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Star Trek: Picard Soundtrack [ 2020 ]

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10 episodes

Popular songs from the entire series

Billie Holiday

S1, E8 • Broken Pieces

Kasseelian Opera

S1, E7 • Nepenthe

I Wish I Knew

Rocky Brown & The Impacts

S1, E1 • Remembrance

Bing Crosby

Blue Skies (feat. Isa Briones)

Music From Star Trek: Picard

S1, E10 • Et in Arcadia Ego, Part 2

California Dreamin

Freischwimmer

S2, E3 • Assimilation

Ave verum corpus, K.618 (Arr. for Piano by Franz Liszt)

Wolfgang Amadeus Mozart

S3, E3 • Seventeen Seconds

I Don't Want To Set The World On Fire

The Ink Spots

S3, E1 • The Next Generation

Time Is On My Side

Irma Thomas

S2, E1 • The Star Gazer

Jacopo Tittarelli Rubboli

S2, E4 • Watcher

Nocturne in E Flat Major (Op. 9 No. 2)

Nocturne in B Major, Op. 32, No. 1

Frédéric Chopin

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Star Trek: Picard – Season 1 (Original Series Soundtrack)

Various Artists

Star Trek Picard Main Title

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TREKCORE: One of the standout things to me through the first six episodes is the score for the season. It’s got a real classic feeling — compared to the classic films and the older shows. What was your edict, or were you given an edict when you guys came on board for Picard Season 3?

STEPHEN BARTON: I think I think the biggest thing was — well, the first thing was, when I saw it had pretty much already been shot. I was on set a few times, so I think the biggest edict was a personal edict of “Don’t screw it up.”

Because, you know, when you watch… I’ve been on shows where you watch it and you’re like, “Eh, it’s pretty good.” This one, you watch it. I just sat and I binged and I watched it three or four times, and I’m like, “Oh my goodness me, this is really good.” So I think that was a big one.

But I mean, musically, for me, I think it was a little bit about bringing the sort of naval thing from Wrath of Khan and some of what James Horner brought, as well as obviously, the Jerry Goldsmith theme. But a bit more of that sort of militaristic feeling. Weaving that into it in a way that didn’t feel like it was sort of a time warp but in a way that felt sort of right for now, kind of.

I mean, [showrunner Terry Matalas] and I often talked about, like, what would James Horner do if he were here now? Kind of thing. And I think that was a lot of the approach. Yeah.

FREDERIK WIEDMANN: I think the big challenge was, times have changed slightly since The Next Generation was on the air. So how do we take this material and bring it into this current aesthetic of filmmaking without it feeling that we’ve pushed it too far into something modern, but still having the nostalgia feel alive and stay in the spirit of what fans want and want to go back to.

Here is the brilliant ⁦ @ComposerBarton ⁩ conducting his Titan theme with all those wonderful nods to Horner in his arrangement. String section only. It’s been stuck in my head for over a year. #StarTrekPicard pic.twitter.com/f5YCKXI6MS — Terry Matalas (@TerryMatalas) March 4, 2023

BARTON: The biggest part of it for me also, is the themes. You have to use and treat them like absolute nuggets of gold. And one of the things you can’t do is plaster them everywhere. You can’t literally use them like the wallpaper on some kid’s bedroom or something.

We want to have that sort of sense of like we’re telling a story and not just sort of going… you don’t want the music to be a commentator the whole time going, “You’re watching Star Trek !” “Did you forget you’re watching Star Trek ?” I mean, we get it. We know. So it’s using them in a very respectful way and then sort of finding ways to develop them.

Because, I mean, that’s the other thing. Every time you look at Jerry Goldsmith’s work, in particular, every movie, he found a new way of putting a spin on it. When we re-recorded certain pieces of music — because there are a few — we would go back and I would look at the movies and they were different speeds in different movies and go back and say, “Okay, well, do we want to be the speed from Nemesis , or do we want to look at this? What are we trying to say with this?”

TREKCORE: Yeah, because certainly, like in the end titles, you use the main theme from Star Trek: First Contact , but then you also use the theatrical film version of the Next Generation main title theme.

BARTON: The funny thing is where we’ve recorded any of those [with the orchestra] and some of the players had played on those movies, and it was one of those things where they would just sit there — our French horn player is a fabulous French horn player, he’s the principal of the Hollywood Bowl, a guy called Dylan Hart. And you could just see every time he came up on the sheet music in front of him, we looked over at him and he just smiled back and it’s like, “Okay, this is going to be fun.”

TREKCORE: But I also noticed along the way, especially in “The Bounty,” there’s things like that little thread of the STAR TREK IV theme — just a little nugget along the way.

BARTON: Well spotted, firstly!

TREKCORE: Well, it’s one of my favorite films. Was it a challenge to use any of that score that was produced for film in a television production. Was there stuff where we had to fight battles?

WIEDMANN: I don’t think at all, because all of this is so timeless to me, at least. And musically speaking, none of it feels old or dated — so whatever we were given as material to use and incorporate, it felt very natural and organic.

BARTON: From just a standpoint with Paramount, I think it was one of those Paramount-CBS things, they both realized what we were trying to do. It was one of those ones if you show, not tell. And we sort of said, okay, there’s certainly moments specifically in [“The Bounty”] where we come back to five separate themes — and so, it’s like you couldn’t not do that.

I mean, if we didn’t do that, it would seem like a sort of disservice. But I mean, part of doing that was also then to say, how do you present it in a way that honors it and isn’t just like hitting a button exactly like a needle drop? And so I think a lot of what we did was look at the heart of why those tunes worked and what they were saying.

Particularly with Voyager’s tune, I think that was one that every time… we don’t use it much, but when we do use it, we want it to mean something.

TREKCORE: There’s a lot of contemporary needle drops, as you put it, in the first several episodes as well. Were you involved with any of those choices or is that separate from your department?

BARTON: Most of those are courtesy of Drew Nichols, our editor, who is also one of the most phenomenal music editors. He’s someone who’s able to cut those and really choose incredibly well.

Especially source music for Liam Shaw for the dinner sequence and a couple of the other scenes where you really want it to say something — it’s not just background music, but you’re sort of saying something about the character. And he understands that innately. So most of that was in when we got there.

This interview has been lightly edited for clarity.

Lakeshore Records has announced the release date for Star Trek: Picard’s Season 3 soundtrack, a whopping 45-track collection of score from composers Stephen Barton and Frederick Wiedmann.

Arriving digitally on April 20, 2023 (coinciding with the Picard series finale), the extensive collection of music spans the entire ten-episode run of the show’s final adventure. There will also be a special vinyl release for the Season 3 soundtrack:

You can pre-save the digital soundtrack release here through Spotify, iTunes, and deezer, and check out the full track listing below.

1. Beverly Crusher (3:02) 2. Old Communicator (1:58) 3. Hello, Beautiful (1:57) 4. Leaving Spacedock (3:44) 5. I Like That Seven! (3:29) 6. Breaking the Beam (3:59) 7. The Shrike (3:34) 8. Picard’s Answer (4:08) 9. Riker and Jack (2:08) 10. Call Me Number One (2:02) 11. No Win Scenario (3:57) 12. Blood in the Water (2:58) 13. Let’s Go Home (3:24) 14. Flying Blind (5:51) 15. A New Family (4:16) 16. Klingons Never Disappoint (5:32) 17. I Do See You (5:26) 18. Legacies (3:15) 19. Evolution (2:44) 20. La Forges (2:08) 21. Invisible Rescue (3:34) 22. Catch Me First (2:32) 23. Proteus (3:46) 24. Dominion (7:04) 25. Lower the Partition (3:38) 26. Get Off My Bridge (4:26) 27. Family Reunion (3:17) 28. Impossible (1:37) 29. Frontier Day (2:43) 30. Hail the Fleet (4:03) 31. You Have the Conn (3:44) 32. Make It So (6:02) 33. This Ends Tonight (3:07) 34. Battle On the Bridge (2:58) 35. All That’s Left (2:02) 36. Annihilate (3:05) 37. Trust Me (2:06) 38. The Last Generation (2:51) 39. Where It All Began (2:19) 40. The Missing Part of Me (4:30) 41. Must Come to an End (1:32) 42. A New Day (3:22) 43. Legacy and Future (1:44) 44. Names Mean Everything (1:43) 45. The Stars – End Credits (2:59)

Star Trek: Picard Season 3 will continue with “Dominion” on March 30 on Paramount+ in the United States and on CTV Sci Fi Channel and Crave in Canada — following the next day in the UK, Australia, Italy, France, Germany, Austria and Switzerland. The series is also available on Amazon’s Prime Video service in most other international locations.

Behind The Scenes
Frederick Wiedmann
Lakeshore Records
PIC Season 3
Soundtracks
Star Trek: Picard
Stephen Barton

Star Trek: Picard Season 3 Soundtrack

Action TV Series , Adventure TV Series , Canal+ , Drama TV Series , Oi Play TV , Paramount+ , Prime Video , Sci-Fi TV Series , TV Series

Season 3 • Episode 1 : ‘The Next Generation’ (S03E01)

Season 3 • Episode 2 : ‘Disengage’ (S03E02)

Season 3 • Episode 3 : ‘Seventeen Seconds’ (S03E03)

Season 3 • episode 4 : ‘no win scenario’ (s03e04), season 3 • episode 5 : ‘imposters’ (s03e05), season 3 • episode 6 : ‘bounty’ (s03e06), season 3 • episode 7 : ‘dominion’ (s03e07), season 3 • episode 8 : ‘surrender’ (s03e08), season 3 • episode 9 : ‘vox’ (s03e09), season 3 • episode 10 : ‘the last generation’ (s03e10).

Category: Action TV Series , Adventure TV Series , Canal+ , Drama TV Series , Oi Play TV , Paramount+ , Prime Video , Sci-Fi TV Series , TV Series

IMDB: Star Trek: Picard

Frederik Wiedmann

Stephen Barton

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3 thoughts on “Star Trek: Picard Season 3 Soundtrack”

Does anyone know what the song is that is playing in 10 Forward Holodeck (Jean Luc & Ro Laren scene) in “episode 5” at the 28mins 38 Seconds mark? Thanks.

Episode 6…. Sorry I forgot to mention that in my last message.

