star trek next generation font

If you’ve ever tried to faithfully recreate the graphics seen on Star Trek , you know that the distinctive typography requires just the right fonts. I’ve found quite a few useful ones at various websites over the years. Whether it’s a movie title, a computer interface, or an alien script you’re looking to illustrate, there’s probably a font here to get you started. The fonts collected below aren’t supposed to be a complete archive of every font available, but rather a source for the best and most useful versions that are out there.

I’ve used many of these fonts to create various graphics for Star Trek Minutiae over the years, from the You’re the Admiral! maps to that time this site was assimilated by the Borg . I hope you find these useful, too!

Archivist’s Note: These fonts have been obtained through various free download websites. All fonts are copyrighted by their original creators.

Title Fonts

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Alien Fonts

External Links

• Memory Alpha’s list of Star Trek fonts
• Star Trek Fonts from FontSpace
• Star Trek Fonts from MyFonts
• Typography: The Final Frontier from FontShop

Star Trek fonts

• View history

The following is a list of fonts used in the different Star Trek series categorized by the companies that hold the rights to them.

• 1 Bitstream
• 3 Mark Simonson Studio
• 4 MicroProse
• 6 Further reading

Bitstream [ ]

Horizon font sample

Galaxy font sample

Millennium font sample

Sonic font sample

Swiss 911 Ultra Compressed font sample

There were at least two Li'l Bits packages released by Bitstream , one for Star Trek: The Original Series and a second for fonts from Star Trek: The Next Generation .

Linotype [ ]

Mark simonson studio [ ], microprose [ ].

With the game Star Trek: The Next Generation - Klingon Honor Guard by MicroProse , the company offered a couple of Klingon -like fonts from the game:

Jefferies Extended font sample

The following is a list of fonts that can be used to achieve lettering as used in the series.

Further reading [ ]

• Dave Addey, Typeset in the Future: Typography and Design in Science Fiction Movies . Abrams, 2018, ISBN 978 -1-4197-2714-6, pp. 80-117.
• 2 USS Enterprise (NCC-1701-G)
• 3 Star Trek: The Next Generation

Explore curated typefaces created by independent creatives from around the world.

FREE Star Trek Fonts To Take Your Designs To The Next Level and Beyond

Table of Contents

NBC aired the first voyages of the starship USS Enterprise on September 8, 1966. Its mission was ‘to explore strange new worlds, seek out new life and new civilizations, to boldly go where no man has gone before’.  Who could forget the adventures of Commander Spock and Captain James T. Kirk? Certainly, they have made their mark not only in 60s pop culture, but also in modern sci-fi circles.

About the Enterprise

The Star Trek exploration has gone beyond the original TV series. The adventures continued in the 22-episode Star Trek: The Animated Series. Its return to being a television series was marked by three sequels: Star Trek, The Next Generation (1987), Deep Space Nine (1993), and Voyager (1995-2001). The prequel Enterprise (2001) was made set in the early days of human interstellar travel . Alternate timelines and spin-offs were created in the following years.

Star Trek has become a cult phenomenon since. The franchise has expanded towards media such as games, toys, novels, comics, and video games. Its multiple races, with their own languages and unique cultures, have been welcomed by non-fans and have been put in highest regard by followers of the series.

For Trekkies out there, you can learn more about the beloved Star Trek typography from the Font Shop . Check out Font Memes for the various fonts used in the TV series, such as Final Frontier Old Style by Allen R. Walden (as seen in the Original Series from 1966 to 1969), Starnext (The Next Generation 1987-1994), and the Enterprise Font (Enterprise 2001-2005).

For fan-created material, head on over to Star Trek Minutiae , a personal Star Trek site developed and maintained by Dan Carlson. If you simply want to re-create the famous logo, use the Star Series font from Famous Fonts .

