star trek movie after into darkness

Star Trek movies in order: Chronological and release

Untangle the different timelines and get the popcorn: Here are the Star Trek movies in order — both chronological and release.

• Chronological order
• Prime Timeline

The Original Series movies

The next generation movies.

• Kelvin Timeline
• Release order

Upcoming Star Trek movies

We've got a guide to watching the Star Trek movies in order, decloaking off our starboard side!

So long as movies stick numbers on the ends of their titles, it’s easy to watch them in order. Once they start branching out, however, things can get a little muddled, especially when reboots come along and start the whole process over from scratch. 

You may have heard that the even-numbered ones are good and the odd-numbered ones are not. That’s spot on for the films starring the cast of The Original Series (aka Kirk and friends) falls apart once you reach the tenth entry in the series. It would probably be worth your while to have this list of the Star Trek movies, ranked worst to best around to steer clear of the clunkers. Look, we’re not going to pretend everything here is worth two hours of your day, we’re just letting you know which came out after which.

Should your Trek appetite remain unsatiated after your movie watchathon, feel free to pull from either our list of the best Star Trek: The Original series episode s or best Star Trek: The Next Generation episodes . Either one will set you up for a weekend jam-packed with great Trek moments. Consult our Star Trek streaming guide for all the details on where to watch the movies and shows online 

Star Trek movies: Chronological order

Below is the quick version of our list if you just need to check something to win an argument, but it comes with a lot of in-universe time travel-related caveats that we'll explain below.

• Star Trek: The Motion Picture
• Star Trek II: The Wrath of Khan
• Star Trek III: The Search for Spock
• Star Trek IV: The Voyage Home
• Star Trek V: The Final Frontier
• Star Trek VI: The Undiscovered Country
• Star Trek: Generations
• Star Trek: First Contact
• Star Trek: Insurrection
• Star Trek: Nemesis
• Star Trek Into Darkness
• Star Trek Beyond

Star Trek: Prime Timeline

The first thing you need to know about the Star Trek films is that while they travel back and forth in time, they also diverge into two (for now) different timelines. The films of the original crew (well, the first iteration of them, anyway – more on that later) are all in what is known as the Prime Timeline. 

Within the Prime Timeline, the movies are then split between The Original Series movies and The Next Generation movies.

1. Star Trek: The Motion Picture

• Release date: December 8, 1979
• Cast: William Shatner, Leonard Nimoy, DeForest Kelley

This is the film that brought the voyages of the U.S.S. Enterprise to the big screen. An energy cloud is making its way toward Earth, destroying everything in its path. Kirk and crew intercept it and discover an ancient NASA probe at the heart of the cloud. Voyager – known as V’ger now – encountered a planet of living machines, learned all it could, and returned home to report its findings, only to find no one who knew how to answer. It’s a slow-paced film, and the costumes are about as 70s as they come, but there’s classic Star Trek at the heart of this film.

2. Star Trek II: The Wrath of Khan

• Release date: June 4, 1982
• Cast: William Shatner, Leonard Nimoy, Ricardo Montalban

Ask a Star Trek fan what the best Star Trek movie is and more often than not, you’ll get Khan as your answer. A sequel to the events of the “Space Seed” episode of The Original Series, Khan is a retelling of Moby Dick with Khan throwing reason to the wind as he hunts his nemesis, James T. Kirk. Montalban delivers a pitch-perfect performance, giving us a Khan with charisma and obsession in equal parts.

3. Star Trek III: The Search for Spock

• Release date: June 1, 1984

Spock might have died in The Wrath of Khan, but this third entry set up the premise for his return, with the creation of the Genesis planet. Essentially a heist movie in reverse, Search for Spock has the crew defying orders from Starfleet in an attempt to reunite Spock’s consciousness with his newly-rejuvenated body. It’s not a great movie, but it does include two very important events: the rebirth of Spock and the death of Kirk’s son at the hands of the Klingons. That’ll be important a few flicks from now.   

4. Star Trek IV: The Voyage Home

• Release date: November 26, 1986
• Cast: William Shatner, Leonard Nimoy, Catherine Hicks

If Star Trek fans don’t say Khan is the best Star Trek movie, odds are very high they say Voyage Home is. It’s a funny film where the mission isn’t destruction, but creation – or more accurately, repairing the devastating effects of humankind’s ecological short-sightedness. 

A probe arrives at Earth, knocking out the power of everything in its path as it looks for someone to respond to its message (yeah, it happens a lot). This time, however, the intended recipient is the long-extinct blue whale. To save Earth, Kirk and co. go back in time to 1980s San Francisco to snag some blue whales. The eco-messaging isn’t exactly subtle, but it doesn’t get in the way of a highly enjoyable movie.

5. Star Trek V: The Final Frontier

• Release date: June 9, 1989

A writers’ strike and Shatner’s directorial skills (or lack thereof) doomed this film before a single scene was shot. The core plot is actually pretty good: Spock’s half-brother hijacks the Enterprise so that he can meet God, which he believes to be… himself. Some Star Trek fans have an odd fondness for this movie, as it showcases the camaraderie of Kirk, Spock, and McCoy when they’re off-duty.

6. Star Trek VI: The Undiscovered Country

• Release date: December 6, 1991
• Cast: William Shatner, Leonard Nimoy, Christopher Plummer

Right, so if that Star Trek fan you’ve been talking to doesn’t choose either Khan or Voyage Home as the best Star Trek movie ever, they almost certainly name Undiscovered Country (and if they don’t, they have highly questionable taste, frankly). The Klingon moon of Praxis explodes, putting the entire Klingon race at risk. The Enterprise hosts a diplomatic entourage of Klingons, much to Kirk’s discomfort. 

Remember how Klingons murdered Kirk’s son? Well, he certainly hasn’t forgotten. Kirk’s lingering rage makes him the perfect patsy for the murder of the Klingon Chancellor, sending him and McCoy to a prison planet and setting the stage for war. Christopher Plummer is perfection as a Shakespeare-quoting Klingon general with no taste for peace.

7. Star Trek: Generations

• Release date: November 18, 1994
• Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner

And thus the torch is passed from the crew of The Original Series to that of The Next Generation. It’s a bit of a fumble, to be honest, but they all did their best to get Kirk and Picard into the same film and have it make sense. Malcolm McDowell plays Soran, a scientist who will stop at nothing to control the Nexus, a giant space rainbow that exists outside of space-time. 

Soran lost his family when his home world was destroyed and he wants to re-join them (or at least an illusion of them) in the Nexus. He’s not so much a villain as a tragic figure, but the Nexus makes a meeting between Kirk and Picard possible. Not all that sensible, but possible.

8. Star Trek: First Contact

• Release date: November 22, 1996
• Cast: Patrick Stewart, Brent Spiner, Alice Krige

Okay, no, for real, if your Star Trek pal didn’t pick Khan or Voyage Home or… oh, nevermind. Cueing off the iconic two-part episode “Best of Both Worlds,” in which Picard is assimilated by the Borg, First Contact sees the collective traveling back in time in order to disrupt First Contact, the day Earth’s first foray into space attracted the attention of the Vulcans, kicking off the events that would eventually lead to Starfleet’s victory over the Borg. The Borg Queen torments Picard with visions of the past and tempts Data with humanity, going so far as to give him some human skin. 

The fight with the Borg aboard the Enterprise is thrilling, and the work on the surface to get first contact back on track is fun. Plus, there’s just nothing like Patrick Stewart turning it up to 11 as he lashes out at the enemy that haunts his dreams.

9. Star Trek: Insurrection

• Release date: December 11, 1998
• Cast: Patrick Stewart, Jonathan Frakes, F. Murray Abraham

Essentially an episode inflated for the big screen, Insurrection is about the Federation conspiring to displace a planet’s population in order to harvest the planet’s unique resource – super healing metaphasic particles. In addition to the rejuvenating natural resource, the Ba’ku also have access to exceptional technology, which they shun in favor of a more simple lifestyle. 

Data malfunctions, the villains are Federation allies (and former Ba’ku!), Picard gets to knock boots with a local – Insurrection is the very definition of “fine.” Chronologically, Insurrection is relevant for rekindling the romance between Riker and Troi, but not much else.

10. Star Trek: Nemesis

• Release date: December 13, 2002
• Cast: Patrick Stewart, Brent Spiner, Tom Hardy

Before he mumbled his way into our hearts as Bane, Tom Hardy was Shinzon, a clone of Picard the Romulans created in an eventually abandoned attempt to infiltrate Starfleet. Shinzon is dying, and all that will save him is a transfusion of Picard’s blood. Unfortunately, Shinzon also happens to be a megalomaniac who happens to want to destroy all life on Earth and maybe a few other planets, too, if he’s feeling saucy. 

Nemesis is notable mostly for killing Data with a noble sacrifice, only to resurrect him moments later in a duplicate body found earlier by the Enterprise crew.

Star Trek: Kelvin Timeline

The last of the Prime Timeline movies failed to impress at the box office, so it was a few years before anyone tried to bring the Enterprise back to the big screen. Rather than lean on any of the TV crews, this new slate of movies would serve as a reboot, welcoming new audiences while honoring long-time fans. Welcome to the Kelvin Timeline. (For all the ins and outs, check out our Star Trek: Kelvin Timeline explained article).

11. Star Trek

• Release date: May 8, 2009
• Cast: Chris Pine, Zachary Quinto, Karl Urban

Back to the beginning! Star Trek introduces us to James T. Kirk, Spock, and “Bones” McCoy as they meet and join the crew of the U.S.S. Enterprise. Though the plot is a relatively straightforward affair of a Romulan named Nero trying to destroy the Earth. His anger borne out of grief, what matters most is how it all came to be. In the future, Spock – the Prime Timeline version – tries to save Romulus from being destroyed by a supernova, but fails. Both his ship and Nero’s are kicked back in time, setting off a chain of events that diverge from the original, “true” timeline. 

The name “Kelvin” refers to the U.S.S. Kelvin, the ship heroically captained by Kirk’s father, which is destroyed in the opening moments of the movie.

12. Star Trek Into Darkness

• Release date: May 16, 2013
• Cast: Chris Pine, Zachary Quinto, Benedict Cumberbatch

The benefit of the Kelvin Timeline is that it not only allows Star Trek to explore canon material – such as Khan (he of the Wrath) – but to do something completely new with it. Khan features heavily in Into Darkness, but he has no beef with Kirk. Instead, a Starfleet Admiral is threatening the lives of Khan’s crew, forcing them to craft weapons of mass destruction. 

Khan inevitably eludes captivity and strikes out against Starfleet, killing Captain Pike (and a bunch of others) in the process. Kirk and company eventually take Khan down, but not before Kirk sacrifices himself to save his crew. Don’t worry, these things don’t last in either Star Trek timeline, as Kirk gets better moments later thanks to *checks notes* Khan's super blood.

13. Star Trek Beyond

• Release date: July 22, 2016
• Cast: Chris Pine, Zachary Quinto, Idris Elba

Beyond leans into the camaraderie of Kirk, Spock, and McCoy now that they’ve had some time together, much to the movie’s benefit. The Enterprise is lured to Altamid under false pretenses, leading to much of the crew being marooned on the planet. The architect of the deception was Krall, who wants an opportunity to return to a galaxy where war is the order of the day. 

Beyond is a significant point in the timeline for two reasons. First, it sadly marked the death of Spock Prime due to the passing of Leonard Nimoy. Second, it culminates in the Enterprise embarking on the five-year-mission that started everything back in 1966.

Star Trek movies: Release order

If you can't be bothered remembering two different orders for the Star Trek movies then we've got good news for you — the release order is identical to the chronological order that we've shown above (accounting for the Kelvin timeline as it's own entity anyway).

The full run of Star Trek films currently tops out at 13 entries; the fate of the 14th was hidden within a nebula of conflicting information. “Star Trek 4” was slated for December 22, 2023, but given that filming had yet to begin as of July 2022, it seems inevitable that date will change. Back in February 2022, Paramount that the principal cast would be returning for the fourth installment of the Kelvin timeline, a claim quickly disputed by the agents of those selfsame actors. Awkward.

Soon after, however, Chris Pine eventually signed on the dotted line, and his shipmates reached their own agreements. As of right now, Kirk (Pine), Spock (Zachary Quinto), McCoy (Karl Urban, assuming he can make it work around filming of The Boys), Scotty (Simon Pegg), Uhura (Zoe Saldaña), and Sulu (John Cho) are all ready to beam up and get filming. Sadly, this will be the first of the Kelvin films to not feature Anton Yelchin as Pavel Chekov. Yelchin died in an accident at his home in 2016. It’s currently unclear if Chekov will be recast or if a different character will take his place on the bridge of the Enterprise.

Though the Kelvin timeline is often referred to as “J.J. Abrams Trek,” he won’t be directing Star Trek 4; Matt Shakman will take on that responsibility, leaving Abrams to produce. As for what it will be about, that’s anyone’s guess, but Chris Pine told Deadline he hopes this one tells a smaller story that appeals to the core Trek audience. “Let’s make the movie for the people that love this group of people, that love this story, that love Star Trek,” he said. “Let’s make it for them and then, if people want to come to the party, great.” It’s a strategy that makes sense; the disappointment with recent Trek films hasn’t been their content so much as their box office. A Trek film with a smaller scope (and budget) would almost certainly have a very healthy profit margin while also resonating with the fanbase.   

With no new announcements coming from San Diego Comic-Con 2022, it seems that we’ll have to wait for any more insight into the next Star Trek film. Sill, recent comments from Paramount CEO Brian Robbins have us cautiously optimistic: “We’re deep into [Star Trek 4] with J.J. Abrams, and it feels like we’re getting close to the starting line and excited about where we’re going creatively,” he told Variety . 

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Susan Arendt is a freelance writer, editor, and consultant living in Burleson, TX. She's a huge sci-fi TV and movie buff, and will talk your Vulcan ears off about Star Trek. You can find more of her work at Wired, IGN, Polygon, or look for her on Twitter: @SusanArendt. Be prepared to see too many pictures of her dogs.

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What's the future of Star Trek after "Into Darkness?"

Star Trek Into Darkness is a hit movie — it's just not enough of a hit for Paramount. What does this mean for the future of Trek ?

In its second weekend, Star Trek Into Darkness dropped 46.9 percent, slightly more than the first J.J. Abrams Trek movie in 2009. Most box office experts now expect the second rebooted Trek film to fall slightly short of the $255 million that Trek09 made domestically. And yes, STID is performing better overseas, thanks to a huge campaign, but not enough — and studios still care about domestic gross a lot, for reasons that are too complicated to go into here.

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Like the first Star Trek , this was a fantastically expensive film, with a budget estimated around $200 million plus mammoth promotional expenses. Star Trek Into Darkness will definitely wind up making a profit, especially when you factor in DVD and VOD and so on, but it's not the megahit Paramount wanted.

Let's just restate the above before we go any further: we're talking about a successful movie, that will probably make a profit .

The thing is, 2009's Star Trek was moderately successful, given how expensive it was, and Paramount was probably hoping that Into Darkness would be the Dark Knight to Trek09's Batman Begins , as Forbes' Scott Mendelson explains here . In other words, the first movie did pretty well, but they were hoping it would set the stage for the second film to be a huge monster hit, not just another okay performer.

And worse news? Star Trek Into Darkness did worse among young movie-goers than the first movie, as The Wrap explains :

Only 25 percent of those who went to see "Into Darkness" were under 25 years of age. That's considerably less than the 35 percent that the previous film attracted, and it's far more older-skewing than the first-weekend audiences for Disney's "Iron Man 3," which was 45 percent under 25, 27 percent families and 21 percent teens.

That makes it a less valuable property to the studios, which really want to capture a young audience. And it also means the series has less of a future, as the people who really want a new Trek eventually die off.

Oh, and the Star Trek game was a pretty spectacular disaster around the same time, which probably also meant the younger crowd wasn't feeling the Trek .

The good news? This movie has scored well with audiences, and has generally gotten good reviews — although obviously people can disagree about that. There's no denying that Darkness has a lot of good will out there, and it's maintaining an enviable 87 percent fresh rating on Rotten Tomatoes. (Not that it matters, but I stand by saying "it's not terrible, it has some fun parts, but it's really dumb.") So it could have longer legs in the coming weeks.

The other good news? Star Trek 's 50th anniversary is in 2016, and you have to assume that Paramount (and CBS) see this as an opportunity to get extra publicity behind whatever they choose to do in that year.

What is Star Trek's brand?

Lots of people have different theories about why Into Darkness was only a regular hit instead of a massive hit. Like, maybe four years between movies was too long. Or the whole "is it Khan or not" dance confused and turned off regular moviegoers. Or maybe, it just looked too dark and depressing, based on the marketing and stuff.

But none of those explanations really ring true to me. The thing about keeping people guessing about Khan really only mattered to die-hard Trek fans — the sort of people who didn't go to Into Darkness probably barely know who Khan is, based on seeing Wrath of Khan on late-night cable TV. And a four-year gap was not too long for the Batman films.

The explanation is probably more like: There's still a Star Trek ceiling, and it's gotten a little lower since the first Abrams movie. And this movie didn't market itself in a way that explained to people why they should see a Star Trek film instead of Iron Man 3 , if they want to see shit blow up. Both movies had almost identical trailers, with shit blowing up and a villain voiceover that explains we're not safe and heroes fail. So if you're only going to see one of those two movies, why Trek ?

That, in turn, gets into the question of, What's Star Trek 's brand? I know what Batman's brand is: It's "I am the night" and big black cape and punching evil and growling and batarangs and the Batsignal. I know what Iron Man's brand is, because it's Robert Downey Jr. in a metal suit.

Not too long ago, Star Trek 's brand was "shields are down to 47 percent" and "transduce the tachyon inverters" and holodecks and bumpy foreheads. And nobody cared about Star Trek , beyond the loyal fans who went to see Star Trek: Nemesis . J.J. Abrams made a pretty decent stab at starting to rebuild the Trek brand with his first movie, based on the Kirk/Spock bromance and some fun space action.

But with Into Darkness , Paramount made an effort to broaden the film's appeal and reach more foreign audiences, by getting " away from the Trekkiness of it all ." The trailers, as I just mentioned, emphasize that there's a terrorist blowing stuff up on Earth , and they look sort of like Transformers: Dark of the Moon , in terms of cities getting trashed. The fact that a lot of the film takes place on Earth is emphasized, although you do glimpse sequences on Nibiru and Kronos. But for the most part, it looks like any other action movie about a terrorist blowing up cities. On Earth.

Maybe part of the problem is that Paramount did too good a job of downplaying the Trekkiness, instead of making a case as to why people should see Star Trek 's "evil terrorist" movie, instead of some other "evil terrorist" movie. This was a brand that was still being rebuilt, and making it look generic maybe wasn't the way to go.

So what's next?

It seems likely that something will happen with Star Trek in 2016, but it might not be another $200 million movie unless Paramount really thinks there's a big payout coming from this slot machine.

The other possibilities are: 1) a lower budget movie, designed to win over people who liked Fast & Furious 6 . 2) a new TV show, which could help people reconnect with Star Trek by showing how much storytelling potential it still has.

I'd way rather see a new Star Trek TV show, given that Trek has usually been at its best on television. And with the chance to explore big questions and tell entertaining done-in-one stories, Trek could really spread its wings on the smaller screen if it had the right set of writers. A new TV show could do for Trek what Russell T. Davies and Steven Moffat have done for Doctor Who .

But we don't always get what we want. And maybe a new movie is more likely, given how much has been invested in launching a movie series. And there are pretty easy things that Paramount can do differently next time, if it wants to pimp a Trek movie to a younger, broader domestic audience.

Like, spring for a movie star who has drawing power on his or her own. None of the Enterprise crewmembers in the Abrams Trek is a star who can open a movie, and Benedict Cumberbatch is the star of a beloved TV show who's never starred in a film before. So for a third Trek movie, they might need to get an actor whom audiences would go see if he or she starred in some random heist movie.

But also, with the 50th anniversary of Trek , it's probably a good time to be reintroducing the notion that Star Trek 's brand is "exploration." The latest movie even set that up with the stuff about going on a "five-year mission" at last. This is a series that, at its core, is about exploring new places and discovering new stuff. I really believe that can be made exciting to mainstream audiences, even with the Space Age being arguably over.

So let's hope Trek 's 50th year brings a celebration of what's best in Star Trek 's legacy, along with something new that builds on those five decades of boldly going.

Update: Corrected the piece to say the 47 percent drop was respectable, although still worse than Trek09.

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The ending of Star Trek Into Darkness was an action-packed but bewildering spectacle that played like a funhouse mirror version of Star Trek II: The Wrath of Khan where the roles of Captain Kirk (Chris Pine) and Spock (Zachary Quinto) were strangely reversed. After Khan (Benedict Cumberbatch) killed Admiral Alexander Marcus (Peter Weller), he took over the USS Vengeance and threatened to destroy the USS Enterprise if Spock didn't give him the 72 photon torpedoes containing his genetically-engineered followers. Spock tricked Khan by sending over the torpedoes without the cryogenically frozen people inside, and he detonated the weapons to cripple the Vengeance.

Once Kirk, Scotty (Simon Pegg), and Dr. Carol Marcus (Alice Eve) beamed back to the Enterprise, the starship lost power and began to crash-land into the Earth. Kirk entered the warp core and aligned it, and he received a fatal doze of radiation. As Spock witnessed Kirk's death, Khan crashed the USS Vengeance into San Francisco and tried to escape. Spock beamed down to kill Khan but during their chase, Dr. Leonard "Bones" McCoy (Karl Urban) realized Khan's 'super blood' could revive Kirk, whom he placed in a cryo tube. Uhura (Zoe Saldana) beamed down to help Spock capture Khan, and McCoy was able to synthesize a serum from Khan's blood to save Kirk's life. A year later, the USS Enterprise was re-launched on a five-year mission with Captain Kirk in command. At the end of Star Trek Into Darkness , Kirk learned that vengeance is not what Starfleet is about and his experience against Khan, who was placed back in cryo freeze, matured him as Captain of the Enterprise.

Related: Every Star Trek Movie Ranked From Worst To Best

Khan's Star Trek Into Darkness Villain Plan Explained

Khan was the primary villain of Star Trek Into Darkness , although he was rebelling against being a victim of the corrupt Admiral Marcus for most of the film. Khan's primary goal was to kill Marcus, destroy Starfleet, and reunite with his 72 followers, but the film's plot made his methods confusing. In the first act of Star Trek Into Darkness , Khan, in his fictional identity of Commander John Harrison, engineered the bombing of the Kelvin Historical Archive in London. But the archive was a front for Section 31, Starfleet's black ops agency, which was using Khan to develop weapons for Starfleet under Marcus' orders.

Khan bombed Section 31 because he knew Starfleet protocol dictates Marcus and the senior staff would convene at the Daystrom conference room at Starfleet Headquarters. Aboard a stolen jumpship, Khan attacked the Starfleet brass, but he failed to kill Marcus. Instead, Kirk's mentor, Captain Christopher Pike (Bruce Greenwood) died in the attack. Khan then used Scotty's transwarp technology to beam himself to Kronos, the Klingon homeworld. Kirk volunteered to take the Enterprise to Klingon space and kill Khan, but when his crew argued against the immorality of this mission, Kirk changed his mind and set out to apprehend Khan to make him face trial. Khan, in turn, saved Kirk's away team from the Klingons, and he surrendered to Kirk, having surmised that the Captain didn't know he was set up by Admiral Marcus and that Section 31 sabotaged the Enterprise's warp core. Playing prisoner was the fastest way Khan could get to Marcus.

Khan knew Marcus would personally come when he learned Kirk disobeyed orders. When Marcus arrived aboard the USS Vengeance to destroy the Enterprise , Khan agreed to work with Kirk to infiltrate Marcus' starship. But Kirk betrayed Khan first and had Scotty stun him. When Khan quickly awoke, he attacked and killed Marcus. At that point, Khan's goal was to get his followers back from the Enterprise and use the Vengeance to destroy Starfleet. But after Spock tricked him and damaged the Vengeance, Khan settled for crashing Marcus' starship into Starfleet Headquarters before escaping. Had Khan succeeded, he and his followers would have used the Vengeance to take out Starfleet systematically, but instead, the genetically-engineered tyrant was placed back in suspended animation.

Admiral Marcus' Star Trek Into Darkness Villain Plan Explained

Admiral Alexander Marcus was Star Trek Into Darkness ' other villain and, in a way, he was worse than Khan. Marcus' backstory is that after Nero (Eric Bana) destroyed Vulcan in Star Trek 2009, the Admiral feared that Starfleet wasn't prepared for a future war with the Klingons. Marcus used Section 31 to search for ways to 'militarize' Starfleet, and they discovered the ship containing Khan and his followers in space. When Marcus realized Khan was the genetically-engineered warlord from 300 years in the past, he revived Khan and forced him to develop weapons and tactics to fulfill his vision of a militarized Starfleet. As an incentive, Marcus kept Khan's followers prisoner and threatened to kill them if he didn't cooperate.

Related: How Strange New Worlds Season 2 Will Secretly Bring Back Khan

As "Commander John Harrison," Khan helped develop the USS Vengeance and the special photon torpedoes that ended up housing Khan's followers in suspended animation. But when Khan decided to take revenge on Marcus, destroyed the Section 31 facility and operatives in the Kelvin Archive, and attacked Starfleet Headquarters, Marcus saw Kirk's desire for vengeance as an opportunity to rid himself of Khan. However, Marcus never intended for Kirk and the Enterprise to return from the mission to Kronos, and the Admiral wanted to start a war with the Klingons - but on Starfleet's terms. Marcus had Section 31 sabotage the Enterprise's warp core so that the ship would be stranded in Klingon space after Kirk fulfilled his original mission to launch 72 photon torpedoes at Kronos from the edge of the Neutral Zone.

When Marcus learned Kirk disobeyed orders and captured Khan instead, he personally led the Vengeance to destroy Kirk, Khan, and the Enterprise. The Admiral never had any intention of letting Kirk survive, and the fact that his daughter, Carol Marcus , pleaded with him didn't dissuade the Admiral. If Marcus had his way, he would have annihilated the Enterprise and everyone aboard, including Khan and his followers, fixing the "mistake" Marcus made by waking them from cryo sleep. Marcus would then have the war with the Klingons he wanted, and the Admiral believed Starfleet would defeat their enemies thanks to the Vengeance and Section 31's technology.

What Went Wrong With Star Trek Into Darkness

Star Trek Into Darkness features terrific performances from the cast and thrilling action set pieces. The film's failings stem from its numerous creative missteps and a fatal blunder in how the Star Trek sequel was marketed. J.J. Abrams and his writers, Damon Lindelof, Alex Kurtzman, and Roberto Orci, decided that in spite of having a clean slate to do whatever they wanted in the alternate Kelvin Timeline , they would make Khan Noonien Singh the main villain of the movie. Khan's inclusion then necessitated rehashing multiple aspects of Star Trek II: The Wrath of Khan . But the novelty of this was lost on most Star Trek fans, who saw using Khan in the sequel as a creatively bankrupt decision. It also didn't help that Khan, a person of color originally played by the iconic Ricardo Montalbán, was whitewashed by the casting of Benedict Cumberbatch.

In Star Trek Into Darkness ' defense, killing Kirk and pitting Spock against Khan had the benefit of the Vulcan being a physical match for the genetically-engineered superman in a way Kirk simply isn't. But by the end of the film, the bereft Spock as a violent madman raining punches on Khan was a bridge too far from the cool, logical Vulcan Spock is meant to be. Many other baffling creative choices like Kirk being so immature that he unapologetically broke the Prime Directive, and so bloodthirsty for vengeance that he committed the Enterprise to an immoral manhunt, the controversy sparked by an unnecessary scene where Carol Marcus stripped to her underwear in front of Kirk for no reason, Leonard Nimoy's Spock telling Zachary Quinto's Spock how to beat Khan, and Kirk's death being instantly reversed thanks to Khan's "magic blood" sank Star Trek Into Darkness in the eyes of audiences in spite of the film's strong points.

Related: Star Trek Into Darkness' Alice Eve Controversy Explained

It's possible Star Trek Into Darkness might have been better received if the film's marketing was upfront that Benedict Cumberbatch was playing Khan . But J.J. Abrams was at the peak of his "mystery box" style of movie marketing in 2013, and the filmmakers deliberately misled (or outright lied to) the audience to preserve their 'surprise' that John Harrison was really Khan. Unfortunately (and predictably), the reveal overall was not met with the excitement Abrams and Bad Robot hoped for. Trekkers saw Star Trek Into Darkness as foolhardy and uninspired for remaking the beloved Star Trek II yet again, just 11 years after Star Trek: Nemesis also did its own failed version of The Wrath of Khan. Sadly, Star Trek Into Darkness ' reputation hasn't been buoyed in the decade since its release, and the film ultimately squandered the goodwill created by the success of Star Trek 2009.

How Into Darkness Hurt Star Trek Beyond

In spite of its less-than-stellar reception from fans, Star Trek Into Darkness raked in $467-million at the box office, over $80-million more than the more enthusiastically-received Star Trek 2009, and it's actually the highest-grossing Star Trek film. However, Star Trek Into Darkness ultimately cooled audience interest in the Chris Pine-led Star Trek movie franchise. In spite of a switch in directors from J.J. Abrams to Justin Lin, and a superior script by Simon Pegg and Doug Jung that successfully evoked the tone of Star Trek: The Original Series , Star Trek Beyond underperformed in the summer of 2016, earning $343-million as the lowest-grossing film of the Kelvin trilogy.

Star Trek Into Darkness soured the optimism for the boundless potential of the Kevlin timeline and, instead, Abrams' trilogy earned a reputation for regurgitating what worked in past Star Trek movies and TV shows. In turn, the excitement from general audiences was lacking for Star Trek Beyond when it hit theaters, and its July 2016 release date was also mistimed in a crowded summer movie marketplace when it could have been positioned to celebrate the 50th anniversary of Star Trek in September 2016. Sadly, Star Trek Into Darkness marked the downturn of J.J. Abrams' Star Trek movies, and the franchise still hasn't recovered, as evidenced by Paramount's inability to get Star Trek 4 off the ground.

Next: Star Trek 2009 Ending Explained

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Star Trek Into Darkness

2013 • PG-13

After an unspeakable terrorist act at the heart of the Federation, Kirk, and his crew head off on a manhunt into enemy territory to capture a familiar foe with superhuman abilities.

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Star Trek Into Darkness

• After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.
• When the USS Enterprise crew is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction. As our space heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew. — Paramount Pictures
• The latest mission of the USS Enterprise crew takes them into deep space to rescue an endangered species from an active volcano. However, once again Captain Kirk's reckless behavior compromises the mission and nearly gets him booted from Starfleet. Turning back to his mentor Admiral Pike, Kirk is demoted to an academy cadet and has to start over. However, when a ruthless warlord attacks Starfleet and shoots Admiral Pike in the process, Kirk takes command and takes the Enterprise deep into the neutral zone and the Klingon homeworld. Unknown to the crew, a Starfleet renegade is manipulating the Federation and the Klingons into a possible war. Kirk, Spock and the rest of the crew must stop the war before all hell breaks loose. And what awaits the crew of the USS Enterprise on their forthcoming five-year mission? — Blazer346
• The USS Enterprise is sent to Planet Nibiru to observe a pre-warp civilization. Captain James T. Kirk (Chris Pine) and Spock (Zachary Quinto) attempt to save the inhabitants from an imminent volcano eruption which would wipe out the civilization. When Spock's life is jeopardized, Kirk breaks the Prime Directive, exposing the Enterprise to the planet's civilization during Spock's rescue. A number of indigenous people begin to worship the ship as it leaves. Called back to Earth, Kirk is demoted to First Officer and Admiral Christopher Pike re-assumes command of the Enterprise. In London, Starfleet agent John Harrison (Benedict Cumberbatch) bombs a secret "Section 31" installation. In San Francisco, Pike and his first officer attend an emergency meeting of high-ranking officers at Starfleet headquarters. The meeting is attacked by a gunship piloted by Harrison, who kills Pike. Kirk destroys the gunship, but Harrison flees. With Pike dead, Admiral Alexander Marcus authorizes Kirk to hunt down Harrison, who has used trans warp beaming and fled to the Klingon home world of Kronos. Since Kronos lies deep in Klingon territory and the Federation is on the brink of war with the Klingon Empire, the Enterprise is supplied with 72 long-range prototype photon torpedoes and is ordered to fire them at Harrison's location once he is found. Thinking that the torpedoes could be dangerous to the ship, Montgomery "Scotty" Scott refuses to take them aboard and tenders his resignation (which Kirk accepts), whereupon Pavel Chekov is promoted to Chief Engineer. Admiral Marcus' daughter, scientist Carol Marcus (Alice Eve), joins the crew under a false identity. Arriving at the Klingon home world, the Enterprise's warp core malfunctions. With repairs underway, Kirk, Spock and Uhura use a previously commandeered trader ship to reach Kronos. After being detected by Klingon patrol ships, the three are forced to land. Despite Uhura's attempts to negotiate, the Klingons prepare to kill the trio. Harrison wipes out the Klingons in a show of superhuman strength and confronts the landing party, but surrenders after learning the precise number of photon torpedoes aimed at him. Returning to the Enterprise, Harrison reveals his real identity: Khan Noonien Singh, a genetically augmented superhuman, who has been in Cryo sleep for 300 years after his unsuccessful war to have his superhuman comrades rule the Earth. He advises Kirk to examine the 72 prototype torpedoes and also tells him a set of spatial coordinates. Kirk orders Leonard McCoy to examine the torpedoes, and contacts Scotty on Earth to check the coordinates. The torpedoes are found to each contain a genetically engineered human in Cryo sleep - the remaining members of Khan's colleagues. Khan explains that Admiral Marcus awakened him to use his superior intellect and savagery to develop advanced weapons for a war with the Klingons, keeping his colleagues as hostages. He also says that now Marcus wants to kill Khan to erase every trace of his association with a known war criminal. Kirk realizes that the Enterprise's warp core had been sabotaged on Admiral Marcus' orders, making the covert operation to kill Khan a one-way ticket. Scotty arrives at the coordinates and finds a secret Starfleet shipyard, which he infiltrates. The Enterprise's warp core is repaired, but the ship is soon confronted by an unregistered Federation battleship, the USS Vengeance - a massive vessel built for combat which dwarfs the Enterprise. Admiral Marcus reveals himself as the commander of the Vengeance, demanding Kirk hand over Khan. Kirk refuses, and the Enterprise warps toward Earth, to have Khan stand trial. In Earth's orbit, the Enterprise is attacked by the Vengeance. With the Enterprise severely damaged, Kirk offers to hand over Khan and the 72 bodies in Cryo sleep in exchange for the lives of his crew. Marcus refuses, beams his daughter to the Vengeance, and orders the destruction of the Enterprise-when the Vengeance suddenly suffers a complete power outage, caused by Scotty who had boarded the ship at the secret shipyard. As the Enterprise weapons are too damaged to continue the fight and knowing that Khan was the designer of the Vengeance, Kirk allies himself with Khan and boards the ship. They reunite with Scotty and take the bridge. Meanwhile, Spock contacts Spock Prime to learn of Khan's history and how to defeat him. Khan betrays Kirk and takes control of the Vengeance, killing Admiral Marcus. Khan negotiates with Spock, beaming Kirk and his boarding party back to the Enterprise in exchange for the 72 Cryo torpedoes. Khan plans to destroy the Enterprise, but Spock reveals that real - and armed - torpedoes were beamed to the Vengeance, keeping the Cryo pods on the Enterprise. The torpedoes incapacitate the Vengeance and anger Khan, who believes that his 72 colleagues have been killed. Both ships start descending towards Earth's surface. At the cost of his life, Kirk re-aligns the warp core, enabling the crew to regain control of the Enterprise. The Vengeance crashes into downtown San Francisco but does not kill Khan. Khan tries to escape in the chaos but is pursued by Spock. McCoy discovers that Khan's blood may reanimate Kirk and Uhura prevents Spock from killing Khan, capturing him instead. In the aftermath, Kirk is revived and returns to duty as Captain of the Enterprise. Khan is sealed into his Cryo pod and stored away with the rest of his crew. As the film ends, a restored Enterprise is re-christened and departs for a 5-year mission of exploration.