The song that is playing in 10 Forward Holodeck bar, (Scene with Jean Luc & Jack Crusher) is the blues track “My Guitar Can’t Stand You No More” by “Duke Shelby”

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'Star Trek: Picard' Season 3: Listen to "Leaving Spacedock" From the Soundtrack [Exclusive]

"Leaving Spacedock," evokes the nostalgia of 'The Next Generation' while inspiring hope for the future.

Ahead of the series finale of Star Trek: Picard , Collider is thrilled to exclusively debut a new track from the Season 3 soundtrack. The new track, titled "Leaving Spacedock" plays over a key scene in the penultimate episode which is now available to watch on Paramount+. We won't spoil it for you, but if you're a fan of Star Trek: The Next Generation , it's a moment that will likely bring tears to your eyes. When you listen to "Leaving Spacedock," you will be able to recognize familiar refrains from Star Trek's past including the breathtaking theme of The Next Generation , as well as the theme of Picard .

New to the series, composers Stephen Barton and Frederick Wiedmann took on the challenge of honoring decades of Star Trek while putting a fresh twist on the music. Season 3 showrunner Terry Matalas said, "The score to Season 3 of Star Trek: Picard is a throwback to the classic theatrical scores by Jerry Goldsmith and James Horner ." Barton and Weidmann's score beautifully celebrates the history of the franchise while instilling this series with a bright, thrilling sound that invokes all of the hope and heart that Star Trek is known for. The music also creates an emotional, heart-pounding background to the on-the-edge-of-your-seat action and adventure that Season 3 is filled with.

On creating new music for the series, Barton said, "It is a musical story about legacy, about family, and about mixing the best of the Next Generation and the ‘next Next Generation ;’ and we hope it takes you on an epic journey.” Meanwhile, Weidmann also had high praise for the orchestra they worked with to bring the score to life saying, "It was a dream come true to record our phenomenal LA orchestra for these episodes, bringing to life a huge legacy of Star Trek themes, as well as new ones."

RELATED: 'Star Trek: Picard's Gates McFadden Talks Reuniting With the 'TNG' Cast in Episode 8

Star Trek: Picard Season 3 Honors Legacy in More Ways Than One

Speaking of legacy, Star Trek: Picard Season 3 has beautifully set up the option to continue this journey with, as Barton said, the next Next Generation . Matalas has spoken about a possible spin-off series titled Star Trek: Legacy that would follow the offspring of the classic Next Gen characters that have been introduced this season like Jack Crusher ( Ed Speleers ) as well as legacy characters like Seven of Nine ( Jeri Ryan ) . The series would also provide plenty of opportunity to bring back the iconic TNG characters, honoring the past while looking toward the future.

The series finale of Star Trek: Picard , which will be screened in IMAX in participating locations , hits Paramount+ next week on April 19, and the soundtrack will be available on digital platforms on April 20. You can listen to the exclusive new track from Episode 9 down below.

Zanobard Reviews

For all your film, tv and game soundtrack review needs, star trek: picard (season 3) – soundtrack review.

Stephen Barton and Frederik Wiedmann’s score for the third season of Star Trek: Picard is utterly brilliant, and a spellbinding showcase of what the music for the show frankly should have sounded like in the first place. Gorgeous thematic reprisals and rich stylistic callbacks are amazingly abound in this two and a half hour Star Trek music extravaganza, and it’s just utterly captivating as a result. Stellar, even.

So the third season of Star Trek: Picard has been leaps and bounds better than seasons one and two, with one of the most enjoyable aspects being the music. Stephen Barton and Frederik Wiedmann have taken over compositional duties for this season – replacing Jeff Russo – and above all else seem to have brought an immense love and affection for all things thematically Star Trek to the series’ new music. Jerry Goldsmith, Alexander Courage, James Horner, Dennis McCarthy – they’re all here and here in spades, and the music just sounds so immense, so full of life, so fundamentally… Star Trek as a result. Take the first few cues of the album here for instance; ‘Old Communicator’ kicks the thematic reprisals off quietly with a gently serene rendition of the classic Alexander Courage Trek theme on strings, before ‘Hello Beautiful’ then harkens back to the musical style of James Horner – complete with flurrying strings and bold brass notes – while also teasing Jerry Goldsmith’s Star Trek: The Motion Picture theme, or The Next Generation (TNG) theme as it essentially later became.

The classically titled ‘Leaving Spacedock’ then brings the score to its first emboldened orchestral crescendo, with the TNG theme playing loudly and proudly on flourishing brass to start. As the track continues however the composers then introduce a brand new theme of their own making; an eight note motif for the U.S.S. Titan, the primary starship of the season. Now it’s a pretty memorable theme just by itself, but the absolutely exquisite use of a very James Horner-y musical style to essentially ‘launch’ the ship is what makes this track absolutely incredible overall, and ultimately sells this new Titan theme in about the most musically impeccable way possible as a result. I must say as well, Stephen Barton certainly proved a knack for emulating classic film composer styles with Star Wars Jedi: Fallen Order (in emphasising John Williams) and he certainly seems to be doing so again here to amazing effect with Horner. What a track! Subsequent cue ‘I Like That Seven’ then briefly breaks the epic-ness with a quietly solemn rendition of the new Titan theme on strings, before ‘Breaking The Beam’ then kicks off the score’s first major action setpiece. Thunderous brass and frenetic percussion occupy the majority of the track’s four minute runtime, with tensions rising and the pace quickening throughout until the track then comes to a pretty dramatic finishing crescendo.

‘The Shrike’ then introduces a motif of sorts for the villainous Vadic and her supremely powerful titular ship. The music here plays quietly and ominously for much of the three minute cue, with quiet strings and moody electronics dropping hints towards a theme before loud brass then crashes out the track. ‘Picard’s Answer’ then continues the frantic action kick-started by ‘Breaking The Beam’ with loud bursts of brass hinting back toward that classic Jerry Goldsmith-esque Star Trek sound with short renditions of the Titan theme playing infrequently throughout. An absolute plethora of action cues then follow this excellent introduction, with ‘Call Me Number One’ kicking things off with frenetic strings and emphatic percussion, ‘No Win Scenario’ then building to crescendo with the Shrike motif held villainously high, ‘Blood In The Water’ hitting dramatically back with the Titan theme on loudly thunderous brass, ‘Let’s Go Home’ building tension again with increasingly frenetic orchestra and finally ‘Flying Blind’ then bringing it all to dramatic conclusion with the Titan and Shrike motifs locked in vicious orchestral combat togehter with several James Horner-isms until the track then closes on a particularly tense crescendo. All-in it’s got to be said, for a lengthy series of similar-sounding action cues this section of the score is actually a pretty entertaining listening experience, with the way the new motifs are fleshed out and the composers’ excellent use of orchestra being particularly standout.

A brand new theme is then introduced in ‘A New Family’. The track starts with a particularly victorious flourish of the Titan motif followed by a brief reprisal of Goldsmith’s TNG theme, before said new motif is then introduced at the 00:57 mark; it’s a rather gorgeous piece of music overall – played on simply luscious-sounding strings and brass – and it gets a happily lengthy introduction here, with the absolute cherry on top then being another playthrough of the TNG and Titan themes to crown off the pretty stellar track. Thematically though, this is only where the fun begins for the next couple of cues; subsequent piece ‘Klingons Never Disappoint’ for instance reprises none other than Jerry Goldsmith’s Klingon theme from Star Trek: The Motion Picture amongst a frenetic action orchestral spread (complete with thunderous brass and percussion), with ‘Legacies’ then bringing thematic cameos galore with loving reprisals of Alexander Courage’s Original Series theme, Dennis McCarthy’s main motif from Deep Space Nine and even Jerry Goldsmith’s wonderful theme for Voyager , and the new Family theme then bringing the track to a gentle strings-based close. A rapid pace then kicks into gear with action cue ‘Invisible Rescue’, with frenetic strings and worrisome brass locking the Titan theme and James Horner’s classic danger motif in frantic orchestral battle for the majority of the track’s three minute runtime.

Dramatic villainy arrives in the eight minute atmospheric setpiece ‘Dominion’; a rather eerie piano kicks off the cue, with serene strings then gradually picking up the pace for the first few minutes. As the track continues more and more instrumentation then starts to join the fray, all the time getting louder and more intense with emboldened brass eventually taking over the musical charge until a particularly malevolent crescendo is then reached to bring the cue to a emphatically villainously grand finale. The heroic counterattack then begins in the subsequent ‘Lower The Partition’ with the Titan theme building amongst hopeful strings and brassy bursts abound, before ‘Get Off My Bridge’ then unleashes the Family theme in a thunderously victorious rendition at spectacular volume to start, and then brings in the Titan motif once again to close out the track on a fist-pumpingly heroic finish. Another wondrous thematic reprisal then occurs in ‘Family Reunion’ as Goldsmith’s TNG theme finally plays again in full, gorgeously orchestral form (though still not for long enough) with Courage’s classic Star Trek motif reprising in similarly upbeat style in ‘Frontier Day’ on celebratory brass and strings.

Thankfully though we don’t have to wait around too long for the TNG theme to appear again. Action track ‘You Have The Conn’ for example teases it slightly with a short heroic rendition, but it’s subsequent and standout cue ‘Make It So’ where things then really get cracking. Courage’s classic Star Trek theme kicks off the track, with gently upbeat strings hinting toward things to come as the music then slowly starts to build. A little hint towards Dennis McCarthy’s Star Trek: Generations overture plays at the two minute mark, with brief reprisals of Goldsmith’s TNG and Courage’s classic themes following on initially quiet brass. From here though the track then just starts to go, with orchestra building, volume increasing and intensity reaching fever pitch until the TNG theme is then utterly unleashed in about as gloriously heroic a rendition as you could possibly get, I mean seriously. It’s absolutely. Utterly. Outstanding. You can tell the entire score so far has been building up to this one musical moment, and oh boy was it worth it. And the best part? This is only the beginning. From here the action finale of the score then properly begins, with track ‘Annihilate’ for example thundering along with frenetic brass and strings until a loud and very First Contact -esque rendition of the TNG theme plays right as the track crescendos. ‘Trust Me’ then pulls Courage’s Trek theme into the fight with a pretty spectacularly heroic rendition towards the end of the track.

