05:01.313 It was our duty, Madam President. 00:05:02.230 --> 00:05:05.380 Sometimes you'll be looking at something that is real 00:05:06.570 --> 00:05:07.590 that you're interacting with, 00:05:07.590 --> 00:05:10.110 and then it will attach to something virtual on the wall 00:05:10.110 --> 00:05:13.010 that will make it look 100 feet long 00:05:13.010 --> 00:05:17.140 and so it's a pretty trippy experience to get to work with. 00:05:17.140 --> 00:05:19.320 It's strange, 'cause when you walk around 00:05:19.320 --> 00:05:21.660 with your eyes, as opposed to a camera, 00:05:21.660 --> 00:05:25.010 it doesn't really totally make sense. 00:05:25.010 --> 00:05:27.310 So, you really want to walk around either with a camera 00:05:27.310 --> 00:05:30.420 or sometimes we just walk around with the tracker itself 00:05:30.420 --> 00:05:31.720 and we can, kind of, look around 00:05:31.720 --> 00:05:34.750 and see what the set is doing. 00:05:34.750 --> 00:05:37.148 It gives you, kind of, a real sense of being there. 00:05:37.148 --> 00:05:38.507 This is a camera sensor. 00:05:38.507 --> 00:05:40.380 What this allows us to do is 00:05:40.380 --> 00:05:42.230 create a point of view of the camera 00:05:42.230 --> 00:05:43.630 that gives a high res image 00:05:43.630 --> 00:05:46.560 that only the lens of that particular camera can see. 00:05:46.560 --> 00:05:47.990 So what you've got to imagine 00:05:47.990 --> 00:05:51.600 is that this is mounted right beneath the camera, 00:05:51.600 --> 00:05:53.260 or right above the camera, actually, 00:05:53.260 --> 00:05:56.630 and it's syncing up with all the sensors up there. 00:05:56.630 --> 00:05:58.410 See those yellow circles up there. 00:05:58.410 --> 00:06:00.740 We've got hundreds of sensors 00:06:00.740 --> 00:06:02.920 that know exactly where this thing is pointed. 00:06:02.920 --> 00:06:04.900 So, it's a wondrous technology 00:06:04.900 --> 00:06:09.320 and when you go behind the sets, behind that AR wall, 00:06:09.320 --> 00:06:12.770 and you see the wiring and the little lights 00:06:12.770 --> 00:06:16.800 and the little things, the buttons, tons of them. 00:06:16.800 --> 00:06:19.697 I'm thinking, "Oh my gosh, how much did this cost?" 00:06:21.270 --> 00:06:24.370 So, I'll sort of tell you the story of how it happened. 00:06:24.370 --> 00:06:26.740 In Toronto, we didn't have an AR wall. 00:06:26.740 --> 00:06:28.500 So first we had to find a place 00:06:28.500 --> 00:06:30.100 'cause it's really, really big. 00:06:30.100 --> 00:06:33.660 So it took a long time to find an enormous room 00:06:33.660 --> 00:06:36.400 that could hold this enormous television, essentially. 00:06:36.400 --> 00:06:38.500 We started construction on this facility 00:06:39.740 --> 00:06:41.790 right at the start of Disco Season 4. 00:06:42.690 --> 00:06:46.253 And that started from the tech scout to ordering the panels. 00:06:47.690 --> 00:06:50.020 So, all in all, it's about a two-month process 00:06:50.020 --> 00:06:52.660 from finding the facility, building everything, 00:06:52.660 --> 00:06:54.740 and then going immediately to camera. 00:06:54.740 --> 00:06:56.550 The technology is incredible. 00:06:56.550 --> 00:06:57.850 We're very lucky to have it 00:06:57.850 --> 00:06:59.760 'cause we've been able to go to places 00:06:59.760 --> 00:07:02.593 that probably otherwise we wouldn't be able to. 00:07:03.460 --> 00:07:05.590 As a TV and filmmaker, to be able to 00:07:05.590 --> 00:07:09.250 kind of be in the world that you're trying to create, 00:07:09.250 --> 00:07:11.090 it's a definite advantage. 00:07:11.090 --> 00:07:15.460 All of a sudden you have this practical light, 00:07:15.460 --> 00:07:19.870 this interactive light that really is playing on the skin 00:07:19.870 --> 00:07:24.060 and, you know, playing on the back of the actors' heads. 00:07:24.060 --> 00:07:25.700 Whereas in a green-screen environment, 00:07:25.700 --> 00:07:28.080 you would have all this, kind of, green spill 00:07:28.080 --> 00:07:32.270 that they, kind of, need to take out afterwards. 00:07:32.270 --> 00:07:35.410 And so you lose a lot of the detail in the cheeks 00:07:35.410 --> 00:07:37.880 and, you know, it's just not as real 00:07:37.880 --> 00:07:40.460 as having, you know, an actual window 00:07:40.460 --> 00:07:42.890 or an actual view screen, you know, 00:07:42.890 --> 00:07:46.300 a big one beside you and you get that, kind of like, 00:07:46.300 --> 00:07:48.299 realistic light on the face. 00:07:48.299 --> 00:07:50.730 There is a big difference 00:07:50.730 --> 00:07:54.050 on how you direct a scene on the AR wall, 00:07:54.050 --> 00:07:55.630 but it's a good difference. 00:07:55.630 --> 00:08:00.330 So, normally when you're shooting a full CG environment, 00:08:00.330 --> 00:08:01.480 that's on green screen, 00:08:02.360 --> 00:08:04.990 you only have a certain number of shots that you can do 00:08:04.990 --> 00:08:08.290 because each shot and each edit cost a lot of money. 00:08:08.290 --> 00:08:11.830 So, the dream is to be able to shoot 00:08:11.830 --> 00:08:14.020 as much as you want on a green screen 00:08:14.020 --> 00:08:16.510 and have it all cost the same amount, no matter what. 00:08:16.510 --> 00:08:19.050 So, what the AR wall allows is that, 00:08:19.050 --> 00:08:20.557 it allows the director to say, 00:08:20.557 --> 00:08:23.730 "Okay, we've paid one lump fee for the wall 00:08:23.730 --> 00:08:27.150 and I can shoot any direction 00:08:27.150 --> 00:08:29.020 and have as many edits as I want 00:08:29.020 --> 00:08:31.580 and it's all going to cost the same amount 00:08:31.580 --> 00:08:33.530 and I'm not going to break the budget." 