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EVA-Trek, an Evangelion / Star Trek crossover

Discussion in ' Fan Fiction ' started by Firebird , Jun 19, 2022 .

Firebird Commodore Commodore

EDIT, 2023.02.10 : EVA-Trek is now over at Archive of Our Own to hopefully make the series easier to access and read! All chapters have been posted over there. https://archiveofourown.org/series/3301210 What if the characters of Evangelion inhabited the world of Star Trek ? And not only that, what if it was written like a Star Trek series? Those two basic ideas are the driving force behind this script-fic. If you've been following along in my thread over in the fanart forum ( https://www.trekbbs.com/threads/firebirds-sketch-of-the-week-series.307901/ ), nearly one year ago, I had the sudden idea to do a drawing that combined two of my favorite franchises, Star Trek and Evangelion . At the time, I thought it would be a one-and-done idea, but as it turned out, I was incredibly wrong. Over the next few months, I started doing more and more drawings that put Eva 's characters into Trek 's 24th Century. This ultimately drove me to start brainstorming ideas about how I could fully integrate them into a story. This would be the first time I've ever attempted writing fanfic, after reading reams and reams of Eva fics and being inspired by Genocide , Advice and Trust, and Yui's Words , in particular. By last fall, I started developing this crossover as a full-fledged series. As I'm a bit of a screenwriting nerd and an amateur screenwriter, I decided to test my skills to see if I could make this work as a script. By the start of this year, I'd completed the first draft pilot episode script and a complete writer's guide/bible, codifying my ideas into one source. In the spring, I worked on developing the story over the arc of the series, while beginning to outline and write the first few episodes. Below is the final revised PDF "shooting script" of EVA-Trek 's pilot episode, "New Way Home." As I've said, I'm taking the screenwriting format seriously, so I've tried to format and write this as close to how the writers on The Next Generation and Deep Space Nine did their scripts in the 90's. https://drive.google.com/file/d/1Yhs3zS1Em_dylPfwZ9vn3VUA4D4EYc38/view I hope everyone enjoys the first "episode." The goal will be to release a new script each month of the 26-episode "season," ending with a two-hour finale. Also, since I've got a huge backlog of concept art and "scenes" from assorted episodes I've drawn over the last year, I'll be posting some along with each script. Here's the batch for the pilot: .SpoilerTarget"> Spoiler Initial concept sketch, June 2021: Conceptual design - Evangelion-class entry plug: USS Nerv - dedication plaque: Scene 128 - INT. SICKBAY:  

And here's episode 2 of EVA-Trek , "Enough Space." Stardate 48344.2: In the aftermath of the first angel's attack, Shinji recovers and starts to get settled in onboard the USS Nerv. Meanwhile, Misato has to deal with an old acquaintance in the final preparations for the Nerv's launch from Earth. https://drive.google.com/file/d/1QV-aQ3KhfSygTZ0fRXtXPx0dwsI8inJ-/view Episode Artwork: .SpoilerTarget"> Spoiler Sc. 80 - Close Shot - Fuyutsuki Cast Photo - Lt. Commander Misato Katsuragi Cast Photo - Captain Gendo Ikari Concept Art - Attempting to draw the Wunder bridge bunnies in Sadamoto's 90's art style [\spoiler]  

Gonna try out something new. In the finest tradition of both Evangelion and TNG , here is the 30-second preview for the next EVA-Trek episode. -------------------------------------------------------------------------------------------------------------------------- EVA-TREK ​ "Episode 103 Preview"​ FADE IN: A WHITE SCREEN With a TITLE: "Next Episode." Music OVER. MISATO (V.O.)​ Next time, on EVA-Trek... ​ CUT TO:​ EXT. ORBIT - NERV (OPTICAL) She sweeps in toward a beautiful blue-green world. MISATO (V.O.)​ The Nerv is rerouted for a cargo drop- off at a Federation colony...​ CUT TO:​ INT. CORRIDOR Misato confronts Mari. MISATO (V.O.)​ However, tensions are mounting between Misato and Dr. Amagi, catching the interest of Counselor Makinami. MISATO​ (to Mari)​ You will not interfere, and consider that an order !​ .SpoilerTarget"> Spoiler CUT TO:​ CLOSE-UP - HITOMI She sighs, massages her temples. CUT TO:​ MED. SHOT Sakura yells at an irritated Touji while Shinji, Rei, Hikari, Kensuke, and Mana look on. MISATO (V.O.)​ Meanwhile, things aren't much better for Shinji and his class. SAKURA​ (to Touji)​ You beat up Shinji?!​ CUT TO:​ EXT. ORBIT (OPTICAL) Shamshel approaches. MISATO (V.O.)​ Unfortunately for everyone, another angel appears.​ CUT TO:​ EXT. TAU CETI IV (OPTICAL) The Hakone fights off Shamshel as the two, locked together in struggle, enter a rapid barrel roll. MISATO (V.O.)​ Will Shinji be able to get it together in time to save the day?​ .SpoilerTarget"> Spoiler CUT TO:​ INT. BRIDGE Misato looks on in concern as we can hear Shinji SCREAMING on comms. MISATO (V.O.)​ Find out next time on EVA-Trek , episode 3...​ .SpoilerTarget"> Spoiler CUT TO:​ WHITE SCREEN With the TITLE: "Fraternity" MISATO (V.O.)​ "Fraternity." Stay tuned for no guarantee of fan-service!​ FADE OUT.​ .SpoilerTarget"> Spoiler  

ANNOUNCER (V.O.): " The following program is brought to you in living color on NBC... " ANNOUNCER (V.O.): "It's EVA-Trek ! Episode 3, "Fraternity." Stardate 48399.4: Starfleet reroutes Nerv for a cargo drop at a Federation colony when an angel attacks, putting strain on Shinji and the rest of the crew. https://drive.google.com/file/d/13ip-fTSUpoiJChibe9sUSl0fQl7pYKoH/view The usual artwork is in the episode preview post above. Next time on EVA-Trek : "Come Alive"  

And now, it's episode four of EVA-Trek , "Come Alive." Stardate 48422.1: Nerv encounters a new angel on its journey, whose power threatens to overwhelm the ship and its crew. https://drive.google.com/file/d/1dmUxdJ79vbjqqAs7eefX6kUNVFqaRE8I/view Episode Artwork: .SpoilerTarget"> Spoiler Scene 4 - EXT. SPACE - NERV (OPTICAL) Scene 36 - INT. OBSERVATION LOUNGE (OPTICAL) Cast Photo: Ensign Rei Ayanami Cast Photo: Lt. Commander Ryoji Kaji and Lt. Commander Misato Katsuragi  

Here's this month's installment of EVA-Trek , "Ain't it the Life." Stardate 48497.2: While the crew is repairing damages to Nerv after the last angel attack, Shinji reconnects with someone from his past while Kaji is on a mission of his own. https://drive.google.com/file/d/1aQWJZsv169UmUu_wfDk0Yso_lVggOUTk/view Next time on EVA-Trek: "The One" Episode Artwork: Sc. 6 - INT. HYUGA'S QUARTERS Cast Photo - Lt. Maya Ibuki Cast Photo - Ensign Rei Ayanami  

It's not TV, it's not HBO, it's this moth's installment of EVA-Trek , "The One." Stardate 48566.4: Shinji and the rest of Nerv are in for an interesting time as Lt. J.G. Asuka L. Soryu arrives onboard. https://drive.google.com/file/d/1TzvtpGdoHZFl_yjhROtD4-lugUFixk7v/view Special bonus content with this month's script is a technical memo covering the how the addition of the Eva Cages to Nerv altered the typical internal arrangement of a Galaxy-class starship. Next time on EVA-Trek: "Walking After You" Episode artwork: Scene 70: INT. EVA CAGES Scene 88: INT. HOLODECK Cast Photo: Lt. J.G. Asuka Langley-Soryu Special Feature: A bonus one-shot comic I drew last fall that inspired the teaser for this episode. .SpoilerTarget"> Spoiler  

The final EVA-Trek episode of the year is ready to go, so please enjoy "Walking After You." Stardate 48587.7: After a disastrous first attempt to fight an angel that nearly destroyed a major city on Klaestron IV, Shinji and Asuka are forced to do special training to make them a better team. https://drive.google.com/file/d/1R55Plm0LU9UKBAXdPAL2ugemNeJWw4oc/view Next time on EVA-Trek : "My Hero" Episode artwork: Sc. 7 - INT. BRIDGE (OPTICAL) Sc. 13 - INT. HAKONE ENTRY PLUG (OPTICAL) Concept Art: Shinji and Asuka's training outfits  

It was the night before Christmas and all through the ship, Captain Ikari desperately tries to give Counselor Makinami the slip...  

