star trek nemesis soundtrack expanded

Soundtrack Information

Star Trek Nemesis: The Deluxe Edition

Limited Edition of 5,000 Copies

Varese Sarabande Club (VCL-1143 / VCL 1213 1143)

Release Date: January 6, 2014

Conducted by Jerry Goldsmith

• Star Trek: Nemesis (2002)
• Jerry Goldsmith

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Track Listing

Related albums.

Star Trek: Nemesis - Vinyl Edition Limited Edition of 750 Copies Varese Sarabande

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Star Trek: Nemesis Varese Sarabande (302 066 430 2)

Released: November 26, 2002

Formats: CD, Digital (48 min)

Varese Sarabande: A 30th Anniversary Celebration Varese Sarabande (302 066 900 2 / VSD-6900)

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The Star Trek Album Silva America

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From the Manufacturer

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• Music as Written for the Film:   **
• Music as Heard on the 2002 Album:   **
• Music as Heard on the 2003 Bootlegs and 2013 Set:   ***
• Overall:   **

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Musical Trek merchandise – Nemesis Deluxe Soundtrack released

| December 10, 2013 | By: Matt Wright 68 comments so far

With the release of the Nemesis expanded soundtrack this means that all the prime timeline Trek movies now have expanded scores available!  This is last the Star Trek, and one of his last soundtracks for the cinema in general, that Goldsmith scored before his death.

The new deluxe soundtrack is a 2 CD limited edition set of 5,000 copies.

It will be available direct from Varèse Sarabande starting the week of January 6th for $24.98

— Click for full details on the set and ordering information

The second little musical bit of merchandise, is the release of a Star Trek Vulcan Harp app for iPads. It’s getting quite a bit of good buzz. It is $1.99 on the Apple App Store.

— Details from the app store

Worst Trek soundtrack ever!!!!!

Pre – ordered , “The Mines” and others are rare commodity!

Preordered. Shame the soundtrack is better than the film.

How long before this turns into arguments about new movies versus old?

Thank God it;’s FINALLY out.

My kids and I are hoping that they release more Nexus stuff before the 25th.

F I N A L L Y

Is anybody watching Karl Urban’s cop show on fox? I started watching the episodes on demand last night. I like the concept, not sure what I feel about the show yet.

1. jed – “Worst Trek soundtrack ever!!!!!”

All that means is that all Star Trek soundtracks are awesome.

In less than five years we’ve gotten every note of TOS, all the TOS movies, all the TNG movies, and a much bigger chunk of TNG and DS9. And an expansion of the first JJ movie.

Astonishing.

I’m watching. I think it’s really starting to come into its own, and Karl and Michael Ealy have fantastic chemistry. It should start building on the mysteries from the pilot and get a real plot arc going when it comes back after the break.

Ratings are not great, unfortunately. Trek fans should support it – it’s interesting near-future sci-fi, it’s got a great android character, and it’s giving Karl Urban the chance for character development he hasn’t gotten as Bones.

People can knock the film all they want, but Jerry Goldsmith is truly one of the all time great film score composers, and his impact on Trek is second to none.

Goldsmith gave Nemesis a impressive and powerful score, again say what you want for the film itself, but you cant seriously make a belivable argument that his Nemesis score was anything less than fantastic.

A really great time for Star Trek soundtrack aficionados. However I’m still waiting for a Voyager set featuring the awesome themes from “Scorpion” and an Enterprise set featuring Brian Tyler’s bombastic early contributions, esp. the Borg episode. And of course a TAS soundtrack would be neat. Still dreaming :-)

@1: No, it wasn’t a bad score per se. However, it missed out on a strong main theme. I guess it was due to Berman’s preference for sonic wallpaper instead of theme-driven scores. On the other hand, even Goldsmith wasn’t entirely fond of themes. His original TMP draft also lacked the majestic theme and was much more “post-modern”, closer to Goldsmith’s early 60s scores. So I guess it had to happen like that. But the NEM score had its moments, especially that call to arms/battlestations tune that was absent from the original CD release!

However, I’m glad Trek has returned to the theme-driven scoring with the Giacchino reboot scores. Themes are taking over again from mere wallpapering, not just with Star Trek but all major franchises! Brian Tyler’s recent Marvel scores are also much more theme-oriented than any of the “Phase 1” scores. Doctor Who is also a good example…

I’ve got the SACD version of the original soundtrack. I wonder if SACD versions of all the soundtracks could be made. Probably not. Waiting for the expanded version of STID.

While he has scored some bad movies, Goldsmith in all of his vast resume of film and tv scores never made a bad score. there is a reason why he is considered a master in his field.