As the album starts to draw to a close, the rather beautiful ‘The Missing Part Of Me’ slows things down in its first half with a rather downtrodden orchestral take on the Family theme before then building back up in the back half to loud orchestral epic-ness. ‘Must Come To An End’ then picks up where this leaves off with the orchestra now at grandiose fever-pitch, and from here until pretty much the end of the score now it simply doesn’t let up. ‘A New Day’ for instance reprises the Courage Trek, Family and Titan themes in loudly hopeful form on strings, with ‘Legacy And Future’ then lovingly bringing back Dennis McCarthy’s ‘To Live Forever’ motif from Star Trek: Generations alongside the Titan theme. ‘Names Mean Everything’ then grandly closes the chapter on the Titan’s epic story with the loudest, most thunderously triumphant rendition of its theme yet on fist-pumping brass, and to finish up the composers then have one last treat in store with final track ‘The Stars – End Credits’. The Titan motif makes a brief appearance at the start of this wonderful cue, but it’s the TNG theme that then takes centre stage as it reprises in its longest playthrough of the score on typically heroic and very Goldsmith-sounding orchestra. In essence, it’s a full new playthrough of the theme akin to the Trek movie end credits tracks of old, and so naturally is about as amazing a finale as you could get here really. Just brilliant.

Overall, Stephen Barton and Frederik Wiedmann’s absolutely astounding score for the third season of Star Trek: Picard is, quite honestly, exactly what the music for the entire show should have sounded like in the first place. Let’s start with the themes; there is a very clear love for all things musically Star Trek displayed throughout this utterly sublime two and a half hour album – complete with very Goldsmith-inian and Horner-esque stylistic quotes throughout – but it’s the way the themes are used, both iconic old and spectacular new, that are the absolute stars of the show here. Barton and Wiedmann expertly use all the classic themes you’d expect them to to stunning effect, teasing Goldsmith’s Next Generation theme in particular – the one they know we all want to hear – throughout the score until finally unleashing it in all its glory towards the end, and it sounds so utterly immense as a result. ‘Make It So’, ‘Annihilate’, ‘The Stars – End Credits’ – every time it appears, it just excels, and it appears in full as well, not just in tiny little cameos. We also hear a ton of other thematic material from Goldsmith, as well as motifs from Dennis McCarthy, James Horner and Alexander Courage of course, and the music just sounds so rich, so utterly Star Trek as a result. It’s truly spellbinding. The new themes too – Titan and Family being the standouts – also fit with the classic material here impeccably well, altogether weaving this immense thematic tapestry which combined with the excellent orchestral style make the composers’ work here an absolute triumph, from enjoyable start to impeccable finish. What a send-off!

Score: 8.5/10

Standout Cues: 32. Make It So/45. The Stars – End Credits

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Star Trek: Picard Series-Finale Recap: Captain’s Log, Final Entry

Star trek: picard.

Star Trek: Picard began as a series partly dedicated to giving Jean-Luc Picard, the aged but unbowed former captain of the Enterprise , a late-in-life shot at returning to the stars and partly as a torch-passing exercise that surrounded Picard with new characters (a kind of next generation, you could say). Across three seasons, that mission didn’t so much drift as grow in scale. This third and final season has extended the autumnal adventures to almost all of the original cast of Star Trek: The Next Generation (while keeping Jeri Ryan and Michelle Hurd around from the preceding Picard seasons) and making the torch-passing theme even more explicit by bringing in Picard’s previously unknown son, Jack Crusher, and a pair of Geordi LaForge daughters to boot.

That’s a lot to ask of any series, much less one that has to give the beloved TNG characters the proper send-off (maybe?) they were denied by the less-than-beloved Star Trek: Nemesis. And, by and large, the season has shouldered that burden well. The TNG characters have all had their moments in the spotlight as the show reassembled the team, Ryan’s Seven of Nine and Hurd’s Raffi have had plenty to do (as did Todd Stashwick’s Captain Shaw, RIP), and Jack has proven to be a charismatic addition when he could have felt like an interloper shoehorned in to bring down the cast’s median age.

But does this final episode stick the landing? Pretty much, yeah. “The Last Generation” both brings the season-long story — which began as a confrontation with the Dominion before that dread foe essentially handed over villain duties to the Borg — to an exciting conclusion and gives the original cast a nostalgic valedictory moment while also leaving the door open for future adventures.

As it opens, however, any possibility of a happy ending seems unlikely. Federation President Chekov (not that one but his son) issues a dire warning that the Federation’s younger generation has been assimilated, and there’s little to be done about it, but in the words of his father, “There are always possibilities.” Picard and the crew are not an easily dissuaded bunch, and recognizing, as Data puts it, they “are the cavalry,” they come up with a plan.

Sure, it’s a desperate plan, but a plan nonetheless: Head to Jupiter, board the Borg vessel, and shut down the beacon that allows the Borg to do what they do. (And hopefully rescue Jack in the process.) For Picard, it’s personal. The Borg have his son (whom he’s come to like quite a bit despite a messy start), and he’s been plagued by their threat for over 35 years. For everyone else, it’s, well, also pretty personal. If this is truly a last stand, it’s a last stand against an enemy with whom they have a long, nasty history. The newly emotional Data sums it up as they approach: “I hate them.”

No one knows that better than Seven, of course, who leads a party to reclaim the Titan. She and Raffi will play a crucial role in the confrontation that follows, but it’s the newly reunited TNG crew that drives the action. And, in classic Trek faction, that means breaking into smaller groups. Picard, Will, and Worf head into the cube. (“And I will make it a threesome,” Worf says, by way of announcing his intentions.) Their farewell is one of the episode’s first heart-tugging moments. Could this be the last time these characters see each other? The look on Deanna’s face as Will walks away says it all.

On the cube, they find a lot of rotting Borg drones but little action. Then it’s time to split up after another wrenching farewell scene in which Picard can’t bring himself to tell Will how much he means to him. “You know that I know. Always,” Will says, letting him off the hook while making the scene that much more intense, with Worf’s own final words about Klingon’s not knowing the words “defeat” and “farewell” providing poignant punctuation.

When Picard reaches Jack, it’s worse than he feared. His son appears fully Borgified and the Borg Queen (voiced by Alice Krige and looking more like a nightmarish H.R. Giger creation than ever) looms over him. She’s mostly interested in mocking “Locutus,” calling his arrival a homecoming. The Borg Queen also announces that assimilation is old news. The new Borg goal is evolution. And it looks like that plan is working out for them. Thanks, unwittingly, to Jack, Starfleet is now filled with unwitting hybrids walking around with Borg DNA just waiting to be told what to do.

But despite the odds stacked against them, our heroes prevail via a series of pretty good fight scenes that mix aerial combat, a hand-to-hand battle with Borg drones, some fancy flying from Data, and a battle for Jack’s soul. The latter involves Picard plugging himself into the Borg network and selling Jack on the pleasures of life outside the Borg cube, despite the possibility of loneliness and fear. Picard’s pitch includes freely expressing his emotions (never an easy thing for the captain), including his feelings for his son. “You are the part of me that I never knew was missing,” he says. Later, they hug. (This episode just does not let up on big emotional moments. Will’s farewell to Deanna, if anything, hits even harder: “I’ll be waiting. Me and our boy.”)

Star Trek is a franchise dedicated to following intriguing science fiction concepts wherever they lead, but it’s also one in which occasionally love saves the day, and the Borg Queen’s dying shout of “No!!!” shortly before her cube explodes signals that this is one of those Star Trek installments. (Even Seven’s in a hugging mood when the Borg control lifts from the Titan crew.) It’s a happy ending for all, and the tableau of everyone posing on the Enterprise bridge (an image that includes Will and Deanna embracing and Worf asleep) could be a fitting end to the series.

But there’s more to be done. That includes giving the TNG crew some more time together and setting up future adventures. Will’s log reveals that Beverly has developed a method to eliminate Borg DNA and scan for Dominion holdouts. Tuvok, the real Tuvok, is still alive, it’s revealed. Seven learns that Captain Shaw actually liked and respected her, even recommending she be promoted to the rank of captain. Data is still sorting through his new emotions with a lot of help from Deanna, who’s a little distracted planning a vacation during the latest of their marathon sessions. But, essentially, all is well.

One year later, the long good-bye continues as Will, Picard, and Geordi put the Enterprise D to bed. A bit later, Picard and Beverly escort their son to his first Starfleet assignment aboard … the Enterprise ? Rechristened in honor of Starfleet’s fabled flagship, the Enterprise is now under Seven’s command, with Raffi and Jack by her side. That looks like a setup for a whole new series featuring this crew. (I would watch.)

We’re not done: Over drinks and a stirring recitation of one of Brutus’s speeches in Julius Caesar from Picard (“There is a tide in the affairs of men”), the TNG crew spends the evening in each other’s company, reflecting on their time together before, in a nod to “All Good Things …,” the original TNG finale, a game of poker breaks out with Picard enthusiastically participating. It’s an indulgent moment that calls on decades of accumulated affection for these characters, and boy does it work. It feels like a fitting farewell, albeit one that suggests all good things, or at least all good shows, don’t always come to an end. They just kind of lay around waiting for someone to pick them up again.

Captain’s Log

• Hello! No, I am not your regular Picard recapper (though I did cover the first season). I’m just filling in for the excellent Swapna Krishna, who was unexpectedly unable to cover this episode.

• This episode pretty clearly sets up a Seven/Raffi/Jack–focused series and that’s a pretty exciting prospect. Ryan is, of course, already a Trek legend and her reprise of Seven has broadened the character and confirmed she has a range we never saw on Voyager . Hurd was always a Picard highlight and Ed Speleers has fit right in when Jack could easily have been the series’ Poochie.

• If there is a series, please, please find room for the “Ma’am, I’m just a cook!” guy. He’s great.

• Over the end credits, there’s one last surprise: Q is back and ready to put Jack to the test. Nothing really ends or dies with this franchise, does it? (Okay, except for Ro Laren, Capt. Shaw, etc., etc.) After a first season partly dedicated to putting Data down, he’s back and the Data who wanted to die got hand-waved away. Now Q’s mortality, a big part of the second season, is out the window. It’s inconsistent, but is any going to complain, particularly after a season this strong?

• That said, the sudden transition to a mostly different supporting cast hasn’t been without some awkwardness. Whither Laris?

• Is this the last time we’ll see the TNG characters all in one place together again? Another reunion seems unlikely, but then this reunion seemed pretty unlikely. If it is the end, it’s a warm, affectionate send-off. If not, let’s hope the next reunion strikes as deft a balance between nostalgia and adventure.