00:08:34.476 --> 00:08:38.270 That is freedom because now you're composing shots 00:08:38.270 --> 00:08:39.300 that are right for the story 00:08:39.300 --> 00:08:40.980 and right for the emotion of the character 00:08:40.980 --> 00:08:43.810 and not composing shots that are right for finances. 00:08:43.810 --> 00:08:45.770 So, it's pretty cool. 00:08:45.770 --> 00:08:47.003 Welcome to the Holodeck. 00:08:53.570 --> 00:08:55.100 I couldn't be more excited 00:08:55.100 --> 00:08:58.040 to be joined by my very first guest of the season. 00:08:58.040 --> 00:09:00.210 Not only because we're both here 00:09:00.210 --> 00:09:02.900 in person for the very first time, 00:09:02.900 --> 00:09:07.900 but also because she is now an official Star Trek captain. 00:09:08.480 --> 00:09:11.890 Please join me in welcoming Michael Burnham herself, 00:09:11.890 --> 00:09:14.110 Sonequa Martin-Green is here. 00:09:14.110 --> 00:09:17.030 - Welcome, hello! - Thank you, hello! 00:09:17.030 --> 00:09:18.850 I am very happy to be here. 00:09:18.850 --> 00:09:20.220 This is amazing. 00:09:20.220 --> 00:09:22.560 - This is my new Ready Room. - Yes! 00:09:22.560 --> 00:09:25.100 - You have a new Ready Room. - I do! 00:09:25.100 --> 00:09:27.790 - You are a captain. - I am. 00:09:27.790 --> 00:09:30.490 Now that's a little bit of a big deal. 00:09:30.490 --> 00:09:32.318 Little bit of a big deal. 00:09:32.318 --> 00:09:33.790 This has been sort of coming 00:09:33.790 --> 00:09:35.230 since the beginning of Season 1. 00:09:35.230 --> 00:09:36.690 - It has. - It took us a while 00:09:36.690 --> 00:09:38.513 to get there, but we got here. 00:09:39.670 --> 00:09:44.670 Tell me, what is it like to be in the chair? 00:09:45.030 --> 00:09:46.253 Oh my goodness. 00:09:47.410 --> 00:09:50.290 - I could go on and on. - Please do. 00:09:50.290 --> 00:09:53.480 I could wax poetic about it, oh my goodness. 00:09:53.480 --> 00:09:56.800 Because you're right, it did start out 00:09:56.800 --> 00:09:58.740 as a journey to the chair. 00:09:58.740 --> 00:10:01.041 It always was, even though, you know, 00:10:01.041 --> 00:10:06.041 I couldn't always talk about that or reveal that publicly, 00:10:07.070 --> 00:10:09.300 but it was always a journey to the chair. 00:10:09.300 --> 00:10:14.300 And I appreciate being able to see this woman 00:10:15.930 --> 00:10:18.500 become who she really is 00:10:20.112 --> 00:10:23.150 and become ready for the chair 00:10:23.150 --> 00:10:26.460 because she is finally who she really is. 00:10:26.460 --> 00:10:29.990 Because there have been so many things, 00:10:29.990 --> 00:10:34.990 sort of clouding Burnham from the very beginning. 00:10:35.030 --> 00:10:37.690 All kinds of negative beliefs 00:10:37.690 --> 00:10:42.123 and the carrying of trauma and guilt and shame. 00:10:43.210 --> 00:10:45.960 You know, you've seen this woman make deep moral mistakes, 00:10:45.960 --> 00:10:48.450 which I do understand is a result 00:10:48.450 --> 00:10:52.000 of the progression of our society, honestly. 00:10:52.000 --> 00:10:53.270 Not just to be a Black woman 00:10:53.270 --> 00:10:55.510 at the helm of this franchise, that certainly is, 00:10:55.510 --> 00:10:59.900 but also to be a Black woman in a position of leadership. 00:10:59.900 --> 00:11:01.960 Because even though Burnham wasn't the captain, 00:11:01.960 --> 00:11:03.720 she was always in a, sort of, 00:11:03.720 --> 00:11:08.060 pseudo position of leadership along the way. 00:11:08.060 --> 00:11:09.950 But being able to make mistakes 00:11:09.950 --> 00:11:13.200 and still succeed and still progress, 00:11:13.200 --> 00:11:17.112 that is something that this future provides. 00:11:17.112 --> 00:11:22.112 It's cool to see that you stumble on your way. 00:11:22.340 --> 00:11:26.633 No one is infallible, everybody makes mistakes. 00:11:26.633 --> 00:11:27.620 Right, right. 00:11:27.620 --> 00:11:29.340 And Michael has made mistakes. 00:11:29.340 --> 00:11:30.560 [Sonequa] Absolutely. 00:11:30.560 --> 00:11:33.370 And still is an extraordinary leader. 00:11:33.370 --> 00:11:35.450 Yes, that is true 00:11:35.450 --> 00:11:40.450 and it's an honor to bring those words to life. 00:11:40.490 --> 00:11:43.457 Let's talk a little bit about Episode 1 00:11:43.457 --> 00:11:45.230 - of this season. - Yes! 00:11:45.230 --> 00:11:46.253 I can talk to you about this- 00:11:46.253 --> 00:11:47.654 - I know! - Deep in the weeds, 00:11:47.654 --> 00:11:49.400 - behind-the-scenes- - I'm telling you! 00:11:49.400 --> 00:11:52.742 stuff forever and they would all go somewhere else. 00:11:52.742 --> 00:11:55.310 [both laughing] 00:11:55.310 --> 00:11:56.971 - Let's get into this. - Yes. 00:11:56.971 --> 00:12:00.060 In the very first scene of the Season 4 premiere, 00:12:00.060 --> 00:12:03.580 Burnham and Book are, like, back together. 00:12:03.580 --> 00:12:06.300 Like, are they couriering again? 00:12:06.300 --> 00:12:09.138 What, they're giving away dilithium? 00:12:09.138 --> 00:12:12.230 - Right. - Talk about all that set up 00:12:12.230 --> 00:12:15.451 and, like, bringing that set piece together. 00:12:15.451 --> 00:12:18.110 Like, talk about starting in the middle of the action. 00:12:18.110 --> 00:12:19.110 [Sonequa] Oh gosh. 00:12:20.750 --> 00:12:24.470 [Wil] You and Ajala are just taking dilithium to people, 00:12:24.470 --> 00:12:25.633 tell me about that. 00:12:25.633 --> 00:12:27.370 Yeah, just giving out dilithium. 