And I disagree about his scores not being theme driven, i would argue his scores do so much more so than 99 percent of todays composers.

film to film each score JG has composed(trek or otherwise) has their own unique style and sound, yes there are the key signature goldsmith touches, and with the film series that he composed more than one movie for (again Trek or otherwise) certain character moments and themes are carried over, because it provides continuity.

Again say what you want for the film itself but Goldmsith did a great job with the score.

Personally, I would have led with the Vulcan Harp app story.

@15. Well, go to http://www.blogger.com and you can lead with anything you want when you write your own stories….

I can understand why the ratings for Almost Human are soft – essentially it’s a modern version of Pinocchio, and frankly, we have seen it before. Hollywood’s understanding of AI has robotics stuck in ‘useful marionette” mode, whereas the robot always aspires to be human. This is more fantasy then sci-fi now, as most people involved with AI and robotics know (not think) that it’s just a matter of time before machines become aware, and it’s at that moment they discover that they are better….and no longer have to be reduced to menial tasks, or being the human shield for cops. I’m sure there is some sci-fi out there exploring this, but it’s not Almost Human…or Star Trek, for that matter.

Yeah, I’m inclined to agree that the score for Nemesis was good–probably the best thing about it. Too bad all of that gorgeous sound can’t plug those gaping plot holes and obliterate those awful plot devices, or Berman’s unfortunate, “He’s as good as Khan” comments Shinzon, or the (unintentional?) Neil Diamond homage from the movie poster.

“or the (unintentional?) Neil Diamond homage from the movie poster.”

With that, they missed an opportunity to involve Diamond on the soundtrack…he could have reworked a couple of his songs”

“Sweet clone of mine”

“Forever in Green Blood”

“Shut off your heart-light”

The thing that is even more impressive about his score for Nemesis (and for Looney Tunes back in action for that matter) is he was fighting cancer when he composed the score.

Just want to point out that Star Trek Nemesis had its world premiere at the Chinese Theatre 11 years ago last night!

https://twitter.com/EmceeLeviTinker/status/410614876050952192/photo/1

I like Jerry Goldsmith and his remarkable music. He was the best movie music composer and conductor that ever lived.

With respect to naysayers, I love Jerry Goldsmith’s score to “Star Trek: Nemesis.” It was the final “Star Trek” motion picture to be composed by Jerry Goldsmith. May his music live long and prosper, especially for “The Next Generation” of musicians and music-lovers.

The quality of the Trek movies may vary, but the music has always been either good or great. Not one of them I dislike.

#21 Surely one of the great openings there…right up there with Lawrence of Arabia and The Godfather, right? ;-)

The cover to this CD set may be one of the few official ST soundtracks not to feature either the crew of the Starship Enterprise or the starship itself. Someone correct me if I’m wrong.

Actually K-7 neither Godfather or Lawrence of Arabia opened there. But nice try. And for the record the Nemesis premiere was actually quite a fun night, featuring a number of classic, TNG, DS9,VOY and Ent Trek cast members in attendance.

This soundtrack always seemed way too light, too synth-oriented for my taste.

I believe Goldsmith’s son helped him during the difficult health problems he was having at the time, and his son was showing him a lot of new, digital and synth sounds [DVD SE special features].

Not the best of the scores but way better than ST5: The Final Frontier.

You beat me to the punch :)

Goldsmith’s son did, indeed, help him finish the score on Nemesis. While it lacked the general thematic power of the TMP score (and what score really could, in all honesty), I thought this was a very nice score.

I was/have never been as down on Nemesis in general as have many Trek fans; No, it wasn’t a great movie by any means, but it was a decent movie that fell victim to bad timing and a ploddingly uninteresting story…beyond that, folks had just gotten tired with Trek. It was no longer the “hard luck TV franchise that was overlooked in 60’s ratings,” it was the “rebooted old TV franchise that’s run out of good stories to tell.” And Stuart Baird’s rather pointless direction (and apparently unapologetically adversarial relationship with the cast) didn’t help, either. The downside was that it boiled down to “Big bad guy with big, bad ship” enemy Trek movie, which has been done two more times in the Abrams Rebootiverse….

Goldsmith’s score is very good, but I think I’m holding off on this purchase.

7. tallguyproductions – December 10, 2013

not to nitpick, but not all the TNG films have recieved an expanded release in the last 5 years. Still waiting on Insurrection and Generations

Expanded scores for both Generations and Insurrection are available from GNP Crescendo Records.

I have them, and they’re well worth it for any Trek soundtrack fan.

This score is a pretty good Goldsmith score, which means it’s pretty great, IMHO.

The main theme for Shinzon really doesn’t get a chance for a full blooded performance in the score until the End Credits, but it’s definitely present, and it has a haunting quality that stands out to me.