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Listen To A Clip Of The USS Titan Theme From Star Trek: Picard Season 3

| December 25, 2022 | By: TrekMovie.com Staff 66 comments so far

One of the changes for season three of Star Trek: Picard will be with the music with a new composer. Showrunner Terry Matalas brought in his former 12 Monkeys collaborator Stephen Barton to help create a score to match his vision for the season, and they have a holiday treat, sharing a bit of the new original music from the score.

Titan theme

One of the reasons Barton was brought in for season 3 was to bring some of the classic Star Trek movie themes into the show to match the cinematic style Matalas wants to evoke. This includes him recreating some of the classic musical moments from composers like Jerry Goldsmith and James Horner.

Naturally, the primary hero ship, the USS Titan-A, has a theme. Matalas has shared a “happy holidays!” gift of a video of the Titan theme being recorded, which definitely fits in with classic Star Trek movie music. See the video below

View this post on Instagram A post shared by Terry Matalas (@terrymatalas)

Make your own Titan music

Barton has shared the sheet music for the theme, which he says was “basically co-written” with Matalas. The showrunner has added that he wants to hear some fan covers of the music.

Let’s hear some covers, fans! #StarTrekPicard ! https://t.co/5taCvFldQX — Terry Matalas (@TerryMatalas) December 24, 2022

If you are musically inclined and decide to make your own cover, be sure to share it with Terry and Stephen on Twitter (or Instagram).

Coming on Feb 16

The third and final season premieres on Thursday, Feb. 16, 2023, exclusively on Paramount+ in the U.S., with new episodes of the 10-episode-long season available to stream weekly on Thursdays. Here is the latest trailer from NYCC.

Picard streams exclusively on Paramount+ in the U.S.A. It is distributed concurrently by Paramount Global Content Distribution on Amazon Prime Video in more than 200 countries and territories, and in Canada it airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave.

Keep up with news about the Star Trek Universe at TrekMovie.com .

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Beautiful. Star Trek feels more and more Star Trek to me every season. The theme is a nice touch and it DOES evoke the classic films.

This has to be the moment the Titan is coming out of Drydock or the first time they see her

Looks like they have had star trek 3 on repeat, very retro!

Very Horner-esque and a throwback to the lush, melodic form of film composing that hasn’t been in style for a number of years.

Yeah, the horns in harmony playing is very naval. Sounds great.

Reminded me a bit of the music from wrath of khan

Agreed. Some of us just enjoy and appreciate being swept up in the music of the late Mr. Horner. A composer/conductor friend of mine from years back, commented on the death of Mr.Horner work as being a passing of one of the last composers of that style of melodies. His ST III score is my #1 favorite, and my most-played ST score to this day, with the lush beauty of the “Return to Vulcan” cue helping carry me through the passing of a couple of very close loved ones…

Yes, lots of callbacks to STII, STIII, and even a touch of Goldsmith. I still think the Titan design is ugly and lazy and too reliant on Star Trek Online design cues, but at least we get pretty music…Picard has been rather lackluster in that regard. Very excited for season 3!

We’ll it still looks infinitely better than the NX-01 incremental design cluster-f#@k that wrote over Rodenberry’s XCV-330 established canon. Lol, that lowest bar will probably never be reached again. That was by far the worst major starship ever in Star Trek.

The NX-01 is one of my favorites. It feels more primitive than Kirk’s ship, but still beautiful in its own way.

Same! Absolutely love it. I still want to see the refit on air one day, beyond the model we got in Picard.

I could not disagree more, buy hey, IDIC. I mean, 30% of the nation still likes that orange haired wannabe dictator, so what are we gonna do, lol.

You’re losing your touch man. Here I am agreeing with you again, on both the NX-01 and the orange bloated loudmouth. Just too bad I couldn’t have the satisfaction of voting against him in 2020 (I’m Canadian).

LOL, awesome!

ONE LION. FINAL WARNING for political trolling. And on Christmas!

OK, sorry, it was intended as humor.

I don’t see how ENT decanonized the XCV-330 ringship. On the contrary, it established that ringships were a common Vulcan design, so we can surmise that one of Earth’s first starships — a pre-Warp 5 one — was based on Vulcan design. It likely plied the routes between Earth and the nearest systems, such as Vulcan and Alpha Centauri.

Of course that fits NOW because of the Berman canon re-write. They doubled down on it and created that new backstory which just seems so perfectly reasonable now.

That TMP scene with Decker and Ilaia clearly shows the XCV-330 as the precursor starship to TOS Enterprise — and Rodenberry deliberately included that in that scene, so that is what he intended as canon. Drexler and Okuda even came to Berman twice with XCV-330 derived designs for the Enterprise series starship, but Berman refused, and insisted on something derivative. And then after it debuted on Enterprise, well of course they double-downed on the canon re-write in multiple ways in later eps and other Berman series to cement in their canon rewrite. I mean the whole Vulcan ringship thing was made up AFTER the Berman NX-01 canon force-fit, so of course it supports that house of cards perfectly logical explanation…lol

I think it depends on the point of view. As an UFP starship and a predecessor of the TOS-Enterprise the NX-01 makes sense. It looks more primitive and clunkier, at least way more primitive than the Enterprise refit. And by calling the show Enterprise there was a reason to have a starship which could be identified as some kind of Enterprise. Too bad, the design aged badly since it wasn’t a physical model. 20 years later it looks way to CGI. Nevertheless I like that design. But it should be HD-remastered.

But canon-wise it doesn’t make sense, because the NX-01 was a HUMAN starship BEFORE the UFP of planets was founded. Shouldn’t the flagship of the UFP incorporate designs of starships of different species? Especially since humans were technologically behind other advanced species? Inside ENT it makes sense to have humans, vulcans, andorians and Tellarites their own starship designs. But inside the whole Star Trek universe the NX-01 should have looked that way after the foundation of the UFP and not before. What happened in Starfleet with the other designs of those who founded the UFP?

It was on the wall in the bar on the episode that showed Archer doing the test flight. So yes the human ring ship is canon.

Not in love with the Titan either but I’m hoping it will grow on me. If it turns out to be a great season then it won’t matter at all to me.

Sorry but last season’s score was BEAUTIFUL! From the updated opening theme to some of the callbacks we got. It’s still a beautiful score to listen to for sure

I would say this evokes Goldsmith’s “The Enterprise” track from TMP more than the Horner soundtracks. Very majestic and naval.

I think it does both. It sounds like the Enterprise coming out of the drydock in TMP and ST II.

I didn’t know it was possible to evoke James Horner and Jerry Goldsmith simultaneously in the same 36 seconds, but that madlad Stephen Barton did it!

Yes exactly. I just listened to it again and you can definitely hear a mix of Goldsmith and Horner. Very well done indeed!

Most early Horner IS just recycled Goldsmith (BATTLE BEYOND THE STARS riffs on PATTON as well as GREAT TRAIN ROBBERY and TMP.) Then he made a disgustingly good living ripping off Ligeti for ALIENS and PATRIOT GAMES and probably a couple more places, but most often just reworking (sometimes without even changing orchestrations) his own stuff. 48HRs is COMMANDO is pretty much all other then-contemporary films scored by Horner. The same stuff you hear in STEALING THEENTERRISE is in BRAINSTORM and UNCOMMON VALOR, while ALIENS takes from that and from WOLFEN/KHAN.

All that aside, this excerpt sounds very promising. Can’t imagine the visuals will in any way do it justice given the way all ship VFX look under shows produced by Orci’s old writing partner, but that starship has cleared sailed.

Very true. First noticed Horner’s self plagiarism in Brainstorm. I thought I was listening to the score from TWOK.

It is a little-known fact that the aliens in Aliens spontaneously developed their forehead ridges when hearing the STTSFS Klingon Theme recycled for them.

I noticed something from ST III in Aliens too.

And so did Jerry Godlsmith. I swear I heard something from TMP in Poltergeist. And so did also the composer from ST IV, who recycled the main theme from Lord of the Rings 1978.

Great composers have been riffing their own work or others for centuries. Bach did it lots in his lifetime; one of Brahm’s most famous works is a variation on a Hadyn theme. Leonard Rosenman’s opening credits to Star Trek IV also take a pretty well known melodic line from Bach’s first movement in his 2nd Brandenburg Concerto.

Are you talking about the VFX or the designs? I think the VFX looks better than anything in the Berman era, and we can’t all have ILM at our beck and call. As for the designs, I think they look great apart from the Titan, which I can tell was designed by a fan. A talented fan, to be sure, but the design of the engineering hull still feels a bit boxy and off. It feels like the first draft of something spectacular that people would be talking about for a long time, but only if they had touched it up a bit. Particularly the deflector and the nacelles. I love the saucer, though.

But hey, if the story is good, I can forgive all the scrawny nacelles the show could possibly throw at me. And if the music is any indication, they’ve nailed the nautical feel of TNG. For me, that’s half the battle.

The designs aren’t great, but in the eps I’ve seen (no DSC since end of s2, can’t pay me to go there again) the vfx, except for some cg creature work in dsc s1, are absolute rubbish. This deliberate choice to go gauzy and underdetailed in the vacuum of space is absurd — like using imagery from seaQuest for a space show — as well as aesthetically for the not so great birds. It isn’t a matter of lousy vendors, they have all done superb work — just not on Kurtzman trek.

I kind of agree with you. The vfx feels strangely smooth and glossy, almost as if they are rendering the effects in the space scenes through the lens of Kari Lake’s zoom camera. (Not intended as political trolling, I just couldn’t think of a better description for what I mean.)

I had to look up the Lake reference, as I have a tendency of late to skip right past anything having to do with her unless there is an indication in the headlines that she is getting caught or punished (to put a trek-minded spin on things as a pretense of relevance to the board, this is also how I’ve had to start looking at anything about Marc Cushman and especially Alec Peters, who I’ve come to think of as Trump for the trek fan fiefdom.) Even so, I kinda like your take on the VFX.

Through a glass, darkly (and smudged) , is what I had as a title for a little rant I had put together about KurtzTrek spaceship vfx stuff a couple of years back, before I decided to stop giving my best stuff away for free to message boards (am now planning to give my best stuff away for free to a little-traveled 007 forum now that I have put together a kickass pretitlesequence to introduce the next Bond, one that Bond devotees should eat up and Eon would not consider in a million years, but at least it’ll get all the venom I’ve had for all their wrong turns this century out of my system.)