EVA-Trek is back for a new year with its newest episode, "My Hero." Stardate 48677.9: A routine survey of an intense nebula uncovers a juvenile angel, and Asuka is chosen as the one to risk her life to attempt its capture. https://drive.google.com/file/d/1y4fqmNLd5Ze59DLaHj5HlONvCyWeSpcp/view Next time on EVA-Trek : "Normal" Episode Artwork: Scene 33: INT. KYOTO ENTRY PLUG Cast Photo: Lt. J.G. Asuka L. Soryu  

Stardate 48827.1: Welcome to a standard week in the life of Lt. Commander Misato Katsuragi - her regular duties, dealing with the Eva pilots, interacting with the crew, leading an angel attack, the usual. Welcome back to EVA-Trek , everyone! As always, I own nothing of what I write here, and I'm sure everyone is glad I don't. A quick announcement before we get into this month's episode. I've got a lot of IRL stuff going on for the next month, so this may affect my writing schedule a little. Thankfully, there shouldn't be any delays until episode 12, because I tend to keep about two months ahead of the release schedule. At any given time, I typically have one script in final revisions, one at a first or second draft, a third script in the outline phase, and finally scattered initial notes and concepts for the rest of the series. It helps to have done a bunch of planning early on when I was first developing the series last year! This month, I'm trying something new for posting the episode. Now that the series is also being posted over at Ao3 ( https://archiveofourown.org/series/3301210 ), I'm sharing a preview of the teaser here, and then the rest can be read on Ao3: https://archiveofourown.org/works/44932957/chapters/113058973 So now, on with the show - partially inspired by M*A*S*H 's "Dear Dad" and TNG 's "Data's Day." ----- .SpoilerTarget"> Spoiler: Teaser  

Welcome back to EVA-Trek, everyone! It's been one helluva month for me since the last episode went online - lots of IRL things, but on the bright side, I didn't slip on any production for future episodes of the series. There should be no breaks in the release schedule, at least until the break I'm planning on taking between episode 24 and the two-part finale to allow myself extra time to write what looks to be a considerably long script... and edit it down. This month's episode was a fun one for me to tackle, and in many ways it was heavily inspired by the TOS episode "The Devil in the Dark" in terms of structure. Honestly, episodes 10, 11, and 12 are a fun grouping to bring the series' second narrative arc, or the "Asuka Arc," to a close, whilst getting us to the midway point in the show. One final note from the casting department at EVA-Trek before we move on to the proceedings. For the part of Brenad, the lead miner, imagine him played by longtime Star Trek guest actor J.G. Hertzler - General Martok, himself. In the part of Altand, Brenad's lackey, he should be read in the voice of Jason Mantzoukas, currently playing Jankom Pog on Star Trek: Prodigy . Gonna try doing something a little different this month, and attempt posting each act of the script here, rather than the Google Drive link. And now, a 24th century odyssey continues... .SpoilerTarget"> Spoiler: Teaser  

.SpoilerTarget"> Spoiler: Act One  

.SpoilerTarget"> Spoiler: Act Two  

.SpoilerTarget"> Spoiler: Act Three  

.SpoilerTarget"> Spoiler: Act Four  

.SpoilerTarget"> Spoiler: Act Five .SpoilerTarget"> Spoiler: Episode Artwork Cast Photo: Commander (Doctor) Ritsuko Akagi Concept Art: Initial Cast Sketch  

Welcome back to EVA-Trek , everyone! This month's episode finally presented an opportunity to do a classic "trapped in the holodeck" type of Star Trek episode that has been overdone, to be sure, but there's some 90's Trek tropes I just have to explore with this series. It's also the penultimate installment of the series' second narrative arc and tees up a crossover I've had planned since I first started developing EVA-Trek nearly two years ago. We're going back to the old posting format this month - I realized it was too time-intensive to post each act individually. Without any further ado, it's time to grab a cup of raktajino, a jumja stick, kick back, and enjoy the show! Stardate 49011.2: A sudden plague of system failures traps Shinji, Rei, and Asuka in the holodeck and puts the entire crew in danger. https://drive.google.com/file/d/1TJ7i9_P12nAeyMSiwjKHFRyS-m9ozlGC/view Next time on EVA-Trek: "Good Grief," coming 2023.05.12 And a general comment, SPOILER tag because of Picard: .SpoilerTarget"> Spoiler: Don't click if you haven't seen Picard 3x09 I'm still overcome with emotion over seeing the Enterprise-D reborn, so getting to continue to write this series set aboard the Galaxy-class that was my first love means so much to me. In my own way, I've been trying to make the ship live again, 31 years after becoming a Trekkie for the first time, all thanks to TNG.  

Welcome back to my slice of the 24th century mixed with a slice of mecha! This month brings a crossover episode with Deep Space Nine that I've been hoping to write for quite some time. Sadly, I have to announce that I'm placing the series on an indefinite hiatus in solidarity with the Writers Guild of America strike. I cannot in good conscience continue to publish these scripts while the Guild fights for fair compensation for all screenwriters. The series shall return once the strike ends. In the meantime, I'm probably going to write a couple one-shot side-stories in prose format, and maybe release some of the non-spoilerific portions of the EVA-Trek writers guide. Stardate 49012.1: Nerv stops at space station Deep Space Nine to aid with repairs in the wake of the Klingon attack. Amongst the activities are a promotion, some light espionage, and a life-altering experience. https://drive.google.com/file/d/1euBsTrIgFi50ufUvXizVrNwMN_Ch6nLd/view Next Time on EVA-Trek: "Lonely as You," release date pending the resolution of the Writers Guild strike. .SpoilerTarget"> Spoiler: #WGAStrong  