There is a sense of calm sadness, outside the Shinzon and Romulan material, that captures the sense of this being the last mission, which works well.

The action material is excellent as well, with a massive, heavy march-to-war feel in the third act (look at the sequence where the Scimitar fires on the Enterprise, knocking her out of warp as they head into the rift), and some real pulse-pounding material for the Argo chase on Kolaris III.

There’s also some nice use of “Blue Skies” in the end credits, harkening back to Data singing it at Riker’s wedding.

A somewhat underappreciated score, I suspect due to the lukewarm response to the movie (which is okay, IMHO, but not great).

I’ve had it pre-ordered for a while, and suspect it will sell out fairly fast at the 5k units.

“it was a decent movie that fell victim to bad timing and a ploddingly uninteresting story”

Tough to make a decent movie with an uninteresting (bad, even) story. Maybe fans and actors need to stay out of the writer’s room?

As a completionist, I have of course preordered. Now, just need Into Darkness Expanded for the collection to be truly complete. I love the opening scene of Nemesis and the score had a lot to do with that.

I’ll never understand the people that blame the director for Nemesis’s failure. That film had many shortcomings, but Stuart Baird’s direction was the least of them. In fact, Nemesis was one of the most professionally directed of the Trek films. It actually looks like a movie, as opposed to most of the Trek films which look like big budget tv episodes.

Where Nemesis failed was in the story and screenplay, as well as a troupe of actors that were phoning it in by that point. Baird did the best he could with what he was handed, unfortunately the derivative banal screenplay based off a flawed story idea was insurmountable. Unfortunately, by the end Patrick and Brent had story and producing stroke, which turned the last few TNG films into vanity projects rather than true ensemble pieces.

I have to laugh when I hear the actors and fans blame Baird’s lack of Trek knowledge for the film’s failure. If anything it was the overfamiliarity of everyone else (especially Logan and the actors) that resulted in the recycled mess of reheated Trek ideas we ended up with.

About a decade too late…

Goldsmith had been using Digital and synth sound in his scores for quite a while. infact he was one of the early film composures to fully embrace Digital synthetic sound for his scores

But yes you are correct his Son Joel another very talented Goldsmith (who passed too soon) did help him complete the Nemesis and Looney Toons scores.

I enjoy Goldsmith’s work immensely, but my favorite movie soundtrack is still Eidelman’s soundtrack for ST6.

@ 40 – Nice to see another person who like the ST6 score. I really like it too. I see ST6’s soundtrack get a lot of crap for some reason. I have to say though for me still the best ST movie soundtrack goes to Goldsmith for TMP.

Outstanding news!!!

I will be ordering this ASAP!

Not a favorite film for me, but I love Jerry Goldsmith Star Trek scores!!!

Everyone mentions the synth in this film yet STTMP used that blaster beam! Seriously though this movie (sans the dune buggy sequence) is actually a good film, with lots of great moments. I like all of the Star Trek movies but the production quality on this one was very high and looked like a movie, something that had not been done since STTMP or VI. If the movie had been released at the right time not going up against Lord of the Rings or James Bond it would have done much better. Also the advertising was poor and the fans had their typical negativity just like they have with all of the Trek films!

40. Jerry Modene I enjoy Goldsmith’s work immensely, but my favorite movie soundtrack is still Eidelman’s soundtrack for ST6.

I’m not a big soundtrack guy but ST6’s opening credit theme is my favorite of all of them. Brooding and building up to the Praxis’ explosion, which I’ve always thought of as the ‘stinger’ and last note of the theme.

@44 crazydaystrom,

If you liked that, check out Holst’s “The Planets – Mars – Bringer of War”.

ALSO: what’s with all the negativity over a great score? I understand the movie is a bone of contention, but the score is solid and the music worth owning. Seriously what’s with the six or so comments that don’t add anything to the discussion and denigrate the score because of its association with the film?

If somebody showed up and similarly ridiculed Bob Orci for his work on STID because he also wrote Transformers Revenge of the Fallen, I doubt they would survive the day on this forum for it from the very same people spreading negativity here in this thread.

32. Tomh, Esq. – December 11, 2013

Nice. Thanks for filling me in. I had not heard anything about those two CD’s, so I’m glad to see that they are available in the expanded format. As much as I loathe and despise Insurrection and Generations, I loved the music. Not as good as Trek 3, but good albums

Now that the complete scores for all the films are out, I’d still say that Star Trek 3 is my all time favorite. Such an underrated Trek film as it is, the soundtrack is one of the all time greats. Stealing the Enterprise, A Fighting Chance to Live and Genesis Destroyed are the three of the best Treks on any Star Trek CD.