Channeling James Horner, with a nod to Goldsmith as well – love it!

It sounds like it was inspired by TWOK soundtrack. Love it!

Sounds beautiful. Less than two months to go!

Oh that’s unmistakably Horner STII/STIII inspired, very extravagant for a modern TV show (aka retro). I’m still not sure how I feel about the TOS Movie aesthetics going on with this series, that’s not really my vision for TNG in particular which has its own music and visual style. But I do love the more grand naval theming of the TOS movies, that’s something that makes them particularly unique and still beautiful today. The brass probably could use some tweaking in this clip, or re-mixing, but still very beautiful.

Ummm, TNG’s theme was lifted from TMP and its characters are all return Phase II characters plus Aliens’ female marine… Nothing wrong with borrowing from the original.

This point could be reasonable in 1987, but TNG developed its own tone and visual identity over 7 seasons and 4 movies. This Titan concept seems like Matalas just wanted to take a crack at combining two things he loved: TOS movies and TNG. Unfortunately, there’s a decent chance this season is going to be a muddled mess due to these disparate influences.

There were TOS movie tropes that got trotted out for late-era TNG, some used, others not. In AGT, Picard and co were originally going to steal the E-D out of an orbiting museum, sorta llike TSFS, and the s6 finale was going to have the E-D totalled, also a la TSFS. Disparate influences can enhance as well as distract or muddle.

Sine the Orville does the same, why not do it that way in the original franchise? ;-)

Has a real TMP vibe…. I’m also okay with the ship design, knowing that all Trek ships require serious suspension of disbelief.

Except the TMP refit of course, right?

Stunning! Majestic! Star Trek Big Picture theme! Been needed for a while now!

Sounds beautiful.

This gives me hope Matalas might someday take a crack at exploring the time period right after Undiscovered Country. I have no idea what stories could be told there, but when it comes to music and visuals, the TOS movies have always been my favorite.

Oh that would be MOST excellent.

The years after the movies and before TNG are an obvious period to fill in with another show. Even a limited one season 6-8 part series or a made for streaming movie would be welcome.

Matalas however seems to be a TNG era guy with a vision of how to take that forward into the 25th century. So, why not just be happy with that.

Goldsman seems to have a lock on the Pre-TOS to TOS era, with if anything too much of a focus on laying the foundation for TOS as opposed to telling the story of Pike’s Enterprise. It’s hard to know if another strong Showrunner would be permitted to colour in the era following.

That said, I’m one of those that really likes the Vanguard Treklit novel series that overlap with the end of TOS and go beyond.

There’s a large contingent of Treklit fans that would like the Vanguard books to be reworked into streaming serials.

Vanguard’s overarching story arc is pretty dark, more in the tone of DS9 and more than a touch of a precursor for The Expanse, but really digs into some of the issues running behind the stories of TOS era and the movies: Colonization, competition for territory with the other major species, genetic manipulation for terraforming. The relations with the Klingons are central.

The 1701 Enterprise makes appearances in the Vanguard books. A new TOS novel, ‘In Harm’s Way’ just came out with the Enterprise responding to a distress call related to the Vanguard project. It’s one of David Mack’s better books, and could be read as a stand alone.

Well, because what I’ve seen of the 25th century so far does nothing for me, at least in terms of storytelling. Frankly, aside from some nice visual touches here and there, the trailer for season 3 looks like the hamfisted TNG movie we didn’t get in 2004 or so. But hopefully I’m wrong.

And judging from interviews, Matalas seems to be more than just a TNG era guy. So there’s always hope.

Matalas involved in other Berman era series. I just don’t see him as deep fan of the TOS era the way Goldsman and Chabon are (and what seemed to be a problem with them helming a sequel with TNG legacy characters).

What Matalas really gets my respect for is 12 Monkeys. It’s a great example of a tightly plotted serialized show, all the more so since it lands it’s ending through four seasons of timey wimey stuff.

I was hoping his influence would save the time travel story in Picard season two. It’s clear he was given the greenlight to just turn the page for season three.

I heard Goldsmith more than Horner, but that’s me. Of course, early Horner was aping Goldsmith.

Sounds beautiful, can’t wait to see the Titan leaving spacedock with Kirk, Spock, and Bones…oh hang on, which generation is this series about? If the ship looks TMP/TOS movie and the music sounds like TMP/TOS movie… can’t blame them as both that look and sound are iconic and alluring… but feels a bit like they’re trying to sellotape TMP/TOS vibes onto TNG crew?

At least they’re applying some familiar Trek vibe to this series. I don’t know what vibe that was in the previous seasons, but it sure didn’t feel like TNG or any other Trek in my opinion.

Yeah, good point. Although the first episode of Season 2 had it’s merits.

I agree. The season 2 opener was pretty good.

‘My friends.. We’ve come home..’

oh wait that was Rosenmans christmas score, sorry.

(BTW I’ve just realised where that iconic ‘chewie we’re home’ was ripped from!)

Matalas was obviously brought in to salvage S3. Actually with the exception of a couple of disasterous episodes, I enjoyed S1, but he came in too late to save S2 from being almost a complete debacle.

The music sounds great… Matalas is obviously working hard on so many levels to bring us what many are hoping will be season 8 of TNG! No matter what, I am sure it will be a big improvement on S2!

52 days and counting folks! Looking forward to Feb 16th… and to next Thurs for Star Trek Prodigy’s season finale.

It sounds as though he was supposed to help with season 2, but that the powers that be made a decision to make such a radical change for season 3 that he was pulled away to focus in that early in production of season two.

Yeah, too many showrunners for S2… from what I understand he is the sole showrunner for S3.

As for S2, with the exception of a couple of episodes… what a disaster! Too many cooks in the kitchen!

Cool! That tune has some Goldsmith and Horner vibes and those of the old, three-note CBS audio logo.

I prefer the beastie boys

i’m guessing Star Trek Titan will be the next live action show

i would love a computer animated half hour show with riker and the titan (post nemesis pre picard) but i think that’ll never happen

Star Trek: Picard Season 2 Had To Be Rewritten For A Weird Reason

"Star Trek: Picard" became nothing short of a nostalgic small-screen sensation during its debut season. The set of episodes served as a fine addition to the "Star Trek" canon, successfully building on Captain Jean-Luc Picard's (Sir Patrick Stewart) already expansive timeline in interesting ways, and brought along no shortage of callbacks and references to the beloved "Star Trek: The Next Generation." Thus, it's no surprise that two more seasons came to fruition in short order. However, the second season turned out a bit differently than originally planned, with the minds at Paramount+ requesting rewrites for a rather odd reason.

"We wrote nine episodes at one point and the network was like, 'No, we don't really understand this, it's a bit too sci-fi, it's a bit too in-Star Trek,'" shared "Picard" co-showrunner Terry Matalas during a conversation with the Master Replicas Collectors Club. He shared that the supposedly too-"Star Trek"-for-Paramount+ version of "Picard" Season 2 featured Romulans, as well as Guinan's (Whoopi Goldberg, Ito Aghayere) Los Angeles bar serving as a front for aliens of all kinds to arrive on Earth in secret. Sadly, the higher-ups thought such ideas were a step or two too far (via TrekMovie.com ).

As it turns out, "Picard" Season 2 went through several versions and revisions, and not just because of Paramount+'s demands.

COVID-19 also impacted the story of Picard Season 2

As Terry Matalas explained in his interview with the Master Replicas Collectors Club, "Star Trek: Picard" Season 2 underwent several changes before the team settled on its final form. He explained, "There's actually many, many different versions of Season 2. I think you can kind of feel when you watch Season 2 that there's a lot of different ideas here." While several factors led to these sweeping changes in the second batch of episodes, among the biggest was the virus that changed the film industry forever, COVID-19 .

"COVID beat us up. We had to rewrite [Season 2]. We had to try to find ways to make things cheaper," Matalas recalled, noting that the pandemic and its effect on Season 2 even adversely impacted the production of Season 3. According to union rules and general health guidelines, if one person on set got sick, production halted in the blink of an eye and wouldn't resume until they were cleared. The "Picard" team eventually split to work on the remainder of Season 2 and start up Season 3 simultaneously. "It wasn't until very late in the game after we had shot the first half of Season 2 before we split off [to work on Season 3], you're running out of time," Matalas said.

Thankfully, both Season 2 and Season 3 of "Star Trek: Picard" reached the finish line and concluded the titular science fiction icon's story in grand fashion. Then again, "Star Trek" movie rumors make Picard's return seem more possible than once thought, so perhaps his tale isn't over just yet.

Picard's Darkest Moment Unlocked an Entire New Science for Starfleet

Picard's encounter with the Borg unlocked a new science for Starfleet, leading to a 68% success rate in "dissimilation."
The trauma Picard faced during assimilation was the catalyst for the creation of a program to free former Borg drones.
Despite the positive impact, the process of "dissimilation" also carries the risk of causing death.

Warning: contains spoilers for Star Trek: Defiant #12!

Captain Picard’s darkest Star Trek moment unlocked an entirely new science for Starfleet. Once abducted and assimilated by the Borg, Captain Picard is one of the few individuals to return from the experience relatively unscathed. Now, in Star Trek: Defiant #12, fans learn that Picard’s experiences with the Borg, namely his escape and “de-assimilation,” opened up a whole new realm of knowledge for the Federation.

Star Trek: Defiant #12 is written by Christopher Cantwell and drawn by Angel Unzueta. Hugh, a former Borg drone, has allied himself with the crew of the Defiant , who head to Starbase 99 to drop off other prisoners. A Starfleet mission specialist takes Hugh, Worf and others to review the Federation’s efforts at “dissimilation.” The specialist reveals that after Picard’s capture and escape from the Borg, the field of “dissimilation” opened up. Over the years, they have had a success rate of 68 percent.

They have to be careful, as the process can also cause death.

The Borg Were At the Center of Captain Picard's Darkest Hour

The borg put him through unbearable trauma.

In the classic Next Generation two-parter “The Best of Both Worlds,” Captain Picard was kidnapped by the Borg. Assimilated into the Borg collective, Picard became their thrall, and led an assault on Starfleet at Wolf 359, leading to mass casualties and the loss of 39 starships. The crew of the Enterprise are successful in rescuing Picard and helping sever him from the Borg. Picard is one of the very few individuals seen on-screen, with Seven of Nine being the notable exception, who have escaped the hellish fate that is assimilation.