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How Kirk Came Back to Life In Star Trek Into Darkness and Why It's a Problem

• Star Trek Into Darkness was controversial due to its misleading marketing about Benedict Cumberbatch playing Khan.
• The film remixed classic Star Trek moments, like Captain Kirk's resurrection using Khan's blood, creating narrative issues.
• The revelation of a potential "death cure" in Starfleet, via Khan's blood, was a major story thread left unresolved.

When creating a new installment of a beloved storytelling universe, whatever story it tells is bound to be controversial to fans. Yet, Star Trek Into Darkness is perhaps the most controversial of the 2010s reboot movies for a number of reasons. However, the biggest problem with the Star Trek Kelvin Timeline is tied to how Captain James T. Kirk came back to life in Into Darkness after dying of radiation exposure.

During the marketing for Star Trek Into Darkness director J.J. Abrams, the cast and anyone involved swore on a stack of Starfleet manuals that Benedict Cumberbatch was not playing classic villain Khan. This was a lie, which Abrams admitted was a mistake and it hurt the film. Yet, even if they'd been upfront about what they were trying to do, the whole story would've still been problematic and not just because of casting. The film "remixed" one of the classic Star Trek moments earned after decades of stories. Beyond the impact on the viewer, the way Doctor McCoy is able to revive Captain Kirk from death created a massive problem the successive film simply never mentions again. Khan's blood is, effectively, a "cure" for death.

Why It Was a Mistake to Try to Revisit The Wrath of Khan in Star Trek Into Darkness

The new star trek series could erase the kelvin timeline, but shouldn't.

Spock's death in The Wrath of Khan is a singular moment in Star Trek and, arguably, cinema. In the docuseries The Center Seat - 55 Years of Star Trek , director Nicholas Meyer talked about shooting that scene and how it brought the crew to tears. The history between Kirk and Spock, as well as William Shatner and Leonard Nimoy in those roles, gave it a poignancy that can't be matched or imitated . The two characters -- who mean so much to fans and each other -- are separated by a simple pane of glass, creating a heartbreaking closeness and distance in those final moments. The scene in Star Trek Into Darkness , which swaps Kirk and Spock, has none of that.

When filming that scene, legendary Star Trek producer Harve Bennett realized they needed an "out" for Spock. On that day, Leonard Nimoy improvised the mind-meld with an unconscious Doctor McCoy, saying the word "Remember." They knew they needed a way to bring Spock back from oblivion, and it took two full movies to do it: The Search for Spock and The Voyage Home . Both the Spock character and Nimoy continued, even appearing briefly in Star Trek Into Darkness to offer some sage advice to his younger self. Yet, this universe and these versions of the characters had neither the history nor the narrative space to do justice to their version of this moment .

Fans and critics alike can quibble about whether Khan should've been used in the story or not. In fact, Khan is barely a villain in the movie, with Admiral Alexander Marcus as the true "heavy" of the film. The inclusion of Khan , and this clunky remix of Spock's death, undercut what was a relevant and, arguably, powerful story about American foreign policy over the past 30 years like Star Trek: The Original Series often did with the politics and conflicts of its day. Like with the prescient political allegory in Star Wars: Episode I - The Phantom Menace and Star Wars prequels, fans missed all that. Only rather than being too far afield from what they expected, Star Trek Into Darkness tried to recapture the magic of one of the universe's best stories of old.

Star Trek Into Darkness Used Khan's Super Blood to Bring Kirk Back to Life

Star trek into darkness is a better movie than fans remember.

While the Star Trek films of the past took two sequels to bring back the version of Spock audiences recognized, the Kelvin Timeline had no such luxury. Kirk needed to be alive and back in command of the USS Enterprise when credits rolled. In fact, the film ends with the beginning of the "five-year mission" the ship was on in Star Trek: The Original Series . Spock was revived thanks to "the Genesis Device" which created life on dead planets. Kirk was revived by Khan's genetically-augmented blood which didn't create life, but it did bring one of Star Trek 's fuzzy little tribbles back from the dead .

In the scene in which Kirk regains consciousness -- apparently two full weeks after Khan's defeat -- McCoy mentions he was "barely dead." Earlier, he places Kirk's body in a cryo-tube to "preserve brain function." This suggests that without this device, Kirk's death would've been more permanent, Khan's "super-blood" notwithstanding. Beyond this, the characters don't turn to Star Trek 's signature "technobabble" used to explain the magical, impossible things they do with their future technology. How Khan's blood reanimated the tribble, or Kirk for that matter , is left to viewers' imaginations.

Similarly, Into Darkness doesn't reveal what happens to Khan or his genetically augmented "family" in the cryo-tubes. There is a single scene of them all laid out in a dark, sealed room, reminiscent of the warehouse at the end of Raiders of the Lost Ark . While this is something of a story problem, it also creates an in-universe problem that pushes at the limits of scientific ethics and how far these scientists of the future can go to preserve life . After all, that is one of the central missions of Starfleet and the United Federation of Planets. Khan's blood, even if only in certain cases, is a cure for death.

Has Starfleet Found a Way to Reverse Death in the Kelvin Timeline?

Every enterprise captain in star trek, ranked.

In the film, McCoy is insistent that it has to be Khan whose blood is used to bring Kirk back. Despite the fact there are more than ten dozen other genetic augments in cryo-tubes on the ship. Again, this is not explained, but it's easy to surmise why it had to be Khan. In Star Trek: Enterprise , other genetic augments like Khan appeared in a story, showing not all of them were created equal .

As a prequel, Enterprise is technically part of the Kelvin Timeline , too. With Kirk's life on the line and time being of the essence, McCoy is insistent on using Khan's blood to synthesize his death cure simply because he knows it will work. But what about after the events of Star Trek Into Darkness ? Unless Starfleet Medical would be able to synthesize McCoy's cure without more of Khan's blood, he and any augments with this specific modification could reverse countless unnecessary deaths .

Anyone who succumbs to radiation poisoning or similar maladies could be revived and healed with a simple infusion, provided they were frozen before brain function ceased. While the film makes it clear that using Khan and his fellow augments as instruments of death is evil, would it be so bad if their blood was used to save lives? Since Khan and his fellow augments simply want to live their lives in peace, they might even consent to allowing Starfleet to "use" them to create a bulwark against death.

Should Star Trek Revisit Into Darkness in the Final Kelvin Timeline Movie?

Everything we know about michelle yeoh's upcoming star trek movie.

Star Trek Beyond didn't bring up Khan, his super-blood or McCoy's death cure, even though they could've used it. With a fourth and final Kelvin Timeline film on the horizon, should this topic be broached again? At the very least, storytellers could hand-wave it away like Star Wars: The Rise of Skywalker did with "the Holdo Maneuver" from Star Wars: The Last Jedi . With a few lines of technobabble, McCoy or someone else could explain Kirk's resurrection was a fluke and successive attempts to resurrect the recently dead had failed.

It's been almost ten years since this cast joined together to make a Star Trek film. The tragic passing of Chekov actor Anton Yelchin only adds to the reasons never to mention this again. Still, without sufficiently addressing McCoy's serum that resurrected Kirk in Into Darkness , the question of whether Starfleet is sitting on a "death cure" is a very large story thread left dangling. For all the questionable decisions made during the making of and release of Star Trek Into Darkness , this is perhaps the biggest mistake.

Star Trek Into Darkness is available to own on DVD, Blu-ray, digital and streams on Paramount+.

Star Trek Into Darkness

After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction

Director J.J. Abrams

Release Date May 16, 2013

Cast Zachary Quinto, Zoe Saldana, Chris Pine

Writers Roberto Orci, Alex Kurtzman, Damon Lindelof

Rating PG-13

Runtime 2 hours 12 minutes

Genres Action, Science Fiction, Adventure

Production Company Paramount Pictures, Skydance Media, Bad Robot

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Star Trek Into Darkness

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Watch Star Trek Into Darkness with a subscription on Paramount+, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

Visually spectacular and suitably action packed, Star Trek Into Darkness is a rock-solid installment in the venerable sci-fi franchise, even if it's not as fresh as its predecessor.

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Star Trek Prequel Movie In The Works With Star Wars Director

Toby Haynes, who directed episodes of Black Mirror, Doctor Who, and Andor, is lined up to make a Star Trek movie.

By Eddie Makuch on April 11, 2024 at 12:06PM PDT

A Star Trek prequel movie is in the works with Star Wars director Toby Haynes attached to direct, Paramount announced during CinemaCon. This has been rumored since January , and now it's confirmed. The movie is set for release sometime in 2025.

Haynes previously directed episodes of Doctor Who, Black Mirror, Sherlock, and the Star Wars series Andor. Collider reported on these details from CinemaCon.

Seth Grahame-Smith, who wrote The Lego Batman Movie, is writing the untitled Star Trek film. Haynes has never directed or written a Star Trek movie, but he directed Black Mirror's Star Trek-inspired USS Callister episode.

The film is said to be an "origin story" that will take place prior to the events of 2009's Star Trek, which took place in 2255 and was itself an origin story. This likely means it will feature a different cast. The stars of the latest series, including Chris Pine, Karl Urban, Zachary Quinto, and Zoe Saldana, have been rumored to be coming back for a fourth film in their series, but it hasn't happened yet.

2016's Star Trek Beyond is the latest entry in the main Star Trek movie series, but the franchise has lived long and prospered on streaming with the TV shows Picard and Strange New Worlds.

The 2009 Star Trek reboot and its 2013 sequel Into Darkness were directed by JJ Abrams, before he handed off directing duties to Justin Lin for Star Trek Beyond. The three movies collectively earned around $1.2 billion at the global box office.

In addition to Pine, Saldana, and Quinto, the latest Star Trek movie series featured John Cho as Sulu and Anton Yelchin as Chekov. Yelchin tragically died in 2016 at the age of 27 after a motor vehicle accident in his driveway.

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‘Star Trek: Discovery’ is over. Now Alex Kurtzman readies for ‘Starfleet Academy’ and ‘Section 31’

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In “Star Trek” terms, and in the real world of “Star Trek” television, Alex Kurtzman, who oversees the 21st century franchise, might be described as the Federation president, from whose offices various series depart on their individual missions. Indeed, to hear him speak of it, the whole enterprise — honestly, no pun intended — seems to run very much on the series’ ethos of individual initiative and group consensus.

The first series to be launched, “ Star Trek: Discovery, ” has come to an end as of Thursday after five seasons on Paramount+. Others in the fleet include the concluded “ Picard, ” which brought “The Next Generation” into a new generation; the ongoing “ Strange New Worlds, ” which precedes the action of what’s now called “The Original Series,” from which it takes its spirit and several characters; “Lower Decks,” a comedy set among Starfleet service workers; and “Prodigy,” in which a collection of teenage aliens go joyriding in a starship. On the horizon are “Starfleet Academy,” with Holly Hunter set to star, and a TV feature, “ Section 31, ” with Michelle Yeoh back as Philippa Georgiou.

I spoke with Kurtzman, whose “Trek” trek began as a writer on the quantum-canonical reboot movies “ Star Trek ” (2009) and “ Star Trek: Into Darkness ” (2013), at Secret Hideout, his appropriately unmarked Santa Monica headquarters. Metro trains glide by his front door unaware. We began the conversation, edited for length and clarity here, with a discussion of his “Trek” universe.

Alex Kurtzman: I liken them to different colors in the rainbow. It makes no sense to me to make one show that’s for everybody; it makes a lot of sense to make a lot of shows individually tailored to a sect of the “Star Trek” audience. It’s a misnomer that there’s a one-size-fits-all Trekkie. And rather than make one show that’s going to please everybody — and will almost certainly please nobody — let’s make an adult drama, an animated comedy, a kids’ comedy, an adventure show and on and on. There’s something quite beautiful about that; it allows each of the stories to bloom in its own unique way.

Do you get pushback from the fans?

Absolutely. In some ways that’s the point. One of the things I learned early on is that to be in love with “Star Trek” is to engage in healthy debate. There is no more vocal fan base. Some people tell you that their favorite is “The Original Series,” some say their favorite is “Voyager” and some say their favorite is “Discovery.” Yet they all come together and talk about what makes something singularly “Trek” — [creator] Gene Roddenberry‘s extraordinarily optimistic vision of the future when all that divides us [gets placed] in the rearview mirror and we get to move on and discover things. Like all great science fiction, you get to pick your allegory to the real world and come up with the science fiction equivalent. And everybody who watches understands what we’re talking about — racism or the Middle East or whatever.

What specific objections did you find to “Discovery”?

I think people felt it was too dark. We really listen to our fans in the writers’ room — everybody will have read a different article or review over the weekend, and we talk about what feels relevant and what feels less relevant. And then we engage in a healthy democratic debate about why and begin to apply that; it seeps into the decisions we make. Season 1 of “Discovery” was always intended to be a journey from darkness into light, and ultimately reinforce Roddenberry’s vision. I think people were just stunned by something that felt darker than any “Trek” had before. But doing a dark “Star Trek” really wasn’t our goal. The show is a mirror that holds itself up to the times, and we were in 2017 — we saw the nation fracture hugely right after the election, and it’s only gotten worse since then. We were interpreting that through science fiction. There were people who appreciated that and others for whom it was just not “Star Trek.” And the result, in Season 2, Capt. [Christopher] Pike showed up, Number One showed up, Spock showed up, and we began to bring in what felt to people more like the “Star Trek” they understood.

‘Star Trek’ is the greatest sci-fi franchise of all. Why it’s stood the test of time

Full of ideas and emotions, the ever-expanding ‘Star Trek’ canon is still finding new ways to go where no TV show has gone before, 55 years on.

Oct. 28, 2021

You’re ending the series after five seasons. Was that always a plan?

You know, we were surprised we didn’t continue, and yet it feels now that it was right. One of the things that happened very quickly as streaming took off was that it radically changed watch patterns for viewers. Shows that used to go 10, 12 seasons, people would tap out after two — like, “I got what I want” — so for any show to go five seasons, it’s a miracle. In ways I don’t think we could have predicted, the season from the beginning feels like it’s the last; it just has a sense of finality. The studio was wonderful in that they recognized we needed to put a button on it, we needed a period on the end of the sentence, and so they allowed us to go back, which we did right before the strike, and [film] the coda that wraps up the series.

“Discovery” is a riot of love stories, among both heroes and villains.

There’s certainly a history of that in “Star Trek.” Whether or not characters were engaged in direct relationships, there was always a subtext of the love between them. I believe that’s why we love the bridge crew, because it’s really a love story, everyone’s in a love story, and they all care for each other and fight like family members. But ultimately they’re there to help each other and explore the universe together. If there’s some weird problem, and the answer’s not immediately apparent, each of them brings a different skill set and therefore a different perspective; they clash in their debate on how to proceed and then find some miraculous solution that none of them would have thought of at the outset.

One of the beautiful things about the shows is that you get to spend a long time with them, as opposed to a two-hour movie where you have to get in and out quickly and then wait a couple of years before the next one comes along. To be able to be on their weekly adventures, it affords the storytelling level of depth and complexity a two-hour movie just can’t achieve in that way.

For Patrick Stewart, Jean-Luc Picard is ‘the biggest thing that’s ever happened to me’

The actor discusses his ‘Star Trek’ character at the beginning and end, from his first impressions of Gene Roddenberry to saying goodbye to ‘Picard.’

April 20, 2023

It’s astonishing how much matter you got into these things. Some storylines that only lasted an episode I remembered as seasonal arcs.

The sheer tonnage of story and character we were able to pack into “Discovery” every episode was kind of incredible. The thing to keep in mind is that “Discovery” was made as streaming was exploding, so what I think you’re also seeing there is a lot of writers who were trained in the network world with an A, B and C story applying it suddenly to a very different kind of storytelling in a much more cinematic medium. And when you have that kind of scope it starts to become really, really big. Sometimes that works really, really well and sometimes it was too much. And we were figuring it out; it was a bunch of people with flashlights in the dark, looking for how to interpret “Star Trek” now, since it had been 12 years since it had been on a television screen.

Are you able to course-correct within a season?

Sure. You get people you really trust in the room. Aaron Baiers, who runs Secret Hideout, is one of my most important early-warning systems; he isn’t necessarily in the room when we’re breaking stories, but he’s the first person who’ll read an outline and he’s the first person who’ll read a script. What I value so much about his perspective is that he’s coming in cold, he’s just like, “I’m the viewer, and I understand this or I don’t understand it, I feel this or I don’t feel it.” The studio executives are very similar. They love “Star Trek,” they’re all die-hard fans and have very strong feelings about what is appropriate. It then goes through a series of artists in every facet, from props to visual effects to production design, and they’re bringing their interpretations and opinions to the story.

Did “Strange New Worlds” come out of the fact that everybody loved seeing Christopher Pike in “Discovery?”

I really have to credit Akiva Goldsman with this. He knew that I was going to bring Pike into the premiere of the second season of “Discovery,” and said, “You know, there’s an incredible show about Capt. Pike and the Enterprise before Kirk takes over; there’s seven years of great storytelling there” — or five years, depending on when you come into the storyline. I said, “We have to cast a successful Pike first, so let’s see if that works. Let’s figure out who’s Number One, and who Spock is,” which are wildly tall orders. I hadn’t seen Anson Mount in other things before [he was cast as Pike], and when he sent in his taped audition it was that wonderful moment where you go, “That’s exactly the person we’re looking for.” Everybody loves Pike because he’s the kind of leader you want, definitive and clear but open to everyone’s perspective and humanistic in his response. And then we had the incredibly tall order of having Ethan [Peck] step into Leonard [Nimoy’s] and [Zachary Quinto’s] shoes.

He’s great.

He’s amazing, just a delight of a human being. And Rebecca Romijn‘s energy, what she brings to Number One is such a contemporary take on a character that was kind of a cipher in “The Original Series.” But she brings a kind of joy, a comedy, a bearing, a gravitas to the character that feels very modern. Thank God the fans responded the way they did and sent that petition [calling for a “Legacy” series], because everybody at CBS got the message very quickly. Jenny Lumet and Akiva and I wrote a pilot, and we were off to the races. Typically it takes fans a minute to adjust to what you’re doing, especially with beloved legacy characters, but the response to “Strange New World” from a critical perspective and fan perspective and just a viewership perspective was so immediate, it really did help us understand what was satisfying fans.

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What can you tell me about “Starfleet Academy?” Is it going to be Earth-based or space-based?

I’m going to say, without giving anything away, both. Right now we’re in the middle of answering the question what does San Francisco, where the academy is, look like in the 32nd century. Our primary set is the biggest we’ve ever built.

So you’re setting this —

In the “Discovery” era. There’s a specific reason for that. As the father of a 17-year-old boy, I see what my son is feeling as he looks at the world and to his future. I see the uncertainty; I see all the things we took for granted as given are not certainties for him. I see him recognizing he’s inheriting an enormous mess to clean up and it’s going to be on his generation to figure out how to do that, and that’s a lot to ask of a kid. My thinking was, if we set “Starfleet Academy” in the halcyon days of the Federation where everything was fine, it’s not going to speak to what kids are going through right now.

It’ll be a nice fantasy, but it’s not really going to be authentic. What’ll be authentic is to set it in the timeline where this is the first class back after over 100 years, and they are coming into a world that is only beginning to recover from a cataclysm — which was the Burn, as established on “Star Trek: Discovery,” where the Federation was greatly diminished. So they’re the first who’ll inherit, who’ll re-inherit, the task of exploration as a primary goal, because there just wasn’t room for that during the Burn — everybody was playing defense. It’s an incredibly optimistic show, an incredibly fun show; it’s a very funny show, and it’s a very emotional show. I think these kids, in different ways, are going to represent what a lot of kids are feeling now.

And I’m very, very , very excited that Holly Hunter is the lead of the show. Honestly, when we were working on the scripts, we wrote it for Holly thinking she’d never do it. And we sent them to her, and to our absolute delight and shock she loved them and signed on right away.

And then you’ve got the “Section 31” movie.

“Section 31” is Michelle Yeoh’s return as Georgiou. A very, very different feeling for “Star Trek.” I will always be so grateful to her, because on the heels of her nomination and then her Oscar win , she just doubled down on coming back to “Star Trek.” She could have easily walked away from it; she had a lot of other opportunities. But she remained steadfast and totally committed. We just wrapped that up and are starting to edit now.

Are you looking past “Starfleet” and “Section 31” to future projects?

There’s always notions and there are a couple of surprises coming up, but I really try to live in the shows that are in front of me in the moment because they’re so all-consuming. I’m directing the first two episodes of “Starfleet Academy,” so right now my brain is just wholly inside that world. But you can tell “Star Trek” stories forever; there’s always more. There’s something in the DNA of its construction that allows you to keep opening different doors. Some of that is science fiction, some of it has to do with the combination of science fiction and the organic embracing of all these other genres that lets you explore new territories. I don’t think it’s ever going to end. I think it’s going to go on for a long, long time. The real question for “Star Trek” is how do you keep innovating, how do you deliver both what people expect and something totally fresh at the same time. Because I think that is actually what people want from “Star Trek.” They want what’s familiar delivered in a way that doesn’t feel familiar.

With all our showrunners — Terry Matalas on “Picard,” the Hagemans on “Prodigy,” Mike McMahan on “Lower Decks,” Michelle Paradise, who has been singlehandedly running “Discovery” for the last two years, and then Akiva and Henry Alonso Myers on “Strange New Worlds” — my feeling is that the best way to protect and preserve “Star Trek” is not to impose my own vision on it but [find people] who meet the criteria of loving “Star Trek,” wanting to do new things with it, understanding how incredibly hard it is to do. And then I’m going to let you do your job. I’ll come in and tell you what I think every once in a while, and I’ll help get the boat off the dock, but once I hand the show over to a creative it has to be their show. And that means you’re going to get a different take every time, and as long as those takes all feel like they can marry into the same rainbow, to get back to the metaphor, that’s the way to keep “Star Trek” fresh.

I take great comfort because “Star Trek” really only belongs to Gene Roddenberry and the fans. We don’t own it. We carry it, we try to evolve it and then we hand it off to the next people. And hopefully they will love it as much as we do.

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Less a classic " Star Trek " adventure than a " Star Trek "-flavored action flick, shot in the frenzied, handheld, cut-cut-cut style that’s become Hollywood’s norm, director J.J. Abrams’ latest could have been titled "The Bourne Federation."

The plot pits the Enterprise crew against an intergalactic terrorist named John Harrison ( Benedict Cumberbatch , giving his honeyed baritone a workout), who’s waging war on the Federation for mysterious personal reasons. There’s a joke, an argument, a chase, a spaceship battle, or a brutal close-quarters firefight every five minutes, but all the action is intimately tied to character. The major players, particularly Chris Pine’s James T. Kirk and Zachary Quinto ’s Mr. Spock, are as finely shaded as the incarnations played by William Shatner and Leonard Nimoy . This new voyage of the starship Enterprise is brash, confident, and often brutally violent, and features the most lived-in production design I’ve seen in a Hollywood sci-fi blockbuster since " Minority Report ." 

Why, then, is the film ultimately disappointing? I suspect it’s the pop culture echo chamber effect: Abrams and his screenwriters ( Robert Orci , Alex Kurtzman and Damon Lindelof ) are so obsessed with acknowledging and then futzing around with what we already know about Kirk, Spock, McCoy, Uhura, Scotty and company that the movie doesn’t breathe. "Star Trek Into Darkness" is peppered with nods to past films and episodes: Kirk’s impetuous decision-making and horndog sexual proclivities; Spock’s denial of his half-humanness; Dr. McCoy’s cranky witticisms; Scotty’s protestations of what he and the ship “canna” do; references to tribbles and neutral zones and the Harry Mudd incident. The central plotline refers to one of Trek’s most celebrated storylines — a callback that alternately seems to honor the original, then turn it on its head, then honor it again. The final act includes an homage to one of the most famous scenes in the entire Trek canon — but this, too, is an inversion, or appears to be, until the script springs another whiplash reversal.

The story starts with a " Raiders of the Lost Ark "-like action sequence: Kirk, Spock and the gang are embroiled in a secret mission on a red jungle planet filled with superstitious tribespeople whose lives are threatened by a volcanic eruption. The correct thing to do is leave Mr. Spock behind, because going back to rescue him would violate the Federation’s Prime Directive against messing with the natural development of primitive cultures. It’s in this opening sequence, for better or worse, that the movie establishes a vexing narrative pattern: The characters have urgently necessary arguments about the morally, ethically, and procedurally correct thing to do in a crisis, then one character (usually Kirk) makes a unilateral, straight-from-the-gut decision that worsens everything; and yet somehow at the end he’s rewarded, or at least not seriously punished.

We’re given to understand that it’s always a good thing to prize personal friendship and loyalty above the concerns of one’s crew, ship, federation or species. Sometimes the reward is quite deliberate — as in the end scene, which finds Kirk being celebrated as a hero after making what looked to me like a series of catastrophic rookie mistakes that ended dozens of lives. Other times it’s as if the cosmos itself is rewarding or at least protecting Kirk, as when he loses command of the Enterprise for his behavior on the primitive planet, then gets it back thanks to another sudden plot twist. A good alternate title for this movie would be the name of one of Steven Soderbergh ’s great books about filmmaking: "Getting Away With It: Or, the Further Adventures of the Luckiest Bastard You Ever Saw." The Federation itself seems to have plenty in common with Kirk: Both the opening mission and a subsequent intergalactic act of aggression are presented as having grave consequences if they fail, then the film just sort of writes them off with a shrug, as if to say, “Well, that’s all in the past, and as long as it doesn’t happen again, no harm, no foul.” (Has anyone in the Federation actually honored the Prime Directive?)

Yes, the film’s stumblebum plotting comes from a desire to give the audience what it wants: Kirk in command, flying by the seat of his tight pants; Spock learning it’s OK to acknowledge and act on his emotions, and that there’s more to life than following rules; etc. But surely there were more elegant ways to get us there! Abrams makes the 23rd century look like a place of actions and consequences, in which humans and other creatures might actually live, think and feel, in a world in which a fall of more than ten feet could break a leg, lava can melt flesh, and people who are dead stay dead. But he also tells stories in which various practices, rules and laws, including Starfleet tactical procedures, the Prime Directive, and gravity, have no narrative weight. Too much of "Star Trek Into Darkness" has what I call a “playground storytelling” sensibility: “Lie down, you’re dead. Never mind, you’re alive again — now fight!” This narrative flailing-about isn’t merely amateurish, it’s at odds with the gritty production design and pseudo-documentary camerawork and references to 9/11 and the War on Terror. It takes a great artist to be both serious and silly. Abrams, for all his enthusiasm, ain’t it.

For all its sloppiness and blind spots and fanboy pirouettes, though, "Star Trek Into Darkness" is still an involving film with more heart than most summer blockbusters. Abrams’ roots in TV ( Felicity , Alias , Lost ) seem to have made him attentive to the dynamics of groups, and to the repeated phrases and gestures that bond viewers to characters. Pine’s beefy frat-boy Kirk is appealing, especially when he’s being called on the carpet; Pine has several strong scenes opposite Cumberbatch’s Harrison and Bruce Greenwood ’s mentor-father figure, Capt. Pike, in which Pine is overmatched as both character and actor but uses the imbalance to enhance the scene. Sometimes you see terror in Kirk’s eyes as he blusters; his vulnerability makes you root for him even though his “I gotta be me!” philosophy destroys careers and ends lives.

Quinto’s Spock is equal to, but different than, Leonard Nimoy’s incarnation, and it’s a relief to see that Abrams has made the destruction of Vulcan in the first film a key component of the character’s psychology. As Spock explains to communications officer Uhura ( Zoe Saldana ), his main squeeze, it’s not that he can’t feel any emotion, it’s that he’s decided he’s better off not feeling it: this Spock is a Holocaust survivor who has adopted numbness as a survival strategy. Uhura, Simon Pegg ’s Scotty, John Cho ’s Sulu, Anton Yelchin ’s Chekov, and Karl Urban ’s “Bones” McCoy have their moments, too; they behave like plausibly real people even when the script is asking them to do and say things that common sense tells us is horse manure, and their presences lend the film a dignity it doesn’t earn.

* Edited 6/22/18 to remove a reference to a "forthcoming" detailed blog post on the film that the reviewer ended up not writing.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

Star Trek Into Darkness (2013)

Rated PG-13

129 minutes

Chris Pine as James T. Kirk

Benedict Cumberbatch as John Harrison

Zachary Quinto as Spock

Simon Pegg as Scotty

Zoe Saldana as Nyota Uhura

• J.J. Abrams
• Alex Kurtzman
• Damon Lindelof
• Roberto Orci

Original Music Composer

• Michael Giacchino

Cinematography

• Daniel Mindel
• April Webster

Production Design

• Scott Chambliss
• Gene Roddenberry

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Toronto restaurant says ‘star trek’ actor zachary quinto “yelled at our staff like an entitled child”.

Manita, the Canadian restaurant, posted about their encounter with Quinto on Instagram. "We aren’t above criticism, but we are above being demeaned," they wrote.

By Zoe G Phillips

Zoe G Phillips

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Toronto restaurant Manita slammed Star Trek actor Zachary Quinto on Monday, writing on Instagram that the actor yelled at staff “like an entitled child.”

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Zachary quinto-led medical drama 'dr. wolf' gets a shot at nbc, outfest to honor amandla stenberg with platinum maverick award.

Quinto played Spock in the 2009 Star Trek movie, and reprised the role for sequels Star Trek Into Darkness (2013) and Star Trek Beyond (2016)

View this post on Instagram A post shared by MANITA (@manitaossington)

“Mr. Quinto, take your bad vibes somewhere else, we have many lovely celebrities join us at Manita but you are NOT one of them,” the message continued.

The post was a screenshot of an Instagram story that the restaurant said they posted on Sunday. In the caption on Monday, they expanded: “This isn’t the first time, nor will it be the last time an irate guest has taken their frustrations out on our staff. Manita is deeply grateful for our mostly incredible, friendly, gracious guests… who may give us constructive feedback from time to time.”

The post concluded: “To all the other Zachary Quintos out there, on behalf of restaurant workers everywhere: We aren’t above criticism, but we are above being demeaned.”

Representatives for Quinto did not immediately respond to requests for comment.

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Star Trek Into Darkness

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A series of terrorist attacks on Earth places Captain James T. Kirk on a mission to deal with the culprit. Nothing is as it seems, as the Starship Enterprise is entangled in covert machinations to ignite war between the Federation and the Klingon Empire, with an ancient enemy in the mix. With alliances tested, relationships strained and differing motives clashing, how costly will the thirst for vengeance prove?

• 1.1 Prologue
• 1.2 Act One
• 1.3 Act Two
• 1.4 Act Three
• 2 Memorable quotes
• 3.1 Gathering a team
• 3.2 Story and script
• 3.4 Scene development
• 3.5.1 Principal cast
• 3.5.2 Returning guest stars
• 3.5.3 New guest stars
• 3.5.4 Extras
• 3.5.5 Rehearsals and interaction
• 3.6 Design, sets, and locations
• 3.7 Filming
• 3.8 Editing
• 3.9 Music and sound
• 3.10 Continuity
• 4.1 Publicity and marketing
• 4.2 Posters
• 4.3 Box office
• 4.4 Reception
• 4.5 Merchandise gallery
• 5 Awards and honors
• 6.1.3 Second Unit
• 6.1.4 Songs
• 6.2.2 Stunt performers
• 6.2.3 Stand-ins
• 6.2.5 Production companies
• 6.4.1 Other references
• 6.4.2 Meta references
• 6.4.3 Unreferenced material
• 6.5 External links

Summary [ ]

Prologue [ ].

The temple raided by Kirk and McCoy

During early 2259 , on the class M planet of Nibiru , Captain James T. Kirk is being chased away from a temple located at the base of an active volcano by native Nibirans . He is startled by an animal, and stuns it with his phaser . Behind the animal is an upset Leonard McCoy ; the beast Kirk has just stunned was to have been their "ride", leaving the two of them with no option but to flee on foot. Kirk has stolen a scroll sacred to the Nibirans.