All the Star Trek movies had great music. Maybe McCarthy’s score for Generations was a little weaker than the others (they should have tried for Goldsmith there too), but even Star Trek V had a great music score.

Goldsmith was my favorite of the Star Trek movies, however. TMP was my favorite Star Trek film and the score for that was the best. I was thrilled before TFF came out to see his name on the movie poster again. Great job with FC, Insurrection and Nemesis music too.

Goldsmith really was a great writer of music overall. He had a great score for Planet of the Apes, Poltergeist, Twilight Zone-The Movie, The Illustrated Man, Alien, and how many other films. He could do Sci-Fi, Horror, Drama or comedy. I would put him up with Bernard Herrman, the great composer who worked with Hitchcock for so many years.

Whatever one may say about Nemesis, it still had a great music score.

Curious Cadet, crazydastrom,

I would say listen to the opening of Igor Stravinsky’s The Firebird.

Awesome music, with some similarities to the Overture. :)

Star Trek VI is one of my favorites among the Star Trek scores, top one for me being Star Trek TMP.

@1 Jed: Yep, and that’s pretty sad too because it’s the best thing that movie has going for it. Worst Trek film ever…boring beyond comprehension, DULL to a fault, terrible writing, uninteresting, UNFUN and just plain bad.

I was barely able to get through it one time. Awful film.

People like to claim Trek V is the worst….likely due to the poor VFX & the hokey ‘bad guy of the week’ treatment the Klingons got, but that film has something going for it that Nemesis doesn’t….brilliant characterization; some of the BEST interaction between Kirk, Spock & McCoy ever….and it’s a simple fun adventure. At least it isn’t trying to be something it’s not, as in the case of Nemesis. Nemesis was Berman’s attempt to replicate Wrath of Khan. The problem is, beyond poor choices of director & screenwriter, he already pulled that off with First Contact. Nemesis is like one of the worst episodes of the series…and as such was a terrible way to end the TNG crew.

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Merchandise

New deluxe ‘star trek: nemesis’ soundtrack coming in january.

Next month, Varèse Sarabande will release a a newly expanded “deluxe” version of the Star Trek: Nemesis soundtrack.

Limited to 5,000 copies, the new two-disc set will include 46 tracks, by legendary composer Jerry Goldsmith.

Varèse Sarabande is currently accepting pre-orders for Star Trek Nemesis: The Deluxe Edition , which priced at $24.98. Pre-orders will begin shipping on January 6, 2014.

Scroll down for a full track listing.

Star Trek: Nemesis Soundtrack – Deluxe Edition

Official description :

It was, sadly, one of Jerry Goldsmith’s last film scores. Only Timeline and Looney Tunes: Back In Action (both 2003) would follow it. In 2002 Jerry Goldsmith took his final voyage on the fabled USS Enterprise and gave Star Trek Nemesis and the whole Next Generation crew an epic send-off. This is the release so many Star Trek fans have been waiting for. Goldsmith’s complete score from Star Trek Nemesis is presented, along with a set of bonus tracks that includes source music, a set of alternate cues and mixes, plus a rare opportunity to listen in to the final moments of Jerry Goldsmith on the Star Trek scoring stage with his orchestra and director Stuart Baird. In the wake of a joyful wedding between Riker (Jonathan Frakes) and Troi (Marina Sirtis), Captain Jean-Luc Picard (Patrick Stewart) receives another reason to celebrate: the Romulans want peace and the captain will be the Federation’s emissary. But as the Enterprise heads toward the Romulan Empire, a brilliant villain awaits — harboring a diabolical plan of destruction and an unimaginable secret that will give Picard his most fearsome challenge. We’re very excited to mark the return of the Varèse Sarabande CD Club with this historic and important Jerry Goldsmith release.

Track listiting :

DISC ONE 1. Remus* (2:01) 2. The Box (2:21) 3. My Right Arm (1:04) 4. Star Field** / Positronic Signal (1:57) 5. The Argo (1:17) 6. Odds And Ends (4:39) 7. Your Brother / Course Plotted** (2:07) 8. Repairs** (6:27) 9. The Knife (3:10) 10. Perfect Timing / Allegiance (2:21) 11. Secrets (1:28) 12. The Mine (1:30) 13. Ideals (2:16) 14. Options (0:55) 15. Bed Time / Transport (1:38) 16. Blood Test (1:23) 17. The Mirror (5:23) 18. The Scorpion** (2:24) 19. His Plans / Data & B-4 (2:39) 20. Battle Stations** (2:40) 21. Attack Pattern (2:22) 22. The Invitation / True Nature / Let’s Go To Work (4:38) 23. Lateral Run (3:55) 24. The Viceroy (:20)