Welcome back (sorta) to EVA-Trek , everyone! We're a month into the writer's strike, and there looks to be little-to-no change in the negotiations. On the bright side, SAG-AFTRA (the actor's guild) has voted in favor of a strike authorization, and there's a lot of pushback within the Director's Guild against the dubious "historical" agreement their negotiators made with the AMPTP. Should make for an interesting summer if the DGA ends up having no writers or actors to make their films and shows with. If you're interested in showing support for the various unions against corporate greed, please consider donating to the Entertainment Community Fund. It'll go a long way to helping writers (and potentially actors) during this time until they're able to get back to work. ------ This month, as I previously said, there's not going to be a new episode posted in solidarity with the WGA. What I'm going to do instead is crack open the EVA-Trek vault back to the beginning. From the start, I treated the show as if I were creating a television series, and during development of pilot episode and concept, a vital document I needed to create was a writer's guide, or show bible. In the television industry, a bible outlines the characters, plots, settings, and the overall themes for the series. Many times, the bible is part of the package that writers use to pitch the show to the network, but then continues to evolve and change over the life of the show once it's been picked up. The first draft of the series bible was completed in November, 2021, with another couple of polishes over the next couple months. The "final" draft came shortly after finishing the first draft of "New Way Home," the pilot episode, and acted as a main springboard for the characterizations of my treatment of the Evangelion cast. This version you see here is a cut-down version of that from last summer, which pruned about 15 pages of spoilers from the 56-page document. Following the series finale, I'll post that full version, along with the Series Arc Notes document that had my initial rough ideas for every episode. And now, without further ado, here is the July 16, 2022 Revised Final Draft of the EVA-Trek Writer's Guide , by me, based on the Star Trek: TNG writer's guide by Gene Roddenberry and David Gerrold. ------ .SpoilerTarget"> Spoiler: Section 1 - Series' Mission Statement & Format These are the voyages of the starship Nerv. Its continuing mission: to develop “Project E” to protect and defend the Federation from any threat to seek out and stop the menacing lifeforms known as “angels.” THE MISSION OF THE USS NERV STARFLEET OPERATING ORDERS: STARSHIP: NERV DESIGNATION: NCC-71855 COMMANDING OFFICER: CAPTAIN GENDO IKARI STARDATE: 48200.2 SHIP’S MISSION: To provide for Earth/Federation security. To seek out and engage the lifeforms posing a threat to Earth, known as “angels.” To facilitate the continued development of Project E. To expand the body of Federation knowledge. To seek out new life, new civilizations. To provide assistance as required to Earth/Federation colonies, commerce and travelers. EVA-TREK EVA-TREK is dated around the time of STAR TREK: DEEP SPACE NINE’s third and fourth season, the years 2271 and 2272. Tensions between the Federation and Dominion are beginning to heat up as a prelude to the inevitable war. In this section of the history, we find the characters of the NEON GENESIS EVANGELION franchise transplanted here as if they were always a part of the Prime Timeline. The object of the series is to see the ways living in Trek’s 24th century would benefit the characters, or in some ways, open them up to pitfalls they never would have suspected. Familiar faces we’ve known now for twenty-five years may appear differently, act differently, may even fight for different sides. In addition, we aim to see how the typical stations of the Eva canon could be integrated and make the struggles against the Angels and SEELE play out over the backdrop of the build-up to the Dominion War. Will our crew make it out alive with their sanity intact, or is history doomed to repeat itself? Along the way, we should not forget that we are playing around in the Star Trek universe and that we are aboard a Federation starship patrolling the Alpha and Beta Quadrants. Remember that only 20% or so of the galaxy has been charted around the time of DS9. If only one out of a million of the stars in the galaxy had worlds and if only one out of a million of these worlds were capable of supporting life, and if only one out of a million of those bore intelligent life, there would still be millions of inhabited worlds for us to visit. So much for the question: “Are there any star Trek stories left?” THE SCRIPT What We Must Have: Action/Adventure/Drama Entertainment -- Involving our Starship Crew and Vessel -- Plus , once the above has captured the audience's attention, our usual comments about challenges which humanity now faces. THE SCRIPT -- FORMAT THE FORMAT of an Eva-Trek script is a TEASER and FIVE Acts. The Teaser can run as long as 7 pages if necessary, but should not be shorter than 3. Each Act should be approximately 10-11 script pages long. The total length of the First Draft script should not be more than 61-62 pages. Because the style of the show is a fast-paced action/drama, long rambling scenes are to be avoided . The actual running time of each episode will be 43 minutes. TAG : We’ve fought against an angel or come across an interesting phenomenon. Having Captain Ikari order the ship to “warp out” at the end of each episode puts us in harm’s way, dramatically speaking. Our new optical effects shots of Nerv entering into warp speed last no more than a second or two overall. The ship appears to stretch like a rubber band, then snap forward and is gone from sight much too quickly to allow our composers to “button off” the end of the show with a proper music cue. We need to finish each show with a shot of the ship that lasts a lot longer than that. The writing staff can help us in this regard by writing dialogue in the last scene that doesn’t refer to speed. The Captain can order Hyuga to “set course for ________” or “take us out of here” or to “take us out of orbit” or whatever -- just so long as warp speed isn’t specified. This gives us a chance to use any shot of the ship we want for as much screen time as we need. EVA-TREK uses the narrative device of the ship’s log to provide necessary exposition for our stories. PERSONAL OR CAPTAIN’S LOG : Since many episodes will follow from Shinji’s point of view, the Personal Log is a voice-over supplement to the narrative of our story. In cases where Gendo drives the story, we would use a Captain’s Log . Any other crew would use a Duty Officer’s Log , or a similar title. Example: “Personal Log, stardate 48313.2. The Nerv is in final preparations to leave drydock...” One purpose of the log entries is to move the story along rapidly and economically with a few words sometimes doing the work of several scenes. It also allows our characters to annotate their personal responses and feelings about a situation as it is occurring. Log entries are ALWAYS introduced with a stardate. STARDATES A stardate is a five-digit number followed by a decimal point and one more digit. Example: “49110.4” The first digit of the stardate is always “4.” The 4 stands for the 24th Century. The 9 indicates the year/season, relative to the start of TNG. In our case, it will go from “8” to “9” by the finale. The additional three leading digits will progress unevenly during the course of the season from 000 to 999. The digit following the decimal point is generally regarded as a day counter.  

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From Star Trek: Theurgy Wiki

There were the standard equipment EVA suits in use in Starfleet in 2381. In order to use more advanced suits, like the Tactical CONN and Security exosuits , special training in these departments needed to be completed before getting clearance to use them.

An environmental suit, also known as an EVA suit or pressure suit, is a special form of clothing designed to be used for protection or life support in inhospitable environments. With the advent of space travel came the need to perform tasks outside the controlled atmosphere of space vessels. Consequently, the EVA suit was developed. As planets and other stellar objects came within the reach of Human space explorers, their EVA suits became necessary for them to explore environments with different atmospheric conditions than those on Earth.

• 3 Life Support & Propulsion
• 4 Gloves & Boots
• 5 Back-up System

The design of the helmet allowed an almost normal field of view to the wearer. Though the vertical field of view was limited to eight degrees, the amount of room inside the helmet allowed the wearer to compensate by simply moving his or her head. The helmet had a clear visor integrated into the front that could not be opened separately. It featured two outside lights, one on either side, and two ambient lights inside to illuminate the wearer's face. When the helmet was sealed, the ambient lights would activate. Audio equipment, like a microphone and speaker, were integrated.

Located on the back of the helmet were air hoses to an oxygen supply, and an electrical connector for light, communication, and propulsion units. The helmet connected to the life support and propulsion unit via a secondary connection ring and not to the EVA suit directly. Padding within the helmet made sure the wearer could not touch the visor with his or her face.

The EVA suit was made as one full piece that closed at the front via a zip fastener and ended just below the elbow. The suit was self-sealing, meaning that if it were punctured or damaged in some way, sealant would be automatically applied to prevent the suit from decompressing. Although the suit was solid enough to protect its wearer from the rigors of space, a hypospray could still penetrate it in case of an emergency.

Life Support & Propulsion

The life support and propulsion unit (or "LSPU") consisted of a hard upper torso body-shell and a harness. This unit contained the essentials for survival in space: communication equipment, oxygen, propulsion unit, EVA controls, and the power supply. It was padded to give the wearer some extra comfort. The LSPU also held an extra oxygen hose for refilling or sharing the oxygen supply. This extra hose allowed oxygen to be replenished from any device that held liquid oxygen, provided the physical connection would fit.

On the front of the unit, the following switches were present: communications, oxygen transfer, lighting and propulsion activation.

On the back were the incoming and outgoing oxygen connections. These hoses were fastened via a bayonet joint to prevent accidental release. Below one of the oxygen connections was an air supply indicator, divided into eight equal parts. This indicated the level of oxygen by means of color coding – green, yellow, and red. In 2154, this air supply indicator was removed and replaced by an analog indicator on the right side of the LSPU. The back of the unit also contained an electrical cord, which transferred power and communications from the LSPU to the electrical connector at the back of the helmet.

The harness consisted of two leg bands that were connected to each other via a belt that was also used to hold small tools as necessary. The LSPU was secured to the harness at four attachment points to keep the unit in place.

Gloves & Boots

The gloves had five digits and were connected to the EVA suit via a zip fastener just below the elbow. They were also self-sealing. The boots were made out of the same material as the EVA suit and could be magnetized.

Back-up System

Wearers were kept alive by the backup system of their environmental suits, by "keeping their vital functions going" while unconscious. The system kicked in due to an environmental seal in their suits had been compromised, depleting the oxygen.

Source: Memory Alpha

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Space walking astronaut in the Early days of Human space exploration.