Meanwhile, Hikaru Sulu is piloting a shuttlecraft into the volcano, with Spock and Nyota Uhura on board. Spock, protected by a copper-colored environmental suit , is preparing to detonate a cold fusion device inside the volcano that would stop a cataclysmic eruption from extinguishing life on the planet. Kirk tells them of their plight, using the communicator . Spock reminds Kirk about the Prime Directive , as the Nibirans are a primitive civilization . Kirk assures his first officer that he and Dr. McCoy were disguised; they were merely leading the natives further away from the volcano. With the shuttlecraft's thruster being choked by ash, Spock has to act fast. After a kiss from Uhura, he is lowered by cable into the volcano. During the descent, the shuttlecraft takes too much damage, and Sulu attempts to abort the drop. The cable Spock is hanging by abruptly snaps, suddenly dropping him into the volcano. Surprisingly, he survives the fall in his protective suit, and the cold fusion device is still operational. Sulu and Uhura are forced to abandon the shuttle; Uhura promises they will get Spock out.

Harbinger of death

Satisfied they were far enough from the volcano, Kirk hangs the scroll he stole off a tree . The Nibirans cease their pursuit, allowing Kirk and McCoy to get away, jumping off a cliff into the ocean . Using miniprops and breathing apparatuses, they swim to the Enterprise and board through an airlock on the secondary hull . Chief Engineer Montgomery Scott is still not happy that they are hiding at the bottom of an ocean, complaining that the salt water may impede their ability to launch. The officers return to the bridge. Spock arms the cold fusion device , which has a three-minute timer. The volcano has a small eruption, with pyroclastic ejecta destroying the temple in which the group of Nibirans had been worshiping. Nibiru has a very strong magnetic field that was jamming their transporters ; the only way they can save Spock is by revealing themselves to fly above the volcano, which would violate the Prime Directive.

The Enterprise surfaces from the sea

Kirk asks Dr. McCoy what Spock would do if Kirk were the one deploying the device; Bones replies that Spock would let him die. Spock was indeed prepared for that likelihood. The cold fusion device would freeze and kill him, along with freezing the volcano into dormancy. Before the device detonates, Spock closes his eyes and raises his arms to the sky above.

" You violated the Prime Directive! "

The Nibirans are shocked when they see the Enterprise rising out of the ocean and above the volcano. Right before the cold fusion device is activated, Spock is beamed aboard the Enterprise , and they make their getaway. Kirk and McCoy join him in the transporter room . Spock is shocked that Kirk has blatantly violated the Prime Directive. Uhura tells them the cold fusion device has successfully detonated, but the crew is irked by Spock's apparent lack of gratitude as the violation of the Prime Directive will be a steep price to pay. The native Nibirans begin to worship an image of the Enterprise they have drawn in the soil , accepting it as their new deity.

Act One [ ]

The stardate is 2259.55. Back on Earth , Thomas Harewood , a Starfleet officer living in London , travels with his wife to Royal Children's Hospital , where their daughter is currently in a coma with a severe illness. After visiting her, Thomas Harewood is stopped by an individual he is unfamiliar with. The newcomer says he can save Harewood's daughter.

Pike dresses down Kirk

Meanwhile, back in San Francisco , Kirk is waking up in his apartment after a night spent with a pair of Caitian women. They are annoyed when he answers a call on his communicator from Starfleet. He and Spock are summoned to the office of Admiral Pike . Kirk is convinced they are going to be given Starfleet's first five-year mission of deep space exploration, though Spock is doubtful. When they arrive, Pike reveals that there are discrepancies between the captain's log on Nibiru, and a report Spock filed about what happened there; namely being, the former said it was "uneventful", while the latter detailed a breaking of the Prime Directive. Kirk is dismayed by Spock's apparent betrayal. After a brief argument, Pike dismisses Spock, and proceeds to dress Kirk down for his lack of humility and respect for the chair. Kirk counters that Pike convinced him to join Starfleet because of his maverick attitude. However, Starfleet Command saw it differently. The head of Starfleet Command, Admiral Alexander Marcus , has formed a tribunal that did not include Admiral Pike. The tribunal has relieved Kirk of his command, ordering him to return to Starfleet Academy . Pike tells Kirk pointedly that, one day, his reckless leadership is going to get his entire crew killed.

The Kelvin Memorial Archive

Back in London, the unknown man extracts a vial of his own blood , and places it in a package along with a ring . The package goes to Harewood, who adds the vial's contents to his daughter's IV . As it begins to enter her bloodstream , her vitals return to normal. Harewood kisses his daughter's forehead in relief, knowing she will now be all right. Not long after, he goes to work at the Kelvin Memorial Archive , catching sight of the unknown man in the street immediately before entering, and takes a long elevator down below the archive. He goes to his workstation with a glass of water . After sending a message to Admiral Marcus, he drops the ring into the water, which quickly fizzes, then causes a massive explosion at the Kelvin Archive.

Pike and Kirk share a drink

Kirk is drowning his sorrows at a local bar in San Francisco. He is about to talk to another woman when Admiral Pike sits between them. Kirk is surprised he has found him; the admiral simply says he knows Kirk well, recalling a bar fight with Starfleet cadets back in Iowa before Kirk enlisted. Pike reveals Starfleet gave the Enterprise back to him. Kirk suggests that keeping Spock as first officer isn't a good idea, but he's been transferred to the USS Bradbury anyway. Pike has pulled some strings, and gotten Kirk assigned to be his first officer on the Enterprise . Kirk is speechless, something Pike says is a first. He then gets a call from Starfleet. They are summoned to a meeting in the Daystrom Conference Room at Starfleet Headquarters .

Admiral Alexander Marcus, the head of Starfleet

On their way to the conference room, Kirk meets Spock and tells him about his demotion. Spock is relieved the punishment was not more severe. Kirk is still upset that he was betrayed. Spock admits he should have warned Kirk beforehand that he would file a truthful report about the Nibiru incident. After a brief meeting with Frank Abbott , captain of the USS Bradbury , Kirk admits he'll miss Spock, though is irked when Spock is left speechless. Admiral Marcus opens the meeting. The message he received from Harewood was a confession, and informed him of who put him up to the attack: John Harrison , a Starfleet officer who has gone rogue. The officers present look over images taken of the scene after the attack, where forty-two people were killed. Kirk notices Harrison in the images with a bag, and asks Pike about it. Admiral Marcus notices their discussion and asks Kirk what the problem is. Kirk begins to express confusion as to why Harrison would target just an archive. Kirk says Harrison must have known that a terrorist attack on a Starfleet facility would result in this kind of meeting.

" CLEAR THE ROOM! "

Before Kirk can elaborate on his concerns, a jumpship appears outside their conference room, and opens fire, killing Captain Abbott and several other officers. The surviving officers take cover, and security personnel enter to combat the jumpship. Kirk takes up a phaser rifle from a fallen security officer and attacks it from the side to little effect. He sees the jumpship's engine intake, and gets an idea. He opens a fire hose unit, in a corridor of the building, and ties the hose around his rifle.

Pike is killed by Harrison

As he works, Admiral Pike is fatally shot, and Spock pulls him to safety. Kirk throws the rifle and fire hose, which get sucked into the jumpship's intake. It takes the entire hose, then yanks its base out of the wall and through the engine, disabling the ship. Kirk gets a look at Harrison as he beams out of the falling jumpship. In the meeting room, Spock forms a mind meld with Pike right before he dies. Kirk then arrives, and breaks down at the death of his mentor.

Meanwhile, Harrison materializes on a completely different planet, lifts up the hood of his longcoat, and walks away.

Act Two [ ]

Kirk and Spock meet with Marcus

Kirk is recovering emotionally from the attack alone in his apartment, when he gets a call from Spock. Scott was investigating the wreckage of Harrison's jumpship, and found a portable transwarp beaming device on board. Its destination is set somewhere they normally cannot follow. Kirk and Spock head to Starfleet Headquarters, and they tell Admiral Marcus where Harrison ended up: Qo'noS , the homeworld of the Klingon Empire . Marcus was afraid this would happen. Spock notes Harrison materialized on a nominally uninhabited province of the planet, and Kirk says he is not afraid to go after him. Marcus comes clean about the true nature of Harrison and Harewood's target. They bombed a secret facility of Section 31 , Starfleet's black ops division, which was researching weapons and tactics for a potential war with the Klingons and any other species that mean to do the Federation harm. As far as he is concerned, the war with the Klingons was already beginning. He has a new variety of advanced long-range torpedoes that Kirk can use to covertly take out Harrison. He gives Kirk back command of the Enterprise , and Kirk requests Spock be reinstated as his first officer.

Dr. "Carol Wallace" joins the crew of the Enterprise

As they prepare to return to the Enterprise on a shuttlecraft, Spock expresses his misgivings about killing Harrison without a trial , and insists Kirk take some of the travel time to reconsider. Dr. McCoy joins them, telling Kirk he missed his check-up, which he does on the shuttlecraft. They are joined by Dr. Carol Wallace , a weapons expert who Admiral Marcus has assigned to the Enterprise as an extra science officer . Spock is alarmed by this turn of events. Kirk is just as surprised but welcomes the extra help.

When they get on board the Enterprise , Spock heads immediately to the bridge , while Kirk talks with Scott in engineering . Scott is unwilling to allow the new photon torpedoes on-board, because he cannot examine the shielded devices, and the Section 31 personnel refuse to tell him what they are fueled by and will not provide detailed schematics. He does not want to risk firing unknown weapons around the warp core ; any instability could wreck it and kill everyone on board. He is also upset that his transwarp equation was appropriated by Starfleet Command, ending up in Harrison's hands for his crime spree. When Kirk insists the torpedoes be loaded in, Scott resigns, with Keenser following suit. Before he departs, Scotty begs Kirk not to use the torpedoes.

" Sometimes I want to rip the… bangs off his head. "

Kirk returns to the bridge with Uhura in a turbolift . He tells her of Scott's resignation, and his recent issues with Spock. She lets on that she and Spock have been having problems recently as well. Before they can discuss it in more detail, they arrive. Kirk promotes navigator Pavel Chekov to chief engineer , since he has been shadowing Scotty recently, and tells him to put on a red shirt and head to engineering. They depart and proceed to Qo'noS. Kirk issues an all-call with his general orders for the mission, planning to arrest John Harrison on the planet and to use the missiles only if Harrison refuses to go quietly. Spock is relieved Kirk has reconsidered Admiral Marcus' original orders, and suggests he himself could join Kirk on his mission. Spock then goes back to engineering, where he confronts Carol Wallace. The identity she presented Kirk was fake; Admiral Marcus is her father, and " Wallace " is her mother's maiden name. Her real name is Carol Marcus . He demands to know why she is really on the ship.

Before she can give her reasons and prior to the Enterprise reaching Qo'noS, the ship violently drops out of warp . Chekov has found a coolant leak in the warp core, and stopped the ship manually. They are still twenty minutes away from Qo'noS. Kirk recruits Uhura, who knows Klingon , to join him and Spock. He gives Sulu command for the first time, with orders to contact Harrison before they arrive to demand his surrender . Dr. McCoy is concerned, but Kirk is sure Sulu is up to the task. They use a vehicle they confiscated a month before, in the " Mudd Incident ". Kirk orders two other officers, including Hendorff , to remove their red shirts and change into more casual clothing ; they cannot have any obvious connection to the Federation on this mission, lest they start an interstellar war . Chekov assures Kirk he will try his best to repair the engines before they return.

Spock and Uhura quarrel

As Kirk pilots their vehicle to Harrison's location, Sulu sends his message via a targeted com burst, giving Harrison two minutes to surrender, or he will be eliminated with new, advanced weapons. Sulu's message is assertive enough that it startles the previously skeptical Dr. McCoy, who asks the helmsman to remind him " never to piss you off. "

While flying through the atmosphere of Qo'noS, Uhura and Spock begin to argue, much to Kirk's dismay. Uhura is upset at Spock's apparent lack of feelings recently, especially after his rescue at Nibiru. She also tells Spock that Kirk is upset with him too. Though Kirk doesn't want to be dragged into it, he admits that she's right. Spock tries to assure her and Kirk that they are mistaken by his attitude. He recalls his mind meld with Admiral Pike, and how he felt Pike's final emotions before his death. They reminded him of how he felt when Vulcan was destroyed. He assures Uhura that he simply does not want that kind of despair anymore, and that his feelings for her are still as strong as ever.

" Why should I care about a Human killing Humans? "

Their relief is short-lived, as their ship comes under fire from a D4-class Klingon vessel, apparently on a random patrol. Without any offensive capabilities, Kirk is given access to all the ship's fuel cells to evade the patrol's fire and try to outrun it. He finds a narrow space and squeezes the ship through it, evading capture. Kirk thinks they have escaped, but Uhura suggests the Klingons may be jamming sensors. The Starfleet officers are soon surrounded by three more D4-class ships, which order them to land. Uhura tells her shipmates they will be tortured, interrogated, and killed. She insists she be allowed to try to reason with the Klingons. The trading craft lands, and Uhura leaves the vessel, confronted by about fifteen Klingon warriors in full-face armored helmets. Spock warns Kirk not to interfere, lest he incur their wrath and Uhura's. Still, Kirk gets some phasers ready, just in case. Uhura tells the Klingon patrol that she and her allies are on the planet to arrest a criminal who has put both their planets in danger. The leader of the patrol , who removes his helmet, tells her he has little concern for Humans killing Humans. Hoping to play on the Klingons' strong traditions, she counters that the criminal has no honor. Unimpressed, however, the Klingon leader grabs Uhura by her jaw and draws a knife, prepared to kill her.

Harrison rescues the Enterprise party

Suddenly, somebody shoots down the Klingon patrol; it's Harrison, armed with a rapid-fire rifle and a larger beam cannon . The Enterprise officers attack, in a mix of phaser fire and hand-to-hand combat. Kirk has little luck physically, but is able to shoot several Klingon warriors armed with disruptors and various blade weapons, including daggers and bat'leths . Harrison proves to be incredibly adept with his phaser cannon as well as hand-to-hand. Other Klingon ships drop reinforcements, but they are killed as well. Harrison kills the last few Klingons with their own knives. He turns his cannon on Kirk, and asks how many of the advanced torpedoes he has. Spock replies after Kirk doesn't, saying they have seventy-two. Harrison immediately surrenders, unconditionally. Kirk accepts, then attempts to knock Harrison out by punching and beating him repeatedly, none of which has any effect on him whatsoever.

Kirk confronts his mysterious prisoner

Harrison is returned to the Enterprise and taken to the brig . Dr. McCoy takes a blood sample, to try to figure out the prisoner's physiology. Harrison insists that he be allowed to speak with Kirk. Spock thinks he wants to get into Kirk's head, but Kirk agrees. Harrison somehow knows about the damage to the warp core, suggesting something is amiss. He tells Kirk two things. First, Harrison gives Kirk a set of coordinates: 23-17-46-11, a point near Earth. Harrison says Kirk can find some answers there. He then insists they open one of the photon torpedoes to find out exactly what is inside.

Back on Earth, Scott is at a bar in San Francisco with Keenser, upset that Keenser allowed him to go through with resigning. Kirk contacts Scotty and gives him the coordinates Harrison gave him. He admits Scott was likely right about the torpedoes, which Scott accepts as an apology, though he cuts the conversation short. Whereas Scott is in no mood to do Kirk any favors, Keenser insists they help anyway.

" Why is there a man in that torpedo? "

The Enterprise is still hobbled, but has enough power to go to a nearby planetoid , where they can safely examine one of the photon torpedoes. Kirk assures Chekov that the engine issues are likely not his fault. They have sent a message to Admiral Marcus with news that they have captured Harrison, but have received no reply. Spock reveals the true identity of Carol Marcus, and suggests she and Dr. McCoy can try to open a photon torpedo.

Later, on the surface of the planetoid , Marcus directs McCoy in cutting a necessary wire. The moment he does, the compartment slams shut on his arm, and the torpedo arms with a thirty-second timer. Marcus disarms it with only 2.57 seconds to spare, and it opens, revealing a cryo tube with a frozen person inside.

"My name is… KHAN."

The coordinates take Scott to Jupiter , where he finds a large shipyard . Following a sortie of similar shuttlecraft, what Scott sees in the shipyard alarms him.

" My crew is my family, Kirk. Is there anything you would not do for your family? "

Back on the Enterprise , Dr. McCoy examines the cryo tube. The body preserved inside is still viable, but Humans have not needed cryogenic technology since they became warp-capable . The person inside is three hundred years old. Kirk and Spock return to Harrison for answers. He says all the torpedoes contain his old crew. He reveals himself to be Khan , a genetically engineered Human . He and his crew were exiled into space at the end of the 20th century . His cryoship was found by Admiral Marcus after the destruction of Vulcan , and he alone was awoken. Marcus wanted his savagery as well as his intellect to prepare for potential war with the Klingons. He also reveals that Marcus wanted Kirk to fire those torpedoes on Qo'noS and purposely sabotaged the Enterprise 's warp core, leaving them stranded for the Klingons to find, igniting the war that Marcus desires. Kirk refuses to accept it, but condemns Khan's actions. Khan states that Marcus held his crew hostage to force him to do his bidding. He put his crew in the torpedoes in an attempt to smuggle them to safety, but they were discovered, and he was forced to escape alone. Khan says he committed his terrorist acts on the assumption that his crew had already been killed.

The Enterprise is confronted by the USS Vengeance

A ship approaches the Enterprise , but not from Klingon space. Kirk has Khan moved to medbay under heavy guard. The ship is an enormous unmarked Starfleet vessel, the USS Vengeance . Kirk is hailed by Admiral Marcus; he has the communication broadcast throughout the ship and recorded. He tells the admiral that engine issues had prevented him from killing "Harrison", revealing he knows the man's true identity. He also suggests Marcus knows what's going on. In turn, Marcus accuses Kirk of being affected mentally by Khan, and insists Khan be killed immediately. He then orders Kirk to turn Khan over, but the Enterprise 's transporters are down. Kirk falsely tells Marcus that Khan is in engineering, before breaking communication, and asking Chekov if they can go to warp. Chekov says they can, but the warp core is still hobbled, so it's risky. They go to warp anyway, and head to Earth.

The Vengeance fires on the Enterprise …

…with devastating results

" Well, at least we're moving again, " McCoy says in the medbay. However, Khan reminds a nearby Carol Marcus they are not safe at warp speed. She runs to the bridge, and warns Kirk that the Vengeance has the ability to engage other ships at warp speed. Indeed, the Vengeance catches up with the Enterprise , and proceeds to fire on the other ship; an initial volley from the Vengeance causes a major hull breach in engineering aboard the Enterprise , killing dozens of crew members, before a second volley cripples the Enterprise 's starboard warp nacelle , causing the craft to drop out of warp between Earth and its moon . Carol Marcus tries to contact her father, skeptical he will destroy the Enterprise if he knows she is on-board. He simply beams her aboard the Vengeance . Admiral Marcus then accuses Kirk and his crew of being in league with "Harrison" and sentences them all to death; Kirk attempts to plead for the life of the Enterprise crew, but Marcus admits that he intended to destroy the Enterprise with all hands from the very start, and cuts communications.

Before the Vengeance can destroy the Enterprise , though, the Vengeance 's systems are reset; Kirk immediately receives a transmission from Scott, who has sneaked on-board the Vengeance . It will take time for its systems to restart, so they have an opening to stop Admiral Marcus. Kirk puts Spock in command of the Enterprise . Spock is resistant to this idea, but Kirk insists the Enterprise needs somebody who "knows what they're doing" in command. Kirk heads to sickbay, and asks Khan about the Vengeance 's capabilities. It is a Dreadnought -class , twice as big, three times as fast, and far more heavily armed than the Enterprise . At the same time, McCoy injects Khan's blood into a dead tribble to examine his blood's effects. Kirk asks for Khan's help, assuring him this will be his only opportunity to save his crew.

" The enemy of my enemy is my friend. "

Kirk and Khan will traverse space to board the Vengeance . The Enterprise maneuvers enough for its waste exhaust to be aligned with one of the Vengeance 's airlocks, and Scott dashes to a station where he can open it manually. Kirk and Khan don thruster-powered spacesuits and navigate the debris field, heading to the Vengeance . During the flight, Kirk's helmet is hit by a piece of debris, knocking out his heads-up display. Khan is also knocked off course, but reestablishes himself and encourages Kirk to align himself with Khan's course and enter the airlock together. Inside the Vengeance , Scott is caught by a lone security officer , but he is able to actuate the airlock, allowing Khan and Kirk in, while also blowing out the security officer.

Spock Prime warns his younger self about Khan

Spock asks Uhura to patch him through to New Vulcan and reaches his counterpart from the prime universe , Ambassador Spock . The younger Spock asks about Khan and if his elder self encountered Khan before. Although Ambassador Spock has not wanted to alter his younger self's destiny, he makes an exception in this case. He reveals that Khan is none other than Khan Noonien Singh , the most dangerous adversary ever faced by the crew of the elder Spock's Enterprise ; Khan is, according to Ambassador Spock, brilliant, ruthless, and will not hesitate to kill every single crew member. The elder Spock recalls that he and his shipmates defeated Khan, but at a terrible cost .

Act Three [ ]

Kirk, Scott, and Khan head to the bridge of the Vengeance

On the bridge of the Vengeance , Admiral Marcus confronts Carol, who simply slaps him, and expresses her shame for being his daughter. Khan, Kirk and Scott head toward the bridge on foot, with Khan navigating them through the engine compartments where weapons cannot be safely used. They succeed in one fistfight with Vengeance crew. Khan jumps ahead of them briefly. Kirk tells Scott to stun Khan the moment they secure the bridge. Spock orders all his medical and engineering personnel to the weapons bay, and asks Dr. McCoy to work on arming the torpedoes. Right when the Vengeance 's weapons come back online, Kirk and his crew make it to the bridge, and stun everyone except Admiral Marcus and Carol. Scott then stuns Khan as ordered. Kirk places Admiral Marcus under arrest, and orders him out of the chair, not wanting to take him by force in front of his daughter. However, Khan is not as stunned as they had hoped – he gets up and attacks Scott and Kirk. He then breaks Carol's leg, and crushes Admiral Marcus' skull, prompting a horrified scream from Carol.

The Vengeance detonating

Khan hails the Enterprise , and orders Spock to give him the photon torpedoes. Spock refuses, but Khan says he can get them himself, without Spock's help, by disabling the Enterprise 's life support system and waiting for the Enterprise crew to suffocate before retrieving the torpedoes himself. Since his crew is frozen, they don't need the air anyway. Spock complies, and assists Khan in locating the torpedoes. He beams them safely aboard, then beams Kirk, Scott, and Carol Marcus onto the Enterprise , before attacking it again. However, unbeknownst to him, Spock had the photon torpedoes armed before beaming them to the Vengeance . They explode, hopelessly disabling the ship and leaving Khan anguished over the apparent loss of his crew. Dr. McCoy then tells Kirk that Spock had the cryo tubes removed, and they are now safely in medbay.

The Enterprise begins to spiral down to Earth

At that point, the engines go completely down, and main power fails, with backup power severely crippled. With the ship having been station-keeping over Earth, it promptly begins to fall toward the planet. Spock orders all personnel to abandon ship, but the crew refuses, willing to go down with him. Kirk and Scott make their way to engineering, a difficult trip with the ship tumbling and artificial gravity systems failing. While there, they end up hanging from the walkways when the ship is upside down, but are saved by Chekov. When they reach the warp core, they find the injectors broken. Kirk decides to fix the warp core himself, but the chamber containing it is loaded with lethal radiation. The captain overrides objections Scott voices by knocking him out with a punch, then enters the warp core chamber. Kirk manages to knock the dislocated side of an injector back into place, and the warp core consequently fires back up, simultaneously exposing Kirk to the radiation. The ship enters Earth's atmosphere, but stops falling just below a layer of clouds, and stabilizes with multiple thrusters firing.

"I'm scared, Spock…"

"Khaaaaaaaaaaaaaaan!!"

The Enterprise 's systems gradually come back online. When he regains consciousness, Scotty calls Spock urgently to engineering. Spock goes to the door to the chamber, which Kirk is lying against. They cannot open the chamber until it is decontaminated. Spock tells Kirk he saved the ship. Kirk commends Spock's action of using what Khan wanted against him; Spock replies that it's what the captain would have done. Kirk offers that sacrificing himself to save the crew is what Spock would have done . Knowing he's going to die, Kirk tells Spock he's scared, and asks him how he is able to not feel. Spock, himself in tears, admits he doesn't know, and is failing to hold back his emotions. Kirk then begins to tell Spock why he saved his life on Nibiru, but Spock knows – "because you are my friend." After saying that, he sheds a tear. Kirk reaches out to Spock as the Vulcan presses his hand against the partition in the salute of his world . Kirk then succumbs to radiation poisoning and dies. In Spock, all the rage and hate felt towards the man he now blames for his friend's death erupts to the surface in a primal scream of Khan's name.

" Set destination: STARFLEET HEADQUARTERS! "

The Vengeance crashing into San Francisco

The Vengeance falls past the Enterprise , out of control. Khan, now bent on revenge for his crew, targets his ship on a suicide run at Starfleet Headquarters . The Vengeance crushes Alcatraz , skims across San Francisco Bay , and plows through the city, leveling everything in its path. Spock, returning to the bridge, orders Sulu and Chekov to find Khan, believing him to be capable of surviving the crash. Sensors locate him, but there is too much interference to beam him up to the Enterprise . Instead, Spock elects to beam down to Earth and take Khan out. After a chase through the chaos that has now engulfed the heart of Starfleet, Spock catches up with Khan on top of a moving garbage barge . Khan quickly relieves Spock of his phaser, leaving the two to struggle hand-to-hand.

In the Enterprise 's medbay, Kirk's body lies in an open body bag, surrounded by Dr. McCoy, Carol Marcus, Scott, and other crew members who are all saddened by the loss of their friend and captain who has just given his life to save their lives. McCoy notices the dead tribble he tested Khan's blood on is slowly regaining its life signs. Realizing the effects of the genetically enhanced blood, he orders one of Khan's people removed from its cryo tube, reanimated, and held in a medically induced coma. He freezes Kirk to preserve his brain function, but he doesn't have any more of Khan's blood – he needs Khan back alive.

Spock proves to be Khan's physical equal

Spock continues to fight with Khan in an evenly matched battle. Khan tries to jump to another garbage barge, but the Vulcan follows, proving physically to be Khan's equal. The crew cannot make contact with him, so Uhura beams to the transport vehicle. As the battle intensifies and Khan becomes dangerously close to killing Spock, she opens fire on Khan with a phaser set to stun. Although it has little to no effect on him, it serves to distract Khan enough for Spock to turn the tide. He breaks Khan's arm and starts to beat on him in a rage. Uhura screams for Spock not to kill Khan, that they need him to save Kirk. Upon realizing that Kirk can be saved, Spock regains his emotional control and finishes Khan with an uppercut, knocking him out.

Khan is returned to stasis

Two weeks later, Kirk wakes up in a hospital bed in San Francisco. Dr. McCoy has created a serum from Khan's blood to revive the captain. Kirk thanks Spock for saving his life. In turn, Spock expresses gratitude that Jim is alive. Elsewhere, Khan has been returned to his cryo tube, and he and his crew lay frozen in a darkened room.

The five-year mission begins

Nearly a year after the events, Kirk addresses a gathering at the rechristening ceremony for the USS Enterprise , which has been rebuilt. He says that Starfleet should not let enemies pull them away from their true mission of exploration. Soon after, Kirk returns to the Enterprise , where all is in order to begin their five-year mission in deep space. He relieves Sulu from the captain's chair ; Sulu admits he finds the power of command to be addictive. Dr. McCoy is dismayed by the length of their mission. Scott, who has returned to his post as chief engineer with Keenser, reports the engines are "purring like a kitten" and that the vessel is ready for a long journey. Kirk welcomes Carol Marcus aboard as part of their crew and family. Spock expresses his trust in Kirk's "good judgment" on where to begin their exploration. With that, Kirk orders Sulu to take the ship out.

Memorable quotes [ ]

" If Spock were here, and I were there, what would he do? " " He'd let you die. "

" Oh, come on Spock. They saw us. Big deal. "

" Tell me more about this volcano. The data says it was highly volatile and if it were to erupt it would wipe out the planet. " " Let's hope it doesn't, sir. " " Something tells me it won't. "

" Had the mission gone according to plan, Admiral, the indigenous species would never have been aware of our interference. " " That's a technicality. " " I am Vulcan, sir, we embrace technicality. " " Are you giving me attitude, Spock? " " I am expressing multiple attitudes simultaneously. To which are you referring? "

" Do you have any idea what a pain in the ass you are? " " I think so, sir. " " So tell what you did wrong. What's the lesson to be learned here? " " Never trust a Vulcan. "

" You think the rules don't apply to you, because you disagree with them. "

" You don't respect the chair . You know why? Because you're not ready for it. "

" That was an epic beating. " " No, it wasn't. " " You had napkins hanging out of your nose. Did you not? " " Yeah, that was a good fight. "

" What did you tell him? " " The truth. That I believe in you . That if anybody deserves a second chance, it's Jim Kirk. " " I don't know what to say. " " That IS a first… it's gonna be OK, son. "

" You got something to say Kirk, say it. Tomorrow's too late. "

" All-out war with the Klingons is inevitable, Mr. Kirk. If you ask me, it's already begun. Since we first learned of their existence, the Klingon Empire has conquered and occupied two planets that we know of, fired on our ships half a dozen times. They are coming our way. "

" Jim, for the love of God, do not use those torpedoes. "

" Wait, are you guys… are you guys fighting? " " I'd rather not talk about it, sir. " " Oh, my God! What is that even like? "

" Ears burning? "

" Go put on a red shirt . "

" Alright, let's go get this son of a bitch. Kirk out. "

" Mr. Chekov, did you break my ship? "

" Jim, you're not actually going down there are you? You don't rob a bank when the getaway car has a flat-tire. "

" Jim, wait, you just sat that man down a high-stakes poker game with no cards and told him to bluff. Now Sulu's a good man, but he is no captain. " " For the next two hours he is. And enough with the metaphors, all right? That's an order. "

" Attention John Harrison. This is Captain Hikaru Sulu of the USS Enterprise . A shuttle of highly trained officers is on its way to your location. If you do not surrender to them immediately, I will unleash the entire payload of advanced long-range torpedoes currently locked on to your location. You have two minutes to confirm your compliance. Refusal to do so will result in your obliteration. If you test me, you will fail. " " Mr. Sulu… remind me never to piss you off. "

" We’re outnumbered, outgunned. There’s no way we survive if we attack first. You brought me here because I speak Klingon. Then let me speak Klingon. "

" I am here to help you. With respect, there is a criminal hiding in these ruins. He has killed many of our people. " " Why should I care about a Human killing Humans? " " Because you care about honor. And this man has none. "

" Let me explain what's happening here. You are a criminal! I watched you murder innocent men and women; I was authorized to end you! And the only reason why you are still alive is because I am allowing it; so shut… your…mouth! " " Captain, are you going to punch me again over and over till your arm weakens? Clearly you want to so tell me: why did you allow me to live? "

" 23-17-46-11, coordinates not far from Earth . If you want to know why I did what I did, go and take a look. " " Give me one reason why I should listen to you " " I can give you 72 . And they're on board your ship, captain. They have been all along. "

" Well now, if it isn't Captain James Tiberius… 'Perfect Hair.' Did you hear that? I called him 'Perfect Hair!' Ha!'"

" What, you don't think I can remember four numbers? (chuckling) You of little faith! … What was the third one? "

"' John Harrison' was a fiction created the moment I was awoken by your Admiral Marcus to help him advance his cause – a smoke screen to conceal my true identity. My name is Khan. "

" We both know who it is. "

" Per Starfleet regulations I'm planning on returning… Khan… to Earth to stand trial. " " Well… shit… you talked to him… "

" Sir, my crew was just following my orders. I take full responsibility for my actions but they were mine and they were mine alone. If I transmit Khan's location to you now, all I ask is that you spare them. Please, sir. I'll do anything you want. Just let them live. " " That's a hell of an apology. But if it's any consolation, I was never gonna spare your crew. Fire when… "

" I'm sorry… "

" You're a miracle worker! "

" It’s not easy! Will ya give me two seconds, ya mad bastard! "

" Mr. Spock. " " Mr. Spock. "

" I will be brief. In your travels, did you ever encounter a man named Khan? " " As you know, I have made a vow never to give you information that could potentially alter your destiny. Your path is yours to walk and yours alone. That being said, Khan Noonien Singh is the most dangerous adversary the Enterprise ever faced. He is brilliant, ruthless and he will not hesitate to kill every single one of you. " " Did you defeat him? " " At great cost , yes. " " How? "

" The minute we get to the bridge, drop him. " " What, stun him? Khan? I thought he was helping us! " " I'm pretty sure we're helping him . "

" You… you should have let me sleep! "

" You betrayed us! " " Oh, you are smart, Mr. Spock. "

" Your crew requires oxygen to survive, mine does not. I will target your life support systems located behind the aft nacelle and after every single person aboard your ship suffocates, I will walk over your cold corpses to recover my people. Now… shall we begin? "

" Well Kirk, it seems apt to return you to your crew. After all… no ship should go down without her captain ! "

" The ship's dead, sir! She's gone! " " No, she's not! "

" I'm scared, Spock. Help me not be. How do you choose not to feel? " " I do not know. Right now, I am failing. " " I want you to know why I couldn't let you die… why I went back for you… " " Because you are my friend. "

" KHAAAAAAAAAAAAAAN!!! "

" Go get him. "

" Spock, stop! STOP! He's our only chance to save Kirk! "

" Oh, don't be so melodramatic. You were barely dead. "

" Tell me are you feeling, homicidal , power -mad, despotic ? " " No more than usual. "

" You saved my life. " " Uhura and I had something to do with it, too, you know. "

" It's hard to get out of it once you've had a taste, isn't that right Mr. Sulu? " " "Captain" does have a nice ring to it. Chair's all yours, sir. "

" Scotty, how's our core? " " Purring like a kitten, captain. She's ready for a long journey. "

" Five years in space … God help me! "

" Where should we go? " " As a mission of this duration has never been attempted, I defer to your good judgement, captain. "

Background information [ ]

Gathering a team [ ].