DISC TWO 1. Engage (2:14) 2. Full Reverse (1:41) 3. Not Functional (2:54) 4. Final Flight (3:49) 5. Firing Sequence (:54) 6. A New Friend (2:38) 7. That Song** / An Honor (1:24) 8. A New Ending*†** (8:30)

Source Music: 9. Riker’s Strut #1 (Mike Lang) (1:07) 10. Riker’s Strut #2 (Mike Lang) (1:09) 11. Blue Skies† (Vocal By Brent Spiner) (3:17) 12. Blue Skies† (Instrumental) (2:37)

Additional Music: 13. Secrets (Alternate Mix) (1:29) 14. The Mine (Alternate) (1:33) 15. Options (Alternate) (:57) 16. Options (Alternate Mix) (:58) 17. Data & B-4 (Alternate) (1:39) 18. Battle Stations** (Alternate Mix) (2:44) 19. Attack Pattern (Alternate Mix) (2:24) 20. True Nature (Alternate Mix) (1:30) 21. A New Ending*†** (Alternate) (6:11) 22. Director And Composer (2:35)

To pre-order, visit Varèse Sarabande .

Hat tip to Marcus LaCroix.

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• Package Dimensions ‏ : ‎ 5.55 x 4.92 x 0.43 inches; 3.95 ounces
• Date First Available ‏ : ‎ March 8, 2014
• ASIN ‏ : ‎ B00IVFEISQ

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Star trek: nemesis.

• Release notes
• Other releases
• Suggestions

Other releases of Star Trek: Nemesis (2002) :

Soundtracks from the collection: star trek.

Star Trek: Nemesis [Music from the Original Motion Picture Soundtrack]

Jerry goldsmith, (cd - varèse sarabande / varese #066430), main album:.

Release Date

Release info, allmusic review, track listing.

Star Trek: The Motion Picture (expanded soundtrack)

• View history

The release includes a forty-page booklet featuring commentary from Mike Matessino and Jeff Bond and track-by-track breakdowns.

Production staff and IFMCA award [ ]

The expanded soundtrack won the production staff of La-La Land Records a 2012 International Film Music Critics Association Award . The award recipients were specified as follows:

• Jeff Bond - Liner Notes
• Bruce Botnick - Producer
• Didier C. Deutsch - Producer
• David C. Fein - Producer
• MV Gerhard - Producer
• Jerry Goldsmith - Music
• Mike Matessino - Producer, Liner Notes
• Jim Titus - Album Art Direction
• Matt Verboys - Producer

Track listing [ ]

• 1 Star Trek: Discovery

The Future of ‘Star Trek’: From ‘Starfleet Academy’ to New Movies and Michelle Yeoh, How the 58-Year-Old Franchise Is Planning for the Next Generation of Fans

“I can’t believe I get to play the captain of the Enterprise.”

“Strange New Worlds” is the 12th “Star Trek” TV show since the original series debuted on NBC in 1966, introducing Gene Roddenberry’s vision of a hopeful future for humanity. In the 58 years since, the “Star Trek” galaxy has logged 900 television episodes and 13 feature films, amounting to 668 hours — nearly 28 days — of content to date. Even compared with “Star Wars” and the Marvel Cinematic Universe, “Star Trek” stands as the only storytelling venture to deliver a single narrative experience for this long across TV and film.

In other words, “Star Trek” is not just a franchise. As Alex Kurtzman , who oversees all “Star Trek” TV production, puts it, “‘Star Trek’ is an institution.”

Without a steady infusion of new blood, though, institutions have a way of fading into oblivion (see soap operas, MySpace, Blockbuster Video). To keep “Star Trek” thriving has meant charting a precarious course to satisfy the fans who have fueled it for decades while also discovering innovative ways to get new audiences on board.

“Doing ‘Star Trek’ means that you have to deliver something that’s entirely familiar and entirely fresh at the same time,” Kurtzman says.

The franchise has certainly weathered its share of fallow periods, most recently after “Nemesis” bombed in theaters in 2002 and UPN canceled “Enterprise” in 2005. It took 12 years for “Star Trek” to return to television with the premiere of “Discovery” in 2017; since then, however, there has been more “Star Trek” on TV than ever: The adventure series “Strange New Worlds,” the animated comedy “Lower Decks” and the kids series “Prodigy” are all in various stages of production, and the serialized thriller “Picard” concluded last year, when it ranked, along with “Strange New Worlds,” among Nielsen’s 10 most-watched streaming original series for multiple weeks. Nearly one in five Paramount+ subscribers in the U.S. is watching at least one “Star Trek” series, according to the company, and more than 50% of fans watching one of the new “Trek” shows also watch at least two others. The new shows air in 200 international markets and are dubbed into 35 languages. As “Discovery” launches its fifth and final season in April, “Star Trek” is in many ways stronger than it’s ever been.