00:12:27.370 --> 00:12:29.750 I love the little, the time cut. 00:12:29.750 --> 00:12:31.280 You know, there's a little bit of a time cut 00:12:31.280 --> 00:12:32.330 between the end of Season 3 00:12:32.330 --> 00:12:34.050 and the beginning of Season 4 and I love that 00:12:34.050 --> 00:12:37.640 because you have the opportunity of just that, 00:12:37.640 --> 00:12:40.550 being able to come into the middle of the action. 00:12:40.550 --> 00:12:42.353 I, of course, you know, 00:12:42.353 --> 00:12:47.353 I love David Ajala and I love how he brings Book to life. 00:12:47.450 --> 00:12:50.350 And I love that you do get this, 00:12:50.350 --> 00:12:52.527 you do get this moment where you think, 00:12:52.527 --> 00:12:54.570 "What's happening here? Are we going? 00:12:54.570 --> 00:12:56.940 Is this a departure or, you know, what's happening?" 00:12:56.940 --> 00:13:01.210 But I love it because you get to see 00:13:01.210 --> 00:13:04.020 Burnham in action as the captain, 00:13:04.020 --> 00:13:09.020 but also being this changed woman that she is. 00:13:09.301 --> 00:13:10.708 Well, that was a hell of a thing. 00:13:10.708 --> 00:13:11.541 [Tilly chuckles] 00:13:11.541 --> 00:13:13.257 Because as Burnham, 00:13:13.257 --> 00:13:18.140 I am at a level of inner balance 00:13:18.140 --> 00:13:22.480 and synergy that I have not been at before. 00:13:22.480 --> 00:13:25.430 We earned our way to this. 00:13:25.430 --> 00:13:28.130 And, of course, that's why this was the time 00:13:28.130 --> 00:13:29.520 to be in the chair. 00:13:29.520 --> 00:13:31.860 Which, by the way, I've said this a few times, 00:13:31.860 --> 00:13:33.570 but I didn't sit in the chair 00:13:33.570 --> 00:13:37.360 until we shot the scene in the finale of Season 3 00:13:37.360 --> 00:13:40.730 - and so I was- - That is the best choice! 00:13:40.730 --> 00:13:42.990 - I deliberately- - That's the best choice. 00:13:42.990 --> 00:13:45.260 Does it make you twitch when guests come to the set 00:13:45.260 --> 00:13:46.750 and they, like, sit in the chair? 00:13:46.750 --> 00:13:48.320 - No, no. - It always made me twitch. 00:13:48.320 --> 00:13:49.350 I was like, "That's the captain's chair, 00:13:49.350 --> 00:13:52.040 you can't sit in that chair, what are you doing?" 00:13:52.040 --> 00:13:53.330 That's so funny. 00:13:53.330 --> 00:13:55.400 Actually, I know that that is a thing 00:13:55.400 --> 00:13:58.010 and I always want to facilitate that when people come, 00:13:58.010 --> 00:13:59.180 because it's such a thing 00:13:59.180 --> 00:14:00.150 and I know that there have been people 00:14:00.150 --> 00:14:02.040 that have sat in that chair when they come to visit set, 00:14:02.040 --> 00:14:03.630 and it brings tears to their eyes 00:14:03.630 --> 00:14:06.420 and so it's like, "Listen, that chair's not mine," 00:14:06.420 --> 00:14:08.770 - as Sonequa, that chair is-- - Of course. 00:14:08.770 --> 00:14:09.960 You know what I'm saying? 00:14:09.960 --> 00:14:11.840 It's, like, that's a representation, 00:14:11.840 --> 00:14:13.290 that's a symbol of this franchise 00:14:13.290 --> 00:14:16.390 and, so, absolutely sit in it, let me take a picture, right? 00:14:16.390 --> 00:14:18.810 But, I sat in it for the first time 00:14:18.810 --> 00:14:20.710 when we shot that scene, which was huge. 00:14:20.710 --> 00:14:24.226 So, Olatunde Osunsanmi directed 00:14:24.226 --> 00:14:26.726 that moment in the finale, 00:14:26.726 --> 00:14:30.260 and he also directed the first episode of a Season 4. 00:14:30.260 --> 00:14:33.740 So, he told us, you know, have fun. 00:14:33.740 --> 00:14:35.940 So, that opening sequence was very fun 00:14:35.940 --> 00:14:38.650 and I think it was important for people to see, 00:14:38.650 --> 00:14:42.400 you know, the captain, but also see Burnham having fun 00:14:42.400 --> 00:14:46.150 and just being more in tune with who she really is, 00:14:46.150 --> 00:14:49.430 and not pushing and straining so much. 00:14:49.430 --> 00:14:51.640 So there's a parallel there 00:14:51.640 --> 00:14:56.640 between Sonequa and Sonequa as Burnham. 00:14:56.660 --> 00:14:58.630 So, that's interesting, but yeah, 00:14:58.630 --> 00:15:00.310 I really love being able to come in 00:15:00.310 --> 00:15:01.610 in the middle of the action. 00:15:01.610 --> 00:15:03.690 - I grew up with TOS. - Mm-hmm. 00:15:03.690 --> 00:15:06.170 I kind of came of age with Next Generation. 00:15:06.170 --> 00:15:07.860 - Right. - They are my Star Treks. 00:15:07.860 --> 00:15:08.773 - Yeah. - Right. 00:15:10.590 --> 00:15:13.248 This thing in Burnham, that I'm crazy about, 00:15:13.248 --> 00:15:16.189 that I have-- 00:15:16.189 --> 00:15:19.500 Spoiler, audience, I've watched ahead a little bit. 00:15:19.500 --> 00:15:22.293 I've gotten to see some of where she goes this year. 00:15:23.720 --> 00:15:27.810 I see this wonderful combination 00:15:27.810 --> 00:15:31.530 of Picard's intellect, 00:15:31.530 --> 00:15:35.633 wisdom, grace, his patience. 00:15:36.810 --> 00:15:41.520 I see this incredible amount of Kirk's 00:15:41.520 --> 00:15:44.443 absolute willingness to jump in there and kick ass. 00:15:46.140 --> 00:15:50.998 And, that she embodies both of those qualities 00:15:50.998 --> 00:15:53.748 all the time. 00:15:53.748 --> 00:15:57.250 And I kind of feel like Burnham can come into something 00:15:57.250 --> 00:15:59.690 very diplomatically and very calmly, 00:15:59.690 --> 00:16:03.197 and if that's not working and her crew is in danger, 00:16:03.197 --> 00:16:05.650 "Oh, buddy, you just made a real bad choice." 