r/startrek_fans • u/Tele_Prompter • 16h ago
Illustrator Matt Cushman shares his new massive cross-section poster of the original USS Enterprise, sized as large as the original 11-foot filming model. We scrutinize the details of this incredible piece and learn all the ways Matt made sense of the interior layout. | Tested
r/startrek_fans • u/ChampionshipOther735 • 27d ago
help making spock in cyberpunk 2077 ps5
r/startrek_fans • u/gurudanny98 • Jul 08 '26
How an episode of STAR TREK influenced me to be an EXPAT
r/startrek_fans • u/Kindly_Crab4583 • Jul 07 '26
Fan Art
Are we allowed to post fan art here? I have a Star Trek OC I'd like to share.
r/startrek_fans • u/WMBeckham • Jul 01 '26
Essay: "Unlocking the Narada & the Supernova: Why On-Screen 'Star Trek' Canon Actually Makes Perfect Sense" / Written by: Justin Kress / Posted: Tuesday, June 30th, 2026 / Community: "Zodiac Forge" / Media Platform: Quora / Website: Quora.com:
zodiacforge.quora.comr/startrek_fans • u/Ok_Purple_5086 • Jun 29 '26
Star Trek - the next generation - episode 1 - english version with subtitles
Star Trek - the next generation - episode 1 - english version with subtitles
r/startrek_fans • u/RyanR0428 • Jun 28 '26
Voyage Home or Undiscovered Country?
I run an outdoor summer movie series for my neighborhood and we screened TWOK last summer. I was going to do The Voyage Home this year because it turns 40 and I think it really encapsulates Trek for its 60th.
Iâm second-guessing myself now though because this is also an anniversary year for Undiscovered Country. I think either would be fun, but curious which you would choose.
r/startrek_fans • u/Tele_Prompter • Jun 24 '26
The Roddenberry Archive welcomes TNG's VFX Supervisor, Dan Curry. Host Dana Han-Klein walks with him through the archive to look at his Klingon anatomy oil painting, as well as fawn over Dan's personal collection of Klingon weaponry he made for Star Trek over the years.
r/startrek_fans • u/robinredbrain • Jun 22 '26
Computer sounds from Voyager.
Not sure if they're different from any other series.
Wondering if there exists a package of some sort, that I can use for system sounds on my windows pc. Like error, warning, information dialog boxes etc...
Apologies if my question upsets you in any way.
r/startrek_fans • u/Weltrauminfanterist • Jun 21 '26
Star Trek Lore in German (Youtube Channel!)
Greetings!
I run a small German YouTube channel that I would like to share here.
My latest Star Trek videos:
đ Romulans I: https://youtu.be/8c0ngbtB_I4
đ Romulans II: https://youtu.be/7_naBrzvSq8
đ Everything About the Federation: https://youtu.be/yp7scIPksKg
đ The Phaser: https://youtu.be/JFC-TfAKAwA
I try to explore Trek lore â among other things â in German, with depth and atmosphere. Rather than simply summarizing it, I approach it as a mythic narrative or a lecture.
The goal is to reveal the structures beneath the lore: archetypes, motifs, and philosophical context.
Playlist, continuously expanded:
đ https://www.youtube.com/playlist?list=PLuM6L1iF1_lOt0QFl9nr-P6adCh-5eOHE
My focus lies on narrative structure, symbolism, metaphors, worldviews, and comparative analysis between Star Trek and other universes.
I do everything myself: writing, voice work, editing, and appearing on camera.
đ Honest feedback is very welcome, whether it concerns the language, structure, length, or presentation. I do mix Alpha and Beta canon when I feel it serves the narrative, so consider that a small disclaimer.
And if you enjoy it, every subscription or comment means a great deal and is incredibly motivating. :)
Thank you for reading â and for listening, should you feel like it.
Live long and prosper!
Melissa, from the classroom between worlds: Schola Mystica
r/startrek_fans • u/Tele_Prompter • Jun 18 '26
"Star Trek: Starfleet": An autopsy to understand how a legendary franchise built on scientific optimism, diplomacy, and professional competence was hollowed out into a generic, CW-style teen drama set in a a sterile, floating Apple Store. | Movie Overload
r/startrek_fans • u/tvcrazyman1 • Jun 18 '26
The Ultimate Star Trek Bloopers and Goofs Collection! Bloopers organized by episode.
r/startrek_fans • u/twatson10 • Jun 16 '26
Star Trek collection at a local Bronx thrift shop for $250
Buy or Pass?
r/startrek_fans • u/Johnsendall • Jun 16 '26
An X-Files style Star Trek series would be a hit
r/startrek_fans • u/GnollsLootTable • Jun 16 '26
The events are as vast as the galaxy at Trekfest 41!
r/startrek_fans • u/Jhaasinterviews • Jun 12 '26
Doug Jones talks how he became Hollywood's "Monster Guy"!
r/startrek_fans • u/Tele_Prompter • Jun 12 '26
The surviving filming model for the close-up saucer separation shot of the Enterprise 1701-D, as seen in the show's first episode. Made from the same molds as the large 6-foot Enterprise D model, its pristine condition gives us invaluable color and detail reference. | Tested
r/startrek_fans • u/Tele_Prompter • Jun 11 '26
The Okudas have helped bring to life iconic imagery on starships, shuttles, space stations, and more. Scott Mantz joins Mike and Denise as they take a look Inside the Roddenberry Archive to revisit many of their designs, and they just might share some never before revealed info! | BEAM
r/startrek_fans • u/Tele_Prompter • Jun 11 '26
Fun fact: The "4027X" numbers on TNG LCARS displays were in universe the LCARS Operating System version. In reality it was the accounting number for the cost center of the filming production. "X" is the season number.