“’Star Trek’s fans have kept it alive more times than seems possible,” says Eugene Roddenberry, Jr., who executive produces the TV series through Roddenberry Entertainment. “While many shows rightfully thank their fans for supporting them, we literally wouldn’t be here without them.”

But the depth of fan devotion to “Star Trek” also belies a curious paradox about its enduring success: “It’s not the largest fan base,” says Akiva Goldsman, “Strange New Worlds” executive producer and co-showrunner. “It’s not ‘Star Wars.’ It’s certainly not Marvel.”

When J.J. Abrams rebooted “Star Trek” in 2009 — with Chris Pine, Zachary Quinto and Zoe Saldaña playing Kirk, Spock and Uhura — the movie grossed more than any previous “Star Trek” film by a comfortable margin. But neither that film nor its two sequels broke $500 million in global grosses, a hurdle every other top-tier franchise can clear without breaking a sweat.

There’s also the fact that “Star Trek” fans are aging. I ask “The Next Generation” star Jonathan Frakes, who’s acted in or directed more versions of “Star Trek” than any other person alive, how often he meets fans for whom the new “Star Trek” shows are their first. “Of the fans who come to talk to me, I would say very, very few,” he says. “‘Star Trek’ fans, as we know, are very, very, very loyal — and not very young.”

As Stapf puts it: “There’s a tried and true ‘Trek’ fan that is probably going to come to every ‘Star Trek,’ no matter what it is — and we want to expand the universe.”

Every single person I spoke to for this story talked about “Star Trek” with a joyful earnestness as rare in the industry as (nerd alert) a Klingon pacifist.

“When I’m meeting fans, sometimes they’re coming to be confirmed, like I’m kind of a priest,” Ethan Peck says during a break in filming on the “Strange New Worlds” set. He’s in full Spock regalia — pointy ears, severe eyebrows, bowl haircut — and when asked about his earliest memories of “Star Trek,” he stares off into space in what looks like Vulcan contemplation. “I remember being on the playground in second or third grade and doing the Vulcan salute, not really knowing where it came from,” he says. “When I thought of ‘Star Trek,’ I thought of Spock. And now I’m him. It’s crazy.”

To love “Star Trek” is to love abstruse science and cowboy diplomacy, complex moral dilemmas and questions about the meaning of existence. “It’s ultimately a show with the most amazing vision of optimism, I think, ever put on-screen in science fiction,” says Kurtzman, who is 50. “All you need is two minutes on the news to feel hopeless now. ‘Star Trek’ is honestly the best balm you could ever hope for.”

I’m getting a tour of the USS Enterprise from Scotty — or, rather, “Strange New World” production designer Jonathan Lee, who is gushing in his native Scottish burr as we step into the starship’s transporter room. “I got such a buzzer from doing this, I can’t tell you,” he says. “I actually designed four versions of it.”

Lee is especially proud of the walkway he created to run behind the transporter pads — an innovation that allows the production to shoot the characters from a brand-new set of angles as they beam up from a far-flung planet. It’s one of the countless ways that this show has been engineered to be as cinematic as possible, part of Kurtzman’s overall vision to make “Star Trek” on TV feel like “a movie every week.”

Kurtzman’s tenure with “Star Trek” began with co-writing the screenplay for Abrams’ 2009 movie, which was suffused with a fast-paced visual style that was new to the franchise. When CBS Studios approached Kurtzman in the mid-2010s about bringing “Star Trek” back to TV, he knew instinctively that it needed to be just as exciting as that film.

“The scope was so much different than anything we had ever done on ‘Next Gen,’” says Frakes, who’s helmed two feature films with the “Next Generation” cast and directed episodes of almost every live-action “Trek” TV series, including “Discovery” and “Strange New Worlds.” “Every department has the resources to create.”

A new science lab set for Season 3, for example, boasts a transparent floor atop a four-foot pool of water that swirls underneath the central workbench, and the surrounding walls sport a half dozen viewscreens with live schematics custom designed by a six-person team. “I like being able to paint on a really big canvas,” Kurtzman says. “The biggest challenge is always making sure that no matter how big something gets, you’re never losing focus on that tiny little emotional story.”

At this point, is there a genre that “Strange New Worlds” can’t do? “As long as we’re in storytelling that is cogent and sure handed, I’m not sure there is,” Goldsman says with an impish smile. “Could it do Muppets? Sure. Could it do black and white, silent, slapstick? Maybe!”