A space walk or EVA (Extravehicular Activity) referred to being in space outside the hull of a starship or space station and was usually in zero gravity . ( ENT : " Minefield ", " The Council "; Star Trek: First Contact )

Space walks required an environmental suit , also known as an EV suit , though occasionally certain crewmen or members of certain species are able to go without. For instance, Lieutenant Commander Data , an android , and The Doctor , a hologram , are able to perform in many environments where most Starfleet crewmen could not. ( VOY : " Basics, Part I "; Star Trek Nemesis )

Lunaport , in the Sol system , contained an EV simulator that was nicknamed by Earth Starfleet trainees : " The Vomitorium ." ( ENT : " The Catwalk ")

A team engaging in a spacewalk might be known as a EV team . ( ENT : " Similitude ")

The drawings sent by students of Miss Malvin 's fourth grade class of Worley Elementary School to the crew of Enterprise NX-01 in 2151 depict space-walking astronauts making first contacts . ( ENT : " Breaking the Ice ")

Hawk, Picard and Worf on a space walk

In 2373 / 2063 , when the crew of the USS Enterprise -E found out that that the Borg that had infested the ship were outside on the hull building an interplexing beacon on the ship's deflector dish , Captain Jean-Luc Picard asked Lieutenant Commander Worf if he had remembered his zero-gravity combat training . Worf revealed it made him sick to his stomach. Despite this, Picard, Worf and Lieutenant Hawk went onto the hull to stop the Borg. ( Star Trek: First Contact )

Space walks were taught at Starfleet Academy in a six-week long course during the third year. It was aimed at preparing cadets for walking in space in their space suits. In 2374 , Lieutenants B'Elanna Torres and Tom Paris were forced to evacuate their shuttlecraft , shortly before it was destroyed, by putting on their EV suits and beaming into space. Torres, who had never finished the Academy, felt queasy floating around in space, saying it was nothing like the simulations done before the course. In 2380 , Ensign D'Vana Tendi confessed to Sam Rutherford that she never finished the course when she was at the Academy but somehow was given B grade. She didn't question it at the time and eventually came to the conclusion that it was most likely a clerical error. ( VOY : " Day of Honor "; LD : " Terminal Provocations ")

This kind of activity can have its own kind of hazards. For instance, a team from the USS Cerritos was performing EVA work while Captain Carol Freeman received a distress call and left to respond to it without recalling the team, leaving them stranded in orbit with no resources outside their suits' life support. By the time the Cerritos returned to collect them, the team's suits were almost fatally depleted. ( LD : " I, Excretus ")

• 1.1 See also
• 1.2 Background information
• 1.3 External link

Appendices [ ]

See also [ ].

• EVA workpod

Background information [ ]

Space walking is known as Extravehicular activity (EVA), in the real world, but this terminology has not been used on screen in a Star Trek production, although several scripts use the proper real-world term, and EV has been used in relation to space suits.

Footage of astronauts spacewalking is featured in the opening credits of Star Trek: Enterprise .

External link [ ]

• Space walk at Wikipedia
• 2 ISS Enterprise (NCC-1701)

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Published Jan 2, 2021

'Discovery's Space Suits May be Closer to Reality Than You Think

Burnham's spacewalk look has a long history rooted in NASA's stellar work.

StarTrek.com

Remember Michael Burnham’s spacesuit from Star Trek: Discovery ’s pilot episode? There’s a reason that futuristic, pearl-white thruster module with auto-navigation and heads-up helmet display looked so magnificent on screen. While the futuristic aesthetics of the suit put it right at home in the Trek universe, the foundation of its design is rooted in some real-world space suit tech. The Battle of the Binary Stars from “The Vulcan Hello” takes place in the year 2256, but given the current trajectory of human spaceflight technology and NASA’s recent commitment to land astronauts back on the Moon by 2024, Burnham’s thruster-pack-propelled away mission through the asteroids is on track to become a reality well before then.

Star Trek has a long history of predicting technologies. You’re probably reading this on a device that existed in Trek before it did in reality.

Spacesuits have an equally long history — about 3,500 words long, just so you know what you’re about to get yourself into. In fact, the origin of modern-day spacesuit design dates back to before the human race even had the means to consider rocketing free from Earth’s gravitational hold. The first space suit wasn’t that at all: It was a pressure suit. Being air-tight only fulfills one of many essential functions that go into protecting a human in the vacuum of space, but it is one of the most important steps.

Thankfully, this first suit wasn’t intended for space travel. As aviators of the early twentieth century were climbing to higher and higher altitudes, the need to combat the changes in air pressure became increasingly apparent. Modern-day spacesuit design can be traced back to the first man to fly solo around the globe. In 1934, American aviator Wiley Post wore the first functionally practical pressure suitable to sustain a pilot above 40,000 feet, which he commissioned the B.F. Goodrich Company to build.

The first successful space suit was built by the Soviet Union, and worn by Yuri Gagarin in 1961 on humanity’s first flight to space. In the early days of spaceflight, Mercury astronauts wore modified versions of the U.S. Navy’s flight suits for high-altitude aircraft. A hyper-evolved version of Wiley Post’s original suit (and designed by the same engineer), the chrome space suits from NASA’s Mercury program got their shine from an upgraded aluminum-coated nylon material for external thermal control, and a ventilation system designed to circulate oxygen throughout astronauts’ full-body garments.

There’s an important distinction to be made here: Mercury astronauts wore these suits to space, and they certainly are considered space suits, but they were not equipped to protect astronauts from the full exposure of elements beyond Earth’s atmosphere. These are known as Intravehicular activity (IVA) suits, meant to be worn inside pressurized cockpits or vessels. Stepping outside the spacecraft requires a lot more protection.

Let’s say you wanted to open the hatch of your spaceship, go out into the vacuum, zip over to a mysterious Klingon ship, and start an interstellar war. That would be known as Extravehicular Activity (EVA), and without the thick layers of a vehicle’s bulkhead between you and the unforgiving environment of space, you’re exposed to a lot.

Temperatures in space can vary between 250°F and -250°F. EVA suits need to protect from increased radiation and micrometer impacts, which can collide with an orbital velocity of up to 22,500 mph. They do all this while circulating breathable oxygen, removing carbon dioxide, maintaining adequate pressure control, communications systems, and providing enough flexibility for astronauts to perform complex tasks in microgravity with precise dexterity.

EVA suits are essentially tiny, one-person spaceships. They had a rocky early development, but a quick evolution as the 1960’s space race pitted the Soviets against the U.S. in a rush for orbital milestones. In March 1965, Soviet cosmonaut Alexei Leonov, the first human to perform a spacewalk, nearly didn’t make it back in his capsule due to the difficulties of maneuvering in zero-g. Just over two months later, Ed White performed the first EVA by an American astronaut but didn’t fare much better when it came to getting around. Still, he had a great time: “I feel like a million dollars!”

White brought along the Hand-Held Maneuvering Unit (HHMU) experiment -- A propellant-filled gun designed to aid astronauts’ movement during EVA -- when he left his spacecraft. Versions of the HHMU were used on the Gemini 4 and 10 missions, and it  was the first evolutionary step towards more advanced, thrust-enabled EVA mobility technology. It’s the true ancestral origin for Discovery’s thruster-equipped spacesuit design.

The Gemini missions served as a proving ground for NASA’s plans for Apollo. Demonstrating an astronaut's ability to effectively operate outside a spacecraft during EVA was crucial to landing on the Moon. Five Gemini astronauts completed nine separate EVAs to help NASA build the best space suit. Different iterations of EVA suits found their way onto subsequent Gemini missions as NASA engineers tackled new issues every flight. Aside from difficulties working and moving in microgravity, astronauts experienced extreme over-heating, harsh rigidity and over pressurization in their suits, and some even developed burns due to exposure.

It wasn’t until Gemini 12 in 1966 that NASA astronauts would truly learn to work in space. Astronaut Edwin “Buzz” Aldrin, who would walk on the Moon three years later, helped pioneer the development of NASA’s early EVA suits by focusing on function and design for working without gravity. An expert deep-sea diver, Aldrin trained for his EVAs underwater to simulate weightlessness, adding handrails to the spacecraft’s exterior and adapting tools to accommodate the suit’s reduced dexterity. To this day, astronauts train for EVAs underwater in NASA’s Neutral Buoyancy Lab at the Johnson Space Center in Houston, Texas.