00:16:05.650 --> 00:16:08.590 - Mm-hmm. - Burnham is gonna mess you up 00:16:10.390 --> 00:16:12.210 she doesn't shy away from the action 00:16:12.210 --> 00:16:15.223 and there is a fair amount of action in this premiere. 00:16:16.460 --> 00:16:19.320 Let's talk a little bit about that. 00:16:19.320 --> 00:16:21.300 The people that do the superhero movies, 00:16:21.300 --> 00:16:23.512 - they train for a year! - Right, right. 00:16:23.512 --> 00:16:24.570 [Wil] To go and do that. 00:16:24.570 --> 00:16:28.734 How much do you have to do to get ready for all that stuff? 00:16:28.734 --> 00:16:30.350 [whistles] Well, thank you for that question. 00:16:30.350 --> 00:16:34.610 And for that description of Burnham. 00:16:34.610 --> 00:16:37.195 I appreciate that. I really do. 00:16:38.270 --> 00:16:41.080 And I do feel like, you know, 00:16:41.080 --> 00:16:46.080 sort of at the root of it all is this woman who 00:16:46.879 --> 00:16:48.820 can serve 00:16:50.570 --> 00:16:51.910 in an amazing way 00:16:51.910 --> 00:16:55.150 because of this synergy of logic and emotion and grit 00:16:57.180 --> 00:17:00.913 and how all of those things work together at the same time. 00:17:01.950 --> 00:17:04.620 I do really love that. 00:17:04.620 --> 00:17:08.590 I did stage combat when I was in college. 00:17:08.590 --> 00:17:10.040 - Oh cool. - And loved it, 00:17:10.040 --> 00:17:11.910 had such a good time with it. 00:17:11.910 --> 00:17:13.840 I was certified in all the weapons 00:17:13.840 --> 00:17:17.150 that the Society of American Fight Directors offers. 00:17:17.150 --> 00:17:20.140 Obviously those certifications are long expired, 00:17:20.140 --> 00:17:22.810 but I had a really good time fighting 00:17:22.810 --> 00:17:24.640 over the course of my collegiate career. 00:17:24.640 --> 00:17:28.452 So, being able to fight still is exciting 00:17:28.452 --> 00:17:31.070 and I have had the privilege and the blessing 00:17:31.070 --> 00:17:33.423 of doing it quite often. 00:17:34.330 --> 00:17:36.840 So I had just given birth, 00:17:36.840 --> 00:17:40.643 when we were shooting this episode, 12 weeks prior. 00:17:41.856 --> 00:17:45.180 - [Sonequa laughs] - That's not a lot of time 00:17:45.180 --> 00:17:48.327 between putting a human being out of your body-- 00:17:48.327 --> 00:17:49.917 That's right, pushing her right out. 00:17:49.917 --> 00:17:51.340 and fighting on the set. 00:17:51.340 --> 00:17:52.780 That's right. That's right. 00:17:52.780 --> 00:17:55.370 And doing wire work and all of that stuff 00:17:55.370 --> 00:17:58.323 - where my core is shot-- - Yeah! 00:17:59.357 --> 00:18:02.910 - Holy crap, man. - Yeah, it was fun. 00:18:02.910 --> 00:18:05.330 I mean, I love that. I love stunts. 00:18:05.330 --> 00:18:09.473 I love fighting, with choreography, you know. 00:18:10.520 --> 00:18:13.370 But I had a really good time. 00:18:13.370 --> 00:18:15.730 It was a lot, it took a lot out of me. 00:18:15.730 --> 00:18:17.520 - I was exhausted. - I can only imagine. 00:18:17.520 --> 00:18:19.710 As everybody is with a newborn 00:18:19.710 --> 00:18:22.130 and then especially as we women are, 00:18:22.130 --> 00:18:23.840 women are just warriors 00:18:23.840 --> 00:18:27.140 for going through the miracle of that, right? 00:18:27.140 --> 00:18:31.073 Bringing life into the world in that way with our bodies. 00:18:32.770 --> 00:18:35.515 You know, I was energized by it, 00:18:35.515 --> 00:18:37.270 but at the same time exhausted. 00:18:37.270 --> 00:18:40.410 And, of course, having a lot of fun with it. 00:18:40.410 --> 00:18:43.910 So we have an amazing team. 00:18:43.910 --> 00:18:46.560 You know, we have an amazing crew at large. 00:18:46.560 --> 00:18:49.350 And so Chris McGuire, our stunt coordinator, 00:18:49.350 --> 00:18:51.140 he and I worked very closely and always have. 00:18:51.140 --> 00:18:52.230 He was even teaching me Goju, 00:18:52.230 --> 00:18:54.470 at one point, a couple of years ago. 00:18:54.470 --> 00:18:55.640 And so, you know, we have 00:18:55.640 --> 00:18:57.880 our little bit of time for rehearsal. 00:18:57.880 --> 00:18:59.850 We never get as much rehearsal as we'd like. 00:18:59.850 --> 00:19:01.140 We never do. 00:19:01.140 --> 00:19:03.680 But, you know, we utilize that as much as possible 00:19:03.680 --> 00:19:08.450 And I've always been really interested in Suus Mahna, 00:19:08.450 --> 00:19:12.990 Vulcan Suus Mahna, and continuing to, kind of, 00:19:12.990 --> 00:19:17.240 nurture that and put that into the mix. 00:19:17.240 --> 00:19:21.430 And that is an ongoing process, by the way, 00:19:21.430 --> 00:19:23.020 but it's an exciting process. 00:19:23.020 --> 00:19:25.520 And so just trying to decide 00:19:25.520 --> 00:19:29.581 what this martial art form really is, what would it be? 00:19:29.581 --> 00:19:32.530 What's important to Vulcans? 00:19:32.530 --> 00:19:36.003 And then what would their martial art form then be? 00:19:37.360 --> 00:19:40.490 And so hopefully there will still be, 00:19:40.490 --> 00:19:43.840 there will be lots of things to be excited about. 00:19:43.840 --> 00:19:47.330 A lot of things still, like, put in as far as that goes. 00:19:47.330 --> 00:19:49.700 As we continue on. That's my hope. 00:19:49.700 --> 00:19:50.980 I am thinking now of the stuff 00:19:50.980 --> 00:19:52.982 that y'all haven't seen yet, that's coming up. 00:19:52.982 --> 00:19:54.380 Oh, that's so cool! 00:19:54.380 --> 00:19:55.213 Anyway, sorry. 00:19:55.213 --> 00:19:56.230 I don't want to get you too excited 00:19:56.230 --> 00:19:58.223 about stuff I'm not allowed to talk about. 