This new science also gave Hugh a new purpose. Hugh was another person who was able to leave the Borg collective, although doing so seemed to erase his identity prior to assimilation. With no past and nowhere to go, Hugh took up the cause of freeing former Borg drones from their enslavement, as seen in Season One of Star Trek: Picard . Hugh was the director of a dissimilation project in the late 24th century, one that helped numerous drones reclaim their individuality, and fans see the beginning of it in Star Trek: Defiant #12.

Q Knows Picard's Darkest Secret - He Never Stopped Being a Borg

Picard's trauma was the federation's gain, picard's sacrifice may ensure others are free from the borg.

The knowledge of how to bring assimilated individuals back from the Borg collective should be a cause for celebration, yet any joy must be tempered, as said knowledge comes with a high price. The Borg violate Picard in body and mind . They subject Picard to immense trauma, forcing him to kill and assimilate his fellow Starfleet officers at Wolf 359. Picard’s guilt over his actions during this time colored the rest of his life. Picard’s darkest Star Trek moment had a huge silver lining, opening up a new, and beneficial, branch of science.

Star Trek: Defiant #12 is on sale now from IDW Publishing!

Picard's Darkest Moment Unlocked an Entire New Science for Starfleet

'Star Trek: Discovery' opens its 5th and final season in unremarkable fashion (Red Directive recap)

Hello smartmatter, my old friend, I've come to watch you once again. Because no item is impossible, it makes the story unbelievable... ♬

Both Book and Tilly return to join the regular crewmember cast of the USS Discovery, plus a new face or two

Warning: Spoilers ahead for "Star Trek: Discovery" season 5, episode 1

Well, here we are. Again. It's the fifth and final time around for "Star Trek: Discovery" and the single biggest question every sci-fan will be asking themselves is, will this season actually be any good. The tragic thing is, no one can really remember what happened in season 4 and that speaks directly to the fact that "Discovery" is not exactly a high-scoring show when it comes to rewatchability.

It's been two years and two weeks, give or take a day, since we last saw the crew of the USS Discovery risk everything to save all life in the universe, again. During that time, we've seen a lot of sci-fi, both awesome and awful, including two seasons of " Picard " and " Strange New Worlds ," the third and final season of " The Orville ," season 1 of " Andor ," "The Book of Boba Fett," "Ahsoka" and the less said about "Obi-Wan Kenobi," the better. If you're wondering where to see all that Trek, check out our Star Trek streaming guide for Paramount Plus and more.

Not to mention, the vastly underrated second season of "Invasion" and "Halo" seasons 1 and 2, plus, the first mind-blowing season of "Silo" the second and sadly last season of " Avenue 5 " and two seasons of " For All Mankind ." The point is that the standard has, for the most part, been refreshingly high. And frankly before we even get into season 5 of "Discovery," it's worth remembering that what executive producers and showrunners Alex Kurtzman and Michelle Paradise have given us up until now, has not exactly been a consistently high quality of sci-fi writing. In fact, it's been rather disappointing.

Related: 5 things Star Trek: Discovery season 5 needs to fix

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Are we in-store for another cookie-cutter season of what's-in-the-box plot threads that deliver misdirected build ups with unsatisfying pay offs...you know like we have for the past two seasons plus all three seasons of "Picard"..? Even "Andor," despite its peak and trough-style of repetitive set-piece storytelling, was impressive and that was down to how well those set pieces had been fleshed out along with well written character development and dialogue. Less can very easily be so much more.

Moreover, now we're in the 32nd century and we've seen that transporter technology can be used to replace stairs and even change outfits, so to be perfectly honest, there really isn't a single story idea that cannot be solved by a simple combination of transporter and replicator technology. Not to mention smartmatter. Ah, hello smartmatter, my old friend. Because this is what happens when you throw three seasons of a "Star Trek" series 1,164 years into the future.

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Regardless, it would seem that within the story, between four and six months have passed since the events of last season , where you may remember, the United Federation of Planets was desperately trying to save all life as we know from being accidentally exterminated by species 10-C, all while Ruon Tarka (Shawn Doyle) was still hell bent on using the illudium Q-36 explosive space modulator to destroy the dark matter anomaly. Book (David Ajala) gets killed when his ship explodes then bought back to life before he faces repercussions for siding with Tarka. General Ndoye (Phumzile Sitole) seems to get away scot-free despite sabotaging the Discovery's warp drive and everyone lives happily ever after.

Malinne 'Moll' Ravel (Eve Harlow) and L'ak (Elias Toufexis) currently represent the alien antagonists.

— Watch the bittersweet trailer for 'Star Trek: Discovery's final season (video)

— 'Spaceman' sees Adam Sandler shine as a cosmonaut in crisis in Netflix's somber sci-fi film (review)

— Star Trek's Seven of Nine returns in new novel 'Picard: Firewall' (exclusive)

Coming in at nearly 60 minutes long, the premiere episode is titled "Red Directive" and drops at the same time as the second episode, entitled "Under The Twin Moons." Michelle Paradise wrote the former, which could explain why it's so dull, and Olatunde Osunsanmi directed. The latter was written by Alan B. McElroy and directed by Douglas Aarniokoski, so fingers the second installment might be a bit better. Aarniokoski directed the season 3 premiere episode of "Picard" and while the rest of that was a disappointing, drawn out, nostalgia-fueled, 10-episode long epilogue to another series that ended three decades ago, the premiere installment was actually okay.

The gang seems mostly all here, including Lt. Tilly (Mary Wiseman) and Adira (Blu del Barrio) and there are some characters who don't seem to have made it back, some of whom will be very much missed, like Grudge, while others won't be. No sign of Zora yet either. It's also entirely likely that the amazing talents of Callum Keith Rennie, who plays a Starfleet Captain named Rayner, will be spectacularly underused, much like Todd Stashwick was in season 3 of "Picard."

Credit to the production team though, as they're are really making the most of their Volume-esque video wall soundstage. There are a couple of interesting choices in terms of editing, much like there were in the second season premiere where Alex Kurtzman showed us what he'd learned in the Vince Gilligan School of Cinematography. It's doubtful we'll ever see them again, just like we didn't before.

Maybe having two starships essentially sticking their heads in the sand was a metaphor for

To conclude then, the opening episode of the final season "Star Trek: Discovery" is a far, far cry from strong openings that this show has demonstrated it's capable of in the past. And that's a sentence we've had to write far too many times. The TNG throwback right at the end is...well, disappointing, mostly because of the extent that nostalgic fan service has been dialed up since the first episode of Nu-Trek aired in September 2017. However, it could still provide an interesting story thread — we will just have to wait and see.

The fifth and final season of "Star Trek: Discovery" and every episode of every "Star Trek" show — with the exception of "Star Trek: Prodigy" — currently streams exclusively on Paramount Plus in the US while "Prodigy" has found a new home o n Netflix.

Internationally, the shows are available on Paramount Plus in Australia, Latin America, the UK and South Korea, as well as on Pluto TV in Austria, France, Germany, Italy, Spain and Switzerland on the Pluto TV Sci-Fi channel. They also stream on Paramount Plus in Italy, France, Germany, Switzerland and Austria. In Canada, they air on Bell Media's CTV Sci-Fi Channel and stream on Crave.

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When Scott's application to the NASA astronaut training program was turned down, he was naturally upset...as any 6-year-old boy would be. He chose instead to write as much as he possibly could about science, technology and space exploration. He graduated from The University of Coventry and received his training on Fleet Street in London. He still hopes to be the first journalist in space.

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Screen Rant

All 3 times star trek: discovery has mentioned jean-luc picard.

Captain Jean-Luc Picard's Starfleet legacy continues into the 32nd century, and his name has come up three times in Star Trek: Discovery.

Warning: SPOILERS for Star Trek: Discovery Season 5, Episode 1 - "Red Directive"

Captain Jean-Luc Picard's legacy lives on in Star Trek: Discovery, as he's been mentioned 3 times in the 32nd century.
Captain Michael Burnham may have a different command style, but her missions still echo Captain Picard's influence in the future.
Star Trek: Discovery season 5 deepens connections to Picard & Star Trek: The Next Generation, highlighting the impact of Picard's achievements.

Captain Jean-Luc Picard (Patrick Stewart) has been referenced three times in Star Trek: Discovery , proving that his legacy extends all the way into the 32nd century. Introduced as the Captain of the USS Enterprise-D in Star Trek: The Next Generation , Jean-Luc Picard has become one of Star Trek's most beloved and enduring characters . Picard commanded the Enterprise for seven seasons of TNG and four movies, and returned years later in three seasons of Star Trek: Picard . With his diplomatic skills and collaborative command style, Picard remains one of Starfleet's most celebrated and accomplished officers.

As seen in Star Trek: Discovery seasons 3, 4, and 5, Captain Picard's accomplishments continue to be referenced in the 32nd century. Star Trek: Discovery's Captain Michael Burnham (Sonequa Martin-Green) may have a different command style from Picard, but her action-oriented approach works well for the fragile United Federation of Planets of the 32nd century. Even over 900 years in the future, Burnham's missions sometimes call back to those of Captain Picard. Although Burnham and the Discovery crew are from a time before Jean-Luc Picard was even born, his name has come up three separate times during their adventures in the 32nd century.

Star Trek: Discovery Season 5 Returning Cast & New Character Guide

3 “unification iii” - star trek: discovery season 3, episode 7, references picard's meeting with ambassador spock in tng's "unification".

The first mention of Jean-Luc Picard in Star Trek: Discovery comes in an episode that serves as a sequel to an iconic Star Trek: The Next Generation two-parter . In TNG's "Unification," Starfleet sends Captain Picard to look for Ambassador Spock (Leonard Nimoy), who was last seen on Romulus. Picard eventually finds Spock and learns that the Vulcan Ambassador has been working on a "personal mission of peace" to bring the Romulans and Vulcans back together. Spock has come to realize that his goal cannot be achieved through traditional diplomatic means, but he is pleased to find that many young Romulans are beginning to embrace Vulcan philosophies.

Among the 'personal files of Admiral Jean-Luc Picard,' Michael finds footage of Spock as he speaks about his goal.