Design improvements and advancements leading up to the Apollo program brought about one of NASA’s most iconic spacesuit concepts, known as the Extravehicular Mobility Unit (EMU). Modern EMU engineering has evolved the design into a semi-rigid suit with two main pieces, but the term refers to every EVA suit worn during the Apollo and Skylab programs until today.

The upper part of the suit, the chest and an attached backpack, contains the electrical, communications, life-support, temperature regulation, and pressure control systems. The lower half, which attaches at the torso, covers the wearer from the waist down and completes the pressure suit.

EMU suits are all about layers. For Lunar excursions, suits had to be rugged, rip-proof, and lightweight while providing hours of life-support for astronauts to explore the Moon. The protection from elements not offered by an IVA suit can be found in the EMU’s interior linings, including a liquid transport tubing system for regulating temperature, a urethane-coated nylon pressure mantle, with neoprene-coated nylon, aluminized mylar, and nanowoven Dracon to shield against micrometeoroid impacts.

Unused suits from the Apollo program would undergo modification for use on Skylab, America’s first space station, which hosted a total of ten EVAs during three crewed missions. Following 1974 and Skylab’s decommission, NASA astronauts didn’t perform another EVA for over nine years. Enter the Space Shuttle.

Packed with upgrades, ILC Dover, the same company contracted by NASA to build EMUs for Apollo, designed and built new ones for the Space Shuttle program. Before the Space Shuttle, space suits were single-use, and custom-built for each astronaut. The new suits were not only reusable, but they also featured modular components to allow size adjustments for different crew members. The suits made their EVA premiere during Challenger’s first mission in 1983.

The next year, NASA launched the Manned Maneuvering Unit (MMU), built by Lockheed Martin — they also built the Lunar Landers. The MMU flew on three separate Space Shuttle missions in 1984, and was primarily used by astronauts for satellite retrieval and repair. If Ed White’s HHMU had Saru’s threat ganglia, Lockheed Martin chopped them off and evolved the technology into something with way more attitude.

The MMU was a self-contained, nitrogen gas-propelled, propulsion backpack with 24 multi-axis thrusters controlled with two joysticks for flying around untethered from the Space Shuttle. The closest real-world predecessor to Burnham’s thruster-pack, the MMU was canceled under NASA’s tightened safety belt following the Challenger disaster in 1986.

Of the 18 EVA suits provided to NASA from ILC Dover, only 11, at most, remain today. They are split between use on the International Space Station (ISS) and NASA’s testing facility at the Johnson Space Center. After the Space Shuttle program was canceled in 2011, the remaining EMUs got some major upgrades, which allowed them to be stored on orbit aboard the ISS long-term. However, reports in recent years cast serious doubt on NASA’s ability to produce viable replacements before the current suits enter their fifth operational decade.

A 2018 audit from NASA’s Office of Inspector General (OIG) projected a bleak timeline for new spacesuits that are crucially needed, stating, “the agency will not begin testing the advanced spacesuit on-orbit until the end of FY 2024 and will not complete testing until the end of FY 2025. As we reported in April 2017, NASA’s spacesuit development efforts have struggled from a lack of operational requirements, stable funding, and stable plans.”

So, how does this stagnation lead to some version of Disco’s space suit becoming a reality in our lifetime? In March 2019, NASA announced a new, extremely ambitious goal to take American astronauts back to the Moon by 2024. It’s called the Artemis Program, named for Apollo’s twin sister. NASA Administrator Jim Bridenstine recently revealed the name, along with more details about the space agency’s plan to “carry the next man and the first woman to the Moon.”

If NASA wants to stick to that goal, they have to seriously ramp up production. The space agency has been developing a heavy-lift rocket it calls the Space Launch System (SLS), and an accompanying crew capsule named Orion, for the better part of decade. Plans for the space agency’s next Moon-shot have the SLS's maiden launch, Exploration Mission-1 (EM-1), scheduled for June 2020.

Vice President Pence presented the Moon 2024 goal at the fifth meeting of the National Space Council (NSC) on March 26. Less than two weeks prior to that, Administrator Bridenstine told members at a Senate Commerce Committee hearing that SLS, and Orion’s EM-1 would likely be delayed until 2021. In the weeks that followed Pence’s speech, Bridenstine reconfirmed SLS could be ready to launch by its June 2020 target — with some help. A new budget increase for NASA is helping them stay on schedule, and the mission was given an updated name: EM-1 is now Artemis 1.

Additional funds included, NASA still has a long way to go. Meeting the Moon 2024 goal requires establishing a permanent lunar space station, coordinating contracts to design and build robotic and human lunar landers with descent and ascent vehicles, and — you guessed it — new spacesuits. Lots of them: IVA suits for launch, and different EMU suits for lunar space station EVAs and surface excursions. The ones currently in use just aren’t an option, the OIG report outlines:

“Although the spacesuit currently used on the ISS for extravehicular activities (spacewalks) is suitable for operations in low Earth orbit, it does not offer the mobility, durability, or functionality planetary or cislunar missions will require.”

What will astronauts wear on moonwalks in 5 years? We're currently working on options for our #Moon2024 mission + beyond. We'll have a transition suit for 1st mission + modern spacesuit designs for astronauts to explore the lunar surface & help create our sustainable lunar future pic.twitter.com/HhDyvIC1L1 — NASA (@NASA) May 1, 2019

It seems like a lot. But a lot has been going on in the interim to prepare the space agency for just these types of challenges.

Since NASA’s retirement of the Space Shuttle grounded America’s only ability to send astronauts to space from American soil, the space agency has been working with private aerospace companies like SpaceX and Boeing to contract new crew-capable vehicles. SpaceX’s Crew Dragon vessel completed an uncrewed test flight to the ISS in early 2019, and Boeing’s CST-100 Starliner is scheduled to do the same later this year.

StarTrek.com / SpaceX

Accompanying these shiny new spaceships, SpaceX and Boeing also developed new IVA suits for astronauts to wear while they’re along for the ride. SpaceX’s new suit, especially, sits right at home in an aesthetic progression to Star Trek ’s sci-fi design. Its sleek profile and beautifully intricate textures and lines would be easy to mistake for the uniform of one of the U.S.S. Discovery ’s medical officers.

SpaceX and Boeing aren’t the only companies shooting for the stars — or a lucrative NASA contract. Final Frontier Design (FFD) engineers and manufactures IVA and EVA suits, and has partnered with NASA on a number of scientific contracts. NASA’s urgency to establish a permanent presence on the Moon is really only a stepping-stone. The ultimate goal of the program is to send humans to Mars in the 2030s. A mission which will require yet another type of EVA suit — one capable of traversing the Martian surface.

Kellie Gerardi, who has spent the past eight years in the aerospace and defense industry, is one of the people getting to test those suits first-hand. Gerardi participated in a research expedition at the Mars Desert Research Station, a remote laboratory in Utah used to simulate scientific research on Mars.

Kellie Gerardi

Gerardi is a Scientist-Astronaut Candidate with Project PoSSUM, the first crewed suborbital research program, and has flown missions in microgravity with FFD’s IVA suit as well. Through email correspondence, she described her experiences with FFD’s suit, and her residency working at the remote outpost as one of her favorite expeditions. “I spent three weeks in isolation with scientists from NASA, JAXA, and private industry, and we tested one of FFD's prototype spacesuits, donning it every time we left the Hab for geological surveys and other EVAs.”

“I've been blown away by the advancement in spacesuit technology over the past few years,” Gerardi explained to StarTrek.com. A long way from the rigid suits of the Gemini missions, Gerardi describes these new suits as “very comfortable and flexible,” and the gloves, she says, are the best part:

"FFD was actually founded during their prize-winning entry to NASA’s 2009 Astronaut Glove Challenge, where their pressurized gloves outperformed NASA’s current technology in several key categories. Dexterity and tactility are so critical when you're operating payloads with delicate mechanisms (or even when you're simply trying to buckle back into your 5-point harness in zero-g!), and FFD's pressurized IVA gloves are state-of-the-art: custom-molded fingertips, enhanced range of motion, and capacitive touchscreen compatibility.”