00:19:59.615 --> 00:20:00.500 We're just about out of time. 00:20:00.500 --> 00:20:03.620 So, this episode ends on a cliff hanger 00:20:03.620 --> 00:20:07.660 and it is a brutal cliffhanger. 00:20:07.660 --> 00:20:09.710 I inputted Kwejian's coordinates, but... 00:20:10.900 --> 00:20:12.000 What? 00:20:12.000 --> 00:20:12.900 Nothing's there. 00:20:15.750 --> 00:20:17.803 An entire planet is destroyed. 00:20:18.790 --> 00:20:21.930 I think it's safe to say, that's a lot. 00:20:21.930 --> 00:20:22.763 Right. 00:20:23.600 --> 00:20:25.233 - This is a crisis. - Right. 00:20:26.250 --> 00:20:27.540 Will you talk a little bit 00:20:27.540 --> 00:20:29.330 about what this specific crisis, 00:20:29.330 --> 00:20:31.230 the destruction of Kwejian 00:20:31.230 --> 00:20:32.840 means for the rest of the season? 00:20:32.840 --> 00:20:35.750 Oh my goodness. Well, I mean... 00:20:35.750 --> 00:20:38.140 The, sort of, tendrils from this 00:20:38.140 --> 00:20:42.090 spread out for the duration of the season, absolutely. 00:20:42.090 --> 00:20:44.230 This is a season of uncertainty. 00:20:44.230 --> 00:20:47.180 Michelle Paradise, our brilliant Co-Showrunner 00:20:47.180 --> 00:20:49.480 with Alex Kurtzman and, you know, the writers 00:20:49.480 --> 00:20:52.220 along with Jenny Lumet's episode, 00:20:52.220 --> 00:20:54.280 you know, she's talked a lot 00:20:54.280 --> 00:20:57.553 about how this is a matter of uncertainty. 00:21:01.216 --> 00:21:02.750 How do you still make 00:21:02.750 --> 00:21:04.810 all the decisions that need to be made? 00:21:04.810 --> 00:21:08.160 How do you fight for what's right? 00:21:08.160 --> 00:21:11.220 How do you protect yourself and your loved ones 00:21:11.220 --> 00:21:14.760 and ensure the future in such uncertainty? 00:21:14.760 --> 00:21:19.020 And so, now I love that this is what ends the episode, 00:21:19.020 --> 00:21:20.880 because it's really that tipping off point, 00:21:20.880 --> 00:21:23.780 because now you see the stakes. 00:21:23.780 --> 00:21:27.050 Now you see how severe this really is, 00:21:27.050 --> 00:21:28.600 what we're embarking on 00:21:28.600 --> 00:21:33.210 and now we see how bad it can be. 00:21:33.210 --> 00:21:36.210 Which is hard to imagine, anything worse 00:21:36.210 --> 00:21:40.640 than a planet and a whole people being destroyed. 00:21:40.640 --> 00:21:43.610 And so to know that that's what we're up against, 00:21:43.610 --> 00:21:45.910 you know what's coming 00:21:46.750 --> 00:21:49.540 and you know these people 00:21:49.540 --> 00:21:53.890 and you know that these are sacrificial heroes 00:21:53.890 --> 00:21:57.090 and we don't leave any stones left unturned. 00:21:57.090 --> 00:21:59.750 We go through it, we go through it 00:21:59.750 --> 00:22:02.300 and there's turmoil and sorrow and despair, 00:22:02.300 --> 00:22:05.770 but there's also joy and hope in the light. 00:22:05.770 --> 00:22:08.200 So we're very, very, very, very excited about this season, 00:22:08.200 --> 00:22:11.750 especially with the state of the world 00:22:11.750 --> 00:22:14.580 and doing it in the midst of the pandemic 00:22:14.580 --> 00:22:16.610 and with the writers being courageous enough 00:22:16.610 --> 00:22:19.020 to, sort of, have this art imitating life in this way. 00:22:19.020 --> 00:22:21.330 I was going to ask you about that. 00:22:21.330 --> 00:22:23.570 So, we see an entire planet, 00:22:23.570 --> 00:22:26.420 an entire civilization destroyed by something. 00:22:26.420 --> 00:22:29.370 We don't know what it is, but it's clearly big. 00:22:29.370 --> 00:22:31.890 It's clearly bigger than all of us. 00:22:31.890 --> 00:22:35.810 There's, like, we don't know if we can do anything about it, 00:22:35.810 --> 00:22:37.540 but if we're going to do anything about it, 00:22:37.540 --> 00:22:39.410 we have to be together. 00:22:39.410 --> 00:22:41.330 This just feels like really great science fiction 00:22:41.330 --> 00:22:43.210 that's kind of really about what's happening right now 00:22:43.210 --> 00:22:46.230 and not necessarily about 900 years in the future. 00:22:46.230 --> 00:22:47.063 That's right. That's right. 00:22:47.063 --> 00:22:48.200 I appreciate the writers for that. 00:22:48.200 --> 00:22:50.080 - Yeah, me too. - I appreciate their courage 00:22:50.080 --> 00:22:52.080 to do that and their awareness, 00:22:52.080 --> 00:22:53.380 and their engagement, and their heart. 00:22:53.380 --> 00:22:55.990 I'm looking forward to experiencing that this year. 00:22:55.990 --> 00:22:57.240 Thank you, and thank you 00:22:57.240 --> 00:23:00.250 for being the shoulders that we stand on, as well, 00:23:00.250 --> 00:23:01.480 and being the legacy holders 00:23:01.480 --> 00:23:03.280 that we were talking about before. 00:23:03.280 --> 00:23:04.990 It is such a privilege 00:23:05.910 --> 00:23:10.910 to be in the roots of the tree that you are climbing. 00:23:11.260 --> 00:23:12.400 - Yes. - I love that. 00:23:12.400 --> 00:23:14.180 Sonequa, it is always 00:23:14.180 --> 00:23:17.010 such an unbelievable pleasure to talk to you. 00:23:17.010 --> 00:23:20.620 Thank you for Burnham and thank you for being here today. 00:23:20.620 --> 00:23:21.730 Aw, thank you for having me. 00:23:21.730 --> 00:23:23.330 The pleasure is mine, thank you. 00:23:24.320 --> 00:23:28.280 And now, please allow me to introduce our special guest, 00:23:28.280 --> 00:23:31.520 the new president of the Federation, Laira Rillak. 