This approach is also meant to appeal to people who might want to watch “Star Trek” but regard those 668 hours of backstory as an insurmountable burden. “You shouldn’t have to watch a ‘previously on’ to follow our show,” Myers says.

To achieve so many hairpin shifts in tone and setting while maintaining Kurtzman’s cinematic mandate, “Strange New Worlds” has embraced one of the newest innovations in visual effects: virtual production. First popularized on the “Star Wars” series “The Mandalorian,” the technology — called the AR wall — involves a towering circular partition of LED screens projecting a highly detailed, computer-generated backdrop. Rather than act against a greenscreen, the actors can see whatever fantastical surroundings their characters are inhabiting, lending a richer level of verisimilitude to the show.

But there is a catch. While the technology is calibrated to maintain a proper sense of three-dimensional perspective through the camera lens, it can be a bit dizzying for anyone standing on the set. “The images on the walls start to move in a way that makes no sense,” says Mount. “You end up having to focus on something that’s right in front of you so you don’t fall down.”

And yet, even as he’s talking about it, Mount can’t help but break into a boyish grin. “Sometimes we call it the holodeck,” he says. In fact, the pathway to the AR wall on the set is dotted with posters of the virtual reality room from “The Next Generation” and the words “Enter Holodeck” in a classic “Trek” font.

“I want to take one of those home with me,” Peck says. Does the AR wall also affect him? “I don’t really get disoriented by it. Spock would not get ill, so I’m Method acting.”

I’m on the set of the “Star Trek” TV movie “Section 31,” seated in an opulent nightclub with a view of a brilliant, swirling nebula, watching Yeoh rehearse with director Olatunde Osunsanmi and her castmates. Originally, the project was announced as a TV series centered on Philippa Georgiou, the semi-reformed tyrant Yeoh originated on “Discovery.” But between COVID delays and the phenomenon of “Everything Everywhere All at Once,” there wasn’t room in the veteran actress’s schedule to fit a season of television. Yeoh was undaunted.

“We’d never let go of her,” she says of her character. “I was just blown away by all the different things I could do with her. Honestly, it was like, ‘Let’s just get it done, because I believe in this.’”

If that means nothing to you, don’t worry: The enormity of the revelation that Garrett is being brought back is meant only for fans. If you don’t know who the character is, you’re not missing anything.

“It was always my goal to deliver an entertaining experience that is true to the universe but appeals to newcomers,” says screenwriter Craig Sweeny. “I wanted a low barrier of entry so that anybody could enjoy it.”

Nevertheless, including Garrett on the show is exactly the kind of gasp-worthy detail meant to flood “Star Trek” fans with geeky good feeling.

“You cannot create new fans to the exclusion of old fans,” Kurtzman says. “You must serve your primary fan base first and you must keep them happy. That is one of the most important steps to building new fans.”

On its face, that maxim would make “Section 31” a genuine risk. The titular black-ops organization has been controversial with “Star Trek” fans since it was introduced in the 1990s. “The concept is almost antagonistic to some of the values of ‘Star Trek,’” Sweeny says. But he still saw “Section 31” as an opportunity to broaden what a “Star Trek” project could be while embracing the radical inclusivity at the heart of the franchise’s appeal.

“Famously, there’s a spot for everybody in Roddenberry’s utopia, so I was like, ‘Well, who would be the people who don’t quite fit in?’” he says. “I didn’t want to make the John le Carré version, where you’re in the headquarters and it’s backbiting and shades of gray. I wanted to do the people who were at the edges, out in the field. These are not people who necessarily work together the way you would see on a ‘Star Trek’ bridge.”

For Osunsanmi, who grew up watching “The Next Generation” with his father, it boils down to a simple question: “Is it putting good into the world?” he asks. “Are these characters ultimately putting good into the world? And, taking a step back, are we putting good into the world? Are we inspiring humans watching this to be good? That’s for me what I’ve always admired about ‘Star Trek.’”

Should “Section 31” prove successful, Yeoh says she’s game for a sequel. And Kurtzman is already eyeing more opportunities for TV movies, including a possible follow-up to “Picard.” The franchise’s gung-ho sojourn into streaming movies, however, stands in awkward contrast to the persistent difficulty Paramount Pictures and Abrams’ production company Bad Robot have had making a feature film following 2016’s “Star Trek Beyond” — the longest theaters have gone without a “Star Trek” movie since Paramount started making them.