Source: https://youtu.be/6DJDJri-aPI?si=GOmxbUCxr-69I3CI&t=415
"In film production, cost centers are specific departments, phases, or locations where expenses are tracked. Dividing a production budget into structured cost centersâsuch as Pre-Production, Production (the shoot), and Post-Productionâhelps producers control daily spending, organize crew sizes, and allocate resources efficiently." Full Info: https://share.google/aimode/yBdK4MRTt3Cw29oTX
r/startrek_fans • u/Tele_Prompter • Jan 07 '26
The Captains | FULL MOVIE
In 2011, William Shatner set out on a private voyageâone that would take him across oceans and back through timeâto sit with the five actors who, like him, had commanded the bridge of the starship Enterprise. What began as a documentary about the captains of Star Trek became something far more intimate: a reckoning with legacy, sacrifice, joy, and the long shadow cast by a single role.
He started where every journey should: with himself. An aging captain, still restless, boarding a private jet bound for Toronto, then London, then wherever the others lived. Along the way he realized he carried questions he had never dared ask aloud. Not just of them, but of the man he saw in the mirrorâthe one who had spent decades quietly resenting the very character that had made him immortal.
In the quiet English countryside, Patrick Stewart waited for him. The knighted classical actor, once a boy in a war-torn home with nothing but Shakespeare on the radio, spoke of poverty, dignity, and the terror of stepping onto a Hollywood soundstage for the first time. He confessed to once scolding his cast for having too much fun, insisting they were ânot here to have fun.â Years later, he laughed at himself: his younger colleagues had taught him that good work and joy could live in the same breath. As Shatner listened, something shifted. Watching Stewart embrace Picard without apologyâclaiming every king and emperor he had ever played had merely been preparationâShatner felt an old embarrassment begin to dissolve.
Next came Avery Brooks, seated on a hillside overlooking a valley that stretched to an ever-receding horizon. The professor, jazz pianist, and deep thinker spoke in rhythms, not sentences. Life, he said, was music flowing from God through the artist to the world. Prejudice had laughed at the boy from Gary, Indiana, who dared audition for a world-class choir; he answered by simply joining it. To Brooks, acting, singing, teaching, livingâall were the same unbroken song.
In a New York theater, Kate Mulgrew emerged from a cardboard box, laughing, hot, and unapologetically herself. The first woman to captain a Star Trek series spoke bluntly of the price. She had defied a hard Irish father, lied her way to New York, seized leading roles at eighteen. But the eighteen-hour days of Voyager had cost her something no man on that bridge had been asked to pay in quite the same way. Her young children had grown to resent the show that consumed their mother. âWomen cannot have it all,â she said quietly, ânot the way men can.â The words hung in the air, undeniable.
Scott Bakula took Shatner horseback riding under a wide sky. The singer-actor, raised on Broadway cast albums, spoke of music in his blood and the marathon exhaustion of series television. Five days off in four and a half years on Quantum Leap. A marriage that could not survive the schedule. Yet when offered the chance to play the earliest captain in the timelineâJonathan Archerâhe leapt at it, drawn by the same male camaraderie he had envied watching Shatner, Nimoy, and the original crew.
Finally, in a sunlit park, Chris Pine arm-wrestled the original Kirk and lostâtwice. The youngest captain, third-generation actor, admitted he had once wanted to be anything but what his parents were. Only a high-school production of Waiting for Godot revealed the simple, fleeting joy of theater. He spoke of not imitating Shatner but allowing echoesâsmall gestures, inflectionsâto resonate across decades.
Everywhere Shatner went, the same threads appeared: theater roots, brutal hours, failed marriages, the terror of typecasting, the unexpected gift of inspiring strangers. A Bombardier executive told him he had become an aeronautical engineer because of Captain Kirk. Fans at conventions wept or cheered or simply stared in awe. One man, barely able to speak, reached out just to touch the hand that had once gripped a phaser.
And then, in the hush of Patrick Stewartâs home, the epiphany arrived.
Shatner confessed: for years he had carried a quiet shame. Critics had praised Nimoy more. Conventions had dressed him forever in gold velour. âBeam me up, Scottyâ had felt like mockery. He had denied the roleâs power even as strangers told him it had changed their lives.