00:23:31.520 --> 00:23:34.586 [Narrator] In the Star Trek: Discovery Season 4 premiere, 00:23:34.586 --> 00:23:36.502 we meet Federation President Rillak, 00:23:36.502 --> 00:23:39.610 whose inter-species heritage makes her quite unique. 00:23:39.610 --> 00:23:43.570 President Rillak is part-Cardassian, part-Bajoran, 00:23:43.570 --> 00:23:46.400 and part-human. A mix of a three races, 00:23:46.400 --> 00:23:48.200 which you don't see very often on Star Trek. 00:23:48.200 --> 00:23:49.033 No. 00:23:49.033 --> 00:23:50.230 [Narrator] Among the many warring aliens 00:23:50.230 --> 00:23:52.390 in the Star Trek universe, the conflict 00:23:52.390 --> 00:23:55.240 between the Cardassians and Bajorans stands out. 00:23:55.240 --> 00:23:57.420 Historically, Bajor was a planet 00:23:57.420 --> 00:24:00.100 populated by enlightened and religious people. 00:24:00.100 --> 00:24:02.630 [Picard] They were architects and artists, 00:24:02.630 --> 00:24:03.940 builders and philosophers, 00:24:03.940 --> 00:24:06.660 when humans were not yet standing erect. 00:24:06.660 --> 00:24:08.830 [Narrator] While their neighboring planet, Cardassia, 00:24:08.830 --> 00:24:11.970 was home to a ruthless totalitarian government. 00:24:11.970 --> 00:24:15.450 In the 24th century, the Cardassians targeted Bajor 00:24:15.450 --> 00:24:16.830 for its resources. 00:24:16.830 --> 00:24:19.870 We could have turned the world into a paradise. 00:24:19.870 --> 00:24:22.620 From the moment we arrived on Bajor, 00:24:22.620 --> 00:24:25.870 it was clear that we were the superior race. 00:24:25.870 --> 00:24:27.760 [Narrator] Setting up a military presence 00:24:27.760 --> 00:24:31.650 that led to a 50-year occupation and mass genocide. 00:24:31.650 --> 00:24:33.680 Bajorans were a peaceful people before you came. 00:24:33.680 --> 00:24:35.430 We offered no threat to you. 00:24:35.430 --> 00:24:37.610 We could never understand why you had to be so brutal. 00:24:37.610 --> 00:24:39.230 [Narrator] Considered an abomination 00:24:39.230 --> 00:24:41.510 by both Bajorans and Cardassians, 00:24:41.510 --> 00:24:45.070 hybrid children from the occupation were almost unheard of. 00:24:45.070 --> 00:24:46.870 You're not the only Cardassian officer 00:24:46.870 --> 00:24:48.695 who kept a Bajoran mistress. 00:24:48.695 --> 00:24:51.502 It wasn't like that. Naprem and I loved each other. 00:24:51.502 --> 00:24:56.030 The head of the occupation, in love with a Bajoran? 00:24:56.030 --> 00:24:58.780 [Narrator] But the Cardassian prefect, Gul Dukat, 00:24:58.780 --> 00:25:01.480 hid his hybrid daughter, Tora Ziyal, 00:25:01.480 --> 00:25:04.820 knowing she would be rejected by both societies. 00:25:04.820 --> 00:25:08.200 I'm half-Bajoran and that means I'm an outcast back home. 00:25:08.200 --> 00:25:10.140 [Narrator] Thankfully, a Bajoran resistance 00:25:10.140 --> 00:25:13.010 rose to meet this discrimination and oppression, 00:25:13.010 --> 00:25:14.971 and with the help of the Federation, 00:25:14.971 --> 00:25:18.020 Bajor began to rebuild its infrastructure, 00:25:18.020 --> 00:25:21.360 push out the Cardassians and end their occupation 00:25:21.360 --> 00:25:22.980 once and for all. 00:25:22.980 --> 00:25:24.830 More than 800 years later, 00:25:24.830 --> 00:25:29.600 President Rillak stands tall as proof that much has changed. 00:25:29.600 --> 00:25:31.920 We started talking about a president back in Season 3 00:25:31.920 --> 00:25:32.810 and we knew in Season 4 00:25:32.810 --> 00:25:34.380 that we wanted to introduce that president. 00:25:34.380 --> 00:25:36.710 You know, we put a lot of thought into 00:25:36.710 --> 00:25:38.570 who would this president be? 00:25:38.570 --> 00:25:40.580 What does that say about the Federation? 00:25:40.580 --> 00:25:43.610 And what does that tell us about the world that we're in? 00:25:43.610 --> 00:25:46.410 It just felt like a really interesting choice to us, 00:25:46.410 --> 00:25:49.418 given the history of the Bajorans and the Cardassians. 00:25:56.000 --> 00:25:56.960 It is worth noting 00:25:56.960 --> 00:25:58.930 that my next interview with Kate Mulgrew 00:25:58.930 --> 00:26:00.070 was actually captured 00:26:00.070 --> 00:26:02.210 prior to the completion of our new set, 00:26:02.210 --> 00:26:03.190 which is why you'll see, 00:26:03.190 --> 00:26:05.780 I'm suddenly transported back to my game room 00:26:05.780 --> 00:26:07.430 for our conversation. 00:26:07.430 --> 00:26:08.500 Don't worry, nerds, 00:26:08.500 --> 00:26:11.000 a little temporal distortion never hurt anyone. 00:26:11.000 --> 00:26:13.840 Just ask Wesley Crusher. Enjoy. 00:26:13.840 --> 00:26:16.220 I am now joined by a Star Trek legend. 00:26:16.220 --> 00:26:18.040 She was the captain of the Starship Voyager. 00:26:18.040 --> 00:26:20.020 She is now the hologram training advisor 00:26:20.020 --> 00:26:22.440 on the new animated series, Star Trek: Prodigy. 00:26:22.440 --> 00:26:25.320 Please join me in welcoming our own Kathryn Janeway, 00:26:25.320 --> 00:26:26.870 Kate Mulgrew, to The Ready Room. 00:26:26.870 --> 00:26:29.433 Thank you for stopping by again, Kate. 00:26:29.433 --> 00:26:33.110 I'm delighted to be here and especially with you. 00:26:33.110 --> 00:26:35.600 A few weeks back, we talked about how you are now playing 00:26:35.600 --> 00:26:38.140 this hologram version of Kathryn Janeway. 00:26:38.140 --> 00:26:40.600 So, we have seen her in action a little bit. 00:26:40.600 --> 00:26:42.610 There are clearly some similarities 00:26:42.610 --> 00:26:44.470 between the captain of Voyager 00:26:44.470 --> 00:26:47.913 and this hologram version of the captain. 