The prospect of working on this film along with J.J. Abrams , Roberto Orci , Alex Kurtzman , and Bryan Burk originally drew Damon Lindelof to the project. " The idea of doing this job with anyone other than J.J., Bob, Alex and Bryan was not appealing to me, " Lindelof admitted. " It's what made me carve out the time necessary to do this movie. " Once each of the five cleared their schedules, they began working on this sequel film. The team grew from that point on, Abrams later explaining, " Everyone, with very few exceptions, came back for the sequel. " ( Star Trek Magazine  issue 172 , pp. 72 & 14)

Scene development [ ]

A shot depicting Scott reacting in surprise to a view of a Nibiran fish was invented "just to reinforce the idea you're underwater," Visual Effects Supervisor Roger Guyett mentioned. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The story line involving the Harewood family evolved from the writers being interested in triggering Human emotions in the audience shortly after the movie starts. " We discussed wanting to have something that was an emotional opening, " observed J.J. Abrams. " And so the idea was to try and find ways to make Human drama, a family with a sick child, not trite, but to make it something that was surprising and to an end […] It ended up being not only a sort of unexpected way in to meet our bad guy, but also a critical setup for the end of the movie. So, this little girl, who you meet at the beginning, who is unconscious and dying, and these wildly depressed parents, who are so sad, end up really being kind of the setup for our bad guy in the film. " ("Introducing the Villain", "Featurettes", Star Trek: The Compendium Blu-ray special features)

Owing to the significance of establishing the connection between Kirk and Pike, the film's first scene that features them, in which Pike reprimands Kirk, was heavily rewritten. " There were many incarnations of that scene, " Maryann Brandon recalled. In the scene's original version, Pike himself took the Enterprise away from Kirk and then tried to be fatherly to him. This was rewritten, so that Pike relays orders from Starfleet to reassign Kirk off the ship and then implies he is unable to do anything to circumvent those instructions. The rewrite only happened after the creative personnel struck upon the thought of writing a new scene, set in a bar, later in the plot. They realized they had to split Pike's actions of firstly relaying news to Kirk that he was to be transferred off the vessel and secondly being fatherly to Kirk into two separate scenes, with the bar scene serving the latter purpose. Admiral Marcus was deliberately referenced in the debriefing scene, in order to establish the character at a relatively early point in the film. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) The reason Kirk is judged as not being ready for captaincy, an opinion expressed directly by Pike in this scene (as well as indirectly by Admiral Marcus), was that the writers were inspired by fans repeatedly criticizing Kirk as having become captain terribly quickly in the previous film. ( SciFiNow , issue 80, p. 024)

A scripted scene straight after the one in which Pike scolds Kirk featured the introduction of Carol Marcus, with Kirk meeting her for the first time. J.J. Abrams and the film's writers, with some convincing by Maryann Brandon and Mary Jo Markey, decided the scene wasn't necessary and took it out. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The only reason the bar scene featuring Pike and Kirk was set in a bar was to remind the audience that the two officers first met in a bar, in the film Star Trek . Having Pike console Kirk in the bar scene additionally served to make Pike's death more emotionally affecting. Mary Jo Markey stated, " As a group, we weren't feeling very much about Pike's death, when it happened, and came to feel that part of the problem with it was that there was never a point in the movie where we were really on Pike's side, and this scene was kind of designed to make you feel like, 'I really care about Pike. And I remember what a great guy he is, and what a great influence he's been on Kirk, and how he's really the guy that changed Kirk's life. He's a true father figure to him.' " Maryann Brandon agreed, " We deliberately had Admiral Pike say, 'I believe in you,' so that, you know, when he gets killed, really Kirk is alone. And we really needed Kirk to go to a dark place, so that you would believe that he would risk the life of his crew to […] go into Klingon space and take revenge. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) In Maryann Brandon's opinion, the addition of the bar scene made "a huge difference in the film." ("Unlocking the Cut", "Featurettes", Star Trek: The Compendium Blu-ray special features)

In the first scene that Admiral Marcus appears in, a speech delivered by him was rewritten several times. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features) As for the rationale behind the death of Admiral Pike, later in that sequence, Bruce Greenwood recalled something J.J. Abrams once told him; " He said, 'We felt the relationship was so strong that we decided to hang Kirk's quest on the end of that relationship.' " ( Star Trek Magazine Special 2015 , p. 21)

An initial shot of Khan on Kronos was originally not written into the film, nor was an immediately subsequent scene in which a reflective Kirk, sitting in a room at Starfleet Headquarters, answers a call from Spock. " We didn't have a moment where Kirk just lost all hope, and we felt we needed it right before he gets called to action, " Maryann Brandon remembered. There was some debate over who the caller should be. It was originally Scott before it changed to Spock. However, a scene immediately thereafter, in which Kirk is told that "Harrison" used a portable transwarp beaming device to escape, then had to be rewritten so that it's Scott who gives him that news. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

A later scene – wherein Kirk and Spock notify Admiral Marcus that "Harrison" has fled to Kronos, Marcus tells them that Starfleet is on the verge of war with the Klingons, and he finally then sends them to kill "Harrison" – was worked on a lot and was added to with some additional dialogue. " It was a question just of what it was gonna be, exactly, " Maryann Brandon recollected, " and how to show Kirk's drive for revenge without making him seem like he was only about revenge and that his feelings about Pike had been entirely pushed to the side. It was just a balancing act to try to keep all those things. We ended up writing some new dialogue that's placed on a shot that, for the most part, it was a matter of sort of shading performance and cutting some of the scene out. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The shuttlecraft journey that takes Kirk, Spock, and Carol Marcus to the Enterprise was rewritten a few times. Objections voiced by Spock to Kirk, regarding their mission, were reworked. " Although this stuff was in the original scene, " stated Maryann Brandon, " they were more implied and referred to than just boldly stated [in the way they ended up being] […] But I think it was really important, because it's where, again, […] we're really making clear what the themes are of the film, this idea of personal goals versus universal goals, and universal principles versus taking things into your own hands and deciding that your principles are the ones that are important. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Some new dialogue might have been created for the scene showing Sulu, in command of the Enterprise , transmitting threats to "Harrison". " The dialogue, I think, was essentially the same. I mean, we might have given him a few new lines in there, " reckoned Mary Jo Markey. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

More definite is that the journey to Kronos in a K'normian trading ship was revised. Mary Jo Markey and Maryann Brandon felt the original scene didn't work so well for Uhura and Kirk, being less informative for them as well as the audience, regarding Spock's emotional well being. " It became a scene that was really designed to help Uhura more fully understand Spock, and then, you know, of course by extension to help us [the audience] understand Spock better, " commented Markey. " And we ended up feeling that it needed to be more about a much deeper understanding of Spock's emotional make-up, or unemotional make-up, or whatever it is exactly that a Vulcan has, where he talks about the experience of seeing his whole planet die and the existential experience of that, and how it has made him feel even more committed to the Vulcan way. " New dialogue was written for the revised version of this scene. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

J.J. Abrams was determined to include the battle sequence between the Starfleet landing party and the Klingons. " The idea of an action sequence that is harrowing, exciting, and scary, involving Klingons and our characters, was too delicious to pass up, " he remarked. ( Star Trek Magazine  issue 172 , p. 17)

A subsequent scene in which Khan, held in the Enterprise 's brig, tells Kirk and Spock about his past, revealing his name for the first time, was a result of the desire to include, in the film, exposition regarding Khan. The writers knew the line " My name is Khan " was not only a significant line in the film, but also that, if the production staff were able to get that moment right, it would elicit a mix of reactions from the audience, such as gasps, applause, and boos. A line from this scene – in which Khan asks Kirk, " Is there anything you wouldn't do for your family? " – was inspired by the motive of trying to make Khan relatable. ("The Enemy of My Enemy", "Featurettes", Star Trek: The Compendium Blu-ray special features)

Having Khan, essentially a murderous prisoner, assist Kirk was intended to be a way to make viewers feel uncertain about the character, as the writers knew the audience would have preconceived ideas about him. Despite Khan's villainy, the writers were fascinated by the idea of Kirk having no option but to partner with Khan, who Alex Kurtzman likened to Hannibal Lecter . " That was the fun of it for us; just moving right in to what the audience's expectations were with Khan, because those expectations were our expectations, " explained Kurtzman, " and if we can get ourselves to feel, to be asking those questions and to be unsure of the outcome, which was the whole point of creating an alternative timeline, then I felt we were making the right choices. " Roberto Orci added, " That's for fans. If you're not a fan, it doesn't matter; you're just watching a story of, 'Can I trust this man or can't I?', and that works on its own. But for fans, using Khan gives it a whole other layer, and we thought it was not just a homage to The Wrath of Khan , but also something for fans to play with, as evidenced by the fact that we are fans and this just tickled us. " ( SciFiNow , issue 84, pp. 042 & 043)

Devising how to quickly and covertly transfer Kirk and Khan from the Enterprise to the Vengeance turned out to be an enjoyable challenge. " So, that was one of the most, sort of, fun puzzles to put together in the movie, because we always loved the notion of their having to secretly get onto the [ Vengeance ], " J.J. Abrams explained. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Damon Lindelof suggested that, in the resultant sequence depicting Kirk and Khan traveling through space from the Enterprise to the Vengeance , the glass in Kirk's helmet would get struck by a piece of debris. Originally, Kirk was imagined as not using a guidance system in his helmet, though this idea was altered, as was much of the sequence. " The ship-to-ship sequence […] was a constantly evolving sequence, " remarked J.J. Abrams. " There were many iterations of it […] It felt like we needed to add some elements of tension […] [and] the story needed to be a little bit more complicated. " For instance, new dialogue was written for the start of a shot in which Spock warns Kirk that there is a debris field between the two craft. The newly added dialogue allowed for the scene to be moved from during the flight to just before it. Another added concept was the idea of Sulu advising Kirk to use the compass display in his helmet. The creative team also tried to add drama to the sequence by having Kirk's guidance system break due to a bit of debris, an idea influenced by Lindelof's earlier suggestion of having the glass break. Uhura wasn't as featured in the original version of this sequence as she ended up being, as Abrams decided to focus more time on the character in these shots. He added the story point of her struggling to contact Scott. " I just knew it was crazy not to have her be a part of it, " he admitted. Kirk was originally to have been less clearly put in jeopardy. " The new idea being that if Khan gets hit and is seemingly taken out, and then Kirk's helmet goes dead, he'd be screwed, that there would be no way for him to get to the ship. And then when Khan returns and ends up helping him out, there's this weird thing that we're going for, which is what would happen if your life was in the hands of your worst enemy? And that question of, 'How do I deal with that, and do I trust him if he ends up saving my life?' It's what we were trying to add to the sequence. " Other late additions to the sequence included such moments as Spock asking Sulu if they had lost Khan, and Sulu replying with uncertainty due to the debris, as well as Sulu later advising Spock that Kirk wasn't going to make it to the Vengeance safely. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The conclusion of "the ship-to-ship sequence," where a Vengeance security guard gets blown out an airlock that Kirk and Khan fly through to gain access to the ship, was thought up by J.J. Abrams. " We were actually location scouting, and we're at a restaurant, and I remember I just doodled this idea on a napkin, " he recalled. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The writers had Spock Prime make a cameo appearance, midway through the sequence in which Khan and Kirk collaborate, as a reminder to the audience that Khan is incontrovertibly evil and untrustworthy. The writers intended for the scene to lead the audience into questioning, even more, how the alternate reality version of Khan would turn out. Alex Kurtzman referred to this scene by saying, " The bomb is symbolically put under the table. " ( SciFiNow , issue 84, pp. 042-043)

The idea of Khan commandeering the Vengeance was thought up as a way of heightening the jeopardy which the protagonists were put in. As Alex Kurtzman expressed it, " The last thing you would want would be for a ship like that to fall into the hands of someone like Khan. " ("Vengeance is Coming", "Featurettes", Star Trek: The Compendium special features)

Roberto Orci conceived the line in which McCoy refers to the members of Khan's genetically altered, cryogenically frozen crew as "Human Popsicles." Remembered Damon Lindelof, " When he first pitched it, we all got quite a laugh. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

According to Damon Lindelof, the writers had the Enterprise fall towards Earth in order to demonstrate that gravity "can be very dangerous." A section of the Enterprise 's bridge was depicted cracking, during the ship's fall, because J.J. Abrams "loves it when the hull cracks," in Lindelof's words. Later in the sequence, Chekov was tasked with running up a flight of stairs and switching a manual override, which Lindelof referred to as "some doodad," because the writing team felt they needed to give all members of the Enterprise 's senior staff something practical to do. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Kirk sacrificing his own life in order to save the Enterprise and, in his final moments, speaking with Spock while they are on either side of a glass window was written as an homage to Star Trek II: The Wrath of Khan . It was inspired by the compulsion that the writers felt to acknowledge how the Enterprise crew had previously defeated Khan. Although referencing The Wrath of Khan in such a way was thought to be risky, the writers decided to make a big effort to do so. There was consequently a lot of discussion about Kirk going into the warp core area where he saves the ship but receives a lethal dose of radiation. " We talked a lot about the climb and wanting to make it sort of excruciating, " recollected Damon Lindelof, " and the idea that a character is sacrificing his own life for his crew, et cetera, to make it as dramatic as possible. " Thus, there was also deliberation over what obstacles Kirk had to overcome in the area. " One of the things we talked about was how can we illustrate the idea that there's lots of radiation here? " continued Lindelof. " We talked about the idea that there were sort of like heat waves that Kirk was going through, et cetera, et cetera […] I think we had no less than fifty meetings about how we could visually describe what was wrong with the core and how Kirk was gonna set it right. And then it was just simply like, 'Oh, he's just gonna kick the thing so it lines up with the other thing.' But it took about fifty meetings to get to that point. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Despite the fact Kirk's climb inside the warp core chamber was obviously intended to be concurrent with the Enterprise free-falling towards Earth, the writers opted for Kirk's movements in the chamber not to reflect the turbulent motions of the vessel. " I do think that one of the things that we talked about, " Damon Lindelof stated, " was making sure that Kirk's travel here was fixed, that, at this point, he couldn't be spinning and sort of bonking around, even though the Enterprise was, and that's one of those little cheats that you do, filmically, to get past it. " Lindelof accounted for this by saying, " Kirk is, you know, fixed in a gravitational field, here. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The scene in which Kirk dies was deliberately concocted to feature resonances with canon. Not only was it obviously meant to reference Star Trek II: The Wrath of Khan , but it was also "in service of" what Damon Lindelof referred to as "the most, sort of, resonant aspect" of both the alternate reality version of Star Trek and the "prime" version, which was "the love story and friendship between Kirk and Spock." ("enhanced commentary", Star Trek Into Darkness (digital) & Star Trek: The Compendium special features) While writing the scene, the creative team even reused lines of dialogue from The Wrath of Khan , such as the question, " Ship, out of danger? " Commented Roberto Orci, " It feels dumb not to use the lines that apply specifically to that scenario, so instead of saying 'I'm trying to save the ship, did it work or not?' we said, 'Hey man, let's just pay homage to it and use Star Trek ' […] So sure, we debated it, and sure it was something to think about. " ( SciFiNow , issue 84, p. 042) The scene also underwent some revision, Bryan Burk noting, " [It] took a while to kind of find its rhythm and really work for us emotionally. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

According to Damon Lindelof, the climax of this movie always highlighted a confrontation between Khan and Spock, with the stakes being Kirk's life. However, there originally would have been a simultaneous subplot about a Klingon fleet heading to Earth, " only to be turned around via diplomatic intervention by Uhura, " Lindelof said. " We dropped it pretty early on, as it didn’t feel intimate, cool, or earned. " [37]

In fact, the climax was originally far different from what it became. " The original idea of the third act didn't have us landing on Earth, " explained Executive Producer Jeffrey Chernov . " J.J. said, 'Now this really excites me.' " ("Brawl by the Bay", "Featurettes", Star Trek: The Compendium special features) J.J. Abrams had the Vengeance , as it crash-lands on Earth, destroying Alcatraz as an in-joke ; he used this moment to reference the fact his production company, Bad Robot Productions , previously had a TV series called Alcatraz which had ended up being cancelled. " So, I destroyed Alcatraz, even though I love it, " he conceded. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The climactic chase sequence, with Spock pursuing Khan through the streets of San Francisco, was inspired by a shot from the film Star Trek , showing a group of shuttles leave the city. Because the footage provoked J.J. Abrams into becoming extremely interested in seeing what it would be like in the city, this film's chase sequence was put together. " The fight was originally conceived as a fight between two guys on a street, essentially, " recalled Abrams. " To make it into a fight on the garbage barge traveling through the city upped the stakes of the whole thing. It gave the thing a kind of an energy that it wouldn't have had otherwise. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Whether to have the chase involve one or two garbage barges was the subject of considerable debate. It was finally decided that, although only one barge was necessary, two would be more exciting. " It just felt like a fun way to add another layer of, sort of, Saturday-morning-serial-now-what-ness to it, " J.J. Abrams remarked. ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

The creative team chose to factor Uhura into the end of the garbage-barge sequence. " One of the ideas that I thought, you know, was sort of fun was, how do you end the sequence? " J.J. Abrams related. " We wanted to give Uhura something great […] The idea [was] of giving her a beat that was really tough, and badass, and saving the day. There was always something Barbarella about this moment too, the way she sort of shows up wearing that uniform. " ("enhanced commentary", Star Trek Into Darkness (digital) and Star Trek: The Compendium special features)

Having Khan be returned to cryogenic freeze, alive, in the final moments of the film was done as a conclusion that was meant to be internally consistent with the rest of the plot; the writers felt this story point was "the logical and moral conclusion of the movie" and meant for Khan to be put on trial thereafter, rather than be immediately executed. The writers have been less forthcoming about whether they actually kept Khan alive as a convenient way to resolve any future narratives, Roberto Orci stating only that this "could be." ( SciFiNow , issue 84, p. 044)

Cast and characters [ ]

Principal cast [ ].

All the major actors in the first film – namely, those portraying the command officers of the USS Enterprise ( John Cho , Simon Pegg , Chris Pine , Zachary Quinto , Zoë Saldana , Karl Urban , and Anton Yelchin ) – returned for the long-awaited sequel. [38] " I think we were waiting for a homerun script, and J.J. was undecided, " explained Sulu actor John Cho. " Scheduling was tight, and it didn't really get settled until J.J. decided he could do it […] It's a longer layover than most [sequels], considering the first one did so well, and that there was sequel talk instantly. We were wondering about the second picture almost as soon as we were finished with the first, so it seemed like a long time. But in the meantime, everyone did different things. Life happened. Children were born. It felt like a long time, but when we got back to set it felt like it was an afternoon at best, because we all got right back into things. " ( Star Trek Magazine  issue 172 , p. 110)

Kirk actor Chris Pine observed it was important to make this film "as good as the first one" and ensure it lived up to the expectations of the viewers. He was aware of those expectations being higher than when the previous movie had been made. ( SciFiNow , issue 80, p. 022) As a result, Pine thought this film was slightly more nerve-wracking and therefore difficult than its immediate predecessor. As for how he followed the film's development, Pine recalled, " There were a couple years when [J.J. Abrams] went off and did other things. I would hear trickles through the information grapevine, through [writers] Damon (Lindelof) or Alex (Kurtzman), what they were thinking about for the second one. But I knew nothing until I got to read the script, under lock and key, in one of the producer's offices. " Pine felt that, once he was handed the movie's screenplay, he completely understood what it required of him. ( Star Trek Magazine  issue 172 , pp. 23 & 21)

Chris Pine was impressed by the amount of variety in this film. He remarked that the facet which initially struck him about the film was " The sheer scale of it, " and went on to comment, " It's really exciting, because in any great epic story, you want it to go from A-Z and back again, and this has so many different colors. It has the excitement, it has moments of levity, it has the romance. A big, steaming apple pie of all sorts of great things. " Pine admitted that, having seen the completed movie, what surprised him most was " probably that this film manages to fulfill people's expectations of what a tent-pole summer movie should be, which in the past five years has become quite a feat in terms of spectacle. There are certain things we had to do to satisfy a modern audience's craving for that. " ( Star Trek Magazine  issue 172 , p. 23)

Chris Pine was consequently wowed by the action sequences in this film. " There's a lot of destruction, and a lot of explosions […] I think we hit it out of the park, " he remarked. " The action sequences are spectacular. People can expect to see something fantastic. " ( Star Trek Magazine  issue 172 , p. 23)

Chris Pine also pointed out that the creators of the film "married" the action sequences with " what people love about Star Trek , which are complex, Human dramas. I think we have that going for us. " ( Star Trek Magazine  issue 172 , p. 23) He elaborated, " This film deals with really archetypal, huge things about growing up, and life and death, so the characters go on an extraordinary journey. " ( SciFiNow , issue 80, p. 028) Pine said, too, that he believed the maturing of the characters "makes for an interesting story" and that he was hopeful the "friendship," "bond," and "love" between the cast members, which was genuine, came across on screen. ( Star Trek Magazine  issue 172 , p. 23)

Chris Pine additionally approved of this film as a sequel. Regarding how it measured up to the previous film, he noted, " I'd say the threat is even greater in this one. The force [the crew] are met with is much more frightening. " [39] He said further, " There's been a lot of talk about the darkness of it, which is there, but the levity from the first one is certainly there, too. I would say the scope, in terms of the visuals and the action beats, and also the characters' journeys, are much, much bigger than the first film. " ( SciFiNow , issue 80, p. 028)

Spock actor Zachary Quinto felt likewise; differences between this film and its predecessor were apparent to him as early as when he first read the script for this movie. " It was very clear to me from the beginning that it was a bigger story, there was more at stake, and there was more action, " he expressed. " You could tell from the get-go it was just bigger […] This movie has everybody in different situations and scenarios, on their own, in a way that the first movie didn't. We're all scattered and spread out in different places, yet all working together. We're not such a unified front, and we have to break into factions to get things done […] We do spend a fair amount of time together for the big action set pieces [though]. " Quinto felt certain parts of the film were personally more enjoyable than others. " There are some huge sequences that he [Spock] is a part of, that were really exciting and challenging for me, " he recalled. ( Star Trek Magazine  issue 172 , p. 39) As another highlight of the film, Quinto cited the scene in which – on the way through Kronos' atmosphere – Spock concludes an argument with Uhura by expressing how he feels about death, Quinto describing it as "a really nice moment." ( SciFiNow , issue 80, p. 027) He was also happy the cast were able to modify the script, describing this process as "great" and "exciting." ( Star Trek Magazine  issue 172 , p. 39)

McCoy actor Karl Urban enthused, " All of the characters are really pushed to the very limit in this film, and the relationships are strained and fractured. To me, that's always the mark of a great Star Trek series or film, when these characters who love each other – sometimes hate each other – have to work together to overcome a common adversary. " ( Empire , issue 287, p. 92) Urban also felt the common Star Trek dynamic of Kirk having to find the middle ground between Spock, representing logic, and McCoy, representing humanism, "definitely comes into play here." ( SciFiNow , issue 80, p. 027)

Scott actor Simon Pegg appreciated the opportunity this film gave him and the other main cast members to once again collaborate. " Having kind of eased into the roles, and all got to know each other as actors, and become friends, it was actually something we all really relished and were excited about doing, " Pegg related. " It was like a school reunion […] so to get to do it […] was a great joy […] It's most fun when we're all together, cause it's a very familiar environment. " ( Star Trek Magazine  issue 172 , pp. 80 & 82)

Simon Pegg first read the script of this movie while he was with a friend in New York, shortly before Christmas 2011. " I said [to the friend], 'Listen, I'm going to quickly go up to my room. I've got the script, I might read the first couple of pages, then I'll come down and we'll go Christmas shopping.' About five minutes later, I rang him and said I'm not coming down, " Pegg explained, laughing. " 'cause I was so gripped by the script. I remember literally leaping up and down in my hotel room at certain plot twists and revelations that were just so exciting, and so cool. " ( Star Trek Magazine  issue 172 , p. 83) Pegg also recalled squealing in delight as he read through the screenplay. ( Empire , issue 287, p. 92)

Clearly, Simon Pegg considered this "a great story." ( Star Trek Magazine  issue 172 , p. 83) He mused, " It's a modern take on terrorism, in a way […] It's not dark in the sense that it's po-faced; it still has the lightness of the first film. It just kicks off and doesn't stop for the whole movie. " ( Empire , issue 287, p. 92) Pegg commented further, " The story goes all over the place. It hits the ground running; it starts fast-paced and doesn't stop through the whole thing. I think it will be joyously exhausting to watch, but at the heart of it, it's a very Human story about looking after the people you love […] and this is among all the pyrotechnics, and I'm sure all the groundbreaking special effects. At the very heart of it, it's something far more Human, which is a testament to the writers. " ( SciFiNow , issue 80, p. 028)

In fact, Simon Pegg related his satisfaction with the script directly to Roberto Orci, Alex Kurtzman, and Damon Lindelof. " I wrote to them after I read the script, because there are bits in there that I really got, " Pegg reasoned, " I could see what they were doing, and there were really smart little touches that I wanted them to know that I'd got […] It's a hell of a task they've got on their hands. They've got to juggle a lot of things – they've got to please fans and entertain the uninitiated – but I think this film has all that. " ( Star Trek Magazine  issue 172 , p. 83)

Simon Pegg suspected the "very Human story" at the center of this film would "resonate with the audience." ( SciFiNow , issue 80, p. 028) Contemplating more about how viewers might react to the movie, he offered, " There are so many rewards in it if you're a fan of Star Trek . You could watch this movie completely uninitiated and be thrilled by it, you don't need prior knowledge, but if you do have that prior knowledge then it's like it unlocks a whole other dimension of connection with Star Trek that you'll feel very privileged to have. " ( Star Trek Magazine  issue 172 , p. 83)

Witnessing this film come to fruition delighted Simon Pegg. " To get to shoot that, and see what J.J. came up with, the amazing work that's done by costume and props and makeup – it was all really exciting, " he reminisced. ( Star Trek Magazine  issue 172 , p. 83)

Simon Pegg considered levity to be essential to the scene in which Scotty needs to open an airlock door and does a lot of running. " If there wasn't some lightheartedness, it would probably be quite uncomfortable to watch, " Pegg reckoned, " as there's a lot riding on that moment. " ( Star Trek Magazine  issue 172 , p. 82)

Chekov actor Anton Yelchin opined, " Even though it's been four years between films, you can quickly see why. You see all of the work that's been put into it, you see the complexity of the relationships; building on what was discovered in the first one, which makes it that much more interesting. You get much more insight into these people, and then the world that you're in, the scope and the scale of the film is that much bigger. " ( SciFiNow , issue 80, p. 023)

During the extended interim which preceded the making of this film, Sulu actor John Cho was, in his own words, "preparing myself to be pleasantly surprised when I read it." He was not disappointed. ( Star Trek Magazine  issue 172 , p. 110) " I […] felt pretty confident about the script – by the time we started shooting it was in amazing shape, and the story was really fascinating. To me, the story does what all great sequels do, which is to bring back things and then complicate and darken them, " Cho mused. " I was just really excited about telling that story […] You can almost feel sorry for Sulu and all of the characters because they have to mature so quickly. They feel like children who had to take care of the house in mum and dad's absence or something. It's the crises that are so enormous, and they're so young and have had to shoulder so much. To me it feels like all the characters in this one are prematurely-mature. " ( SciFiNow , issue 80, pp. 22 & 26) He also remarked, " I felt like the themes they were trying to tackle really spoke to me. The movie is so much about morality; what the nature of good and evil is. How does that change when one grows older and is more experienced? It's tapping into the grey areas of life. As a comparison, […] the second movie is an older person [than the first film], a legitimate man, and life seems cloudier and sloppy, so decisions are harder to make. I thought that was wholly the appropriate tone for a second film. It was really fascinating to me, because in some ways you expect an interesting plot, thrilling action, and fun, but going deeper in that fashion is not necessarily expected. I thought, thematically, it was ambitious. " ( Star Trek Magazine  issue 172 , p. 111)

Uhura actress Zoë Saldana appreciated the way the film portrays Uhura's relationship with Spock being tested, enthusing, " The way it happens in this movie is one of those great twists that you love JJ for. " ( SciFiNow , issue 80, p. 027) Of the main characters in general, Saldana additionally stated, " I guess because we were going back to a familiar environment, where we knew each other, and had been through it already, we didn't waste time breaking ice. It was already melted […] It definitely felt more intense. There was a great deal of suspense and uncertainty, not as actors but for our characters. There's such an attack and infiltration into Starfleet, it makes us question how safe we really are. " Concerning the cast members who portrayed those protagonists, Saldana noted, " For this experience with Star Trek , we were very fortunate […] We're so excited to be there, and we shared that mood with each other. " ( Star Trek Magazine  issue 172 , p. 45)

Their interaction with J.J. Abrams was largely enjoyable for the main cast members. Chris Pine remarked, " There is a great amount of pressure to live up to expectations and to do justice to these characters and what was done before. But I think because of J.J.'s great skill in casting – and this goes for the newest members [of the cast] […] – it becomes so easy so quickly, and you enjoy each other's company, that you enjoy the day of work. " John Cho reflected, " I would say J.J. was a little bit more intimate with us as people this time […] I think he was more comfortable with us as people, and we were more comfortable with one another in general. You spend enough time together, I guess… " ( Empire , issue 287, pp. 90 & 91) Cho also felt he wasn't overwhelmed by expectations, mainly because of Abrams shouldering the responsibility. " I never sweated it, " related Cho. " I realised that we would have to meet certain expectations or exceed them, but I didn't emotionally sweat it, so to speak, because I felt very confident in our captain. " ( SciFiNow , issue 80, p. 022) Simon Pegg agreed that part of what made doing the film "a great joy" was getting to collaborate with Abrams. ( Star Trek Magazine  issue 172 , p. 80) The cast found Abrams' unpredictability and the amount of freedom he was allowed to make modifications in the production, which was a high degree of independence, to be impressive but daunting. " So even though it's scary for us to work with him, in some ways it's also a real opportunity, " stated Zachary Quinto. ( Empire , issue 287, p. 90) For example, the cast found Abrams was willing to allow them a lot of input. " I think a lot of us had a couple observations and notes, and J.J. was really open and encouraging for us to speak up, because we incarnated these characters in the first installment, " pondered Zoë Saldana. " Coming back to it, there were remnants of our characters in us, so if something felt unnatural or a little off, we definitely voiced it, and J.J. definitely considered it. " ( Star Trek Magazine  issue 172 , p. 45) Both the cast and their director also felt it was important to maintain humor in the script. " It was something in this new incarnation that we all talked with J.J. about, the use of levity and the fact that, as dark as some of our stuff is in this new film, we always have time to smile and make people laugh, " noted Chris Pine. It was also Abrams who gave the cast members the film's script. ( Star Trek Magazine  issue 172 , pp. 20 & 21)

One of the ways J.J. Abrams' erraticness affected the cast was in lines given to Uhura. Zoë Saldana explained, " He writes these mouthfuls of dialogue, and it's hard for me because Spanish is my first language. So there were moments, at least once a day, where we'd have to cut and he was like, 'Zoe, it's not traject-ory. It's traj-ECT-ory,' or, 'That was great, but this next take, say it all 30 per cent faster.' " Saldana laughed, then concluded, " It was a trip. " ( Empire , issue 287, p. 92)

Returning guest stars [ ]

Like Chris Pine, Bruce Greenwood could hardly wait, prior to this movie entering production, to be reunited with the Star Trek cast and crew who had worked on the previous film. In this movie, Greenwood reprised his role as Admiral Christopher Pike . He referred to the movie's script as "good." [40] Having initially hoped this film would continue the evolution of the relationship between Pike and Kirk, Greenwood was glad it does. He was also intrigued by the movie's depiction of Kirk maturing; Greenwood remarked that – because the film depicts, at least in his viewpoint, Kirk facing "a major existential crisis" – the film was more interesting for himself as an actor as well as "hopefully, for the audience." ( SciFiNow , issue 80, pp. 024 & 026)

Leonard Nimoy initially expressed that he did not expect to return as the original Spock in this movie, even going so far as to state, " I definitely will not be in Star Trek 2," and, " I think I can be definitive about the fact that I will not be in it. " ( SFX , issue #200, p. 68) However, alongside the Khan report, it was confirmed that he would indeed be returning for the sequel. [41] [42] Concerning how J.J. Abrams asked him to appear for his cameo in this film, Nimoy remembered, " He just said, 'Would you come in for a couple of days and do me a favor.' " Even though the actor had turned down an invite to make a cameo appearance in Star Trek Generations because he felt what had been written for him to play in that film was too general, Nimoy was convinced that this movie was sufficiently specific about the inclusion of Spock that he was willing to participate. Addressing why he had claimed not to be in the film, Nimoy, who was very pleased that the truth of his involvement was kept secret, initially said, " I was asked time and time again if I was in the movie, and I managed to avoid answering without lying. " He laughed, but was then reminded that he had flat-out denied being in the film and replied, " Maybe I was confused. Of course, speaking, if you’ll pardon me, logically, I wouldn’t know if I was in the movie until I saw the movie. " Nimoy enthused about the film itself, " It’s hard not to enjoy this movie. There’s so much of a thrill ride happening. The relationships between the characters are terrific. The actors are all wonderful. " [43] His cameo here marked Nimoy's final appearance as Spock and his final role overall prior to his death in February 2015 .

With the announcement of the sequel, fans once again began a campaign to bring Christopher Doohan back to the Enterprise , stating that the Enterprise needed a Doohan . Christopher Doohan did indeed receive a role in this film, appearing as a Transport Officer. Chris noted on his twitter page, @chrisdoohan, that he would not have got the part without the help of Simon Pegg and thanked fans on their Facebook page. [44]

New guest stars [ ]

On 4 November 2011 , Variety reported that Academy Award-winning actor Benicio del Toro was expected to be offered the role of the villain in the sequel. [45]

On 30 November 2011, it was announced that Alice Eve had been selected for a lead role in the film. [46] She suspected one reason she was chosen to play Carol Marcus was that Eve "naturally speaks very fast," which matched the fact J.J. Abrams has a "very quick" mind, Eve noting, " Certainly in this one it's the universe racing against the clock. " ( Empire , issue 287, p. 92) She found the experience of reading the film's screenplay for the first time was extremely pleasant. " I went and read the script at Bad Robot, and it was really a privilege to be able to read it from beginning to end [without interruption] […] It became very clear what the story was in my head, because I read it in one sitting, " Eve reminisced. ( Star Trek Magazine  issue 172 , p. 54)

On 2 December 2011 , Latino Review reported that Benicio del Toro would play Khan Noonien Singh , a report which Abrams said was "not true." [47] As was revealed merely days later, del Toro's deal had actually fallen through on 30 November 2011, "after parties couldn't come to terms over monetary issues", so he was no longer due to appear in the film. [48]

On 5 December 2011, Peter Weller was announced as having joined the cast in an unknown role. [49] Weller had previously played John Frederick Paxton on Star Trek: Enterprise .