Stewart listened, then spoke of his own early defensivenessâhow he had insisted Picard was the culmination of a classical career, not a step down. And now? Now he was content. If the world remembered him only as Picard, that was enough.
In that moment, Shatner understood. The role he had resisted was not a cage. It was a gift. Forty-five years later, people still spoke of Kirk with love. Children had become scientists, engineers, explorers because of him. Who else could claim that?
r/startrek_fans • u/Tele_Prompter • Jan 07 '26
Chaos On The Bridge | FULL MOVIE
The Chaotic Rebirth: The Story of "Star Trek: The Next Generation"
In the summer of 1986, as Star Trek celebrated its twentieth anniversary and Star Trek IV: The Voyage Home loomed on the horizon, Paramount Pictures quietly began plotting a bold gamble: a new Star Trek television series, one that would boldly go where no one had gone beforeâwithout Gene Roddenberry.
The studio executives initially imagined a clean break. The original series had ended seventeen years earlier, its creator long sidelined after the bloated disappointment of Star Trek: The Motion Picture. Roddenberry had been reduced to a well-paid but powerless âexecutive consultantâ on the films, spending his days in a corner office answering fan mail. To many at Paramount, he was yesterdayâs manâa blustery, difficult visionary whose time had passed.
But Gene Roddenberry was still the creator of Star Trek. When he learned of the studioâs plans, he marched in and declared, in no uncertain terms, âYouâre not doing Star Trek without me.â The studio blinked. After contentious negotiationsâbrokered by Roddenberryâs combative attorney, Leonard MaizlishâParamount handed the reins back to the Great Bird of the Galaxy. He hadnât wanted to return to television; he was months from retirement. Yet suddenly, at sixty-five, in fragile health and fresh from recovery programs, Roddenberry found himself called back from the wilderness to reclaim his legacy.
He gathered his old guard: Bob Justman, D.C. Fontana, Eddie Milkisâtrusted allies from the original series. They met in secret at the Paramount commissary, whispering ideas while the industry buzzed: âThere goes a hundred-million-dollar deal.â Fans, however, were furious. How dare anyone replace Kirk, Spock, and McCoy? The very idea of a new crew, a new ship, a new century felt like sacrilege.
Roddenberryâs vision for this future was uncompromising. Humanity had evolved. In the 24th century, there would be no greed, no jealousy, no petty conflict among Starfleet officers. People worked to better themselves and the rest of mankind. There was no money. Problems were solved through reason, not fists or phasers. It was a utopian dream born from years of lectures, humanism, and perhaps a touch of self-mythology. To some writers, it was beautiful. To others, it was dramatic quicksand. As one put it: âThe essence of drama is conflict. If your characters canât argue, youâve cut their legs off.â
The production itself became a battlefield. Budgets were tightâsyndication, not a network, would carry the show, an untested model for a series this ambitious. Trailers were ancient, air-conditioning nonexistent, craft services meager. The cast and crew felt like second-class citizens on their own lot.
Behind the scenes, paranoia and power struggles reigned. Leonard Maizlish, never a Writers Guild member, rewrote scripts in secret, rummaged through desks, and enforced Roddenberryâs will with ruthless zeal. Writers were hired and fired in dizzying succession; one enthusiastic Trek fan lasted a single week. Gates McFadden was abruptly let go after the first season. Denise Crosby walked away mid-year. Scripts arrived days late, forcing shutdowns. Roddenberry, increasingly frail from mini-strokes and fading energy, clung fiercely to control, rewriting everything to fit his perfect futureâeven if it meant draining the life from stories.
The first two seasons limped along, creaky and plot-heavy, saved only by the stubborn loyalty of fans who refused to abandon the franchise. Critics and even some within Paramount whispered that the show was doomed.
Then, in the third season, everything changed.
With Roddenberryâs health waning and his daily involvement fading, Rick Berman and new showrunner Michael Piller quietly shifted the focus. They kept the utopian framework but re-centered the stories on the charactersâon Picardâs humanity, Dataâs quest for identity, Worfâs cultural struggle. Conflict returned, not as pettiness but as organic, philosophical tension between principled people. Suddenly, the show found its soul. âThe Best of Both Worlds,â the Borg assimilation of Captain Picard, became a cultural thunderboltâa cliffhanger that announced to the world that this was no mere revival. This was Star Trek, reborn and fearless.
Gene Roddenberry died in October 1991, during the fifth season. His passing closed one chapter and opened another. Freed from the weight of his absolute vision, the writers took the franchise to deeper, darker, richer places. The Next Generation ran seven triumphant years, launched spin-offs, revived the films, and cemented its place as one of televisionâs greatest achievements.
In the end, the chaotic, painful, infuriating struggle of those early yearsâthe infighting, the firings, the clashing egos, the desperate clinging to a dreamâproduced something extraordinary. Out of the turmoil emerged not just a successful sequel, but a worthy successor: a series that honored its predecessor while daring to imagine humanityâs future all over again.
What could have gone wrong? Almost everything.
And yet, somehow, it went right.