00:26:47.913 --> 00:26:51.030 I noticed that they both like to drink coffee, for instance. 00:26:51.030 --> 00:26:54.200 There are also some significant differences 00:26:54.200 --> 00:26:56.080 between the two versions of the character. 00:26:56.080 --> 00:26:57.750 Would you talk about that? 00:26:57.750 --> 00:27:00.173 She has adapted all of the, 00:27:00.173 --> 00:27:02.290 the hologram has adapted all of, 00:27:02.290 --> 00:27:06.150 or many of the features of Kathryn Janeway. 00:27:06.150 --> 00:27:09.790 She is amused to find herself 00:27:09.790 --> 00:27:13.230 on this defunct starship, buried in the sand, 00:27:13.230 --> 00:27:16.080 on this rather wicked planet 00:27:16.080 --> 00:27:18.480 from which all of these kids are trying to flee. 00:27:19.650 --> 00:27:22.860 None of them understand the workings of this starship 00:27:22.860 --> 00:27:25.430 because from their point of view it's archaic 00:27:25.430 --> 00:27:27.390 and somebody stumbles across some button 00:27:27.390 --> 00:27:30.713 and it's shields up and there I am, the hologram. 00:27:32.247 --> 00:27:36.363 But she's endowed with all the same... 00:27:36.363 --> 00:27:38.405 I would say personality traits. 00:27:38.405 --> 00:27:40.920 I find them clever and amusing. 00:27:40.920 --> 00:27:44.550 I'm going to develop strong feelings for all of them, 00:27:44.550 --> 00:27:47.170 and they will be very specific 00:27:47.170 --> 00:27:49.620 from relationship to relationship. 00:27:49.620 --> 00:27:52.200 I want to teach them. 00:27:52.200 --> 00:27:53.970 So you kind of touched a little bit 00:27:53.970 --> 00:27:55.260 on what my next question was. 00:27:55.260 --> 00:27:58.070 So, even though she is a hologram on the ship, 00:27:58.070 --> 00:28:01.070 there is an authoritativeness to this character. 00:28:01.070 --> 00:28:04.490 Like, she clearly is a captain. 00:28:04.490 --> 00:28:07.890 She clearly is a vice admiral. 00:28:07.890 --> 00:28:11.250 There is a little bit of a mentor-mentee relationship 00:28:11.250 --> 00:28:12.810 that she has with Dal. 00:28:12.810 --> 00:28:15.840 And I would love for you to talk a little bit 00:28:15.840 --> 00:28:18.330 about Hologram Janeway's relationship 00:28:18.330 --> 00:28:20.713 with this delightful group of kids. 00:28:21.620 --> 00:28:26.620 I think she finds Dal interesting. 00:28:26.700 --> 00:28:28.820 I hate to keep using the word, "amusing," 00:28:28.820 --> 00:28:30.740 but I think she's just, sort of... 00:28:30.740 --> 00:28:33.700 She has to, sort of, step back and watch him. 00:28:33.700 --> 00:28:35.630 He's a little arrogant. 00:28:35.630 --> 00:28:39.090 And yet, Janeway appreciates his cleverness. 00:28:39.090 --> 00:28:42.830 And instinctively and intuitively understands 00:28:42.830 --> 00:28:46.170 that he is important, that he will be the leader. 00:28:46.170 --> 00:28:47.620 What's the call, Captain? 00:28:47.620 --> 00:28:48.453 I don't know. 00:28:48.453 --> 00:28:50.210 We've done everything you've said 00:28:50.210 --> 00:28:51.910 and we're still fighting to get out. 00:28:51.910 --> 00:28:53.110 That's it! 00:28:53.110 --> 00:28:55.750 What if we stop fighting and ride the shockwave? 00:28:55.750 --> 00:28:58.570 - Let it propel us free. - Bingo. 00:28:58.570 --> 00:29:01.940 I imagine that it is really fun 00:29:01.940 --> 00:29:06.320 to now go from being a character who is giving the orders 00:29:06.320 --> 00:29:08.880 to playing a character who is, kind of, 00:29:08.880 --> 00:29:11.440 reporting to a group of teenagers. 00:29:11.440 --> 00:29:13.870 Would you talk a little bit about that? 00:29:13.870 --> 00:29:17.700 It is fun because it's also liberating 00:29:17.700 --> 00:29:20.210 because there's a lightness to it 00:29:20.210 --> 00:29:23.200 that live-action Janeway could not afford to have. 00:29:23.200 --> 00:29:25.740 - Yes. - I mean, that pleasure 00:29:25.740 --> 00:29:27.860 was truly lost in the Delta quadrant. 00:29:27.860 --> 00:29:30.660 It was my responsibility to get us home. 00:29:30.660 --> 00:29:33.120 But here, I'm a hologram. 00:29:33.120 --> 00:29:35.660 My duties are limited 00:29:35.660 --> 00:29:38.960 and at the same time, can be very expansive. 00:29:38.960 --> 00:29:42.370 But I'm, as I say again, and I hate to overuse this word, 00:29:42.370 --> 00:29:45.330 I'm more bemused than anything else, 00:29:45.330 --> 00:29:48.270 when they're cocky, when Dal is cocky, 00:29:48.270 --> 00:29:50.500 and as a hologram, Janeway is sort of 00:29:50.500 --> 00:29:54.127 like any other adult with a child, will say, 00:29:54.127 --> 00:29:56.050 "Then you're gonna have to learn it your way." 00:29:56.050 --> 00:29:58.150 Which is inevitably going to be the hard way. 00:29:58.150 --> 00:30:01.475 So, go ahead and call me when you need me. 00:30:03.760 --> 00:30:05.900 I think about Wesley Crusher all the time, 00:30:05.900 --> 00:30:07.820 'cause he's a big part of my life, 00:30:07.820 --> 00:30:11.450 and even though I haven't played him in a really long time, 00:30:11.450 --> 00:30:13.130 I feel like if I had the opportunity, 00:30:13.130 --> 00:30:14.460 he'd come back to me pretty quickly 00:30:14.460 --> 00:30:16.750 because I lived in his skin for a long time. 00:30:16.750 --> 00:30:20.740 Did you have a process of rediscovering Janeway, 00:30:20.740 --> 00:30:23.087 of re-meeting her, or was it more like, 00:30:23.087 --> 00:30:25.120 "I'm gonna take this thing off the bookshelf 00:30:25.120 --> 00:30:26.530 where I love it and take care of it 00:30:26.530 --> 00:30:30.070 and just dust it off a little bit and I'm ready to go." 00:30:30.070 --> 00:30:32.990 No, I mean, you may find this 00:30:32.990 --> 00:30:34.960 perhaps auspicious, it's not, 00:30:34.960 --> 00:30:38.120 when I say she's always lived in me, 00:30:38.120 --> 00:30:40.790 from the moment I began to create her. 00:30:40.790 --> 00:30:44.140 The investment was so profound and so complete 00:30:45.790 --> 00:30:47.300 that she has never been 00:30:47.300 --> 00:30:50.630 on any kind of a shelf gathering dust. 00:30:50.630 --> 00:30:52.133 She has been well alive. 