First, a movie reuniting Pine’s Capt. Kirk with his late father — played in the 2009 “Star Trek” by Chris Hemsworth — fell apart in 2018. Around the same time, Quentin Tarantino publicly flirted with, then walked away from, directing a “Star Trek” movie with a 1930s gangster backdrop. Noah Hawley was well into preproduction on a “Star Trek” movie with a brand-new cast, until then-studio chief Emma Watts abruptly shelved it in 2020. And four months after Abrams announced at Paramount’s 2022 shareholders meeting that his 2009 cast would return for a movie directed by Matt Shakman (“WandaVision”), Shakman left the project to make “The Fantastic Four” for Marvel. (It probably didn’t help that none of the cast had been approached before Abrams made his announcement.)

The studio still intends to make what it’s dubbed the “final chapter” for the Pine-Quinto-Saldaña cast, and Steve Yockey (“The Flight Attendant”) is writing a new draft of the script. Even further along is another prospective “Star Trek” film written by Seth Grahame-Smith (“Abraham Lincoln: Vampire Hunter”) and to be directed by Toby Haynes (“Andor,” “Black Mirror: USS Callister”) that studio insiders say is on track to start preproduction by the end of the year. That project will serve as an origin story of sorts for the main timeline of the entire franchise. In both cases, the studio is said to be focused on rightsizing the budgets to fit within the clear box office ceiling for “Star Trek” feature films.

Far from complaining, everyone seems to relish the challenge. Visual effects supervisor Jason Zimmerman says that “working with Alex, the references are always at least $100 million movies, if not more, so we just kind of reverse engineer how do we do that without having to spend the same amount of money and time.”

The workload doesn’t seem to faze him either. “Visual effects people are a big, big ‘Star Trek’ fandom,” he says. “You naturally just get all these people who go a little bit above and beyond, and you can’t trade that for anything.”

In one of Kurtzman’s several production offices in Toronto, he and production designer Matthew Davies are scrutinizing a series of concept drawings for the newest “Star Trek” show, “Starfleet Academy.” A bit earlier, they showed me their plans for the series’ central academic atrium, a sprawling, two-story structure that will include a mess hall, amphitheater, trees, catwalks, multiple classrooms and a striking view of the Golden Gate Bridge in a single, contiguous space. To fit it all, they plan to use every inch of Pinewood Toronto’s 45,900 square foot soundstage, the largest in Canada.

But this is a “Star Trek” show, so there do need to be starships, and Kurtzman is discussing with Davies about how one of them should look. The issue is that “Starfleet Academy” is set in the 32nd century, an era so far into the future Kurtzman and his team need to invent much of its design language.

“For me, this design is almost too Klingon,” Kurtzman says. “I want to see the outline and instinctively, on a blink, recognize it as a Federation ship.”

The time period was first introduced on Season 3 of “Discovery,” when the lead character, Michael Burnham (Sonequa Martin-Green), transported the namesake starship and its crew there from the 23rd century. “It was exciting, because every time we would make a decision, we would say, ‘And now that’s canon,’” says Martin-Green.

“We listened to a lot of it,” Kurtzman says. “I think I’ve been able to separate the toxic fandom from really true fans who love ‘Star Trek’ and want you to hear what they have to say about what they would like to see.”

By Season 2, the “Discovery” writers pivoted from its dour, war-torn first season and sent the show on its trajectory 900-plus years into the future. “We had to be very aware of making sure that Spock was in the right place and that Burnham’s existence was explained properly, because she was never mentioned in the original series,” says executive producer and showrunner Michelle Paradise. “What was fun about jumping into the future is that it was very much fresh snow.”

That freedom affords “Starfleet Academy” far more creative latitude while also dramatically reducing how much the show’s target audience of tweens and teens needs to know about “Star Trek” before watching — which puts them on the same footing as the students depicted in the show. “These are kids who’ve never had a red alert before,” Noga Landau, executive producer and co-showrunner, says. “They never had to operate a transporter or be in a phaser fight.”

In the “Starfleet Academy” writers’ room in Secret Hideout’s Santa Monica offices, Kurtzman tells the staff — a mix of “Star Trek” die-hards, part-time fans and total newbies — that he wants to take a 30,000-foot view for a moment. “I think we need to ground in science more throughout the show,” he says, a giant framed photograph of Spock ears just over his shoulder. “The kids need to use science more to solve problems.”

Immediately, one of the writers brightens. “Are you saying we can amp up the techno-babble?” she says. “I’m just excited I get to use my computer science degree.”

After they break for lunch, Kurtzman is asked how much longer he plans to keep making “Star Trek.” 

“The minute I fall out of love with it is the minute that it’s not for me anymore. I’m not there yet,” he says. “To be able to build in this universe to tell stories that are fundamentally about optimism and a better future at a time when the world seems to be falling apart — it’s a really powerful place to live every day.”

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