In Star Trek: Discovery's "Unification III," Burnham seeks information about a project known as SB-19, which involved the Vulcans and Romulans working together to find a faster form of space travel. As Burnham prepares to make her request, she learns that her foster brother Spock was responsible for starting the process of Vulcan/Romulan reunification . Among the "personal files of Admiral Jean-Luc Picard," Michael finds footage of Spock as he speaks about his goal. Spock knew that his ultimate goal of reunification would not be achieved until long after his death, but even in the 32nd century, he is remembered as the one who made reunification possible.

The Qowat Milat, Romulan warrior nuns introduced in Star Trek: Picard season 1, were also revealed to have lasted into the 32nd century in Star Trek: Discovery season 3.

2 “Anomaly” - Star Trek: Discovery Season 4, Episode 2

References picard's synthetic golem body from star trek: picard season 1.

As the crew of the USS Discovery investigate the Dark Matter Anomaly, also called the DMA, Dr. Hugh Culber (Wilson Cruz) and Ensign Adira Tal (Blu del Barrio) work together to find a way to save Adira's partner, Gray (Ian Alexander). Despite Gray's supposed death, Adira was still able to see and speak with him, so Dr. Culber began researching ways to reunite Gray's consciousness with a new body. Culber came across the experiments of Dr. Altan Soong (Brent Spiner) , who had developed a method of transferring a consciousness into a synthetic golem body. Although the Soong Method had a very low success rate, Culber notes that it worked for Admiral Jean-Luc Picard.

Jean-Luc Picard's name drops in Star Trek: Discovery show a synergy with Star Trek: Picard.

In Star Trek: Picard season 1, episode 10, "Et in Arcadia Ego: Part 2." Jean-Luc finally succumbed to his terminal brain disease. Before Picard's consciousness fully dissipated, however, Dr. Altan Soong transferred it to the synthetic golem body he had constructed. Picard's new synthetic body was identical to his human one and would allow him to live the life he would have had if not for the abnormality in his brain. Gray receives his own golem body in Star Trek: Discovery season 4, episode 3, "Choose to Live." With help from Trill Guardian Xi (Andreas Apergis), Gray's consciousness was successfully transferred to the synthetic body, allowing him to continue with his life.

In Star Trek: Picard season 3, Admiral Picard's brain abnormality was revealed to be the result of dormant Borg DNA that had been left from his time as Loctus of Borg.

10 Star Trek: Discovery Positives You Only Notice On Rewatch

1 “red directive” - star trek: discovery season 5, episode 1, references picard's meeting with the progenitors in tng's "the chase".

In Star Trek: Discovery season 5's premiere , Captain Burnham and the USS Discovery get pulled into a galactic treasure hunt with connections to Captain Picard. The Federation's Dr. Kovich (David Cronenberg) sends Discovery on a top-priority mission classified as a "Red Directive," to find and retrieve an artifact from an 800-year-old Romulan science vessel. Discovery arrives too late to retrieve the artifact, a Romulan puzzle box, which had already been stolen by couriers Moll (Eve Harlow) and L'ak (Elias Toufexis). After Michael tries and fails to retrieve the puzzle box, she confronts Kovich for more information about the mission.

Star Trek: Discovery season 5 already has more connections to Star Trek: The Next Generation and Captain Jean-Luc Picard than any previous season.

Kovich reveals that the Romulan puzzle box contains information regarding the Progenitors, the ancient humanoid race that is believed to have created all humanoid life. In his briefing, Kovich says that Captain Picard "found a message left by a race of ancient beings," referencing the events of TNG season 6, episode 20, "The Chase." A Romulan scientist, Dr. Vellek (Michael Copeman), had been present on that day and had continued to research the Progenitors, eventually storing his diary within a Romulan puzzle box. After two episodes, Star Trek: Discovery season 5 already has more connections to Star Trek: The Next Generation and Captain Jean-Luc Picard than any previous season.

Star Trek: The Next Generation & Star Trek: Discovery are streaming on Paramount+.

Star Trek: Discovery

Star trek: the next generation.

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Why ‘Star Trek: Discovery’ Built Season 5 Around a Classic Episode From a Legacy Series

By Adam B. Vary

Adam B. Vary

Senior Entertainment Writer

Why ‘Star Trek: Discovery’ Built Season 5 Around a Classic Episode From a Legacy Series 4 days ago
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Sonequa Martin-Green as Burnham of the Paramount+ original series STAR TREK: DISCOVERY. TM & © 2022 CBS Studios Inc. All Rights Reserved. **BEST POSSIBLE SCREENGRAB**

SPOILER ALERT: This story discusses major plot developments in Season 5, Episode 1 of “ Star Trek : Discovery,” now streaming on Paramount+.

By the end of the episode, however, the mission has pushed Burnham and her crew to their limits, including slamming the USS Discovery into the path of a massive landslide threatening a nearby city. Before they risk their lives any further pursuing this object, Burnham demands that Kovich at least tell her why. (MAJOR SPOILERS FOLLOW.)

Kovich’s explanation evokes the classic “ Star Trek: The Next Generation ” episode “The Chase” from 1993 in which Capt. Jean-Luc Picard (Patrick Stewart) — along with teams of Romulans, Klingons and Cardassians — learn that all humanoid life in the galaxy was created by a single species that existed billions of years earlier, and seeded thousands of planets with the DNA to pass along their legacy. (Along with presenting a profound vision of the origins of life, the episode also provided an imaginative explanation for why almost all the aliens in “Star Trek” basically look like humans with different kinds of forehead ridges.)

Kovich tells Burnham that the Romulan scientist was part of a team sent to discover exactly how these aliens — whom they call the Progenitors — made this happen; the object they’re seeking winds up being one part of a brand new “chase,” this time in the 32nd century, to find the Progenitors’ technology before it can fall into the wrong hands.

“I remember watching that episode and at the end of it just being blown away that there was this huge idea where we all come from,” Paradise says. “And then they’re going to have another mission the next week. I found myself wondering, ‘Well, then what? What happened? What do we do with this information? What does it mean?’”

Originally, Paradise says the “Discovery” writers’ room discussed evoking the Progenitors in Season 4, when the Discovery meets an alien species, the 10-C, who live outside of the galaxy and are as radically different from humans as one could imagine. “As we dug deeper into the season itself, we realized that it was too much to try and get in,” Paradise says.

Instead, they made the Progenitors the engine for Season 5. “Burnham and some of our other characters are on this quest for personal meaning,” Paradise says. Searching for the origins of life itself, she adds, “feels like a big thematic idea that fits right in with what we’re exploring over the course of the season, and what our characters are going through.”

That meant that Paradise finally got to help come up with the answers to the questions about “The Chase” that had preoccupied her when she was younger. “We had a lot of fun talking about what might’ve happened when [Picard] called back to headquarters and had to say, ‘Here’s what happened today,’” she says. “We just built the story out from there.”

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‘Star Trek: Discovery’ S5 Review: Final Season Is Its Best

This season has a brisk pace and the sense of fun that in the past has been crushed under the weight of grave galactic stakes..

Star Trek: Discovery occupies an interesting place in the celebrated franchise. It was the first Trek series of the streaming era, the first to debut behind a paywall, the first produced after J.J. Abrams’ big screen reboot, and the first to put a woman of color in the captain’s chair. Discovery redefined the look and feel of the franchise on television, bringing Trek into the modern world of feature-level photography, effects, and pace of story. It blazed a trail for a new generation of Trek media, like direct spin-off Strange New Worlds and the upcoming Section 31 TV movie. It is also not terribly popular amidst the old guard of Trekkies, nor is it a mainstream hit or a critical darling. Discovery has struggled to find its footing from the very beginning and is still uneven after years of retooling. I do not consider its cancellation after five seasons to be a tragic loss for television. However, Discovery may still have one “first” left to achieve: It may be the first Star Trek series whose final season is its best.

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(A quick personal note to the handful of Trekkies who just clutched their pearls: Season 4 of Enterprise is not better than Season 3, it merely has more familiar stuff for fans to point at with childlike glee. And you’ve likely already read my thoughts on Picard ’s final season .)

Even as a critic of the show, I have to acknowledge that every season of Discovery has started with a bang. It’s the nature of a serialized, season-long story arc to kick off with something resembling the first act of a feature film, and Season 5 is no different. The opening chapter, “Red Directive,” is a fast-paced space adventure packed with flashy action set pieces. The illustrious Captain Michael Burnham ( Sonequa Martin-Green ) and her crew are on the trail of Moll (Eve Harlow) and L’ak (Elias Toufexis), a spacefaring Bonnie and Clyde who have stumbled across a secret with enormous implications for the future of the galaxy. Just like the previous three seasons, this sets Team Disco off on another cosmic scavenger hunt, jumping to a new world each week to find the next clue to the season’s grander mystery.

Historically, this is where Discovery has run into trouble. While each chapter tends to have its own contained adventure plot or even a classic Trek “message of the week,” they’re rarely that memorable and they advance the season’s overarching storyline without adding much depth. This season, though, has a brisk pace and a sense of fun that, previously, has been crushed under the weight of grave galactic stakes. Paramount has promoted this season as having an Indiana Jones energy to it , and that’s a fair comparison. The characters are enjoying themselves more, and for the first time since Season 2, the story isn’t built around some unfathomable tragedy. T o my best recollection, none of the episodes provided in advance to critics feature any crying. That’s four consecutive episodes, possibly a new track record.

This is not the only way in which Discovery ’s new season throttles back on the show’s occasionally cloying sentimentality. The season premiere introduces a new character, Captain Rayner ( Callum Keith Rennie ), a gruff pragmatist who serves as a contrast to Burnham’s soft-spoken, personable, firmly feminine command style. At first, Rayner appears to be a straw man representing aggro, entitled white male authority, a trope Discovery goes to often. As the season progresses, Rayner acquires some depth and even some likability. It’s fun to watch this grumpy old guy interact with a cast full of characters who are totally in touch with their feelings. Most importantly, Rayner provides something that the series has needed ever since Burnham took command of Discovery: a professional peer with whom to disagree and occasionally compromise. It’s an essential role that her first officer, Saru ( Doug Jones ), has become too adoring and loyal to play. Burnham has earned the devotion of her crew, but watching her gracefully manage dissent only enhances her aura of strength and leadership.