Two days later , it was reported that the absence of an actor to play the film's main antagonist and the fact the movie was intended to enter production the next month meant J.J. Abrams and Paramount were hurrying to find a suitable actor who could portray the villain and commit to a six-month shoot, between January and June 2012 . Simultaneously reported was that Edgar Ramirez and Jordi Molla were possible replacements being considered by the film's casting team, with Ramirez as the front-runner. He was expected to test for the role via Skype either later that day or early the following day , as Abrams wanted to decide whether to cast him before the forthcoming weekend. [50]

It was in the Christmas holidays of 2011 when actor Benedict Cumberbatch recorded and submitted an audition video, on an iPhone he owned, showing himself performing two or three scenes, after which, on the evening of New Years Day, he received a call to say the part was his if he wanted it. Though Cumberbatch accepted, he was yet to see a full script of the movie. ( Star Trek Magazine  issue 172 , pp. 24 & 26) The movie's screenplay did appeal to him, though. It, along with the opportunity to work with J.J. Abrams, primarily motivated Cumberbatch into agreeing to appear in this production, though he had seen the previous film as well. ( SciFiNow , issue 80, p. 023) " It's very beautifully crafted, " he critiqued of this movie, " so you have a proper, character-driven drama that happens to have all the lure and excitement of Star Trek added with the amazing possibilities of modern film-making […] [It's] a big film but based on a very detailed, good script, with good ideas […] I think it's going to be really thrilling. I can't wait to see it. I think I'm as eager as any fan of the first film is to see how it all comes together. It's going to be a real treat. " ( Star Trek Magazine  issue 172 , pp. 27 & 29) On 4 January 2012 , Variety announced Cumberbatch would be playing the villain. [51] Regarding how Cumberbatch interpreted the part, Alex Kurtzman opined, " He brought a whole new life to it. " With a laugh, Roberto Orci added, " He was so good that we didn't have to change much. " ( Star Trek Magazine  issue 171 , pp. 32 & 33)

Also on 4 January 2012, Variety reported British actor Noel Clarke would be joining the cast as a family man with a wife and young daughter. [52] Two days later, Entertainment Weekly announced that Nazneen Contractor would be playing the wife of Clarke's character.

Benedict Cumberbatch as "John Harrison"

On 30 April 2012 , it was reported that Benedict Cumberbatch's role in the film was that of Khan Noonien Singh . [53] [54] Simon Pegg shot down this report, though, calling it "a myth." [55] Karl Urban stated, " He's awesome, he's a great addition, and I think his Gary Mitchell is going to be exemplary. " [56] However, he later said, " I did that interview after a 22-hour flight from New Zealand. I literally hopped off the plane into the interview. " [57] Roberto Orci reiterated Urban's latter statement, while confirming Cumberbatch and Alice Eve's characters had appeared in Star Trek canon. [58] When interviewed himself, Cumberbatch continued the secrecy by merely pointing to a promotional image and stating he played "that person there." ( The One Show BBC One, broadcast 24th August, 2012) On 10 December 2012 , StarTrek.com released a photo featuring Cumberbatch's character in a holding cell , with Spock and Kirk looking on from the other side. The site also reported that Cumberbatch's character was named "John Harrison", in apparent contrast to Orci's earlier comment that his character had previously appeared in Star Trek canon. [59]

Also on 10 December 2012, it was reported by TrekMovie.com that Alice Eve's character would be Carol Marcus. [60] She later remembered, " It was great for me to step on the bridge. " ( SciFiNow , issue 80, p. 023)

Michael Dorn was contacted for a role during the start of filming, and was asked to play "an officer – a soldier." Eventually, it was decided that "they didn't want to mix the old with the new": Dorn had appeared in some of the previous Star Trek films and television series, playing Worf and his grandfather . [61]

Following press screenings of the film's first thirty-eight minutes in Brazil, it was confirmed – on 7 March 2013 – that Peter Weller would appear in the film as Admiral Marcus. [62] [63] The real identity of Benedict Cumberbatch's character was revealed in late April 2013 . [64]

The scene where Kirk delivers a speech features some real-life war veterans, from a non-profit organization called The Mission Continues , which tries to help soldiers return to life after having been deployed. " When the sequel was being planned, " recalled Katie McGrath, J.J. Abrams' wife, " we thought about how to make it meaningful beyond the experience of doing it all together again. We were thinking about the themes of the film and what would resonate. And also maybe help alleviate the sort of values of the Starfleet cadets… of sacrifice, bravery and friendship. " Eric Greitens , who works as the company's CEO and makes a cameo appearance in the film himself, referred to the group cameo as " A real thrill. And it was meaningful, too. " One of the veterans who appears, Adam McCann , had been hit by a bomb exactly seven years, to the day, before participating in the scene. ( Empire , issue 287, p. 91)

On Thursday 2 February 2012 and Tuesday 7 February 2012, Headquarters Casting , owned by Carla Lewis , sought background performers for the Star Trek sequel. According to a relevant casting note, they were searching for " attractive / refined / upscale or exotic talent ages 35-55 who are well postured / athletic to thin. Men should be in good shape, ladies must not be overly busty or curvy. The wardrobe is fitted so we need performers who are in great shape and/or on the thin side. Seeking a wide array of different ethnicities for this group, including ethnically ambiguous talent. The work date(s) are TBD, but could be numerous depending on the scene you are selected for. Would require at least one wardrobe fitting. We are submitting additional photos and the photos MUST be current and representative of how you look NOW. Some of the spots that will be picture picked will be quite featured. This is background work and we are seeking both SAG & Non-Union talent. It's possible that non-union performers may need to work SAG (depending on the work day(s) they are ultimately fit for and the number of performers working that day). " The open call was held at 3108 W. Magnolia Blvd., Burbank, California 91505. [65]

Rehearsals and interaction [ ]

When the cast of this movie began rehearsals, Benedict Cumberbatch wasn't present (as he was not yet cast) but Alice Eve was. She was pleased Simon Pegg was there, because they were already familiar with each other. " Simon […] made me feel very comfortable, not that everyone else wasn't equally welcoming, " she remarked. ( Star Trek Magazine  issue 172 , p. 55)

On the contrary, Alice Eve referred to the way the cast and crew treated her as "incredibly welcoming and gracious." ( SciFiNow , issue 80, p. 023) She explained at length, " The people behind this film were all so incredible that there was no awkwardness. Everyone knew the reason they were there, and they had clear directives for fulfilling them, and it became a very collaborative process, like building a village. " ( Star Trek Magazine  issue 172 , p. 55)

Likewise, Benedict Cumberbatch relayed that the principal actors "were so respectful" of the fact that he had joined the film's cast as the main villain. " There was only one occasion where I had the discipline to pull away from their camraderie, and sit away in a corner and brood, darkly, because I had too much fun with them, " he conceded, thinking back to the making of the film. " I had so much fun with them, I hope that doesn't reflect in the film, because otherwise I'll be useless, " he laughed. Moments later, Cumberbatch said, " To work with them was just a real kick. A real kick. " After commenting positively on each of those performers, he concluded, " We had so much fun hanging out together in LA, it was genuinely a really joyous experience. I spent all my time just laughing. " ( Star Trek Magazine  issue 172 , p. 27)

The principal actors were happy to make new friends, too. " I didn't get to work this time around with people I enjoyed [last time], " Zachary Quinto observed. " I didn't get to spend much time with Simon Pegg, or even with Chris Pine this time […] But what I lost with the familiar, I gained in working with Benedict [Cumberbatch], which was significant. We got along really well, and I liked working with him. " Karl Urban enthusiastically noted, " I loved watching Chris and Benedict when they were doing scenes together, because the sparks would literally fly. " Pegg enjoyed collaborating with Pine. " We spent a lot of time working on this, " noted Pegg, " and we had a hoot […] Welcoming Alice Eve and Benedict Cumberbatch was great [too], because we wanted them to feel as welcome as we did. " John Cho likewise enjoyed getting to know Cumberbatch, whose performance impressed him, and Eve. In reference to the latter performer, Cho related, " It kept the set lively to have to get to know another person. " ( Star Trek Magazine  issue 172 , pp. 41, 56, 82, 111) Pine was wowed by the work of both Cumberbatch and Eve in this film. Concerning the interaction between Kirk and Carol Marcus, Pine stated, " When there's a beautiful blonde woman around, there's always the potential for love, and we know the story there. " ( SciFiNow , issue 80, p. 023) During their breaks from filming, the cast often played word-based board game Words with Friends . ( Star Trek Magazine  issue 172 , pp. 83 & 115)

Design, sets, and locations [ ]

A blueprint for the Enterprise sets in this film

Following the release of Super 8 , it was announced, in September 2011, that J.J. Abrams would direct this film. [66] He had quite a good idea of how he wanted this film to look. Production Designer Scott Chambliss reported about Abrams' design specifications, " On Star Trek Into Darkness he had pretty strong thoughts about more complete concepts of what he wanted than I was accustomed to. " ( Empire , issue 287, p. 96) On the other hand, the film's creation was obviously reliant on a team effort, Abrams himself remarking, " I think we all felt we have to outdo ourselves not with scale, or bombast, or pyrotechnics, but to maintain the thing we did last time. Despite it being called Star Trek , it had to be real. You had to feel it. " ( Star Trek Magazine  issue 172 , p. 14)

J.J. Abrams felt green screen was "obviously" necessary in this film. However, he explained, " One of the things we've continued from the first movie is the idea of finding locations or building sets whenever we could to create a world that isn't synthetic or sterile, but feels very, very real. " Dan Mindel agreed, " What we brought to this one was the fact that we went outside more. " ( SciFiNow , issue 80, p. 026)

For the Enterprise in this film, the creative team attempted to preserve a look of newness and cleanliness while also giving the vessel a sense of scale. " We wanted to show the audience far more of the ship and to give it more depth, " noted J.J. Abrams. ( SciFiNow , issue 80, p. 026) Due to the fact that permanent sets used for NCIS: Los Angeles were on Paramount Stages 8 and 9 , this movie was instead scheduled to film at Sony Studios in Culver City. Sony Stage 15 , which was the largest stage at Sony and was larger than the Paramount stages, enabled the filmmakers to build interconnected interiors for the Enterprise , similar to the original television show. ( SciFiNow , issue 80, p. 26; [67] ) This time, filming locations chosen to represent Enterprise interiors included not only Budweiser Brewery , which had been used for ship interiors in the previous movie, but also National Ignition Facility at the Lawrence Livermore National Laboratory in Livermore, California. ( SciFiNow , p. 026; [68] [69] )

For the garbage barge scenes, a green screen set was built in Marina del Rey , California, along Jefferson Blvd. and near Grosvenor Blvd. [70] Also, Hawaii was considered for "jungle scenes" set on Nibiru but a location in Southern California was chosen instead. [71] This was clearly a reuse of the set in Marina del Rey, complete with red prop trees. [72] The set of the Nibiran volcano also made use of a large green screen. [73] Other filming locations included Dodger Stadium , Long Beach City Hall , MCAS Tustin , and Vasquez Rocks Natural Area Park [74] as well as Crystal Cathedral in Garden Grove, California. [75] For Leonard Nimoy 's cameo, the offices of Bad Robot were selected. [76] (X) Dan Mindel observed that the variety of locations used to film the movie "gave the huge scope it has now." ( SciFiNow , issue 80, p. 026)

Iceland was picked for the filming of some visual effects shots. J.J. Abrams had considered filming Delta Vega exterior sequences in Iceland for the previous film. [77]

Designer Neville Page said that, if there were Klingons , he would have to explore a rationale for their appearance, such as their long hair, and give their species a varied look, perhaps with different races. [78]

Industrial Light & Magic began working on visual effects in November 2011, starting with shots of outer space that would not require live-action elements. [79]

The making of this film required both Benedict Cumberbatch and Zachary Quinto to do some training. Both cast members enjoyed their training routine, which involved wire work for both the two actors. Quinto's training – which was with a stunt trainer, "for a couple months before shooting" – also included sprinting, and Cumberbatch remarked that his own routine was "for these choreographed fight scenes, stunts, […] and all sorts of fun and games." ( Star Trek Magazine  issue 172 , pp. 29 & 39)

Filming [ ]

On 23 November 2011, it was reported that this sequel would be shot in 3D for a 17 May 2013 release. [80] J.J. Abrams later clarified the film would be shot in 2D and converted into 3D during post-production. [81] He also opted to shoot the film in a hybrid mix of IMAX and Panavision anamorphic 35mm. [82] Choosing to present the film with 3D and IMAX was not a decision Abrams took lightly, as his priority was to always try to keep things in the movie authentic, regardless of the story being fantastical. The choice Abrams made was influenced by him looking closely at modern films which used the two formats. Bryan Burk stated, " We hope that the combination of the IMAX and 3D will be unlike anything audiences have seen. " [83]

As for his decision to use IMAX in particular, J.J. Abrams was inspired by having worked with Director Brad Bird on Mission: Impossible – Ghost Protocol , one of only a few recent blockbuster films which had employed IMAX. " But I'd yet to see a space adventure presented in this way, " Abrams noted. The deal was nonetheless clinched for him after Christopher Nolan kindly screened for Abrams the section of The Dark Knight Rises that uses IMAX. " Watching that incredible footage, " he related, " it made me realize if we had an opportunity to shoot some of this movie in IMAX, we'd be crazy not to. " [84] According to A-camera 1st AC Serge Nofield, one of the challenges of moving between the two formats was working in the different aspect ratios. " In an effort to bridge that difference, we didn't use the entire [1.43:1] IMAX negative – we masked it to achieve a ratio of 1.66:1, " he says. " When viewed in an IMAX theater, the movie will shift from 2.40:1 to 1.66:1. " [85]

This was the first official 3D Star Trek production and the first 3D film that Bad Robot Productions worked on. Regarding the choice of using 3D for this film, Damon Lindelof expressed, " It did not impact the writing of the script […] All of us were a little bit cynical about doing the movie in 3D […] So the 3D decision was more along the lines of like 'are we going to screw up Trek by doing this movie in 3D or is Trek ready for 3D?' Hopefully it is the latter. " J.J. Abrams and his allies were persuaded to convert the film to 3D after watching converted footage of a scene in Star Trek where the USS Enterprise arrives at Vulcan . [86] Bryan Burk later noted, " When we looked at what Star Trek is all about – epic battles, sweeping planet vistas and nail-biting action – we thought, if Star Trek isn't worthy of 3D, then what movie is? The bottom line for us was that if we were going to embrace 3D for the first time, we wanted to make it special and different […] We knew if we did this, we wanted to really go for it. " The production staff settled on the premise that simply adding 3D to the mix wouldn't be enough – it had to be used to bring more impact to the storytelling or heighten the realism of worlds which didn't exist in reality. [87]

As reported by TrekMovie, shooting of the sequel started on 12 January 2012 . [88] The first footage to be shot was on the set of the Enterprise 's bridge. " I was angry at J.J. for throwing us on to what can be a difficult set, " Chris Pine laughed. ( Empire , issue 287, p. 90) The set indeed proved troublesome, when Alice Eve initially stepped onto it. " I fell on my bum the very first time, which is a testament to how clean and shiny they kept the floors, " she reckoned. ( SciFiNow , issue 80, p. 023) On 14 January 2012, Paramount officially announced principal photography had begun. [89]

As the filming got under way, some results of the decision to shoot much of the film in IMAX proved clear to the filmmakers, giving them some mind-boggling logistical challenges. [90] " The idea of throwing the IMAX cameras around was a huge challenge, " Cinematographer Dan Mindel recollected. " J.J. stood by his commitment to use that system, but we couldn't operate the cameras the way we do normally. " The time needed for shooting in IMAX was especially hard, as IMAX cameras take a very long time to reload and run out of film extremely quickly, which caused frustration for J.J. Abrams. " So the biggest challenge for me, " continued Mindel, " was just to keep all that going and have him not lose interest in or be disappointed in the decision he made to use the system. " ( Empire , issue 287, p. 87) Abrams himself remembered, " It became a rule that when the action was outdoors, we shot using IMAX, and when we were indoors, we used anamorphic 35. " [91]

After each angle was shot, the actors had to move out of the camera's perspective, then a pass was filmed with a 3D camera which replicated the original camera moves, to help the 3D conversion process. [92] This was a new technique, which J.J. Abrams described as involving "multiple virtual cameras to push the perspective and depth in certain ways, towards how people see in 3D." The new method allowed people who didn't enjoy or perceive 3D to "get it," Abrams counting himself as one of those individuals. " That's not to say the 2D experience wasn't the primary focus, " he clarified. " All I wanted to do was make sure I made a movie that was working in 2D, but [that] if you see it in 3D you get a little more bang for your buck. " ( Star Trek Magazine  issue 172 , pp. 15 & 17) For the conversion process, the team brought in stereographer Corey Turner , who had worked on some of the biggest 3D films of the past few years, and then encouraged him to keep pushing the boundaries of visible depth and immersive detail on screen. " The process was both extremely laborious and more precise than we ever imagined, " explained Bryan Burk. " Along with Corey, we literally went through the film frame by frame, pushing every aspect of the 3D that was possible – really making objects feel as if they are coming out from the screen. We would routinely say to Corey 'let's push it further' and he would say, 'this is as far as anyone could possibly go' and we would say 'Go further! Go further!' and then he would. " [93] Damon Lindelof was a supporter of using 3D for this film. In hindsight, he suspected, " I don’t think this is going to hurt the movie. If people want to see it in 3D, they will get their money’s worth […] Based on the dailies that I have seen, I think JJ pulled it off. " [94]

In the final week of January 2012, ( citation needed • edit ) NASA astronaut and engineer Gregory Chamitoff visited the Enterprise bridge set while the Star Trek sequel was in production. He inspected some of the stations on the bridge, sat in the command chair, was announced as a "guest of honor" by J.J. Abrams, and gave a speech to the shooting company. In his speech, he commended them by saying, " You know, what you guys are doing here, it's not just an incredible, spectacular movie […] but it's also inspiring a whole new generation of kids. " ( Star Trek: Secrets of the Universe )

Recalling one example when IMAX was employed, J.J. Abrams noted, " We used it for the volcanic planet Nibiru. " [95] For the filming of the scenes in which the Enterprise is underwater, Dan Mindel softened the lights on the set of the Enterprise , making the ship's interior look "more subdued, cooler or bluer in color," as phrased by Mindel. ( SciFiNow , issue 80, p. 026)

Another usage of IMAX was for footage in the Qo'noS scenes. [96] [97] Filmmaker Edgar Wright visited the Qo'noS set and got to direct a shot for the movie. [98]

Filming the scene in which Scott runs through a long open area aboard the Vengeance was grueling for Simon Pegg. " I remember that day very clearly, " he explained, " 'cause I'd just eaten and I rocked up on set and J.J. said 'You've got to run 100 meters, really fast' […] I'd been hanging around all day on set, it was a nice shoot, I'd had a big dinner, then they say, 'OK Simon, you're up,' and I had to do this sprint. And I did it as fast as I could. I mean, I really went for it. I did the first take and everyone clapped, because I ran like I hadn't run since I was a kid. It was amazing. And then J.J. said, 'Can we do it again?' and I said, 'Yeah! No problem!' By the third take, I was, like, 'No.' So I went back to my trailer. " There, Pegg finally threw up. " Fortunately, my trailer was a simple stumble away, " he concluded. ( Star Trek Magazine  issue 172 , p. 82)

J.J. Abrams came up with a method of shooting the sequence in which the Enterprise falls toward Earth. " JJ got very interested in the idea that if you move the camera in certain ways and if people behaved in certain ways, " reported Roger Guyett , " it would really feel like everything on the ship had wrapped around upside down, and he was right. " ( SciFiNow , issue 80, p. 026)

IMAX was used "especially at the end where there's […] [a] chase through San Francisco," stated J.J. Abrams. [99]

As evidenced by photographs which were leaked online, the scene in which Spock and Khan jump from one garbage barge onto another was filmed on the garbage barge green-screen set on 23 February 2012 . [100]

Alice Eve visited a filming location where she was astounded by seeing Benedict Cumberbatch, who had been a friend of hers for almost nine or ten years beforehand, do some wire work. " I saw him flying through the air! " she exclaimed. " It was just amazing to see that. It was staggering to see your friend working in that way, with all these people around. It was dusk as well, in this weird location and I was thinking this is crazy. " Eve later cited this experience as one of her fondest memories of the shoot. ( Star Trek Magazine  issue 172 , p. 55)

The volcano sequence was first rehearsed by a stunt double. In front of the set's green screen, Zachary Quinto was then rigged to a pair of wires, lifted to a height of ten stories high, then dropped at a high rate of speed as if he was falling. [101]

As reported by Go for Location on 17 April 2012 , the Star Trek sequel filmed exterior and interior scenes all week in Downtown Los Angeles, especially Bunker Hill and the historic core areas [102] [103] and at Flower and Olympic. [104]

On Friday 20 April 2012, production filmed at 710 S. Grand Avenue, Los Angeles (7:00 am – 10:00 pm). [105] The day after , the cast and crew conducted more filming in Los Angeles. Between 6:00 am and 10:00 pm, they shot footage in the Grand Ave. crosswalk, between Cal Plaza and Wells Fargo Plaza, as well as at 350 S. Grand Ave., and at 333 S. Grand Ave. Between 7:00 am and 10:00 pm on that same day, the cast and crew filmed at 710 S. Grand Ave., 650 S. Spring St., and 523 W. 6th St. as well as returning to capture some more footage at 710 S. Grand Ave. The shooting company did even more filming at the latter address on the next day, 22 April 2012. During these dates, base camp was set up at Grand and 8th Ave. [106]

According to a crew member, the production would, after the Los Angeles shoot wrapped, head to the San Francisco area for the final week of filming. According to On Location Vacations, there was a radio casting call in San Francisco for a big motion picture and shooting was scheduled to start there on 1 May 2012 . [107] As reported by On Location Vacations just a few days later, some location filming was done at the National Ignition Facility, prior to the filming in San Francisco. [108] [109] The production unit was also scheduled to film in Pleasanton . [110]

After Leonard Nimoy drove himself to the offices of Bad Robot Productions, his cameo scene was shot there, directed by J.J. Abrams. [111]

J.J. Abrams discovered that, by attempting to push the limits of what he and the rest of the film's crew were capable of, this movie turned out to be, by far, his hardest directorial effort yet. " I think part of it was the scope of it. The scale of the movie was pretty huge, " he offered. " I think that it was also about trying to take what we did before and embrace the things that worked, and try some things that we hadn't done. Part of it was realizing there are always things [in the original] that I look at and wish I had done this or that. It's a little bit of a second chance to try and do some things that didn't quite work the way I wanted them to, and then do some things I didn't get a chance to do before. " ( Star Trek Magazine  issue 172 , p. 15) However, Abrams was typically hyperactive during the shoot. " He'd doodle a cartoon, and then turn it into a 3D printable graphic, he'd come up with an idea for Nickelodeon – this is just in the breaks between set-ups, with the IMAX being changed over, " Benedict Cumberbatch reported. " He'd beatbox, he'd play music that was comically fitting for the moment of the day. " ( Star Trek Magazine  issue 172 , p. 27)

Simon Pegg and Zachary Quinto tweeted that filming (of principal photography) wrapped on 8 May 2012. [112] The reason why Damon Lindelof, Alex Kurtzman, and Roberto Orci had advocated not rushing the making of this film was that Star Trek would naturally require intensive post-production, more so than Super 8 . [113] Following the wrap of the movie's principal photography, second unit filming began with the film's Iceland shoot. This marked the first time a Star Trek movie shot outside the United States. [114]

Editing [ ]

One shot of the Enterprise , reminiscent of the initial view of the original Enterprise in first episode " The Cage ", was planned but scrapped. Sean Hargreaves explained, " There was a shot where they were going to tilt up and the whole top [of the bridge] was going to open up […] It was very complicated mechanics, it was beautiful, and it was nixed; they didn't end up doing it, but I've always loved that. " [115]

In an October 2012 interview on the talk show Conan , J.J. Abrams stated that this film was in the editing process. [116] He was still involved in editing and tweaking the movie in late March 2013 . ( Star Trek Magazine  issue 172 , p. 6)

Khan in a shower

Responding to criticism that the scene in the Enterprise shuttlecraft in which Kirk catches a glimpse of Carol Marcus in her underwear could be viewed as sexist, J.J. Abrams revealed – during an interview on Conan on 23 May 2013 – a segment of a deleted scene from the film in which Khan is seen taking a shower. [117]

Carol Marcus is highlighted in a deleted scene explaining that her parents had separated, thus leaving Carol to be raised by her mother alone in England . The scene thereby addresses why Carol has a different accent from her prime-reality counterpart. [118] The explanatory deleted scene is the only one involving Carol Marcus. [119]

Several deleted, expanded and alternate scenes appear exclusively through the film's Xbox SmartGlass second-screen app . [120] An alternate cut of the scene where Kirk loses his command was the version in which Pike personally demotes him and takes control of the Enterprise , immediately relegating Kirk to first officer. The opening scene at Nibiru originally ended with Kirk recording a captain's log entry on the bridge, untruthfully stating that the crew never set foot on the planet's surface and that the mission was "uneventful." In the deleted scene, Kirk stated in his log:

The scene where Thomas Harewood sits as his station at the Kelvin Memorial Archive originally included a video chat in which Harewood explains to Admiral Marcus, " He [Harrison] said you'd know why he did this, " right before activating the explosive device disguised as his Starfleet Academy ring . The sequence where Harrison fires upon several Starfleet officers from a jumpship was recut: in the earlier version, Kirk witnesses Pike get shot and is by his side as Pike dies; Harrison swoops back to the scene and resumes fire, prompting Kirk to take down the ship.

Uhura's exchange with the Klingons originally involved her lying to them by stating that she was seeking out a lone Klingon who was her lover and had stolen from her. Uhura's ruse is interrupted when Kirk decides to exit the K'normian ship and attack the warriors with his crew members. The ensuing fight halts when two Klingons hold Kirk to the ground and put a rifle to his head. As Kirk's crew comes out from behind cover, the Klingon commander shouts an order and a redshirt is shot in the chest. The commander also orders Kirk to be killed, but the Klingons are shot by Harrison as he appears.

Kirk meeting the Harewoods

The scene where Scotty approaches the secret hangar containing the Vengeance included a sequence where he bluffs his way in by stating he was delivering "hull plating and the coffee cells for the food synthesizers." The end of the film originally contained a scene at the commemoration ceremony, where Kirk speaks with Rima Harewood and her daughter Lucille , the latter of whom appears to have been restored to good health.

Music and sound [ ]

Michael Giacchino confirmed he would return to compose the film's music score before filming began. [121] " One of the things I spent a lot of time thinking about on this was […] the villain, Khan […] To be able to have music that represents the wrong side of someone's decisions, but also represents sort of the buried goodness in what they want to do. " ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features) Elaborated Giacchino, " It wasn't about writing based on what the character wanted or the things he's doing; it's more about his past and the way his brain works. I found him to be very interesting, especially because it's Benedict […] I kept looking at him and saying, 'What is he thinking right now?' For me, the music was exploring that idea and the fact that what is going on is based on something that happened a while ago. Again, going to the emotional side of things is what I do. He gave me tons to play with. Hopefully, I came up with something more than just bad guy music for him. " ( SciFiNow , issue 80, p. 029) Giacchino composed new themes for not only Khan, but also Admiral Marcus, and the Klingons, as well as a more "personal" arrangement of Kirk's theme. The Klingon music incorporates Klingonese lyrics that were sung by a choir and were written by music editor Alex Levy . [122]

Matching the pace and scope of the film wasn't always easy for Michael Giacchino. " There was a point where I said, 'I'm not sure where to go now because the film has reached such heights of drama that I'm like, 'I did that and the next scene is even bigger,' " he laughed. " How do I keep jumping that hurdle each time? That was the architecture of the score, looking at it and going, 'You need to get big in the middle of the movie, but you don't want to get too big, because you know there's going to be something bigger later.' For me, it was about focusing on each character's storyline and making sure that when I'm writing for them it's appropriate, and not just me saying, 'I want to write a big piece of music' […] Hopefully, the steady ramp up for the audience is exactly that: a steady ramping up to an emotional climax. " ( SciFiNow , issue 80, p. 029)

Michael Giacchino also incorporated a theme from the TV show in this film: " I had just finished writing and shut off my computer and said I'm done done. I went downstairs and went on Twitter and someone tweeted to me 'Can you please use one of the themes from one of the old series in the new movie'… and I thought 'OK, OK' and so I went back upstairs and there was one I always particularly loved… so that will be there for you to find. " [123] The theme in particular is the "fight to the death" music from TOS : " Amok Time ", which can be heard during the climactic fight between Spock and Khan. " Amok Time " composer Gerald Fried is acknowledged in the credits for the track titled "Ritual".

At one point, a music cue that Michael Giacchino wrote for one scene had to be changed in order to account for the fact that the relevant scene had recently been edited differently. Whereas the cue may have worked perfectly well during the previous week, it had to be altered to fit with the new edit. Giacchino decided to rewrite the cue on the next morning, unsure how successful it would turn out. Even while played by an orchestra, the score was still evolving, in the concerted attempts to improve the film. ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features)

On another occasion, Orchestrator/Conductor Tim Simonec instructed all musicians who were holding a note at bar twenty-nine in one of the cues to hold the same note for another three bars. ("The Sound of Music (and FX)", "Featurettes", Star Trek: The Compendium special features)

Depending on where the film was screened, a different song was played in the scene showing Scott and Keenser at a San Francisco bar. For example, the UK edition of the film used " The Rage That's In Us All ", by Bo Bruce , while the Australian version was " The Dark Collide " by Penelope Austin . [124]

Business Wire announced that Star Trek Into Darkness would be released with Dolby Atmos " to deliver a more natural and realistic soundtrack that moves sound around and above audiences, transporting them into the outer regions of the universe. " [125] [126]

Continuity [ ]

• The writers of this film have stated it is set roughly six months to a year after the preceding film, Star Trek . Added Roberto Orci, " The idea is they've had at least a tour of duty or two, and every minute of exploring space is like five minutes of regular time here on boring Earth. " ( Star Trek Magazine  issue 171 , p. 33)
• In this film, Admiral Pike – last seen in a wheelchair at the end of the film Star Trek , after his ordeal with Nero – is shown to have regained his ability to walk and is represented using a cane.
• Star Trek Into Darkness continued to use the same stardate system devised by the screenwriters for the film Star Trek . According to Roberto Orci , in that system, stardate 2259.55 would be February 24, 2259. [127]
• Admiral Marcus' model collection includes the Ares V , the Phoenix , the USS Enterprise XCV 330 , Enterprise NX-01 , the USS Kelvin , and the Vengeance .
• Spock tells McCoy that " The needs of the many outweigh the needs of the few. " Spock Prime tells Kirk this in Star Trek II: The Wrath of Khan .
• Admiral Marcus reveals that the Kelvin Memorial Archive was really a base of Section 31 , the Starfleet Black Ops division that existed as early as 2151, when a young Malcolm Reed was recruited by them. Section 31 was first introduced during the sixth season of Star Trek: Deep Space Nine , but Section 31 agent Luther Sloan claimed that the organization had existed as a secret black ops division of Starfleet Intelligence since the founding of Starfleet. The prequel series Star Trek: Enterprise later established that this did not simply mean the beginning of the "Federation Starfleet", but the foundation of the predecessor United Earth Starfleet, which later grew into the Federation Starfleet after that organization's creation.
• En route to Kronos (Qo'noS), Spock pronounces Uhura's first name, Nyota, differently than he does in the previous film.
• Chekov, established as a "whiz kid" at the age of seventeen in the film Star Trek , continues to demonstrate his proficiency by learning enough about engineering systems to be Kirk's choice to replace Scott as chief engineer.
• The dialogue in the scene where Kirk dies in the radiation chamber uses some verbatim quotes from a very similar scene in Star Trek II: The Wrath of Khan . In that film, it is Spock, rather than Kirk, who sacrifices his life, exposing himself to radiation in a chamber of engineering in order to save the Enterprise .
• Likewise, when calling Spock down to engineering after Kirk's sacrifice, some of Scott's dialogue, such as " You better get down here, better hurry, " " You'll flood the whole compartment, " and more, is verbatim dialogue spoken by McCoy in a very similar scene in Star Trek II: The Wrath of Khan .
• The number of torpedoes containing Khan's old crew, seventy-two, is the same number of Augments that survived with Khan nearly three centuries of suspended animation when Kirk discovers the SS Botany Bay in TOS : " Space Seed ".
• Starfleet Command meets in the Daystrom Conference Room . Richard Daystrom was introduced in TOS : " The Ultimate Computer " and mentioned in other Star Trek episodes as well.
• Christine Chapel is mentioned by name as one of Kirk's former conquests, having purportedly told Carol Marcus all about him. In this film, she has apparently transferred and is now working as a nurse. The Prime Universe variant of Chapel appears as a recurring character in TOS and Star Trek: The Animated Series as well as in Star Trek: The Motion Picture and Star Trek IV: The Voyage Home .
• In the previous film, it was revealed that Uhura speaks "all three dialects" of Romulan; in this film, it is revealed that she also speaks Klingon.
• The Klingon homeworld, Kronos (Qo'noS), features the remains of the exploded moon Praxis in its orbit. This is a homage to Star Trek VI: The Undiscovered Country , in which the Klingon moon Praxis was destroyed by over-mining and insufficient safety procedures.
• The Klingon leader seen in the film has cranial ridges, despite the appearance of Klingons in Star Trek: The Original Series era; the Klingons appearing in the series Star Trek: Discovery , set in roughly the same era , also have cranial ridges. This suggests that not all Klingons were afflicted by the Klingon augment virus . ( ENT : " Affliction ")
• While Admiral Marcus was preparing for war with the Klingons, the Star Trek: Discovery shows that indeed a Federation-Klingon War has already happened in the prime universe. Ironically, this war doesn't seem to have happened in the alternate reality.
• "Cupcake" – Security Officer Hendorff – who Kirk met in the bar fight in Iowa , is still serving aboard the Enterprise and accompanies Kirk to Qo'noS.
• At one point in this movie, Khan is referred to as having sought refuge on Qo'noS in the Ketha Province . As established in DS9 : " Once More Unto the Breach ", the Ketha lowlands , in the "Prime" reality, were the birthplace of Chancellor Martok .
• The Vengeance destroys Alcatraz as it crashes to Earth. In VOY : " Endgame ", a future version of Kathryn Janeway from the year 2404 told her past self, in 2378 , that one could see Alcatraz from USS Voyager 's ready room on a clear day, because Voyager was a museum located on the Presidio in that timeline.
• In this film, McCoy refers to Khan as a superman. In "Space Seed", Spock refers to Khan and his people as supermen.
• As Kirk wakes from his coma near the end of this film, he can hear his mother and father speaking about him moments after his birth. This dialogue was reused from the film Star Trek .
• At the San Francisco bar, among the other drinks on Scott's table is a Budweiser. Uhura orders a Budweiser Classic in the previous film, and both this movie and the previous one used a Budweiser plant for scenes in engineering.
• McCoy uses his medical skills to assist Carol Marcus in performing "surgery" on a torpedo, something his prime universe counterpart assists Spock with in Star Trek VI: The Undiscovered Country .
• Scott sabotages the Starfleet prototype USS Vengeance to help save the Enterprise . His prime universe counterpart likewise sabotages the prototype USS Excelsior to help the Enterprise escape in Star Trek III: The Search for Spock .
• In San Francisco, trolley cars are shown to still be in use. The Star Trek settings they appear in date from as early as 1986, in Star Trek IV: The Voyage Home .
• In the film's London scenes, the "London Eye," a giant Ferris wheel on the South Bank of the River Thames, built in 1999 , is clearly visible and still in use.
• Among the pedestrians in San Francisco is an Orion woman .
• Pike tells Kirk that Starfleet Command returned the captaincy of the Enterprise to him by saying, " They gave her back to me, " which is also what Kirk tells Scott when he regains command of the Enterprise in Star Trek: The Motion Picture .
• The Enterprise spiraling down to Earth with the engines off-line is reminiscent of TOS : " The Naked Time ", where the prime-universe Enterprise spirals down to Psi 2000 after its engines are turned off.
• The effect of fading the screen to black but then having sounds become audible was previously used in ENT : " A Night in Sickbay " and " Regeneration ".
• Risking one's life to save the Enterprise is something not only that Kirk does here but also that his prime counterpart does in Star Trek Generations .
• This is the first Star Trek film to use the 2012-present Paramount Pictures logo.