This certainly paints a brighter picture for humanity’s future in space. But even FFD’s spacesuit design doesn’t quite bridge the gap to Disco 's skin-tight, asteroid-dodging, auto-piloted EVA experience. There is, however, an experimental space suit already in existence that might get us one step closer.

A constant struggle for spacesuit engineers is the balance between girth and flexibility. Older space suits could balloon up and make it hard to maneuver. Gas-pressurized suits today don’t have that problem, but that hasn’t made them any less bulky or cumbersome. Burnham’s suit on Discovery is neither of those things.

Under the main torso and helmet section of Disco ’s suit, Burnham is wearing a very sleek, copper-toned, full-bodied leotard. It doesn’t seem like it would offer a lot of protection. In fact, when Saru is arguing against Commander Burnham’s EVA in “The Vulcan Hello,” he points out she would only survive twenty minutes before lethal radiation exposure.

Granted, the U.S.S. Shenzhou was much closer to the binary stars than the distance from Earth to our single star much farther away, so twenty minutes in a sci-fi onesie with a jetpack seems like a justifiably reasonable exposure limit. It’s safe to assume Starfleet engineers made sure the suit would shield from radiation in normal conditions. But could a suit like that really protect you in a vacuum?

Using mechanical counterpressure, suits made from skin-tight garments that press directly against the body could, theoretically, protect a person in a vacuum. Rather than floating around in a gas-pressurized bubble, a mechanical counterpressure suit would offer its wearer the same protection with the flexibility of a pair of yoga pants.

This isn’t a new idea. It was first theorized in the 1950s, and NASA even built a prototype in the '60s, but abandoned the project for the more fully developed EMU at the time. The space agency made some headway in recent years though, when it funded a project at MIT. The project team produced a prototype material capable of retaining its shape when exposed to electrical impulse or certain temperatures, providing rigid pressure and simultaneous suit flexibility. The technology is far from viable today, but its development mimics the look and function of Burhnam’s suit on Discovery , and will most certainly be a reality before we’re putting warp drives in starships.

So, let’s take a look at some of the other technological inspirations that went into Disco ’s suit. Artist and digital sculptor Bradley Morgan Johnson (that’s his signature on the concept art there) helped bring Star Trek: Discovery ’s 2D suit concepts to life. Johnson worked at London-based FBFX special effects company where the suit was designed. In a conversation about his time there and his work on Disco’s suit, Johnson explained, “FBFX got the contract because they’re the guys that have done so many cool space suits you’ve seen in films.”

He’s not wrong. The number of movies FBFX has worked on is massive, but their work designing space suits is especially impressive. Just some of their portfolio includes: Event Horizon (1997), Lost in Space (Movie 1998), Prometheus (2012), The Martian (2015), Life (2017), Alien: Covenant (2017), and Lost in Space (Netflix 2018).

Movies like The Martian require hyper-realistic suits, and FBFX has worked with NASA in the past to make sure to get it right. When it came to Discovery ’s suit, Johnson said, “it was all about the Star Trek brand.”

Discovery ’s space suit fits perfectly within the Trek universe. Star Trek: Enterprise — 100 years before Discovery in the timeline — featured EVA suits that mimicked and miniaturized the over-the-head systems and helmet design from NASA’s present-day EMUs. Enterprise ’s suits still had a few tubes and cables to contend with, and serve as the Trek universe’s link between the trajectory of real-life space suit development and Discovery. If Elon Musk’s SpaceX can land whole rockets on ships at sea, it’s not a stretch to assume an advanced version of the same type of guidance system could circumnavigate an asteroid field with an MMU-style astro-jetpack.

Standing side by side, it’s easy to see the evolutionary progression from NASA’s early suits to the Star Trek universe. The designers of Discovery ’s suit expertly evolved existing technology, combined it with an aesthetic familiar to the Star Trek franchise, and extrapolated emerging real-world advancements to create one of the show’s most iconic new props. The end result was a space suit deserving of its place within Trek canon.

StarTrek.com / NASA

Josh Dinner (he/him) is a freelance space journalist, science communicator, and occasional rocket launch photographer living in Bloomington, IN. He is committed to spreading STEM advocacy and excitement about the cosmos around us. His earliest memory is watching Star Trek. Read more of his work at www.theOrbital.space.

Star Trek: Discovery streams on Paramount+ in the United States, airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave in Canada, and on Netflix in 190 countries.

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• Space Exploration

Alice Eve defends her controversial Star Trek scene: “I’m proud of that”

Alice Eve, who stars in the new sci-fi film Warning , reflects on her much-criticized Star Trek moment.

Star Trek once promised to boldly go where no man has gone before. But Alice Eve knows science fiction can go much further by foregrounding women within its strange new worlds.

“A lot of women in sci-fi are self-sufficient,” says the actress, who played one such character — Dr. Carol Marcus — in 2013’s Star Trek Into Darkness , though not without controversy. (More on that later.)

Still, more than 50 years after Star Trek first aired, “science fiction is not necessarily the domain of women in terms of creation” off-screen, Eve says. For all the Ellen Ripleys and Sarah Connors on screen, this lack of female perspective behind the camera can hold the genre back.

An English actress who’s also known for her roles in Men In Black 3 and on Marvel’s Iron Fist series, Eve is experienced at navigating this tension. Her latest film — Warning , from Polish director Agata Alexander — marks the first time Eve has made a sci-fi thriller with a female filmmaker.

“I wanted to support a woman tackling traditionally male subject matter,” Eve tells Inverse , speaking in support of the film (out now on digital platforms). “I loved her audacity. She had this grand vision she was determined to execute on a small budget. And she did.”

Broadly, Eve is a sci-fi fan. And playing characters like Star Trek ’s Carol Marcus is part of the appeal. “Sci-fi is cool because it shows powerful women,” Eve tells Inverse. “They're not usually married with kids. They’re working for their passion.”

In 2013, Eve found herself discussing the optics of female representation in sci-fi in a more negative sense. When Star Trek Into Darkness hit theaters, some audiences objected to a scene in which Marcus strips to her underwear and is glimpsed by a chastened Captain Kirk (Chris Pine).

After the release of Star Trek Into Darkness , Alice Eve found herself at the center of online debate about the portrayal of women in mainstream sci-fi.

A throwaway shot, it served little narrative purpose in the film’s theatrical cut. Online, the backlash was swift to what some saw as a gratuitous instance of a female character being unfairly sexualized. (Though, of course, there was also a backlash to this backlash. ) Eventually, producer Damon Lindelof apologized, and director J.J. Abrams conceded that he understood the criticism. Eve has spoken only sparingly about the incident but, looking back on the scene, remembers being taken aback by the controversy.

“It was something I voluntarily worked with a trainer to be fit for, was very much prepared for, and very much enjoyed [doing] — filming, executing, promoting,” recalls Eve, who says she was actively involved in discussing all her character’s scenes. “The feeling I shouldn’t have done it, or that it was exploitation, was confusing to me.”

Eventually, Eve shrugged it off: “There are many things in the world that are confusing. I put it down to one of those anomalies. I’m proud of that scene, and all the work I did.”

The experience was still eye-opening for the actress, leading her to seek out projects, like Warning, that would avoid the male gaze dominant in most Hollywood sci-fi. Told over a series of disconnected vignettes set during a freak storm, Warning stars Eve as Claire, a lonely woman whose daily life is dependent on a pyramid-shaped smart home device called “God 2.0.” (In real life, Eve avoids such smart devices.)

Living in a near-future where technology is seen as a substitute for human contact, Claire’s isolation is heightened by everyday interactions that are hostile, cold, and unfriendly. “People have their main relationship with their device and they lose the ability to connect, to feel each other and empathize,” Eve says. “To me, the ‘warning’ is to remain empathetic, to remain in tune” with humanity, she adds.