Even though production was wrapped before Discovery was canceled (with additional shooting after that announcement to tie up loose ends), Season Five feels like a finale from the very beginning. A few characters are moving on with their lives, pursuing new interests and relationships. There are more fun, non-intrusive callbacks to Treks past than in the last two seasons, which makes it feel a bit like a victory lap for the streaming era’s flagship show. Above all, there is a sense of ease, as if the cast and crew have finally got their engine running smoothly and can cruise to the finish line. It’s the energy a series possesses at its peak, a point to which fans will often look back and say “They probably should have stopped there.” Barring a significant misstep in its final six episodes, Star Trek: Discovery will never be past its prime, and that’s a distinction its creators can wear with pride.

‘Star Trek: Discovery’ S5 Review: Final Season Is Its Best

SEE ALSO : Hank Azaria On What It Takes to Change

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IMAGES

Star Trek Picard Season 3 closing credits: Easter eggs, theories and
Star Trek Picard Alternate Main Theme and Closing Song
Full Details on 55-Track STAR TREK: PICARD Season One Soundtrack
‎Music From Star Trek: Picard de Music From Star Trek: Picard Conducted
Closing the Book on the Full Star Trek Picard Series
‘Star Trek: Picard’ Series Finale Recap: Saying Farewell

VIDEO

Star Trek TOS season 1 Closing Credits Remastered and Fast
Star Trek The Original Series Closing Credits Season 1
Star Trek TOS Season 1 Closing Credits Season 2 Song Remastered
Star Trek The Original Series Closing Credits Season 1 remastered and fast
Star Trek Picard Season 3
Season 2 Main Title

COMMENTS

Star Trek: Picard Soundtrack
Music From Star Trek: Picard. 344. S1, E10 • Et in Arcadia Ego, Part 2. California Dreamin. Freischwimmer. 97. S2, E3 • Assimilation. I Don't Want To Set The World On Fire. The Ink Spots. 94. S3, E1 • The Next Generation. ... Star Trek: Picard - Season 1 (Original Series Soundtrack)
INTERVIEW
One of the highlights of Star Trek: Picard's third and final season — aside from the reunion of the Star Trek: The Next Generation crew — has been the sweeping, cinematic musical score which has accompanied each episode of this year's adventure. Series composer Jeff Russo departed the show after Season 2 — and new composers Stephen Barton and Frederick Wiedmann took charge of musical ...
Anyone notice the end credits music for Picard : r/startrek
However Picard S3 did include a new recording of the TNG music for the finale episode. Ultimately, you need to listen to the FC soundtrack to hear it's beautiful score though. You can hear the original FC/TNG transition here which is less rushed than on the Picard credits obviously. 2. Bennethon.
Star Trek: Picard Season 3 Soundtrack
The soundtrack to Star Trek: Picard Season 3 music, view and listen to all the songs from the 2023 Prime Video and Paramount+ TV series, listed by episode, with scene descriptions and timelines, entire tracklist. ... Star Trek: Picard Season 3 official OST album tracklist, original motion picture score. Original release date: 20 April 2023
"Vox" End Credits
This is the end credits version of "Make it So" taken from 3x09.Composed by Frederik Wiedmann.Enterprise-F thumbnail art by Thomas Marrone, sourced from: htt...
Stephen Barton & Frederik Wiedmann
Listen to "Leaving Spacedock" by Stephen Barton & Frederik Wiedmann Star Trek: Picard Season 3 (Original Series Soundtrack)Download the album: https://lnk.to...
8K: Star Trek Picard Final Season 3 Opening / End Titles ...
See it in 8K 60FPS: This is Picards Final Mission End Credits. Enjoy! Comment, like, SHARE & SUBSCRIBE! 🖖 Lass doch mal ein ABO da Unterstütze diesen Kanal ...
Star Trek: Picard Finale's Shocking End-Credits Scene Explained
Star Trek: Picard season 3's ending and end-credits scene are clearly setting up showrunner Terry Matalas' proposed continuation series, which he calls Star Trek: Legacy. At the end of "The Last Generation," the USS Titan-A has been re-christened the USS Enterprise-G, with Captain Seven of Nine and First Officer Raffi Musiker (Michelle Hurd) leading the Titan's bridge crew, including helmsman ...
See 'Star Trek: Picard' Season 3 Orchestra Pay Homage To Jerry
The legendary composer has been credited in a number of Picard episodes that have used elements of his music, including his Emmy-winning theme from Star Trek: Voyager. Earlier in July.
Listen to Track from 'Star Trek: Picard' Season 3 Soundtrack
Image via Paramount+. Ahead of the series finale of Star Trek: Picard, Collider is thrilled to exclusively debut a new track from the Season 3 soundtrack. The new track, titled "Leaving Spacedock ...
Picard season 3 end credits are gold. : r/startrek
They really milked my old Trek nostalgia with the first episode. Even the music, fonts and end credit visuals were top tier. I know Patrick Stewart didn't want to play the Picard we've seen before, but we needed a few links back so he didn't feel like a completey different character and universe.
Star Trek Picard Season 3 closing credits: Easter eggs ...
It's elementary, dear LaForge. Star Trek Picard Season 3 Episode 1 is out now, and while others are recapping episodes week to week, we thought we'd take a long hard look at the show's closing credits. At least, as they are so far. We've broken down all that we thought was relevant after episode 1, "The Next Generation", so rest ...
All the Easter Eggs We Spotted in STAR TREK: PICARD Season 3
Apr 20 2023 • 11:58 AM. The first two seasons of Star Trek: Picard had their share of Easter eggs for longtime fans to spot. But season three blew the previous two out of the water in this ...
What do the music notes in the end credits mean? : r ...
Related Star Trek: Picard Sci-fi series Television forward back r/Baccano This subreddit is dedicated to Baccano!, an ongoing light novel series by Ryohgo Narita that has received multiple media adaptations over the years, including: a critically acclaimed anime adaptation made in 2007; two manga adaptations; two audio dramas; and a NDS game ...
Star Trek: Picard (Season 3)
April 30, 2023 • Zanobard. Stephen Barton and Frederik Wiedmann's score for the third season of Star Trek: Picard is utterly brilliant, and a spellbinding showcase of what the music for the show frankly should have sounded like in the first place. Gorgeous thematic reprisals and rich stylistic callbacks are amazingly abound in this two and ...
Interview: 'Picard' Season 3 Composers On How They Are Reviving Classic
He co-produced the 2012 15-disc box set of all the music from the original 1966 Star Trek series and has written liner notes for releases of all the original Star Trek theatrical films from Star ...
'Star Trek: Picard' Recap: Season 3, Episode 10
If it is the end, it's a warm, affectionate send-off. If not, let's hope the next reunion strikes as deft a balance between nostalgia and adventure. Star Trek is a science-fiction franchise ...
Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack
Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack. Trae Patton/ Paramount+. By Ethan Zack / March 14, 2023 12:55 pm EST. The third season of "Star Trek: Picard" gives fans yet another ...
Listen To A Clip Of The USS Titan Theme From Star Trek: Picard Season 3
Coming on Feb 16. The third and final season premieres on Thursday, Feb. 16, 2023, exclusively on Paramount+ in the U.S., with new episodes of the 10-episode-long season available to stream weekly ...
Star Trek Theme (HQ)
Original creator by Jerry Goldsmith from End Credits from Star Trek®: First Contact.And for the Star Trek Picard Season 3 Theme by Stephen Barton that took i...
Tunefind
The Internet's best source for TV, movie and video game soundtracks since 2005.
Star Trek: Discovery & DS9 Have 1 Big Starfleet Thing In Common
Star Trek: Deep Space Nine, also known as DS9, is the fourth series in the long-running Sci-Fi franchise, Star Trek. DS9 was created by Rick Berman and Michael Piller, and stars Avery Brooks, René Auberjonois, Terry Farrell, and Cirroc Lofton. This particular series follows a group of individuals in a space station near a planet called Bajor.
Star Trek: Picard Season 2 Had To Be Rewritten For A Weird Reason
While several factors led to these sweeping changes in the second batch of episodes, among the biggest was the virus that changed the film industry forever, COVID-19. "COVID beat us up. We had to ...
Picard's Darkest Moment Unlocked an Entire New Science for Starfleet
Picard's darkest Star Trek moment had a huge silver lining, opening up a new, and beneficial, branch of science. Star Trek: Defiant #12 is on sale now from IDW Publishing!
Picard Post Credit Music : r/startrek
I wouldn't call "Labor of Love" (the music that plays when Kirk's dad sacrifices himself by ramming the Kelvin into the Narada) generic. BigMD86672 • 3 mo. ago. Going in a new musical direction, except for playing the end credits over the theme song from TOS, something not even the original cast movies did.
'Star Trek: Discovery' opens its 5th and final season in unremarkable
Get all the Star Trek content you can possibly handle with this free trial of Paramount Plus. Watch new shows like Star Trek: Discovery and all the classic Trek movies and TV shows too. Plans ...
'Star Trek: Picard' Star Amanda Plummer Joins Uwe Boll's 'Run'
Amanda Plummer of "Pulp Fiction" and " Star Trek: Picard " fame and veteran thesps James Russo and Ulrich Thompson ("The Celebration") have joined Uwe Bolls's forthcoming migrant ...
All 3 Times Star Trek: Discovery Has Mentioned Jean-Luc Picard
The first mention of Jean-Luc Picard in Star Trek: Discovery comes in an episode that serves as a sequel to an iconic Star Trek: The Next Generation two-parter.In TNG's "Unification," Starfleet sends Captain Picard to look for Ambassador Spock (Leonard Nimoy), who was last seen on Romulus. Picard eventually finds Spock and learns that the Vulcan Ambassador has been working on a "personal ...
'Star Trek: Discovery' and 'The Next Generation' Connection Explained
Kovich's explanation evokes the classic "Star Trek: The Next Generation" episode "The Chase" from 1993 in which Capt. Jean-Luc Picard (Patrick Stewart) — along with teams of Romulans ...
'Star Trek: Discovery' S5 Review: Final Season Is Its Best
Star Trek: Discovery occupies an interesting place in the celebrated franchise. It was the first Trek series of the streaming era, the first to debut behind a paywall, the first produced after J.J ...

Star Trek: Picard Soundtrack [ 2020 ]

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Season 3 • Episode 1 : ‘The Next Generation’ (S03E01)

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