Release [ ]

The film premiered at the George Street Event Cinema in Sydney, Australia on 23 April 2013. Additional premieres took place in Moscow (25 April), Berlin (29 April), and London (2 May), before wide release in Australia, New Zealand, and the UK on 9 May. It premiered in Los Angeles on 14 May, [128] before its release in the Philippines and North America on 16 May. [129] IMAX 3D preview screenings in North America took place on 15 May. [130] Paramount announced that the film would join its World War Z in a one-week-only "Ultimate Double Feature" from 30 August to 5 September. [131]

Publicity and marketing [ ]

Early promotional image before finalized title or release date

Bad Robot Productions made efforts to keep the story of this film secret until its release, for the benefit of the audience. Fan interest in this film, though, meant it was difficult for Bad Robot to keep hiding the plot. ( Star Trek Magazine  issue 171 , p. 6)

At the 2011 San Diego Comic-Con, Roberto Orci hinted at changes to the Enterprise design and the opening credits. [132] He commented upon commencement of filming that the engineering designs had been altered. [133]

Several photographs from behind-the-scenes appeared on the web on 24 February 2012, showing Zoë Saldana, Benedict Cumberbatch and Zachary Quinto. [134] Another batch of photos were leaked on 29 February, featuring Saldana with Chris Pine. [135] Yet more behind-the-scenes pictures were posted online on 1 March 2012. Those photos depicted stunt work being done on the garbage barge set, involving the characters of Spock and Khan. [136] On 16 April 2012, a new photo from the filming went online, showing Zachary Quinto filming the volcano sequence. [137]

The first image officially released from the film

In an October 2012 interview on the talk show Conan , J.J. Abrams debuted a three-frame clip of Spock in the Nibiran volcano. [138]

IDW Publishing solicited a four-issue prequel comic book to the film, titled Star Trek: Countdown to Darkness . Like the previous film's comic book prequel, Star Trek: Countdown , it was written by Mike Johnson and drawn by David Messina . Johnson also wrote the ongoing comic book and said the first , fourth , and twelfth issues contained hints of events in the film. " They are more retroactive, in the sense that after you see the movie you can go back and see where things were set up. Some are very direct; others are more thematic. " [139] [140]

Hasbro released Kre-O and Fighter Pods toys to promote the film. Mattel released three new Hot Wheels Star Trek Into Darkness starship models, and Quantum Mechanix announced plans to release a number of prop replicas based on historical flight models that were seen in Admiral Marcus' office. [141]

A video game, Star Trek , was released before this film. Its story and development cycle were independent of the films, but its release was delayed to promote Star Trek Into Darkness .

Alan Dean Foster wrote the novelization of this film.

The movie's soundtrack was released by Varèse Sarabande Records .

The first nine minutes of this film were shown before IMAX 3D screenings of The Hobbit: An Unexpected Journey on 14 December 2012. [142] The first trailer for Star Trek Into Darkness was shown before non-IMAX screenings of An Unexpected Journey . [143]

While showing scenes from this film at CinemaCon on 15 April 2013, members of the cast and crew expressed discomfort at promoting the film just hours after the 2013 Boston Marathon bombings . Chris Pine acknowledged the parallels between the film's plot and the real world; " Terrorism is a huge part of our lives, and we all know the effects of that. " [144] Before the film's Australian premiere, J.J. Abrams commented the parallels were " horrible and unfortunate and heartbreaking […] but I would argue that it is also one of the reasons we go to the movies – to look at our lives, to ask questions about things we are trying to figure out, to find ways to make some sense of these things. " [145]

Posters [ ]

Box office [ ]

Within hours of tickets going on sale in the UK on 9 April 2013, the London IMAX 's website crashed due to heavy traffic. [146] Following its opening in the UK, Australia, Germany, Mexico, New Zealand, Austria, and German speaking Switzerland, Star Trek Into Darkness set international records for the series with a gross of approximately $31.7 million. [147] Reports indicated ticket sales were seventy percent higher than for the last film. [148]

After tickets to the US IMAX previews sold out, the film's wide release was moved up a day from its initial 17 May date. [149] The film grossed US$81.1 million over its four-day opening, lower than Paramount's expected $100 million, but the film also already outgrossed its predecessor in markets such as Russia, Taiwan, and Mexico. [150] The film's North American opening (three-day) weekend was actually less than the US$75 million opening of the first film, while attendance by audiences under the age of twenty-five dropped ten percent to twenty-five percent. [151] The film dropped to third place during the subsequent four-day Memorial Day weekend, but grossed US$47 million. [152]

The film has grossed a total of US$458.7 million worldwide, with a domestic gross of US$228.7 million, which places it as the eleventh highest-grossing film in North America for 2013; and $231.3 million internationally, ranking it in fourteenth place worldwide, and making it the highest-grossing film of the Star Trek franchise. [153] The film was less successful than its predecessor in North America but exceeded it in other countries such as Russia and China, overall bringing the worldwide total to a larger amount than the first film a month after its release. [154] [155] Forbes argued that Star Trek Into Darkness ' disappointing performance in North America was due to J.J. Abrams' refusal to spoil that John Harrison was Khan, so Paramount was " forced to craft a generic campaign based around Benedict Cumberbatch as 'Generic Bad Guy', so the excitement never took hold […] It made fans and general moviegoers less excited about Star Trek 2 than they were four, three, or even two years ago. " [156]

Bryan Burk was extremely pleased with the film's international gross. " More than anything else, what I liked about the second film, and it sounds crass, but our box office doubled internationally [from the previous movie], " he stated, " which was really telling because people were starting to see [ Trek ] and not be afraid of it in the rest of the world. " ( SFX , issue 270, p. 71)

Reception [ ]

Roberto Orci and Alex Kurtzman were ultimately happy with this film, Kurtzman stating, " We feel, for the most part, that we accomplished everything we really wanted to. " ( SciFiNow , issue 84, p. 040)

J.J. Abrams was likewise pleased with how the film turned out. " This movie goes further than the first movie in every way, " he enthused. " There are volcanic planets, wild spaceship chases and massive effects, but there is also a more nuanced story […] The action and the scale are light years ahead. Bringing IMAX and 3D technology in gives audiences yet another level of excitement and fun to be had. " ( SciFiNow , issue 80, p. 023)

Dan Mindel was pleased with the look of this film after working on it as cinematographer. " We walked away with a really great-looking film, " he remarked, " which was necessary in order to top the first one. " ( Empire , issue 287, pp. 87-90)

Early reactions to this film were positive. The day after the end of a two-week international tour promoting this film to the world's media, Bryan Burk divulged, " I'm excited for everyone to jump onboard with this film […] From the Star Trek fans who have seen it, they all seem significantly more invested than ever, " Burk laughed. " It's funny. As I've been going around, preaching that this movie is now more accessible to non- Star Trek fans, the second they come out, I'm hearing from them it feels like it was made more for Star Trek fans, so I think it will be significantly rewarding for Trek fans. " ( Star Trek Magazine  issue 171 , p. 6)

This film has an 87% rating on Rotten Tomatoes, with an average score of 7.5/10. [157] The film has a "generally favorable" score of 72/100 on Metacritic. [158]

Among cinema goers, the film earned an "A" rating from those polled by CinemaScore. [159] The year after its release, a poll to find the 301 greatest movies of all time by Empire readers ranked the film at #245. [160]

On his twitter account, former Star Trek showrunner Rick Berman reviewed the film, saying, " Very exciting, great production and VFX. Fabulous acting. But is it a Star Trek film ? Maybe. Only time will tell. " He also contemplated how Gene Roddenberry might have reacted to the film, commenting, " At its soul, is it a movie that Gene would have given his blessings to? He very well might have. I really don't know. " [161]

Brannon Braga opined, "Into Darkness was slightly less successful [than the previous film] in that I was pining for the allegory. It was feeling like a Star Trek flavored action movie. " ( SFX , issue 270, p. 68)

LeVar Burton critiqued this film by saying, " At the end of the movie, I really care about what happens to the characters… but I’m pretty much missing Gene Roddenberry in J.J.’s interpretation… and at the end of the day, that’s just not OK for me. " [162]

Jonathan Frakes is disappointed that, despite visiting the set of this film, he wasn't permitted to participate in the making of it. Nevertheless, he approved of this movie. ( SFX , issue 270, p. 63)

Wil Wheaton wrote a positive review of this film on his blog. He summarized his opinion of the film by stating, " I loved it. I think it's my favorite Star Trek movie ever, and I can't wait to see what this crew does next. " [163]

Malcolm Reed actor Dominic Keating stated, " I went to see Into Darkness on a date and the girl I took was a Star Trek fan. Right at the end, where Spock is beating up on Benedict Cumberbatch, this little kid’s voice came screaming out from a couple of rows behind me: 'Way to go, Spock!' I turn around and it’s this kid who must have been about eight years old, and I thought to myself, 'Would you look at that. Fifty years on and they’re bringing it still. Isn’t that amazing?' " ( The Fifty-Year Mission: The Next 25 Years , p. 40)

The Wrath of Khan director Nicholas Meyer commented on the film's role reversal of a pivotal scene in that film that " You have to be flattered that somebody wants to sort of try and make your movie again. But the difference […] between a rip-off and an homage is that you are supposed to add something. " [164]

Despite the fact this film turned out to be successful both with critics and at the box office, some fans were disappointed with the movie, finding it too similar to Star Trek II: The Wrath of Khan . Abrams conceded, "We got in trouble on the second Star Trek film with some of the fans: there were too many nods to The Wrath of Khan . I'll cop to that." [165] Hollywood legend and intended Star Trek XIV writer Quentin Tarantino sided with the disenchanted fans at a later point in time, when he, a Star Trek: The Original Series fan himself, emphatically stated in a 22 July 2019 interview given to MTV's Happy Sad Confused podcast, " No, Benedict Cumberbatch, or whatever his name is, is not Khan, alright? Khan is Khan . " [166]

Tarantino and the critical fans were not alone in their assessment; despite the (cautiously) favorable reception expressed by the above quoted former Star Trek cast and crew, other former Star Trek production staffers (and Original Series fans) had already taken a slightly dimmer view on the alternate reality film franchise as well, after they had taken stock pursuant the release of Into Darkness . Doug Drexler has in 2013 put it as follows, " Technically they are beautiful… the work is stunning… however… and I hope no one will hold this against me… I did not enjoy the last two films, and honest…I really wanted to… but for me, Star Trek has to have a philosophical, humanist bend to it… always making a point, or asking a question. It should be introspective, and self examining. That's the Roddenberry factor. The new films are devoid of Gene Roddenberry , and at the end of the day, I'm not ok with that. " [167] (X)

In this Drexler was joined by former VAM Producer Roger Lay, Jr. who had stated in the same year, " Well, it’s not my Star Trek. It’s definitely not my Star Trek, it’s very different. What I love about Star Trek, sometimes it’s not really there, you know? I think they’re fun, popcorn movies… " [168] His former VAM colleague Robert Meyer Burnett was even more outspoken in his opinion when he declared in a 2017 podcast (at 00:27:00 into the interview) that he hated the alternate reality Star Trek films "to the core of my existence" for the very same reasons, even though he conceded that the films were beautifully made. [169]

Believing they had made this film sufficiently different from the earlier one, Roberto Orci and Alex Kurtzman responded by insisting that this film is not a remake and that at no point during the lead-up to it's release did they refer to it as a remake. Kurtzman remarked, " You certainly can't fault us for not taking the time to consider our choice [of whether to include Khan] – some people may disagree with the choices that we made, but we did not go into it blindly […] And people seem to like it, which is the most gratifying thing, because we made it for people. " Added Orci, " I think for some fans their preconceived notions prevented them from evaluating the fact that the movie is actually worthy on its own, and that's why they're having a slight dissonance with people who didn't know Star Trek very well and obviously had a great reaction to it. " The recycled dialogue used in this film was perhaps most disconcerting for some fans, to which Orci responded, " Put yourself in that situation [of having to write lines for the scene in question] and try and rewrite good stuff – we'd be equally harassed for, 'Oh, they tried to rewrite that scene and failed!' " Laughing, Orci likened this dilemma to the Kobayashi Maru scenario . Another debate in the fan community was about whether Khan would still have suddenly gone on the offensive if Kirk hadn't had Scott stun him once those three characters have secured the Vengeance . ( SciFiNow , issue 84, pp. 040, 041 & 042)

Merchandise gallery [ ]

Awards and honors [ ]

Star Trek Into Darkness received the following awards and honors.

Links and references [ ]

Credits [ ].

John Cho Benedict Cumberbatch Alice Eve Bruce Greenwood Simon Pegg Chris Pine Zachary Quinto Zoë Saldana Karl Urban Peter Weller Anton Yelchin

Paramount Pictures And Skydance Productions Present

A Bad Robot Production

A J.J. Abrams Film

Leonard Nimoy

• Kirk – Chris Pine
• Spock – Zachary Quinto
• Uhura – Zoë Saldana
• Bones – Karl Urban
• Scotty – Simon Pegg
• Sulu – John Cho
• Khan – Benedict Cumberbatch
• Chekov – Anton Yelchin
• Pike – Bruce Greenwood
• Marcus – Peter Weller
• Carol – Alice Eve
• Thomas Harewood – Noel Clarke
• Rima Harewood – Nazneen Contractor
• Ensign Brackett – Amanda Foreman
• Lieutenant Chapin – Jay Scully
• Ensign Froman – Jonathan H. Dixon
• Navigation Officer Darwin – Aisha Hinds
• Science Officer 0718 – Joseph Gatt
• Lead Nibiran – Jeremy Raymond
• Nibiran – Tony Guma
• Madeline – Kimberly Broumand
• Sean Blakemore ( Klingon 1 )
• Nick E. Tarabay ( Klingon 2 )
• Captain Abbott – Beau Billingslea
• Keenser – Deep Roy
• Lucille Harewood – Anjini Taneja Azhar
• Doctor – Jack Laufer
• Katie Cockrell ( Girl 1 )
• Kellie Cockrell ( Girl 2 )
• Cupcake – Jason Matthew Smith
• George Kirk – Chris Hemsworth
• Winona Kirk – Jennifer Morrison
• USS Enterprise Shuttle Ensign – Seth Ayott
• Torpedo Security – Marco Sanchez
• Uniformed Mercenary – Lee Reherman
• Scott Lawrence ( USS Vengeance Officer 1 )
• Usman Ally ( USS Vengeance Officer 2 )
• Nolan North ( USS Vengeance Bridge Officer 1 )
• James Hiroyuki Liao ( USS Vengeance Bridge Officer 2 )
• USS Vengeance Ensign – Rob Moran
• Berit Francis ( Starfleet Admiral 1 )
• Akiva Goldsman ( Starfleet Admiral 2 )
• Benjamin P. Binswanger ( Starfleet Admiral 3 )
• Transport Officer – Christopher Doohan
• Andy Demetrio ( USS Enterprise Bridge Crew 1 )
• Gianna Simone ( USS Enterprise Bridge Crew 2 )
• Rene Rosado ( USS Enterprise Bridge Crew 3 )
• Jacquelynn King ( USS Enterprise Bridge Crew 4 )
• Long Tran ( USS Enterprise Bridge Crew 5 )
• Ningning Deng ( USS Enterprise Bridge Crew 6 )
• Jodi Johnston ( USS Enterprise Bridge Crew 7 )
• Lady V – Colleen Harris
• USS Enterprise Security – Jeffrey Chase
• USS Enterprise Nurse – Monisola Akiwowo
• Shuttle Pilot – Paul K. Daniel
• USS Enterprise Red Shirt – Ser'Darius Blain
• Moto – Heather Langenkamp
• USS Enterprise Crew – David C. Waite
• Bar Girl – Melissa Paulo
• San Francisco Woman – Cynthia Addai-Robinson
• San Francisco Bar Patron – Drew Grey
• USS Vengeance Security – Douglas Weng
• Charlie Haugk ( San Francisco Resident 1 )
• Max Chernov ( San Francisco Resident 2 )
• Marc Primiani ( San Francisco Resident 3 )
• Jesper A. Inglis ( San Francisco Resident 4 )
• Jacob Rhodes ( Nibiru Child 1 )
• Kentucky Rhodes ( Nibiru Child 2 )
• Shaku – Anthony Wilson
• Eric Greitens ( Starfleet Ceremonial Guard 1 )
• Melissa Steinman ( Starfleet Ceremonial Guard 2 )
• Adam McCann ( Starfleet Ceremonial Guard 3 )
• Jon Orvasky ( Starfleet Ceremonial Guard 4 )
• Gerald W. Abrams ( Starfleet Memorial Admiral 1 )
• James H. McGrath, Jr. ( Starfleet Memorial Admiral 2 )

Second Unit [ ]

Uncredited [ ].

• D.A. as Enterprise security officer
• Henry Abrams as San Francisco resident
• Kraisit Agnew as Nikicha Tomser
• Tom Archdeacon as Ensign Spyke
• Alexandra Aristy as Starfleet HQ staff #2
• Noah Arrue as visitor
• Melissa Baldridge as Enterprise operations division officer
• Susana Basanty
• Paris Benjamin as Enterprise crew engineer
• Larry Blackman as Enterprise bridge crewmember
• Bill Blair as Chelsea civilian
• Francesca Brighty as 7 News reporter
• Jon Lee Brody as Enterprise security officer
• David Anthony Buglione as USS Enterprise medical staff
• Frank Cermak, Jr. as Starfleet officer
• Mitch Clark as Nibiran
• Alonzo Montrelle Cook
• Geryh Hurricane Curtis as Starfleet instructor
• Mike Dalager as Enterprise security officer
• Daphney Dameraux as Starfleet memorial attendee
• D'Anna Dettore as "First in Command, Cadet, Civilian"
• MaryAnn DiPietro as Starfleet office worker
• Gerald Donaldson as admiral
• Jaycie Dotin as Enterprise shuttle crewmember
• Chol Eddy as Enterprise engineer
• April Marie Eden as Orion Enterprise crewmember
• Diana Emuge as engineer
• Chris Fabregas as Enterprise security officer
• LaRaine Fisher as Chelsea civilian
• Leni Ford as Cosmoe
• Misty Franklin
• Gary-7 as Nibiran elder
• Douglas Gawoski as shuttle crewman
• Aurelien Gaya as ship engineer
• Michael Giacchino as 2 News weatherman
• Jonathon Grant
• Virginia Hankins as Enterprise crewmember
• Mark Alexander Herz as Enterprise security officer
• Ellen Ho as Starfleet cadet
• G. Malcolm Houston as Starfleet Admiral
• Ryan T. Husk as Starfleet officer
• Coy Jandreau as Nibiran
• Britanni Johnson as NYU Nurse
• Mike Kalinowski as Starfleet officer
• Robert Kane as San Francisco resident
• Elly Kaye as Starfleet officer
• Jamal Kazak as USS Vengeance security officer
• Germany Kent as Starfleet captain
• Hina Khan as cadet
• Dave Kim as Starfleet Enlisted Soldier
• Ariel D. King as Starfleet civilian
• Kasia Kowalczyk as alien Enterprise engineer
• Richard Kuhr as Enterprise crew engineer
• Shaun Kyser as security guard
• Bryan Lee as Starfleet cadet
• Xuelian Lei as San Francisco resident
• Andrew Maiorano as Starfleet HQ staff #3
• Brent McGee as Enterprise crew engineer
• Teebone Mitchell as Starfleet Headquarters officer
• Peet Montzingo as bar patron #2
• Chris Morris
• Hiram A. Murray as bar patron
• Morocco Nevlin / Reggie Melvin as civilian
• Westley Nguyen as civilian
• Brendan Norman as Enterprise crew engineer
• Celeste Octavia as nurse
• Jen Oda as female Ayt
• Laura Parker as Enterprise crewmember
• Salomon Passariello as medical technician
• Amy Pham ( unconfirmed )
• Preston Queen as bar patron #3
• David Rodriguez as Enterprise crewmember
• Ana Franchesca Rousseau as Enterprise crewmember
• Tristin Rupp
• Joel Shock as security officer
• Michael T. Stewart as Starfleet officer
• Thomas W. Stewart as Enterprise crew engineer
• Nora Sullivan as Enterprise science officer
• Vijay Suzuki as red shirt/mechanic
• Nilayana Sy as Starfleet officer
• Tala Tereze as waitress
• Perry Thackeray as Nibiran
• John Tomkins
• Fawn Tran as civilian
• Xavier Truesdell as Enterprise crewmember
• Julee Vadnais as Orion civilian
• Kyle Valle as Starfleet civilian
• Vincent van Hinte as male Ayt
• David Whitaker as Starfleet officer
• David C. White as USS Enterprise crew
• Ali Williams
• Sue Wishengrad as Captain
• Stacey Woods as "Intergalactic Woman"
• Felicity Wren as Starfleet officer
• Kerry Wynnyk as Enterprise crewmember
• Alien bar patron
• Alien Enterprise crewmember
• Enterprise command division officer
• Enterprise operations division officer
• Enterprise nurse
• Female Starfleet memorial attendee
• Five USS Vengeance security officers
• Male Starfleet memorial attendee
• Nibiran baby
• Six Starfleet officers
• Starfleet officer
• Ten bar patrons
• Three ceremonial guards
• Three Royal Children's Hospital staff members
• Two Enterprise medical staff members
• Two Enterprise security officers

Stunt performers [ ]

• John Ashker – stunts
• Maryellen Aviano – utility stunts: Starfleet official
• Krista Bell – stunts
• Jennifer Caputo – stunts
• Ilram Choi – stunt actor: Chelsea civilian
• Brian Christensen – stunt rigger
• Doug Coleman – utility stunts: Starfleet official
• Eugene Collier – stunt double: Beau Billingslea
• Tim Connolly – stunt double: Karl Urban
• George Cottle – utility stunts: ND Enterprise crew
• Brycen Counts – stunts
• Sam Creed – stunts
• Jahnel Curfman – stunts
• Max Daniels – utility stunts: Starfleet official
• Eddie Davenport – stunt actor: USS Vengeance security officer
• Mark DeAlessandro – stunt actor: Frantic Pedestrian
• Steve DeCastro – utility stunts
• Cory DeMeyers – stunts
• Kevin Derr – stunts
• Shauna Duggins – stunts
• Wade Eastwood – utility stunts: ND Enterprise crew
• Katie Eischen – utility stunts
• Robert C. Escobar – stunts
• Marie Fink – stunt double: Berit Francis
• Mark Ginther – stunt rigger/utility stunts
• Jessica Harbeck – stunts
• Zedric Harris – stunts
• Nick Hermz – stunts
• Jermaine Holt – stunt actor: Klingon
• Antal Kalik – stunt double: Lee Reherman
• Zero Kazama as USS Vengeance Bridge Officer
• Matthew S. Kennedy – stunts
• Bobby C. King – stunts: ND crewmember
• Henry Kingi, Jr. – stunts
• Hiro Koda – stunts
• Kim Robert Koscki – utility stunts: Starfleet official
• Cheryl Lewis – utility stunts: Starfleet official
• Michael Li – stunts
• Brian Machleit – stunts
• Tara Macken – stunts: Enterprise science crewmember
• Tom McComas – stunts
• Cassandra McCormick – stunt double: Alice Eve and utility stunts: Starfleet crewmember
• Rene Mousseux – stunts
• Caryn Mower – utility stunts: Starfleet official
• Michael Mukatis – stunts
• Eric Norris – stunts
• Lin Oeding – stunts
• Eddie Perez – stunts
• J.J. Perry – stunts
• Peewee Piemonte – utility stunts
• Denney Pierce – stunts
• Mark Rayner – stunts
• Kevin Reid – stunt double: Benedict Cumberbatch
• Simon Rhee – stunt actor: USS Vengeance security officer
• Larry Rippenkroeger – stunts
• Jimmy N. Roberts – stunts
• Tracey Ruggiero – utility stunts: Starfleet official
• Todd Schneider – stunts
• Courtney Schwartz – stunts
• Ray Siegle – stunts
• Caine Sinclair – stunt double: Anton Yelchin
• Paul Sklar – stunt double: Peter Weller
• Scott Sproule – utility stunts
• Aaron Toney – stunts
• Frank Torres – stunt rigger / utility stunts
• Tierre Turner – utility stunts: Starfleet official
• April Weeden Washington – stunts
• Kofi Yiadom – utility stunts: Starfleet official
• Merritt Yohnka – stunt double: Bruce Greenwood
• Omid Zader – stunt actor: Meter Maid

Stand-ins [ ]