Eve found shooting Warning to be isolating, as her main scene partner is an inanimate object (voiced by actor James D’Arcy). “The pleasure of the movie was the experiment of not having another actor,” she says. “It’s different, but it was much more lonely.”

Alice Eve ( Star Trek Into Darkness ) stars as “Claire,” a lonely woman dependent on a smart home device called “God 2.0.”

Claire’s backstory isn’t deeply explored in Warning , but Eve and Alexander collaborated on the idea that her character’s vulnerability stemmed from heartbreak. “When we suffer heartbreak, we retreat,” she says. “And when we retreat, we don’t like to connect with people. And then she becomes reliant in that period of recovery on this device.”

Far from helping Claire, “the device hooks into her,” making Warning a cautionary tale, says Eve. Claire turns to God 2.0 in an almost fanatical way, with Warning taking an unsubtle stance against organized religion and its power to prey on people.

“She’s lured into this belief she'll be a better person,” says Eve. “Organized religion seduces people by telling them life will be better. It's old capitalism: You won’t be lonely and sad if you don’t commit sin . Obviously, it’s important to be a good person, but it’s not going to make your life better to live.”

A scene from Warning.

Eve is still learning all it can mean to be a woman in science fiction. She will soon star in The Power , an Amazon series based on Naomi Alderman’s 2016 novel in which women possess electric superpowers. Alderman is writing the adaptation of her own book, with Handmaid’s Tale director Reed Morano at the helm of at least one episode and an all-female writer’s room involved in the project.

Eve says the 10-episode series’ main concept is teased by its title: who gets to wield power, and what will they decide to do with it?

“ The Power is an idea of a future where women have power and are more physically capable than men,” she explains. In the series, Eve stars opposite Leslie Mann, Auliʻi Cravalho, Daniela Vega, Tim Robbins, Rob Delaney, and John Leguizamo.

“My character is something of a choir [for] understanding the story,” she says. “I think it’s a really important story to tell, to show us throw[ing] the world on its axis and show how much of our [society’s] power dynamic relies on physical strength.”

In the years since Alice Eve starred in Star Trek , she’s paid closer attention to how women have been represented in the final frontier and beyond.

“There’s a different generation coming up, and I hope they’re feeling empowered,” says Eve, praising the long-overdue reckoning that the #MeToo movement has played one part in triggering. “I believe we're all having a human experience, and that’s a painful thing to have.”

Warning is available on Digital, Blu-ray, and DVD on October 22.

• Science Fiction

Screen Rant

Peacock to raise streaming cost ahead of the 2024 paris olympics.

Peacock, NBC Universal's streaming service, now becomes another streamer to raise its cost as it announces price hikes preceding the Olympics.

• Peacock is raising prices by $2/month for Premium & Premium Plus.
• Price changes reflect for new customers on July 18, and existing customers on August 7.
• The price hike aligns with the lead-up to the Paris Olympics to drive subscriber growth.

The streaming service Peacock is preparing to raise its price ahead of the 2024 Paris Olympics. Launched in July 2020, Peacock is the official streaming service for NBC Universal. It includes original shows such as Girls 5 Eva , Poker Face , and Apples Never Fall , and houses popular NBC titles including The Office and Superstore .

Per The Hollywood Reporter , Peacock is now set to raise its costs . Peacock Premium will raise its price by $2 / month to become $7.99 / month and Peacock Premium Plus will go up $2 as well, coming to $13.99. The annual costs will rise to $79.99 for Premium and $139.99 for Premium Plus. These price changes will reflect for new customers on July 18 and for existing customers on August 7.

Peacock’s Price Bump Comes Before An Increase In Subscribers

Peacock relies on the olympics.

Peacock was once considered a far lesser streaming service that could not draw anywhere near the number of subscribers as services like Netflix, Prime Video, or Disney+.

The new Peacock policy shows the price hike happening right in advance of the Paris Olympics , whose opening ceremony is scheduled for July 26. As an NBC affiliate, Peacock is primed to be one of the main sources to watch the Olympics in the United States. Peacock’s move is intended to increase profits, arriving just as a subscriber influx is likely to start.

In its four years of existence, Peacock’s pay scale has changed dramatically. When it first launched, Peacock had a free service option that allowed users to watch the majority of their content on an ad-supported version that did not cost a subscription fee. Peacock officially did away with this plan last year, when new customers could no longer use the service for free and existing customers had to start paying as of June 2023.

Peacock had a streaming success recently in releasing the Oscar-winning film Oppenheimer on its platform.

Since then, Peacock has only increased its prices one other time before the just-announced increase. That increase came last year, when Premium prices went up by $1 and Premium Plus prices went up by $2. At $7.99 / month, Peacock Premium will still be one of the lower-priced streaming services.

The 30 Best Movies On Peacock (April 2024)

The service's price increase highlights the demand for Peacock shows and the service's features. Staying free for two and a half years, Peacock was once considered a far lesser streaming service that could not draw anywhere near the number of subscribers as services like Netflix, Prime Video, or Disney+. Now, that narrative has changed as Peacock engages in similar price-increasing behavior as its competitors do. Whether these increases are successful for Peacock remains to be seen as summer and the Paris Olympics grow nearer.

Source: THR

Eva "Barevná" Železná

The Soul of FSFilm.

An actress, artist and seamstress. She not only uses her talent to portray Commander Laverna but also sews uniforms and is the author of drawings in the opening theme. Her presence is always inspiring, she was a model for Laverne and her creative spirit adds just the right depth to the entire project.

• Yes, Captain! - 00 - First Mission (mini episode)
• Yes, Captain! - 01 - Daughter of Robots
• Yes, Captain! - 02 - Hearing
• Yes, Captain! - 03 - Decision
• Yes, Captain! - 04 - Honor Above All
• Yes, Captain! - SPECIAL- Inappropriate behaviour
• A Song of Bogs and Woodlands: A Star Trek Fan Production
• A Taste of Apocalypse: A Star Trek Fan Production (2019)
• Binary Belief: A Star Trek Fan Production (2021)
• Can't Stop: A Star Trek Fan Production
• Gambit of the Ancient Ones: A Star Trek Fan Production (2018)
• Her Right: A Star Trek Fan Production (2020)
• Neotron: A Star Trek Fan Production (2021)
• Patriot: A Star Trek Fan Production (2018)
• Psioduel: A Star Trek Fan Production
• Quid pro Quo: A Star Trek Fan Production
• The Electric Castle: A Star Trek Fan Production (2020)

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Eva Evans, TikTok star and Club Rat creator, dies at 29

Evans was best known for videos about her life and New York City.

Eva Evans, TikTok star and creator of Prime Video's Club Rat web series, has died. She was 29.

Her death was announced by her sisters Zoe and Lila Joy Baumgardner on Instagram. A cause of death was not provided in the sisters' April 21 announcement.

"Yesterday my family received news that our sweet, fabulous, creative, caring, hilarious Eva, my beautiful sister, has died," the sisters wrote. "After 24 hours, I still find myself in a constant cycle of denial and acceptance, so I know how unbelievable and hard to process this news will be."

The post added, "I wish I had Eva here now to refer to because she would have better words and know how to say what I don't." 

Eva Evans/Instagram

Evans was best known to fans from her TikTok account, where she amassed 300,000 followers, predominantly sharing stories about her life in New York City.

In 2023, Evans directed and starred in the five-episode Amazon Prime Video webseries Club Rat , about a New York influencer who was getting back into the dating scene following a humiliating, viral breakup.

"I always saw her like a little sister and I know she looked up to me," actress Julia Fox said in an Instagram story. "And that's the kind of person she was, sticking up for Jojo [Siwa], always sticking up for me. She was so young, still had so much to do in life."

Photographer and director Ashley Armitage also shared a heartfelt tribute . "Eva was smart, hilarious, creative, caring, magnetic, confident," she said on Instagram. "She moved through the world loving and laughing at everything."

Baumgardner writes that a celebration of life will be held on April 23. Evans is survived by sisters Lila, Zoe, and Sofi, as well as her mother, Heather, per E! News . 