00:30:53.470 --> 00:30:55.760 My question to myself was, 00:30:55.760 --> 00:30:58.720 did I have it to reanimate her? 00:30:58.720 --> 00:31:00.360 And when I found that she was there 00:31:00.360 --> 00:31:03.693 and gave her full approval, I was delighted. 00:31:05.370 --> 00:31:08.420 We're now several episodes into the first season 00:31:08.420 --> 00:31:12.330 and there's a lot more that we could talk about, 00:31:12.330 --> 00:31:13.743 but I want to end with this. 00:31:14.610 --> 00:31:15.590 For those in the audience 00:31:15.590 --> 00:31:19.130 who haven't yet watched Star Trek: Prodigy, 00:31:19.130 --> 00:31:23.650 what would you say Star Trek fans, old and new, 00:31:23.650 --> 00:31:25.083 will love about the show? 00:31:26.800 --> 00:31:27.643 Well, they will love 00:31:27.643 --> 00:31:30.740 what they have always loved about Star Trek. 00:31:30.740 --> 00:31:35.740 Which is, introducing to the unknown, 00:31:35.980 --> 00:31:38.950 meaning those of these children, these teenagers, 00:31:38.950 --> 00:31:41.320 the idea of the Prime Directive, 00:31:41.320 --> 00:31:45.150 the idea of learning to man a starship, 00:31:45.150 --> 00:31:50.150 the idea of escaping evil to find good 00:31:50.500 --> 00:31:55.020 and in so doing, finding an equality with one another 00:31:55.020 --> 00:31:57.310 and a depth of purpose 00:31:57.310 --> 00:32:00.420 that, I think, they could never have dreamt of before. 00:32:00.420 --> 00:32:03.120 In watching Prodigy, that's what they're going to get. 00:32:04.440 --> 00:32:06.370 I love that. I'm so happy for you. 00:32:06.370 --> 00:32:09.550 I am so happy and thrilled that you 00:32:10.400 --> 00:32:13.540 agreed to bring Janeway back 00:32:13.540 --> 00:32:16.520 and I'm so happy for you to breathe life into her 00:32:16.520 --> 00:32:19.430 and to get to wear her again. 00:32:19.430 --> 00:32:21.030 I know that if I got to wear Wesley again, 00:32:21.030 --> 00:32:22.861 it would be the coolest thing ever. 00:32:22.861 --> 00:32:24.560 So I'm super happy for you 00:32:24.560 --> 00:32:26.760 and I'm incredibly grateful for you 00:32:26.760 --> 00:32:27.890 spending some time with us today, 00:32:27.890 --> 00:32:29.453 here in The Ready Room, thank you. 00:32:29.453 --> 00:32:30.541 Thank you so much. 00:32:30.541 --> 00:32:31.872 What a treat this has been. 00:32:31.872 --> 00:32:34.480 I've enjoyed every second of it. Thank you. 00:32:34.480 --> 00:32:35.750 Before our time together 00:32:35.750 --> 00:32:37.220 in The Ready Room today has finished, 00:32:37.220 --> 00:32:39.070 I would be remiss if I didn't give you 00:32:39.070 --> 00:32:41.630 just a little sneak peek of what's coming up 00:32:41.630 --> 00:32:44.320 on Star Trek: Discovery Season 4. 00:32:44.320 --> 00:32:46.160 So, please enjoy this exclusive clip 00:32:46.160 --> 00:32:50.607 from next week's episode, enigmatically titled, "Anomaly." 00:32:51.460 --> 00:32:52.369 Take a look. 00:32:52.369 --> 00:32:53.977 [doors swooshing] 00:32:57.350 --> 00:32:59.140 Welcome back, Captain. 00:32:59.140 --> 00:33:03.780 Thank you. But please, call me, Saru. 00:33:03.780 --> 00:33:06.140 How about Mr. Saru? 00:33:06.140 --> 00:33:10.080 That would be acceptable. 00:33:10.080 --> 00:33:11.193 Commander Bryce. 00:33:12.250 --> 00:33:13.500 Open a ship-wide channel. 00:33:13.500 --> 00:33:14.879 Aye, Captain. 00:33:16.880 --> 00:33:17.713 Ready. 00:33:18.620 --> 00:33:19.513 Discovery. 00:33:22.170 --> 00:33:24.040 Today we seek to understand a threat 00:33:24.040 --> 00:33:26.193 like none our galaxy has faced before. 00:33:27.360 --> 00:33:30.970 We know the cost of its destructive power all too well. 00:33:30.970 --> 00:33:35.353 We lost colleagues, friends, 00:33:35.353 --> 00:33:37.428 and Kwejian. 00:33:38.870 --> 00:33:43.023 Countless lives, histories, futures. 00:33:44.170 --> 00:33:46.150 We won't let their deaths be in vain 00:33:48.090 --> 00:33:49.530 and we are going to make damn sure 00:33:49.530 --> 00:33:51.163 nothing like this happens again. 00:33:52.220 --> 00:33:53.463 Not on our watch. 00:33:56.330 --> 00:33:57.513 Not on our watch. 00:34:00.430 --> 00:34:01.880 - Black alert. - Aye, Captain. 00:34:03.010 --> 00:34:03.843 Thank you all so much 00:34:03.843 --> 00:34:05.560 for joining me here in The Ready Room today. 00:34:05.560 --> 00:34:07.430 And thank you to my incredible crew 00:34:07.430 --> 00:34:10.263 for putting me back in The Ready Room! 00:34:11.320 --> 00:34:13.700 Don't worry, we are just getting warmed up. 00:34:13.700 --> 00:34:16.650 Next week, I'll be interviewing David Ajala 00:34:16.650 --> 00:34:19.580 to talk about that massive cliffhanger we saw 00:34:19.580 --> 00:34:22.570 at the end of Star Trek: Discovery Season 4 premiere. 00:34:22.570 --> 00:34:24.300 Plus so much more. 00:34:24.300 --> 00:34:27.510 I believe, Queen Grudge may come up once or twice. 00:34:27.510 --> 00:34:29.660 Until then, I'm Wil Wheaton. 00:34:29.660 --> 00:34:31.544 Live long and prosper.