• Ryan Babbs – stand-in for Simon Pegg
• Caleb Grant – stand-in for Benedict Cumberbatch
• James Henderson – stand-in for Chris Pine
• Jessica Hickam
• Peter Jang – stand-in for John Cho
• Linden King
• Brandon Stacy – stand-in and photo double for Zachary Quinto
• Michael T. Stewart – stand-in for Zachary Quinto
• Wilson Wang – stand-in for John Cho
• Evan Wecksell – photo double
• Robert Werner – photo double for Anton Yelchin
• Nico Abondolo – Musician: Double bass
• Eri Adachi – Compositor: Pixomondo
• Brian Adler – Digital & Visual Effects Executive Producer: Gentle Giant Studios
• Rose Adler – Matchmove Artist: Pixomondo
• Beatriz Aguilar – Intern/Production Assistant
• Daniil Alikov – Texture Artist: ILM Singapore
• Nicole Alkire – Hair Stylist
• Patrick L. Almanza – Stereoscopic Compositor/Painter
• Tom Altobello – Property Assistant
• Miriam Alvarez – Stereo Depth Artist: Stereo D
• Michael Amato – Stereoscopic Artist
• John Amorelli – Rigging Draftsman
• Pedro Andrade – Digital Compositor
• Tor Andreassen – Digital Compositor
• Tovonaina Andriamampionona – Stereoscopic Roto Artist: Stereo D
• Beverley Joy Ang – Assistant Technical Director
• Dave Anglin – Second Unit Camera Production Assistant
• Carlos Anguiano – Pipeline Developer: Pixomondo
• Jason Apperson – Additional Electrician
• Erick Aragon – Rotoscope Artist
• Ian Armstrong – Stereoscopic Depth Artist
• Shelly Armstrong – Location Coordinator/Assistant Location Manager
• Aitor Arroyo – Nuke Artist: Pixomondo
• Gustaf Aspegren – Electronic Prop Assistant
• Florian Ast – Compositing Intern: Pixomondo
• Lauren Astore – Coordinator: Digital Caliber Inc.
• Alan Au – Art Director
• Ando Avila – Compositor: Pixomondo
• Arin Babaian – Personal Trainer: Alice Eve , Zachary Quinto , Simon Pegg
• Paul A. Baccam – Stereoscopic Rotoscope Artist
• Joseph Bailey – Digital Compositor: ILM
• Justin Ball – Compositor: Pixomondo
• James Ballard – Compositor
• Frank Willis Balzer – Special Effects Assistant
• Gretchen Bangs – Stereoscopic Roto Artist: Stereo D
• Zheng Bao – Compositor: Pixomondo
• Jennifer Barnes – Musician: Alto
• K.C. Barnes – Senior Stereoscopic Artist: Stereo D
• David Baronoff – Associate Producer
• Fernando Barrios – Rigging Grip
• Jose F. Barrios – Rigging Grip Foreman
• Vatsche Barsoumian – Vocal: Bass
• Steven Barthen – CG Intern: Pixomondo
• Brandon Bartlett – Division CG Supervisor: Pixomondo
• Mark Battle – Finaling Artist: Stereo D
• Chris Basso – Generator Operator/Driver, Production Van Operator
• Fritz Beck – Lighting Artist: Pixomondo
• Julian Beeston – Utility Sound
• Harald Belker – Concept Designer
• Todd Bennett – Plasterer
• Frank Berbert – Digital Compositor: ILM
• Carina Berlin – 2nd Unit Art Department Assistant
• Jeff Berrington – Special Effects Welder
• Maxime Besner – Stereo Compositor
• James Betteridge – Stereoscopic Artist: Stereo D
• Michael Binczek – Special Effects Model Maker Gang Boss
• Adam Binder – Production Assistant
• Brian Bishop – Rigging Grip
• Anton Bitzer – Compositor
• Edward Blackford – Rotoscope Artist
• Bill Blair – Digital Double Lead
• Margaret Blakemore – Production Assistant
• Neale Blase – Driver
• Chris Bleth – Musician: Clarinet
• Daniel Blöcher – CG Artist: Pixomondo
• Ioan Boieriu – FX Artist: Pixomondo
• Jason Bomstein – Stereoscopic Artist
• Konstantin Borchert – Compositor: Pixomondo
• Cris Borgnine – Visual Effects Rigging Supervisor
• Chloe Bostian – Matte Painter: Pixomondo
• Frankie Bourne – Production Assistant
• Cindy Bourquin – Musician: Alto
• Jason Bowers – Compositor: Pixomondo
• Taylor Boyd – Key Assistant Location Manager
• Chris Bramante – Production Assistant
• Troy Bridenstine – Driver
• Maxwell Britton – Set Dresser
• Laura N. Brooks – Production Assistant
• Matt Brooks – 3D Database Developer
• Michael Broom – Conceptual Designer
• Belinda Broughton – Musician: Viola
• Elisabeth Brown – Sculptor/Model Builder
• Darlene Brumfield – Hair Stylist
• Dorothy Bulac – Specialty Costumer
• Jonathan Burdeshaw – Sculptor
• Aaron Burnitt – Systems Administrator: Pixomondo
• Alex E. Burns – Driver: Day Player
• Chris Burr – Rigging Electrician
• Daniela Cabrera – Stereoscopic Compositor: Stereo D
• Moises Flores Cabrera – Stereoscopic Compositor
• Adam Camacho – Grip
• Sue Campbell – Animator: Pixomondo
• Kevin A. Canamar – Supervising Set Medic
• Nicholas Canavan – Stereoscopic Rotoscope Artist: Stereo D
• Jay Cannavo – Splinter Unit Production Assistant
• Jake Capistron – Eclipse Technician
• Roberto Cappannelli – Sound Re-Recording Mixer
• Deborah Carlson – FX Technical Director: ILM
• Clint Carney – Concept Artist/Prop Maker
• Steve Casa – Visual Effects Photographer
• Kyle Cascadden – IT Trainee: Pixomondo
• Laura Caulfield – Production Legal
• Snata Chakraborty – Stereo Roto Artist
• Steven Chapman – Lidar Technician
• Matt Chase – Craft Service Assistant
• Peter Chase – Craft Service
• Zhongwei Chen – Matchmove Artist: Pixomondo
• Cheng Cheng – Rotoscope/Paint Artist: Pixomondo
• Tagui Chilyan – Stereo Production Assistant: Stereo D
• Christopher Chinea – Stereoscopic Artist: Stereo D
• Paul Churchill – Digital Artist: ILM
• Joseph Civitate – Senior 3D Generalist
• Sam Claitor – Compositing Trainee: Pixomondo
• Darrell Claunch – Stereoscopic Compositor
• Art Clever – Special Effects Welding Foreman
• James Clowater – Stereo Artist
• Michael Coady – Driver
• David Cohen – Mold Shop Supervisor
• Joshua E. Cohen – Visual Effects Artist
• Brian R. Cole – Sculptor
• Diane Collins – Script Supervisor
• Gus Comegys – Visual Effects Prep Colorist
• Kit Conners – Production Assistant
• Steve Constancio – Specialty Costumer
• Elliot Contreras – Senior Stereoscopic Compositor: Stereo D
• Jeremiah Cooke – Special Effects Hydraulic Foreman
• Elissa Cordero – Stereoscopic Animator
• Matt Cordero – Stereoscopic Compositor
• Jack Cornelius – Set Dresser
• Matt Corrigan – Special Effects Artist
• Trent Cotner – Special Makeup Effects Artist
• Daniel Cotroneo – 2nd Unit Lighting Technician
• Glenn Cotter – Digital Artist: ILM
• Erik Coutts – Transportation department
• David Cowles – Stereoscopic On-Line Editor
• Maurice Cox – Senior Stereoscopic Compositor
• David Crane – Stereoscopic Compositor
• Thomas Crow – 3D Artist: Stereo D
• Davide Curletti – Stereoscopic Compositor
• Brian G. Curtis – Animator: Pixomondo
• Xu Dai – Rotoscope/Paint Artist: Pixomondo
• Adam Dale – Aerial Director of Photography
• David Dame – Digital Artist
• Nicholas Daniels – Compositor
• John Daro – Senior Digital Intermediate Colorist: FotoKem
• Brad Darrow – Team Leader
• Gilbert Dawson-Kesson – CG Artist: Pixomondo
• Curtis Decker – Special Effects Machinist
• Gabe de Kelaita – Set Production Assistant
• Alfonso De La Torre – Concept Designer
• Brian Deming – Key Assistant Location Manager
• Michelle Denering – Special Makeup Effects Artist
• Mark DeSimone – ADR Mixer
• Rustin Devendorf – Stereoscopic Depth Artist: Stereo D
• Leslie Devlin – Makeup Artist
• Harish Devnani – Compositor: Pixomondo
• Amit Dhawal – Visual Effects Artist
• Allison Dillard – Production Safety Director
• Matt DiNardo – Compositor: Pixomondo
• Doris Ding – Rotoscope/Paint Artist: Pixomondo
• Lucas di Rago – Digital Compositor: Pixomondo
• Matt DiSarro – Special Effects Technician
• Gus Djuro – Senior Stereoscopic Compositor
• George Doering – Musician
• Maren Dolzmann – Visual Effects Coordinator: Pixomondo
• Hugo Dominguez – Rotoscope/Paint Artist: Pixomondo
• Don Domino – Rigging Grip
• Sebastian Domula – Lighting Artist: Pixomondo
• Christopher Dooly – Specialty Costumes
• Andrea Dopaso – Illustrator
• Dennis Drozdowski – Special Effects Technician
• Pierre Drolet – Concept Designer/Modeler: Pixomondo (pre-production)
• Mayur Duchakke – Render Wrangler
• John Dutcher – Confidentially Production Assistant
• Gregory M. Edgar – Property Assistant/Assistant Property Master
• Glen Eisner – Makeup Sculptor
• Nino Ellington – Technical Assistant
• Daniel Emmerich – CG Intern: Pixomondo
• James England – Depth Artist: Stereo D
• Rob Engle – Stereoscopic Consultant
• Juan Antonio Espigares Enriquez – Compositor: Pixomondo
• Bryan T. Evans – Matchmove Artist
• Garrett Eves – Depth Artist
• Benjamin Ey – Division Visual Effects Producer: Pixomondo
• Maeve Eydmann – Matte Painter: Pixomondo
• Paul Faeldo – Stereo Compositor: Stereo D
• Devin Fairbairn – Layout Artist: ILM
• Hsuanyi Fang – Matchmove Artist: Pixomondo
• Salina Farkas – Accounting: Pixomondo
• Junaid Farooq – FX Artist: Pixomondo
• Dean Faulder – Animator/Modeler: Pixomondo
• Ryan Faulkner – Stereoscopic Artist
• Phylicia Feldman – Compositor: Pixomondo
• Robin Pierce Ferber – Stereoscopic Conversion Artist
• Mariano Fernandez – Metal Shop Foreman
• Lauren Fernandez-Morrell – Stereo Artist
• Francesco Ferrara – Painter
• Giovanni Ferrara – Paint Foreman
• Judith Ferrer – Stereoscopic Compositor
• Mark Ferrer – Stereoscopic Roto Artist: Stereo D
• Dawn Fidrick – Stereoscopic Rotoscope Artist: Stereo D
• Claire Finbow – Assistant to Simon Pegg
• Chad Finnerty – Visual Effects Supervisor Consultant/Animator: Pixomondo
• Felix Fissel – IT Manager: Pixomondo
• Bridgette Foo – Digital Artist: ILM
• Brian Fortune – Compositor: Pixomondo
• Lucia Foster Found – Aerial Operations Coordinator
• Clayton Fowler – Grip
• Elizabeth Frank – Set Costumer
• Layne Friedman – Compositor: Pixomondo
• Josh Friz – 2nd Unit Second Assistant Camera Operator
• Maxi Fröhlich – Compositing Intern: Pixomondo
• Christopher Fulmer – Systems Administrator: Pixomondo
• Doug Gagan – Special Effects Technician
• Patrick Gagné – Visual Effects: Modeling and Texturing
• Stephen A. Gall – Stereo Rotoscope Artist
• Rick Gamez – Prop Fabricator
• Matthaeus Gamroth – Animator: Pixomondo
• Liwei Gao – CG Artist: Pixomondo
• Mark Garbarino – Special Makeup Effects Artist: Kasia Kowalczyk
• Adam Garnier – Stereoscopic Compositor: Digital Caliber Inc.
• Edgar Garrido – Roto Artist
• Lynn Garrido – Prop Electronics Technician
• Meredith Garrison – VFX Production Assistant: Stereo D
• Mark Gasbarro – Musician: Pianist
• Nancy Gassner-Clayton – Score Vocalist
• Michael Geiger – Vocal: Bass
• Mike Gerzevitz – Electrician: Fixtures
• Jackson Gichuki – Stereoscopic Rotoscope Artist
• Adrien Saint Girons – Lead Lighting Technical Director
• Jan Glöckner – Compositor: Pixomondo
• Paolo Gnoni – CG Artist: Pixomondo
• Christian Godzik – FX Artist: Pixomondo
• Daniel Goertz – Pipeline Technical Director: Pixomondo
• Harris Goldman – Musician: Viola
• Matt Goldstein – Splinter Unit Set Production Assistant
• Jerardo Gomez – Electrician
• Antoine Goncalves – ENV/DMP: ILM Singapore
• Edgar Gonzalez – Rotoscope Artist
• Azzard Gordon – Digital Artist: ILM Singapore
• Russell Gorsky – Sound Effects Designer
• Joanna N. Goslicka – Matchmove Artist: Pixomondo
• Björn Gottwald – Compositor: Pixomondo
• A.B. Govardhan – Matchmove Supervisor: Botvfx
• Matthew Gowan – Production Assistant
• Kirk Gravatt – Visual Effects Artist
• Connie Grayson Criswell – Contact Lens Technician/Wig Maker
• Renee Greathouse – Production Assistant
• Elysia Greening – Compositor: Pixomondo
• Jerry Gregoricka – Rigging Electrician
• Ashley Gressen – Additional Production Assistant
• Monica Griffin Lee – Session Singer
• Peter N. Griffith – Property Assistant
• Quinn Grove – Rigging Grip
• Nathan Grubbs – Stereo Compositor
• Jonny Gu – Compositor: Pixomondo
• Pascal Guillemard – Fixtures Technician
• Phaneedra Gullapalli – Pipeline Developer: Pixomondo
• Benson Guo – Compositor: Pixomondo
• Mansi Gupta – Stereoscopic Compositor: Stereo D
• Sandie Hall – Vocal: Soprano
• Tyler Halle – Stereo Compositor
• Thierry Hamel – Lead Matchmove and Environment TD: Pixomondo
• Ramón Hamilton – Depth Artist: Stereo D
• John H. Han – CG Supervisor
• Josh Handley – Stereoscopic Compositor
• Aisling Harbert – Stereoscopic Lead Artist: Stereo D
• Rich Hardy Jr. – Stereoscopic Compositor
• Karen Harper – Off-Camera Singer
• Walter S. Harrah – Vocal: Tenor
• Jeffrey J. Hart – Additional Set Production Assistant
• Samantha Hatch – Additional Set Production Assistant
• Ayana Haviv – Ensemble Singer/Vocalist
• Dustin Hayes – Depth Artist
• Alex Heffner – Stereoscopic Lead Artist
• David Heimerl – Compositor: Pixomondo
• Árni Björn Helgason – Unit Production Manager: Iceland
• Kelly Valentine Hendry – Casting Search
• Namjin Heo – Digital Compositor
• Andrea Hernandez – Division Lead Compositor: Pixomondo
• Daniel A. Hernandez – Video Assist
• Veronica Hernandez – Rotoscope Artist: Stereo D
• Jordan Heskett – Stereoscopic Painter/Stereoscopic Compositor
• Brent Heyning – Effects Engineer: Interior Engineering for Enterprise and Spacecraft
• Nicholas Hiegel – Compositor: Pixomondo
• Jason Hindman – Fixtures Technician
• Isaac Hingley – Animator: Pixomondo
• Sebastian Hirsch – Matte Painter: Pixomondo
• Ngoc Ho – Production Assistant
• Martin Höhnle – Matte Painter: Pixomondo
• Chris Holly – Confidentially Production Assistant
• Brian Holmes – Systems Administrator: Pixomondo
• Matt R. Hopkins – Prop Fabricator
• Paul Hormis – Pipeline Technical Director: Pixomondo
• Scott Hosfeld – Musician
• Craig Hosking – Aerial Coordinator/Pilot
• Craig Houston – Compositor: Pixomondo
• Gábor Hoványi – Compositor: Pixomondo
• Xiaoyong Hu – Matchmove Artist: Pixomondo
• Gary Huang – Render Wrangler: Pixomondo
• Xiandeng Huang – Compositor: Pixomondo
• Natapon Huangsakuncharoen – Creature Technical Director: ILM Singapore
• Ryan Huestis – Production Assistant: ILM
• Paul Huston – Digital Matte Artist
• Ali Ingham – Senior Visual Effects Production Coordinator: Pixomondo
• Florian Jackl – Systems Administrator: Pixomondo
• Robert Jackson – 2D Division Lead Compositor: Pixomondo
• Sean D. Jackson – Set Dresser
• Ryan Jacoby – Mold Shop
• Andrea Jamiel – Render Wrangler: Pixomondo
• Anine Jan – Stereo Compositor: Stereo D
• Srinivas Janapati – Production Coordinator
• Jeffrey Jasper – Technical Lead: New Deal Studios
• Jaime Jasso – Lead Digital Matte Artist
• Whan Je – i/o Coordinator: Pixomondo
• Henry Jefferson – Compositing Artist: Pixomondo
• Victor Jenkins – Casting Search
• Leo Jia – Animator/Modeler: Pixomondo
• Bess Johnson – Camera Production Assistant
• Erik Johnson – Depth Artist: Stereo D
• Jeremy Jones – Stereoscopic Artist
• Nikolce Jovanovski – Stereoscopic Compositor: Stereo D
• Soyeon Olivia Jung – Rotoscope/Paint Artist/STereo Compositor: Pixomondo
• YeYoung Jung – Animator/Modeler: Pixomondo
• Greg Junovich – ADR Mixer
• Bruce Jurgens – Visual Effects Executive Producer: Legion Entertainment
• Corey Just – Stereoscopic Depth Artist
• Aleks Justesen – Depth Artist
• Jordan C. Kadovitz – Computer Video Playback: Rigger
• Christian Kalata – CG Artist: Pixomondo
• Sandro Kath – Compositor: Pixomondo
• Prateek Kaushal – Stereoscopic Supervisor: Stereo D
• Michael Kelem – Aerial Director of Photography
• Pete Kelley – Special Effects Technician
• James Kells – Compositor: Pixomondo
• Clark Kelly – Sculptor
• Kolby Kember – Lighting and Shading Artist: Pixomondo
• Rolf John Keppler – Special Makeup Effects Artist
• Douglas Kieffer – Set Lighting Technician
• Jin Yong Kim – Layout & Matchmove Artist
• Jun Young Kim – FX Artist: Pixomondo
• Ted Moowon Kim – Hard Surface Modeler & Texturer: ILM Singapore
• Vedat Kiyici – ADR Mixer
• Dag Kjetsa – Compositor: Pixomondo
• Thomas Kleylein – FX Artist: Pixomondo
• Lena Amanda Koch – Visual Effects Assistant/Visual Effects Coordinator
• Kristofer Kody – Stereo Compositor
• Alexander Köhl – Digital Compositor: Pixomondo
• Christian Korneck – Systems Administrator: Pixomondo
• Justin Kosnikowski – Digital Artist
• Gumby Kounthong – Extras Casting
• Kyle D. Krajewski – ADR Recordist
• Sebastian Kral – Systems Administrator: Pixomondo
• David Krause – VP of Technology: Stereoscopic Conversion
• Denis Kravtsov – Pipeline Developer: Pixomondo
• Eryn Krueger Mekash – Special Makeup Effects Artist
• Lon Krung – Modeling and Texturing CG Artist: Pixomondo
• Norman Krüsmann – FX Artist: Pixomondo
• Nitesh Kumar – Stereo Roto Artist: Stereo D
• David Ladish – Set Dresser
• Steven Ladish – Set Dresser
• Dave Lajoie – Production Tools
• Heather Langenkamp – Makeup Artist
• Ruben Languren – Production Assistant
• Michael Lankes – Compositor: Pixomondo
• Don Lanning – Makeup Designer
• Chris Larsen – Set Dresser
• Daniel Lawson – Production Assistant
• Thang Le – Concept Artist: ILM
• Julius Lechner – FX Artist: Pixomondo
• Jonathan B. Lee – Stereo Production Assistant
• Kenji Lee – Animator: Pixomondo
• Melissa Lee – Compositor: Pixomondo
• SeungJoo Lee – Compositor: Pixomondo
• Stephen Lefebvre – Visual Effects Artist
• Erik Lehmann – Texturing Artist: Pixomondo
• Ellexa Lemarie – Production Assistant
• Chris Lentz – Animation Supervisor: Singapore
• C.J. LePage – i/o: Pixomondo
• Jenny Leupold – CG Artist: Pixomondo
• Mark LeVang – Musician
• Carla Lewis – Extras Casting
• Wenkang Li – Compositor: Pixomondo
• Zhunan Li – Visual Effects Coordinator: Pixomondo
• Jeff Lin – Animator: Pixomondo
• Kai Lin – Animator/Modeler: Pixomondo
• YuanJing Lin – Assistant Technical Director
• Lisardo Liriano – Visual Effects Artist: Stereo D
• Benjamin Liu – FX Artist: Pixomondo
• Heng Liu – Animator/Modeler: Pixomondo
• Sunyan Liu – FX Artist: Pixomondo
• Adam Lo – Rotoscope Artist: Stereo D
• Veronica Lorenz – Special Makeup Effects Artist
• Son Lu – Stereoscopic Lead
• Doug Luberts – Production and Technical Support: ILM
• Jacob Lundmark – Roto/Paint Artist: Pixomondo
• Rob Lutz – Stereoscopic Compositor/Painter
• Lap Van Luu – Systems Administrator: Pixomondo
• Chenchen Ma – Matchmove Artist: Pixomondo
• Zijun Ma – Roto/Paint Artist: Pixomondo
• Frank Macchia – Music Preparation
• Ali Magee – Makeup Department Production Assistant
• Michael C. Magno – Set Dresser
• Pravin Mahtani – Stereoscopic Compositor
• Uwe Majer – Compositor: Pixomondo
• Carson Majors – Stereoscopic Compositor/Painter
• Yael Majors – Stereoscopic Compositor
• Lee Philip Malin – Confidentiality Administrator
• Roy Vincent Mann – Lead Stereoscopic Compositor
• Fredrik Mannerfelt – Digital Compositor: Pixomondo
• Charana Mapatuna – Stereoscopic Compositor: Stereo D
• Pavan Maradia – Technical Assistant: Stereo D
• Artur Margiv – Compositor
• Jose Marin – Compositor: Pixomondo
• Chulev Marko – Modeler/Texture Artist: ILM
• Jeff Markwith – Set Designer
• Andrew Marquez – Stereoscopic Artist: Stereo D
• Karl J. Martin – Set Designer
• Geordie Martinez – Creature Technical Director: ILM
• Emily Mason – Stereoscopic Assistant Editor
• Dale Matasovsky – Stereo Compositor
• Joe Matke – Hair Stylist
• Colin Mayo – Lighting Technician
• Richard F. Mays – Digital Set Designer
• Kindra McCall – Depth Artist
• BJ McDonnell – 2nd Unit Additional Camera Operator
• Edward McDonough – Depth Artist: Stereo D
• Elizabeth McKinney – Stereoscopic Compositor: Digital Caliber Inc.
• David McMahon – Digital Compositor
• Christian McWilliams – Location Scout
• Jackie Medel – Production Assistant
• Shantel Medina – Finaling Artist
• Natalie Meffert – Compositor: Pixomondo
• Mike Mekash – Special Makeup Effects Artist
• Kevin Melia – Stereoscopic Roto Artist
• Lau E.H. Melvin – Visual Effects Technical Assistant
• Mariscela Beatriz Mendez – 2nd Unit Lighting Technician
• Cris Mertens – Stereoscopic Assistant Editor: Stereo D
• Jason W. Mesias – Production Assistant
• Felix Messerschmitt – Animator: Pixomondo
• Steven Messing – Concept Designer/Digital Matte Painter
• Aaron Meyer – Music Preparation
• Philip Meyer – Lighting Artist: Pixomondo
• Sebastian Meyer – Concept Artist
• Thomas Middleton – Digital Compositor: Pixomondo
• Karolis Mikalauskas – Depth Artist
• Michael Milano – Stereoscopic Depth Artist
• Brandon Miletta – Lighting Artist: Pixomondo
• Becca Miller – Specialty Costumer
• Michael Miller – ADR Mixer
• Julie Minasian – Score Vocalist
• Ed Mirassou – Prop Maker
• Bart Mixon – Special Makeup Effects Artist
• Tobias Moenninger – Systems Administrator: Pixomondo
• Andrew Moffett – Previs Artist
• Sidhartha Mohanty – Production Assistant
• Robert Molholm – Color Science/Imaging R&D
• Michael John Mollo – Electronic Music Programming
• Jacki Moonves – 2nd Unit Camera Production Assistant
• Declan Moran – Stereo Compositor: Stereo D
• Joey Moran – Rigging Electrician
• Pat Moreira – Layour Artist: ILM
• Christopher Morente – Greensman
• Immanuel Morris – Stereoscopic Artist
• Shaun Morris – Production Assistant
• Erich A. Muller – Costumer
• Sven Müller – Lighting Artist: Pixomondo
• Alexa Müller-Heyn – Animator: Pixomondo
• Andrew Mumford – Compositor: Pixomondo
• Carson Murdy – Stereoscopic Artist
• Brian Murphy – Stereoscopic Compositor
• Daniel P. Murphy – Construction Metal Fabricator
• Michael Murphy – Head of Quality Control: Stereo D
• Alex Murtaza – Matte Painter: Pixomondo
• Emmi Nakagawa – Stereoscopic Artist
• Mohan Narayanaswamy – Quality Manager
• Harindranath Narendran – Finaling Artist
• Hector Navarro – Depth Artist
• Ned Neidhardt – Special Makeup Effects Artist
• Christopher Allen Nelson – Special Makeup Effects Artist
• Rachel Elizabeth Nelson – Silicone Technician
• Zack Neuman – Production Assistant
• Christine Neumann – Animator/Modeler: Pixomondo
• Beauxregard Neylon – ADR Mixer
• Sheau Horng Ng – Digital Artist: ILM
• Giang T. Nguyen – Animator/Modeler: Pixomondo
• Kristin Nietzig – Division Accounting: Pixomondo
• Philip Nussbaumer – Division Lead Compositor: Pixomondo
• Timothy Oakley – Prop Fabricator
• David O'Brien – Stereoscopic Artist: Stereo D
• Fedor Odegov – Pipeline TD Post Production: Pixomondo
• Viktorija Ogureckaja – Visual Effects Global Production Manager: Pixomondo
• Marc Okrand – Klingon language consultant
• William J. Olsen – Production Assistant
• Osni Omena – 3D Artist/Maya Generalist
• Woon Chi Ong – Compositor: ILM Singapore
• Akira Orikasa – Visual Effects Artist: ILM
• Maria E. Ortiz – Paramount Pictures Consultant
• Nick Ostrovsky – Rigging Electrician
• Sam Page – Set Designer
• Jordan Paley – Key Production Assistant: Reshoots
• Ken Palkow – Prop Fabricator
• Alexander Panov – Art Department
• John F.K. Parenteau – VFX Executive Producer: Pixomondo
• Steve Parsons – Compositor: Pixomondo
• Dana Passarella – Stereoscopic Compositor
• Jim Passon – Color Timer
• Phil Pastuhov – Aerial Director of Photography
• Yogesh Pathak – Senior Stereo Roto Annotation Artist
• Cristina Patterson Ceret – Contact Len Designer/Painter
• Lucas Paul – Set Production Assistant
• Bethany Pederson Onstad – Visual Effects Artist: Pixomondo
• Lyndsey Pendley – Stereoscopic Paint Artist
• Daniel Perez – Stereoscopic/Roto Artist
• Diego Perez – Depth Artist
• Samuel Perez – Animator: Pixomondo
• Michael Peter – Senior Texture/Lookdev Artist: ILM Singapore
• Betsy Peters – Compositor: Pixomondo
• Binoy Peters – Senior Production Coordinator
• Kiana Petersen – Depth Artist: Stereo D
• Morten Petersen – Lighting Technician
• Hieu Phan – Roto/Paint Artist: Pixomondo
• David Philogene – Compositor
• Sara Philpott – Set Decoration Buyer
• Teddy Phuthanhdanh – Motion Capture Assistant
• Philip Pickford – Aerial Unit
• Tom Piedmont – Finaling Artist
• Johannes Pink – Pipeline Technical Director: Pixomondo
• David Pinkus – Second Assistant Director: Aerial Unit UK
• Jerome Platteaux – Digital Artist
• Leszek Plichta – Lighting Artist: Pixomondo
• Erik Ploneda – Stereoscopic Depth Artist: Stereo D
• Jason Pomerantz – Production Manager: IMAX
• Steven Porch – Specialty Costumer
• Nestor Prado – Digital Artist
• Roger Prater – Greens Gang Boss
• Margaret Prentice – Special Makeup Effects Artist: Kimberly Arland
• Eleonora Principi – Rotoscope/Paint Artist: Pixomondo
• Daniel Profus – i/o: Pixomondo
• Edward J. Protiva – Set Dresser
• Steve Prouty – Special Makeup Effects Artist
• Zhennan Quan – Matchmove Artist: Pixomondo
• Andy Quinn – Compositor: Pixomondo
• Melissa Quintas – Stereoscopic Compositor
• Sean Raffel – Animator/Modeler: Pixomondo
• Jack Rametta – ADR Mixer
• Antonio Ramos – Digital Compositor: Pixomondo
• Dan Randall – Foley Recordist
• Brody Ratsoy – ADR Engineer
• Salahuddin Razul – Compositor: Pixomondo
• William Reges – Stereoscopic Artist: Stereo D
• Sebastian Reichhold – FX Trainee: Pixomondo
• Mick Reid – Stereo Compositor
• Ari Reisner – Stereoscopic Compositor: Stereo D
• Johannes Retter – Compositing Intern: Pixomondo
• Gerard Retulla – Stereoscopic Compositor: Stereoscopic Conversion
• Todd Rex – Set Sculptor
• Aaron Richards – Set Lighting Fixtures Technician
• Grover Richardson – Stereoscopic Compositor: Stereo D
• Jason Richardson – Visual Effects Supervisor: Digital Caliber Inc.
• Bruce Richter – Construction Carpenter
• Caroline Riess – Human Resources: Pixomondo
• Guy Riessen – Digital Matte Painter: Atomic Fiction
• Raj Rihal – Concept Illustrator
• Mike Rim – Stereoscopic Compositor: Digital Caliber Inc.
• Agustin Rios – Visual Effects Artist
• Rick Rische – Matte Painter: Pixomondo
• Duncan Rochfort – Visual Effects Editor: Pixomondo
• Arturo Rodriguez – Stereoscopic Depth Artist
• Raymond Rodriguez – Stereoscopic Rotoscope Artist
• Katherine Rodtsbrooks – Stereoscopic Conversion Lead: Stereo D
• Rob S. Rogers – Stereoscopic Depth Artist
• Carlos J. Rosario – Digital Artist
• Vincent Robert Rosas – Stereoscopic Artist: Stereo D
• Marcus O. Roth – Division Visual Effects Producer: Pixomondo
• Anne Marie Rothfuss – Stereoscopic Rotoscope Artist: Stereo D
• Ryan Roundy – Special Effects Office Supervisor
• Rachel Rubenstein – Stereoscopic Roto Artist: Stereo D
• Ryan Rubi – Creature Technical Director: ILM
• Joel A. Ruiz – Rigging Electrician
• Maury Ruiz – Concept Artist
• Robert Ruiz – Assistant Camera Operator
• Alexander Rumpf – Roto/Paint Artist: Pixomondo
• Shaun Russell – Sculptor
• Matt Ryan – Set Production Assistant
• Toshihiro Sakamaki – Animator: Pixomondo
• Juan Ignacio Salgado – Division Lead Compositor: Pixomondo
• Chris Samp – Set Painter Gang Boss
• Cara Samuels – Visual Effects Coordinator: Pixomondo
• Mike Sanders – Digital Supervisor
• German Sandoval – Stereoscopic Artist
• Lukas Sarralde – Stereo Compositor
• Stephen Saunders – Rigging Electric
• Geoff Sayer – Digital Compositor: ILM
• Kai Schadwinkel – Lighting Artist: Pixomondo
• Sebastian Schäfer – FX Artist: Pixomondo
• Bill Schaeffer – Digital Compositor
• Andrea Schermoly – Assistant Choreographer
• Katja Schmidt – Division Accounting: Pixomondo
• Roman Schmidt – Division CG Supervisor: Pixomondo
• Silam Schmidt – Global Talent Manager: Pixomondo
• Skylar Schmidt – Set Dresser
• Ric Schnupp – ADR Recordist
• John Schratz – CG Artist
• Brian Schultz – Digital Compositor
• Karie Schwabl – Production Assistant: Pixomondo
• Diane Schwebs – Human Resources: Pixomondo
• Kino Scialabba – Designer: Legion Entertainment/Matte Painter: Pixomondo
• Anselm Seherr-Thoss – Visual Effects Artist
• Benjamin Seide – Division Visual Effects Supervisor: Pixomondo
• Dongjin Seo – Texture Painter/Look Development Artist: ILM Singapore
• Jack Serino – Grip
• Alex Sessing – Greens Foreman
• Daniel Sessoms – NextLab Operator
• Nick Sewatsky – Stereoscopic Artist
• Julie Shack – Set Costumer
• Shruti Shankar – Depth Artist
• V. Gouri Shankar Rao – Stereo Prep Supervisor
• Amit Sharma – Compositor: ILM Singapore
• Mark Sheffield – Sound Re-Recording Mixer
• Varghese Sherin – Stereoscopic Supervisor: Stereo D
• Marcos Shih – 3D Matte Painter/Concept Artist: Pixomondo
• Emmanuel Shiu – Concept Designer
• Brooke Shoemaker – Casting Assistant
• Jason Shulman – Animator: Pixomondo
• Jason Shupe – Flying Camera Operator
• Isaac A. Silva – Model Maker Gangboss
• Marcus Silvera – Stereoscopic Compositor
• Alexandra Simmes – Motion Graphics Artist: Pixomondo
• Stacey Simmons – Production Technology Manager: Stereo D
• Pankaj Kumar Singh – Technical Operations Lead: Stereoscopic Conversion
• Miro Skandera – Matchmove Artist: Pixomondo
• Sven Skoczylas – Lighting Artist: Pixomondo
• Ryan Slawson – Depth Artist: Stereo D
• Brett C. Smith – Set Decoration Buyer
• Cameron Smith – Fixtures Technician
• Corey Smith – Stereoscopic Compositor: Stereo D
• Dane Allan Smith – Visual Effects Producer 3D Scanning: Giant Studios
• Tammy Smith – Compositor: Pixomondo
• Wee Lian Soh – Visual Effects Artist
• Simia Song – Rotoscope/Paint Artist: Pixomondo
• Roger Sparwasser – Lighting Artist: Pixomondo
• Casey Spiegel – Paramount Pictures Executive Assistant
• Mark Spindler – Compositor: Pixomondo
• Christopher Stack – i/o Manager: Pixomondo
• Ivory Stanton – Textile Artist
• Michael Stark – FX Artist: Pixomondo
• Joe Steel – Digital Imaging Technician: Aerial Unit UK
• Rachel Steele – Extras Casting Assistant
• Andrea R. Stephens – Department Manager: Deluxe 3D
• Andy Stephens – Aerial Operations Manager
• G. Allen Stewart – Stereoscopic Compositor/Stereoscopic Painter
• John Stillman – Digital Compositor: ILM
• Tracy Stockwell – Plasterer
• Paul Stoll – Lighting Artist: Pixomondo
• Rainer Stolle – Matte Painter: Pixomondo
• George Streicher – Post Production Assistant
• Brent Studler – Electrician
• Frederick George Stuhrberg – 3D scanning
• Vladan Subotic – Animator: Pixomondo
• Haidong Sun – CG Artist: Pixomondo
• Jenna Sunde – Stereoscopic Compositor
• Kamalakar Suryavanshi – Stereo Compositor
• Jason Sutton – Hydrascope Operator
• David Swift – Digital Matte Painter: Pixomondo
• Ronald Tacsion – Stereoscopic Depth Artist
• Marc Tantin – Special Effects Technician
• Brandon Taylor – Compositor
• Randy R. Tecson – Stereoscopic Rotoscope Artist: Stereo D
• Mike Tehrani – ADR Recordist
• Michael Teixeira – Production Assistant
• Nicholas Tey Kai Guan – Modeler: ILM
• Michael Thalmann – Head of IT: Pixomondo
• Kim Thio – Paramedic: Camera Test
• Cale Thomas – Painter: Film Illusions
• Jason Thomas – Stereo Compositor
• Brian Thomason – Stereoscopic Compositor
• Kevin Tiesiera – Fixtures Technician
• Eric Timm – Stereoscopic Artist
• Paul Tirone – ADR Recordist
• Robert Tobin – Senior Depth Artist
• Derek Tracy – Stereoscopic Compositor
• Duc Minh Tran – Animator: Pixomondo
• Mark Victor Trappett – Render Technical Assistant
• Michael T. Travers – 2nd Unit Best Boy Grip
• Daniel Trebac – Stereoscopic Artist
• Chris Treichel – Stereo Production: Stereo D
• Tom Truscott – Compositor: Pixomondo
• Denis Trutanic – Senior Layout Artist: ILM
• Ervin Tuazon – Stereoscopic Artist: Stereo D
• Robert Tucker – Compositor: Pixomondo
• Ryan Tudhope – Senior Staff: Atomic Fiction
• Corey Turner – Executive Stereographer: Paramount Pictures
• Trey Turner – ADR Recordist/Assistant Sound Editor
• Jason Ullrich – Compositor: Pixomondo
• Claudius Urban – Senior Animator: Pixomondo
• Reuben Uy – Assistant Technical Director
• Dirk Valk – Animator: Pixomondo
• Tom van Dorp – Digital Compositor
• Jeremy Vanneman – Depth Artist: Stereo D
• Valentina Vee – Post Production Intern
• David Vegezzi – Interface Art Designer: OOOii
• Ricardo Velez – Rotoscope Artist: Stereo D
• Aurelio x. Vera Jr. – Visual Effects Producer: Digital Caliber Inc.
• Anthony Vlastas – Production Staff
• Garrett Vosburg – Greensman
• Ghanshyam Waghela – Finaling Artist: Stereo D
• Adam Walker – Lead Assets Artist: ILM Singapore
• Dan Wallin – Music Score Engineer
• Juliane Walther – Motion Graphics Trainee: Pixomondo
• Bill Wang – Visual Effects Coordinator: Pixomondo
• Cuiling Wang – Matchmove Artist: Pixomondo
• Huida Wang – Matte Painter: Pixomondo
• Hui Sophie Wang – Pipeline Intern: Pixomondo
• Pablo Wang – Stereo Compositor 3D Version
• Steven Wang – CG Artist: Pixomondo
• Alexander Ware – Depth Artist
• Natsuko Watanabe – Finaling Compositor: Stereo D
• John Watkins – Digital Effects Supervisor: Pixomondo
• Anastasia Watson – Stereoscopic Artist: Stereo D
• Kaifeng Wei – Rotoscope/Paint Artist: Pixomondo
• Henry Weickert – Pipeline Technical Director: Pixomondo
• Claudia Weingärtner – Accounting: Pixomondo
• Phil Weisgerber – CNC Operations
• Shannon M.E. Weiss – A.C.E. Intern
• Jay Wejebe – Makeup Artist
• Florian Werzinski – Lighting Artist: Pixomondo
• Kelly Wescott – Depth Artist: Stereo D
• Jon Wesström – Roto/Paint Artist: Pixomondo
• Jack White – Food Stylist
• Faith Whitehead – Depth Artist
• Kenneth H. Wiatrak – Stereoscopic Artist
• Ryan M. Wilson – Stereoscopic Artist
• Steve Winsett – Special Makeup Effects Artist
• Dean Winton – Driver
• Patrick Wolf – Head of Pipeline: Pixomondo
• Sascha Wolf – i/o: Pixomondo
• Marc Wolff – Aerial Coordinator
• Lonni Wong – Compositor: Pixomondo
• Jamie Wood – Lead Compositor: ILM Singapore
• Leah Woodworth – Extras Casting Assistant
• Brian Woronec – Fixtures Technician
• Carol Wu – Compositor: Pixomondo
• David Wu – Matchmove Artist: Pixomondo
• Peter M. Wu – Stereoscopic Depth Artist: Stereo D
• Runlin Xiong – Animator: Pixomondo
• Tou Yeng Xiong – Animator: Pixomondo
• Umashanker Yadav – Stereo Roto Artist: Stereo D
• Tolga Yalkir – Systems Administrator: Pixomondo
• Zhao Yang – Compositor: Pixomondo
• She Fong Yap – Production Assistant: ILM Singapore
• Seda Yilmaz – Coordination Trainee: Pixomondo
• Ben Ying – Visual Effects Compositor: Pixomondo
• Long Yinghan – Digital Artist
• Kei Yoneoka – FX Artist: Pixomondo
• Kodai Yoshizawa – Special Makeup Effects Sculptor: Kasia Kowalczyk
• Walter Yuan – Stereoscopic Compositor: Stereo D
• Elana Zaklis – Stereoscopic Artist
• Jose Zamora – Hair Stylist
• Alessandro Zanforlin – Nuke Compositor: ILM Singapore
• David Zbriger – Technical Manager of Global Production: ILM
• Aiping Zhang – Compositor: Pixomondo
• Zhuotao Zhang – Matchmove Artist: Pixomondo
• Zihao Zhang – Matchmove Artist: Pixomondo
• Bin Zheng – Compositor: Pixomondo
• Carol Zhou – Animator: Pixomondo
• Jianghong Zhu – Compositor: Pixomondo
• Huajing Zhuo – Compositor: Pixomondo
• Xinguo Zou – Compositor: Pixomondo