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TikTok Star Eva Evans Dead at 29, Sister Reveals: 'Still Find Myself in a Constant Cycle of Denial' 

The TikToker's sister Lila announced her death on April 21 in a post on social media

TikTok star Eva Evans , who directed and starred in the Amazon Prime series Club Rat, has died at the age of 29, according to her sister.

On April 21, Eva’s sister Lila announced the news of her death in a post on Instagram featuring a photo of Eva laughing and wearing a colorful floral dress.

“please share this post so that it reaches everyone it needs to,” Lila wrote. “yesterday my family received news that our sweet, fabulous, creative, caring, hilarious Eva, my beautiful sister, has died. after 24 hours, i still find myself in a constant cycle of denial and acceptance, so i know how unbelievable and hard to process this news will be.”

She added, “we will be holding a celebration of Eva this coming Tuesday, 4/23, in the evening in lower Manhattan. please dm me so I can get a headcount and will share the details.”

Eva Evans/Instagram

“i wish i had Eva here now to refer to because she would have better words and know how to say what i don’t,” Lila continued. “i am keeping this brief, so we can plan for the next few days, but you’ll be hearing a lot more from me on how much Eva means to me and just how different the world will be be without her.”

She then concluded her caption with, “all my love, lila.”

Lila then shared a series of snaps of Eva on her Instagram Stories, featuring multiple tributes from different people.

Meanwhile, Julia Fox also reposted Lila’s Instagram announcement on her Instagram Stories , writing in capital letters, “I can’t believe this. RIP @ITSEVAEVANS I’m going to miss you so much. Thank you for sharing so much of your light with us.” 

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"Rest in peace, angel Eva ❤️ you were always kind to me when others couldn’t be bothered. Will never forget that kindness,” The Hills alum Lo Bosworth commented under Eva’s last Instagram post .

According to E! News , Eva is survived by her sisters Lila, Zoe and Sofi, and her mother Heather. 

The sisters’ father, artist Matt Baumgardner, died in 2018 at the age of 63, per the outlet.

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Environmental Suit

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• View history

Environmental Suits are used in the dedicated EV Suit slot. It allows you to survive in extremely hostile environments such as the vacuum of space or extremely hot or cold worlds.

• 3.1 Environmental suit modifiers
• 4.1 Activate EV Suit Lights
• 4.2 Reaction Thrusters
• 5.1 Standard EV suits
• 5.2 Nukara Strikeforce EV suits
• 5.3 Solanae EV suits
• 5.4 Veteran EV suits
• 5.5 23rd Century EV suits
• 5.6 Other EV suits
• 7 External links

Prior to November 2021, environmental suits used the body armor slot, and as such had to be manually swapped for captains and bridge officers when they were needed. As of the patch on 2 November 2021, on PC, all Captains and Bridge Officers have a dedicated EV suit slot next to their armor slot. This slot can only equip EV Suits, and is now the only place EV suits can be equipped.

You can toggle between your standard armor and the EV suit on your captain at any time, choosing which stats, passives, set bonuses, and other effects you use. You can not be able to benefit from armor and EV Suit stats at the same time. Upon entering a hostile environment, the EV suit with automatically toggle on to protect you. You can not deactivate the suit in a hazardous environment, but you can toggle the lights on your suit manually. You have no power to toggle the suit on your bridge officer.

When an EV Suit is not equipped, a default armor will still function which offers no stats beyond allowing you to survive in the vacuum of space.

Missions [ | ]

Many missions require EV suits to progress. They often provide a basic one for free.

The following missions require environmental suits:

• Tholian Incursion ground zone on Nukara Prime
• “Boldly They Rode”
• “Asteroid Mining”
• “New Romulus: The Power Source”
• “Secrets of the Ancients”
• “A Step Between Stars”
• “Stormbound”

• “Tenebris Torquent”

Additionally, all missions requiring a [ Rebreather Device ] (like Mission: Hearts and Minds ) can be done with an EV suit.

Performance [ | ]

The standard environmental suit gives the user resistance to Radiation, Toxic, Fire and Cold damage, collectively referred to as "Environmental Damage" in the game. All Uncommon and higher EV suits also give Physical and Kinetic Damage Resistance Rating of the same magnitude. The amount given scales with Mark level, and is given by the number B in the modifier table below.

Environmental suit modifiers [ ]

Like armor , Uncommon , Rare , Very Rare , Ultra Rare , and Epic Environmental Suits gain additional modifiers. Only one of each may appear at a time. Below is a list of EV suit modifiers.

Abilities [ | ]

Activate ev suit lights [ | ].

Turn on/turn off the lights built into your EV Suit.

Reaction Thrusters [ | ]

Allows you to lock on to a navigation source (such as a magnetized hardpoint) and use suit thrusters to jump to that target. Suit must be active.

• Note: on the XBOX One console edition, this is on the Left Bumper Radial wheel, next to the suit activation, It is not obvious, but you should eqiup it as your quick power for the suit as you will need them in certain missions, most notably "Boldly They Rode".

Variants and acquisition [ | ]

There are many different variants of EV Suits available:

Standard EV suits [ | ]

Despite the description saying the difference is cosmetic, the higher quality environmental suits above have higher stats.

Nukara Strikeforce EV suits [ | ]

Available from Nukara Strikeforce reputation system . These EV suits may be upgraded .

• The Armored variants are available from the Reputation Store, [ Nukara Strikeforce Equipment Requisition ] , or by completing Tholian Incursion missions.
• Set variants are available from Reputation projects at Tier V.

Solanae EV suits [ | ]

Veteran ev suits [ | ].

23rd Century EV suits [ | ]

Other ev suits [ | ], see also [ | ].

• [ Rebreather Device ] (acquired in “The Best Defense” and/or “What's Left Behind” )

External links [ | ]

• Environmental suit at Memory Alpha , the Star Trek Wiki.
• Environmental suit at Memory Beta , the non-canon Star Trek Wiki.
• Environmental suit at Wikipedia
• 2 Playable starship
• 3 List of canon starships

Eva Evans, TikTok star and creator of 'Club Rat,' has died

Eva Evans, a TikTok star and creator of the web comedy series “Club Rat,” has died at 29.

Her sister, Lila, shared the news of her death on Instagram April 21. The cause of her death has not been disclosed.

“Yesterday my family received news that our sweet, fabulous, creative, caring, hilarious Eva, my beautiful sister, has died,” her sister wrote. “After 24 hours, i still find myself in a constant cycle of denial and acceptance, so i know how unbelievable and hard to process this news will be.”

She added a celebration of Evans’ life would be held on April 23.

“I wish i had Eva here now to refer to because she would have better words and know how to say what i don’t,” she also wrote.

A few hours later, her sister shared an emotional video of herself reading a birthday card that Evans had written her. Then, speaking directly to fans, she said: "Thank you for reaching out and the outpouring of support to my family, it means a lot."

In a follow-up Instagram post , Evans’ sister shared that “due to the overwhelming response regarding Eva’s celebration of life,” a service at a church in downtown Manhattan had been organized to “include anyone who loved Eva,” in addition to a more intimate gathering for close family and friends.

Evans, a popular TikTok star with more than 300,000 followers, was known for her darkly funny videos about navigating life and relationships in New York City.

She also created and starred in the Amazon Prime series, “Club Rat,” a comedy about an influencer trying to date again in New York City after her breakup video goes viral. 

Tributes have been pouring in for Evans on social media.

Julia Fox posted a tearful TikTok video about Evans’ death.

“I always saw her as a little sister and I know she looked up to me,” Fox said. “She passed away, and she was so young. Still had so much to do in life.”

Photographer Ashley Armitage also shared a tribute to Evans on Instagram .

“I loved Eva the minute I met her. The world is less bright and way less funny without her and I don’t think I’ve laughed harder with anyone else. Eva was smart, hilarious, creative, caring, magnetic, confident,” she wrote. 

“She moved through the world loving and laughing at everything,” she continued. “She had such an orbit, people flocked to her and wanted to be in her world. Eva was open and vulnerable and made people who just met her feel like they’d been friends for years.”

This article was originally published on TODAY.com