Production companies [ ]

• Avon Studio Transport – Vehicle Rentals
• BT Industrial Supply – Expendables
• B2FX – Special Effects Makeup Company
• CBS Studios – Star Trek and related marks and logos are trademarks of
• Chapman/Leonard Studio Equipment, Inc. – Camera Dollies, Camera Cranes, Hydrascope Telescoping Crane Arms, Stabilized Remote Camera Systems
• Codex Digital – Digital Recording Equipment
• Digital Caliber Inc. – Special Effects Company (Stereoscopic Clean-up)
• Digital Media Services – Digital marketing asset management
• Direct Tools & Fasteners – Expendables
• Dolby Laboratories – Sound Mix
• Flying Pictures – Aerial Filming Services
• Giant Studios – 3D Scanning Special Effects Company
• Headquarters Casting – Background Talent Casting
• K/O Paper Products
• Legion Entertainment – Post Production Company
• Monster Picture Crane – Stunt Rigging Crane
• Movie Movers – Cast, Hair and Makeup Trailers
• New Deal Studios – Special Visual Effects Company
• Pictorvision – Eclipse Aerial Camera System
• POP Sound – ADR Recording
• Road Rebel – Production Travel
• Saga Film – Production Services
• Star Trek Into Darkness (soundtrack)
• Star Trek Into Darkness (DVD)
• Star Trek Into Darkness (Blu-ray)
• Star Trek Into Darkness (Blu-ray 3D)
• Star Trek Into Darkness (4K Ultra HD)
• Star Trek Into Darkness (iTunes)

References [ ]

208 ; 2259 ; 2 News ; 7 News ; advanced long-range torpedo ; AF ; aircar ; Air Defense Team ; airlock ; Alcatraz ; Alpha Quadrant ; ambulance shuttle ; Andoria Prime ; Angel Island ; antimatter missile ; applied physics ; Applied Sciences Division ; Arabic ; Ares V ; arms dealer ; Armstrong -type ( starships ); artificial gravity ; ash cloud ; attending physician ; auxiliary power ; away team ; Ayt ; BA-36 ; bangs ; bank ; bathing suit ; Bay Area Rapid Transit ; beach ; bearing ; Beastie Boys ; bedside manner ; Beta Quadrant ; Biddeford , USS ; black hole ; block 27 ; blockade formation ; body bag ; " Body Movin' "; bone ; boolean gun ; bowing ; Bradbury , USS ; brig ; bus ; cable car ; Caitian ; car ; Federation cargo shuttle ( cargo shuttles ); Celsius ; Chapel, Christine ; CNN ; coconut lotion ; cold fusion ; coma ; combat ability ; Confederacy of Surak ; Coridan system ; corn ; Cormier, Roy ; corpse ; Corridor 67 ; C-section ; cryo tube ; CT ; Cyrillic alphabet ; D4-class ; DB-5 ; damage ; damage report ; dawn ; Daystrom Conference Room ; deadly force ; decontamination ; defection ; defibrillator ; Delta Team ; diburnium ; display compass ; dive ; Dock Command ; docking clamp ; doctorate ; dog ; dozen ; Dreadnought -class ; dynamite ; Enterprise NX-01 ; earrings ; " Ears (are) burning "; Earth Sector 2 ; Earth Sector 45 ; Earth Sector 49 ; engineering staff ; Enterprise (OV-101) ; Enterprise (XCV 330), USS ; emergency lockdown ; ETA ; evacuation shuttle ; evacuation shuttle bay ; " Everybody Wants to Go to Heaven "; extractor ; eye wash ; ferry ; fiberoptic cable ; fire hose ; first aid kit ; Fisherman's Wharf ; five-year mission ; Flood and Waters Subsiding ; forgery ; forklift ; fracture ; fuel cell ; Galorndon Core ; garbage barge ; Gemini capsule ; genocide ; goggles ; Golden Gate Bridge ; Gorn ; Gorn octuplets ; grid 09 ; Grubeco ; hole generator ; hospital gown ; hovercar ; hull ; ice cube ; indigenous species ( indigenous lifeform ); information ; internal manual override system ; isoton ; Io ; Io Facility ; Ito, Stephanie ; jumpship ; Jupiter ; Kelvin Memorial Archive ; Kelvin Memorial Archive personnel ; Kelvin , USS ; Ketha Province ; King, Albert ; kill zone ; kilometer ; kitten ; Klingon ; Klingon language ; K'normian ; K'normian trading ship ; knowledge ; KPMG ; Kronos ; Level 3-B ; life support center ; life support system ; lift cable ; London ; London Eye ; love song ; Luna ; magnetic field ; manager ; manhunt ; manual override ; Mayflower -type ; M-class ; melodrama ; medical staff ; Menk ; metaphor ; metaphysic shield ; meter maid ; military shuttle ; missing man formation ; mooring ; morality ; Mudd Incident ; multidimensional radar ; murder ; murderer ; nail polish ; Nelson's Column ; Neutral Zone ; New Vulcan ; Newton -type ( starships ); Nibiran ; Nibiran language ; Nibiru ; Nibiru fish ; Nibiru riding animal ; Nibiru tree creature ; name-calling ; Noah's Sacrifice and His Drunkenness ; NX Alpha ; NX-class ; Octuplets ; Office of Special Plans ; Orion ; Orion Union ; osmium ; outer frontier ; oxygen ; oyster ; payload bay ; payload bay doors ; PCAP-SYS ; Perfect Hair ; " Perspective Study of Mazzocchio "; phaser rifle ; Phoenix ; piercing ; planetoid ( unnamed ); platelet ; pointy ; poker ; popsicle ; portable transwarp beaming device ; Port of San Francisco ; Port of San Francisco bar ; powerwall ; Praxis ; Prime Directive ; prince ; projection component ; proverb ; proximate coupling beam ; proximity alert ; proximity detonation ; public record ; Qo'noS system ; quad 68 ; quadrant ; quadrant commander ; radiation poisoning ; rapping ; red cross symbol ; rescue shuttle ; resignation ; Rigel Beta ; robot ; Royal Children's Hospital ; rules of engagement ; rust ; salt water ; San Francisco Bay ; San Francisco Ferry Building ; San Francisco Metropolitan Area ; science officer ; seasickness ; search vehicle ; seat belt ; Second Street ; Sect 7XT ; Section 31 ; sector ; Sector 001 ; Sector 31 ; Sector 34 ; Sector 45 ; Sector 56 ; Sector 70 ; Sector 89 ; sector block ; senior staff ; seniority ; sentient being ; serum ; sheep ; Sherman's Planet ; shot glass ; Shuttle 1 ; Shuttle 7 ; signature ; skeleton crew ; Sol system ; space region observer ; specifications ; Spirit of St. Louis ; square meter ; stabilizer ; Starbase 1 ; Starfleet Academy ; Starfleet Engineering ; Starfleet General Orders ; St Paul's Cathedral ; stuffed animal ; stun setting ; subject ; Sue Bierman Park ; suffocation ; superman ; Surak ; Takayama ; Takayama -type shuttlecraft ( Scott's shuttle , unnamed 2 , 3 , and 4 ); technicality ; The Gateway ; Theater Commander ; thruster ; torpedo technician ; traffic light ; tram ; transfer ; transfusion ; transwarp beaming ; transwarp equation ; transwarp network ; trash exhaust ; tribble ; tribunal ; Turner, Corey ; type 2 phaser ; type 3 phaser ; UFP News ; unrest ; V-2 rocket ; VD ; VH-5 ; Vengeance , USS ; volcano ; Vostok 1 ; Vulcan ; mind meld ; war criminal ; warp core ; Warrant ; weapons bay ; web ; welding team ; Westminster Quarters ; Wright Flyer ; workbee ; wormhole ; X-15

Other references [ ]

• Kelvin Memorial Archive Directory: Cindy Jones Bar and Grill ; CJ's Coffee House ; Jorge's Steakhouse ; Luby's Pub & Grille ; Monte's Spanish Tapas & Bar ; Rudy's Sub Shop ; Simm's Pizza
• Starfleet Headquarters Directory: Bailey's Pub & Grill ; Hamburger Hemlet ; Jaleo Spanish Tapas & Bar ; King Street Blues ; Kora Restaurant ; McCormick & Schmick's ; Morton's The Steakhouse
• Powerwalls: B'omar ; chancellor ; Galorndon Core ; inbox ; Khitomer ; Pachangara, Magustav Organian peace treaty ; Risa Hedony ; Sherman's Planet ; weatherman ; weather report
• Kirk's medical status : blood pressure ; Boyce, Phil ; BPM ; HR ; name ; patient ; temperature
• Lucille Harewood's medical status' : blood pressure; critical care ; genetic material ; height ; inbox; pulse rate; temperature; weight

Meta references [ ]

Unreferenced material [ ], external links [ ].

• Star Trek Into Darkness at Memory Beta , the wiki for licensed Star Trek works
• Star Trek into Darkness at Wikipedia
• Star Trek Into Darkness at the Internet Movie Database
• 1 Daniels (Crewman)
• 3 Calypso (episode)

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Star Trek Exec Thinks He Knows Why Discovery Didn't Connect With Some Fans

"Star Trek: Discovery" came to an end this week after a five season run that included some soaring highs, low lows, and, above all else, big swings. Debuting in 2017, "Discovery" was the first of a new wave of "Trek" shows that would come to define the franchise for modern viewers. It did so ambitiously, but it didn't always work for everyone — especially in the early days. In a new interview with the LA Times , Alex Kurtzman, "Discovery" co-showrunner and head of "Trek" at Paramount+, spoke frankly about the show's initially so-so reception and explained why he thought it might not have worked for "Trek" fans at first.

"I think people felt it was too dark," Kurtzman explained, echoing a sentiment that's popped up in plenty of reactions to the series over the years. While the vast majority of critics have given the show positive reviews over the years (its Rotten Tomatoes critical score stands at 84% positive, though we can't say the same for the audience score), early negative takes focused largely on the show's surprisingly bleak take on the typically hopeful sci-fi franchise. "'Star Trek: Discovery' Slowly Goes Where Dark TV Has Gone Before," read the title of James Poniewozik's New York Times review of season 1. In the article, he made a joke that would be repeated by plenty of others in the show's early seasons: this "Trek" is dark , and not just because of the shadowy, prestige TV cinematography.

Feedback about season 1 influenced Star Trek: Discovery

In his recent profile, Kurtzman says that the "Discovery" writers' room paid attention to feedback during the writing process and internalized it when necessary. "We really listen to our fans in the writers' room — everybody will have read a different article or review over the weekend, and we talk about what feels relevant and what feels less relevant," he told the Times. From that point on, it's a matter of figuring out what's worth paying attention to moving forward. "We engage in a healthy democratic debate about why and begin to apply that; it seeps into the decisions we make," Kurtzman admits.

The show's premiere season starts with Sonequa Martin-Green's Michael Burnham on the brink of starting a Klingon-Federation war, and it ends with her choosing not to commit genocide to end it. What comes in between was equally bleak: Michelle Yeoh's Captain Georgiou, initially positioned as the show's hero, is killed off by the second episode, while one half of the franchise's first openly gay couple, Dr. Culber (William Cruz), got his neck snapped soon after. The show would later bring versions of those characters back, but at the time, it felt to some fans like the optimistic franchise they once loved had gone full "Game of Thrones."

According to Kurtzman, the first season's heaviness was all part of the plan. "Season 1 of 'Discovery' was always intended to be a journey from darkness into light, and ultimately reinforce Roddenberry's vision," he explained. "I think people were just stunned by something that felt darker than any 'Trek' had before." Still, the filmmaker insists that "doing a dark 'Star Trek' really wasn't our goal." Instead, he says, the show did what pretty much every "Trek" show has done since 1966: reflected reality. In this case, unfortunately, reality was bleak as hell. "The show is a mirror that holds itself up to the times, and we were in 2017," Kurtzman explained.

The dark early seasons reflected a depressing point in modern history

"We saw the nation fracture hugely right after the election, and it's only gotten worse since then." Season 1 of the series, he says, was "interpreting that through science fiction." Each time it seemed as though the world of the show couldn't feel any more morally mixed-up, it surprised us with more darkness – something fans enduring the early days of the Trump presidency could no doubt relate to. On top of all that, the show had the difficult mission of setting the groundwork for what "Star Trek" should look like after being absent from television for more than 10 years. No matter what "Discovery" did, for some portion of the fanbase, it just couldn't ever feel enough like the "Trek" they knew and loved. "There were people who appreciated that and others for whom it was just not 'Star Trek,'" Kurtzman said.

The show's growing pains ended up leading to one of modern Trek's biggest accomplishments: the introduction of the familiar Starfleet crew that would end up taking off with "Star Trek: Strange New Worlds." It sounds like that decision was in part made thanks to the frank feedback fans gave on "Discovery" season 1. "And the result, in Season 2, Captain Pike showed up, Number One showed up, Spock showed up, and we began to bring in what felt to people more like the 'Star Trek' they understood," Kurtzman explained. Now, seven years later, the Paramount+ era of "Star Trek" is flourishing, whether it's the unique, special sauce of something like "Star Trek: Lower Decks" or the nostalgia of "Star Trek: Picard," it's safe to say we're getting some of the best "Trek" in decades .

It may have been reborn in the dark, but the "Star Trek" has clearly found the light once more. 

• June 4, 2024 | Nog Is Faced With A Ferengi Existential Crisis In Preview Of ‘Sons Of Star Trek’ #3
• June 3, 2024 | ‘Star Trek: Prodigy’ Season 2 Coming To Netflix In July
• May 31, 2024 | Podcast: All Access Says Farewell To ‘Star Trek: Discovery’ With “Life, Itself”
• May 30, 2024 | Alex Kurtzman Explains Why ‘Star Trek: Starfleet Academy’ Is Set In The ‘Discovery’ Era
• May 30, 2024 | Recap/Review: ‘Star Trek: Discovery’ Pulls It All Together For “Life, Itself”

The Easter Eggs Of Star Trek Into Darkness

| May 23, 2013 | By: Matt Wright 304 comments so far

STAR TREK INTO DARKNESS EASTER EGGS

Of course Star Trek Into Darkness includes some big homages and reverences to Star Trek history including Khan, Section 31 and beyond which are key parts of the film. But there are also some more subtle ‘easter egg’ references to Star Trek history and beyond included in the film. Some of which you may have already spoted and maybe some you didn’t.

McCoy’s Tribble

Doctor McCoy has a Tribble in sickbay, used for testing in the movie. McCoy already has this Tribble when the movie opens thanks to the adventures of the ongoing comic book series where they faced the Tribbles in “The Truth About Tribbles”.

As the team approaches Qo’noS, there is a hulk of a dead moon, implying that the Klingon moon of Praxis was already over-mined in this timeline (Star Trek VI). As usual the writers are being coy and won’t say for sure that it’s Praxis.

This seeming early destruction of Praxis may be related to a Section 31 operation that John Harrison carried out before the events of the movie. There is a reference to a “Praxxis Project” barely visible in the redacted text of the “leaked” Starfleet Memorandum document about Harrison found on AreYouThe1701.com [ they appear to have misspelled the name, if it is indeed supposed to be in reference to the Klingon moon ]. To see the memo for yourself  read our article .

Bay Stadium

We can see the floating/hovering Bay Stadium that was seen in the Star Trek Enterprise episode “Home” is still there. It is located off of (roughly) where the ferry buildings are in present day San Francisco. The version in the film is a circular stadium/coliseum instead of the rectangular in shape seen in ENT.

Spacefight future history

In Admiral Markus’ office among other historical space flight vehicles, such as a Saturn V rocket and a Space Shuttle, there are also models from Star Trek’s future history, including the U.S.S Kelvin (from Star Trek 2009)  NX-01 ( Star Trek: Enterprise ), the NX-Alpha (warp 2 test ship from the Star Trek: Enterprise episode “First Flight”), Cochrane’s Warp ship ( Star Trek: First Contact ), and the Enterprise XCV 330 “ring ship” (as seen on the wall of the rec deck in  Star Trek: The Motion Picture  , in a painting on the wall of the 602 Club in Star Trek: Enterprise , and rendered in the 2011 “Ships of the Line” calendar). The models were made by Quantum Mechanix for the movie, see our article for more.

The attending physician’s name on the biobed monitor by Kirk when he wakes up in the hospital in San Francisco is Dr. Boyce, a reference to the ship’s doctor in the first Star Trek  TV pilot “The Cage”, which is also where we first met the Prime timeline version of Pike.

The Gorn Babies

McCoy mentions that he had given a cesarean section to a pregnant Gorn and that the live-birth babies bite (Star Trek The Video Game).

Pike is called to the meeting with admiralty in the Daystrom Conference Room at Starfleet HQ. A reference to Dr. Richard Daystrom the inventor of the duotronic computers used in TOS (TOS: “The Ultimate Computer”).

Mudd Incident

Sulu says over the comm system to ready the impounded trade ship from “the Mudd incident.” This is a reference to the prequel comic “Countdown into Darkness” and that story’s involvement with Harry Mudd’s half-Bajoran daughter.

Nurse Chapel

Carol Marcus mentions her friend Christine Chapel who had told her of Kirk’s “reputation.” Chapel is of course a recurring character from the original Star Trek (played by Majel Barrett Rodddenberry). The character was also mentioned in the 2009 Star Trek film and was part of the USS Enterprise medical staff at that time, before leaving for a deep space assignment. She may be the blond nurse seen in this picture.

Ketha Province

The region of Qo’noS the team go to is the Ketha Province, which is where General Martok ( Star Trek: Deep Space 9 ) will come from in the Prime timeline’s future.

Kirk’s Menage a Caitian

Kirk is seen in bed with two Caitains – a feline species first introduced in Star Trek: The Animated Series with the character M’Ress.

MUSICAL EGGS

Amok Time Sting

As mentioned in an interview last month with Michael Giacchino said he was compelled by a fan on Twitter to include something from the TOS score at the last minute. That homage is the classic “Amok Time” fight music, which is heard very briefly after Spock beams down in a foot chase after Harrison through San Francisco.

Beastie Boys

Kirk is listening to an antique record of the Beastie Boys “Body Movin’ (Fat Boy Slim Remix)” while ‘entertaining’ twin cat-like ladies. This is a callback to young Kirk joyriding to “Sabotage” in Star Trek 2009, Kirk’s general interest in antiques in the Prime timeline, and thirdly, the Beastie Boys is a personal favorite of director of J.J. Abrams.

ABRAMSVERSE EGGS:

The archive blown up in London is the called “Kelvin Memorial Archive”, named for George Kirk’s ship destroyed by Nero in Star Trek 2009. The name of the U.S.S. Kelvin itself is from J.J. Abrams own family, it was his grandfather’s last name. This is of course in addition to the more apparent homage to Lord Kelvin of the eponymous temperature scale.

Alcatraz Island in the San Francisco Bay is taken out by the USS Vengeance, a possible nod by the producers to the quickly canceled Abrams show on FOX named Alcatraz .

In the bar by the Port of San Francisco where Scotty and Keenser are blowing off steam about resigning from the Enterprise mission, the bar tables has a rotating light-up Slusho sign in the middle. Slusho is from Abrams’ Cloverfield .

POSSIBLE EASTER EGGS

Carol “Wallace”

Carol Marcus’ mother’s maiden name was Wallace, which is assumed to be an homage to Janet Wallace (TOS “The Deadly Years”).

Another Deltan Navigator?

A bald navigator (“Darwin”) is seen taking the helm when Chekov is assigned to engineering.  She may be an homage to Star Trek: The Motion Picture’s  Lt. Illia and her Deltan race.

See anything else?

There are bound to be more than the easter eggs listed above and when the Blu-rays arrive they will be much easier to spot with the benefit of freeze frame.

So did you spot any other little easter eggs in Into Darkness? If so post about them below.

I thought I saw a Slusho ad at the bar in Frisco where Scotty and Keenser hung out. But I’m not sure, have to watch it again….

So the cat ladies were Caitian! I hope we see female Caitian crew members on the Enterprise in the next movie…purr, meow…Of course, we will be told their names!

I thought Gorn were reptilian. If so, they do not give birth, they lay eggs.

I guess when Nero killed Kirk’s father, all the Gorn spontaneously turned into mammals and…

Android bridge officer?

Anyone know where we can find the Amok Time reference in the soundtrack?

@ Alt-Spock.

There were once dinosaurs (reptiles) which did give birth. Since the Gorn look like dinosaurs anyway, its not that far fetched…

Gorn are aliens. They look like reptiles, but are they really reptiles?

If so, then the Gorn Captain in Arena was lucky that he and Kirk were transported to the planet during the day. Otherwise he would have cooled too much during the night and Kirk could have killed him more easily.

@5 Matthew Brannon

It can be heard at 1:55 of “The San Fran hustle”

http://www.youtube.com/watch?feature=player_detailpage&v=eb8Irl2d7zE#t=115s

I could have swore I heard a short refrain from ST Wrath of Khan near the end of the film after Kirk is saved by McCoy! 2 burst of the music! I know that soundtrack inside out!

8. Thanks so much!!! That’s a great easter egg!!!

@3. Alt-Spock

Some terran reptiles and fish are viviparous (live bearing). And there are two oviparous mammals – the Echidna and the Platypus.

heres some more : (ranging from obvious to not so obvious)

-72 operational cryo pods (same in Space Seed)

-TMP style uniforms at certain points (Admiral Pike, McCoys white medical tunic)

-McCoys medical T shirt (straight out of TOS)

-Kirks leather coat in the Qo’noS scenes (reminiscent of Shatners Trek III coat)

-the cloak/coat Khan was wearing on Qo’noS recalled Khans costume from TWOK (e.g. the way he was wrapped up at the start – like Khan on Ceti Alpha V and also the ribbed collar of his jacket, being highly reminiscent of Khan’s TWOK brown outfit) http://scifanatic.wpengine.netdna-cdn.com/wp-content/uploads/2012/12/itskhan-collar.jpg

-Chekov’s redshirt fear

-kirk made a gag about sulu wanting his own command after having sat in the chair (TUC)

-various Trek movie lines – ‘Needs of the many..’…’they gave her back to me’…’you better get down here, better hurry’…’you’ll flood the whole compartment.’… ‘Ship, out of danger.’

-Spocks line – ’Wrath’ of the Klingons

-Pikes line of ‘Data reports that you blah blah’ (i know it might not have been intentional but the way Pike said it made me think he was referring to Lt Cmr Data – could he have been found earlier in this new timeline?)

-Klingon BOPs (the way they landed was similar to TSFS)

-USS Vengeance (looked like a TNG era ship esp the Ent E…plus the name recalled the original title of Star Trek II – The ‘Vengeance’ of Khan )

-Starfleet admiral saying war with the klingons is inevitable and conspiring with another villain to instigate a war with them (TUC) – also ties in with the praxis thing

-Scotty sabotaging an advanced starship with transwarp capability (TSFS)

-Khan threatens to take away life support (Space Seed)

-khan commendeering a federation vessel (Space Seed/TWOK)

-The safety belts that Spock, Sulu, et al wear (NEM – deleted end scene)

-saucer crash (GEN)

-Kirk lives (several TOS eps – esp Amok Time)

-”to boldly go where no ‘one’ has gone before’ (TNG – also used in ST09)

-similar to Amok Time music, apparently some TWOK cues are used in the score?

plus other movies: -the way Khan kills Marcus (Blade Runner)

-the opening running away from the spear throwing natives (opening of Raiders)

-Khan and his followers at the end in the warehouse (end of Raiders)

-opening recalled elements of Prometheus (aliens were abit similar to engineers & the opening deals with the enterprise crew depicted as aliens rising a gigantic saucer craft near water on a planet early in its development helping them along, the aliens then drawing the enterprise symbol) plus later on Bones and Carol Marcus land on a barren planet that looks alot like LV233

-grey uniforms (Star Wars Empire)

-The interior of the USS Vengeance appears to be a cross between the Enterprise and an Imperial Star Destroyer

-flying a Millenium Falcon type shuttle on Qo’noS

-Khans Slave 1 style craft to kill the heads of SF

-“WILL FIT! WILL FIT! WILL FIT!” (Empire, Return of the Jedi, ID4 etc)

-Spock vs Khan fight in the future city (Blade Runner/Total Recallx2/5th Element/Attack of the Clones/Minority Report)

-Tron Legacy like spacesuits

-space jump sequence with the hatch they’re aiming for being so small and somebody saying Kirk won’t be able to hit it without the aid of his computer (Star Wars)

-villain gets all the big shots in one room and attacks it with a helicopter type craft (Godfather III)

-Khan wanting to be caught and orchastrating events whilst imprisoned ‘its all part of the plan’ (joker in TDK/Loki in Avengers/Silva in Skyfall/Lector in Silence)

-Khans vague origins this time (again like Joker in TDK)

-Lobot like bald androidy type dude on bridge (Empire)

-Inception style gravity loss

Thanks, for that. I’ve seen the movie 7 times so far. Although I knew the Amok Time reference was supposed to be there, each time I am too caught up in the movie to consciously pay attention to the music. I have to say, though, that I don’t recognise it as Amok Time until 1:59.

The Daystrom reference is a bit weird, unless Daystrom was already a genius as a child or teen.

I don’t think that the two female twins look like the catlike race of M’Ress at all

There should have been also a model of the USS Horizon in the Admirals office. That was one of the first Starfleet ships at all.

@14 i thought the cat girls were more a homage to catgirl from Trek V (lol)

@9 – i think i also heard certain TWOK cues. someone needs to research it more (not me though :)

#12 – You should study the difference between “easter eggs” and “everything in the movie.”

An easter egg isn’t just an element lifted from prior movies, such as the 72 cryotubes. It’s a hidden/secret “gift”–you know, like an Easter egg, something that is hidden and has to be found. (R2D2 in the debris near Vulcan in Trek09 = easter egg. “WILL FIT WILL FIT WILL FIT” is not.)

Simply cataloging the film’s similarities to others has nothing to do with Easter eggs.

the writers talk spoilers etc here: http://www.empireonline.com/news/story.asp?NID=37615

18 – ok theres probably a few eggs in there anyway though

#20 – No, not really. About half of your list is just elements of Star Trek that are openly used. The other half is an astute listing of some of STID’s most noticeable thefts from…uh, sorry, “homages to” other films.

In fact, I may quote your list to some friends who disagree about STID being so derivative, so thanks!

@21 you are right, looking over the list i dont think theres one easter egg in there! i got it completly wrong. do i feel silly now.

#22 – Nothing to feel silly about, since you clearly have a sharp eye for detail–all the many, many, many lifted and “borrowed” details in this otherwise fun movie. You caught a lot of visual references that I hadn’t connected to anything else.

I feel silly for picking on your list in the first place, but no matter: Everything on this board is a bit silly. Peace!

No number 47?

Oh, and they may not be easter eggs, but I enjoyed Khan 2.0s list, as I enjoyed the article

The use of torpedoes for storage of the cryo tubes. This could be a reference to Star Trek III. A cryo tube that was stored in one of the torps is then used to store dead Kirk until he can be revived with Khan’s blood.

Star Trek II reference, Spock gives Khan the torpedoes reminiscent of “stand by to receive transmission… here it comes…”

@25 just like Spock in the torped!. nice catch

wonder if theres any Trek V nods? (like Kirk banging his head in ST09)

hmmm…the cat girls? (but then they wernt as feline as the one in V) anyone know where the Carol/Bones on a planetoid scene was filmed. it looked abit Prometheusy so maybe Iceland? or could it have been where they filmed Ska-Ka-Ree?

@24 thanks man. i love looking for all this stuff

not Easter Eggs but NEMESIS connections? (obviously as NEM had a very similar in plot to TWOK) :

-Khan created by scientifics in lab, manipulating DNA (Shinzon). -Khan betrays his ally (like Shinzon with the romulans). -Khan has a huge all powerful superspaceship (like Shinzon). -Khans superspaceship half destroys Enterprise and an important crewperson dies (only to be brought back 10 minutes later :)

Off topic, but William Shatner is attending screening of WOK and STID in Chicago. Has some great observations from the actor.

http://blogs.suntimes.com/arts_entertainment/2013/05/william_shatner_to_make_appearances_here_for_star_trek_screenings.html

“…our own polling shows that many fans plan to see the movie a second (third, fourth, etc.) time.”

Unfortunately there’s no way to UN vote in that poll. Having seen the film last Friday, I’d retract my predicted “twice” if I could.

Anyone else think the way the Enterprise’s engineering section of hull is cut through by the Vengeance was reference to the famous shot of the Reliant firing upon the Enterprise in Wrath of Khan?

Thanks Anthony. Some of these I caught, some I missed.

Could someone please explain what’s up with the andriod on the bridge?

GAT-2000? (or something like that)

Not an Easter egg but the Ring ship has been around for a long time I remember it being in a portfolio available from Lincoln-Star Trek Enterprises back in ’73-’74. I think (not positive) it may have been an idea from Genesis II….as there was also a drawing of the underground tram station.

Star Trek enterprises….wow….Trek, Kung-fu.SEARCH, TAS, Spectre, Questor,anyone have a pdf of one of thier catalogs.? I remember TOS scripts were a high priced $7.95….film clips were 8 for $4.00.

The music that plays during the scene where the Harewoods drive to the hospital sounds very, very much like Stevie Wonder’s “They Won’t Go When I Go.”

@33 i remember the Ring ENT from the Spaceflight chronology book from the late 70s(i remember thinking back to that book and also the TMP wall paintings when i saw the ships on Marcus’ desk) http://ecx.images-amazon.com/images/I/51ehpWmhvSL._SY300_.jpg

Abrams often shows a “red ball” in his work (like red matter). When “Father” adds Khan’s blood to his daughter’s IV, it looks like a red ball at one point

@14. Exverlobter

In the Prime universe, Daystrom (aged 24) made the duotronic breakthrough in 2243 that won him the Nobel and Zee-Magnees Prizes.

STID is set in 2259, so it’s possible the archive is named after him, if he made a similar breakthrough in a similar timeframe in the Alternate universe.

McCoy has surgery on torpedo like in star trek 6

It’s not Praxis. Read the hard cover novel.

It’s not Chapel. In STID Marcus herself says Chapel went to the frontier to become a nurse.

just flicking throgh the 1979 Space Flight Chronology book (havent opened it in years) i notice they show the DY-100 class Botany Bay and mention Khan and his followers(pity we didnt get to somehow see the Botany Bay in STID – maybe at the end in the warehouse)

also notice that one ship in the early 00s is called the ‘Lewis and Clark’ and a one later is called the ‘Horizon’

i wonder if the writer of Event Horizon (Paul WS Anderson) grew up reading this book? (the L&C in SFC is of a similar design to the Event Horizon in the 1997 movie)

Went to the frontier? With… ROGER CORBY perhaps??

12–Interesting stuff. No, technically not Easter eggs but fun nonetheless.

But, no it can’t be the Data from TNG. He wasn’t created until the mid 23rd century (Memory Alpha probably has the exact year somewhere). I’m not even sure Dr Soong was born yet in 2259, and if so, he’d likely still be a child.

I thought the same thing about the Vengeance crashing into San Francisco. One scene in particular, when they show it from below, reminded me exactly of the Enterprise crashing in Generations, with a similar perspective.

I also had thought the Vengeance activating their weapons ports (or opening them, hard to describe) reminded me exactly of the Scimitar opening it’s wings when it was preparing to activate its thalaron weapon in Nemesis.

The seat belts – the concept and how they look and operate – are from a deleted scene from Star Trek: Nemesis.

Not all reptiles lay eggs. Some lizards and snakes give birth to live young. Google it.

It is entirely possible the Gorn, being more advanced than common animals, bear live young.

BTW: I remember tweeting to Giacchino to use the Amok Time music a few months ago, I wonder if I was “the fan?”

Spock melds with Pike, instead of McCoy as in TWoK. Possible set up for sequel wherein Pike’s “katra”, for lack of a better word, is in Spock, causing him to flee to Talos IV to allow Pike to live again in an illusional body. A rewriting of “The Cage” and “The Menagerie”.

The man issue is that a year has passed since Spock melded with Pike and the launch of the Enterprise 5-year mission. So, Pike would have to have been sitting quietly in Spock’s mind all that time.

@ 42. Right! Could well imagine a great and more thoughtful movie centered around the ENTERPRISE finding Roger Corby, Christine Chapel, Ruk, and (yes) Andrea on planet Exo III.

They are also from another planet.

Hey Anthony –

I know there was some reference to the JJ Abrams interview on Conan earlier this week in another article. During that interview, JJ actually talks about Easter Eggs, and he says specifically that “R2D2 is in this movie”. He also references Slusho being in “all our movies”. So, I’m wondering if Slusho was in the bar scene, but has anyone found R2D2 in STID?

http://www.youtube.com/watch?v=suKALs9iEc8

I wonder. That shuttle they use to return to the Enterprise in space dock – is that named Takei? It was such a short glimpse and part of it was obscured by Urban’s head (I think), but… anyone confirm?

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