Sci-fi Star Trek Fonts

Posted by: Igor Ovsyannykov

Hello, I am a seasoned Graphic and Type Designer, boasting a distinguished career spanning over 16 years in the creative industry. During this time, I have meticulously crafted hundreds of innovative designs and iconic logos, leaving a lasting impact on various brands. My expertise lies not only in the aesthetic creation of visuals but also in understanding the profound significance of selecting the perfect font to embody a brand's essence. This unique blend of skills has enabled me to transform mere ideas into powerful visual identities, making me a trusted and respected figure in the design world.

This package contains true type and open type Star Trek fonts.

Installation

Install trekfont from CRAN with

Install the development version from GitHub with

trekfonts contains one dataset, trekfonts , which is just a character vector of all 107 available font files.

Font files can be installed using the sysfonts package.

Here are some examples, leveraging sysfonts and showtext .

Use base graphics…

or ggplot2…

Did you ever think you would be annotating your plots in Vulcan and Klingon?

The rtrek package does not import trekfont , but it does provide a convenient wrapper function, rtrek::st_font , for previewing the various fonts if trekfont is installed. This is the example plot shown at the top.

Packages in the trekverse

rtrek : The core Star Trek package

Datasets related to Star Trek, API wrappers to external data sources, and more.

lcars : LCARS aesthetic for Shiny

Create Shiny apps based on the Library Computer Access/Retrieval System (LCARS).

trekcolors : A color palette package

Predefined and customizable Star Trek themed color palettes and related functions.

trekfont : A fonts package

True (Trek) type fonts to style your Star Trek themed graphics text.

Matthew Leonawicz (2021). trekfont: Star Trek Fonts Collection. R package version 0.9.5. https://CRAN.R-project.org/package=trekfont

Contributions are welcome. Contribute through GitHub via pull request. Please create an issue first if it is regarding any substantive feature add or change.

Please note that the trekfont project is released with a Contributor Code of Conduct . By contributing to this project, you agree to abide by its terms.

• Download from CRAN at https://​cloud.r-project.org/​package=trekfont
• Browse source code at https://​github.com/​leonawicz/​trekfont/​
• Report a bug at https://​github.com/​leonawicz/​trekfont/​issues
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STAR TREK TNG UNITALICISED

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The designer of this FontStruction has chosen not to make it available for download from this website by choosing an “All Rights Reserved" license.

Please respect their decision and desist from requesting license changes in the comments .

If you would like to use the FontStruction for a specific project, you may be able to contact the designer directly about obtaining a license.

BASED ON THE STAR TREK: THE NEXT GENERATION TITLE FONT.

• 2018:01:07 — UPDATED THE “B” CHARACTER.

• 2018:01:14 — UPDATED THE SPACING.

• Info: Created on 6th May 2017. Last edited on 13th January 2018.
• License: Creative Commons
• “Strikethrough” ">Strikethrough (29)
• “Bold” ">Bold (1835)
• “Display” ">Display (2991)
• “Capitals” ">Capitals (256)
• “Latin” ">Latin (519)
• “Sans Serif” ">Sans Serif (2743)

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An italic-only family designed by Dick Jones for Letraset in Italic (1980), Extra Bold Italic (1981), and Light Italic (1982) styles. Expanded with Bold Italic (Peter O’Donnell, 1986) and Italic Inline Shadow (Vince Whitlock, 1987).

Digitizations as Letraset Crillee (ITC, four styles lacking the Light) and as Crillee (Elsner+Flake/Scangraphic, four styles lacking the Inline Shadow).

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Metra tickets, 1990–1991 c. 1990

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Metra logo and timetables 1985

Nightshift – “Kivullisii” (feat. Dreas, Ibe, Pyhimys) 2021

• Julian Grönberg
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Clip Books of Line Art , Volk (1984) 1984

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Photo(s) by Bart Solenthaler on Flickr.

Spritkönig, Graz

Photo(s) by Maurits van den Toorn on Flickr.

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Star Trek: The Next Generation titles 1987

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Mar 12, 2022 By Free Fonts Leave a Comment

Star Trek  is a science fiction television entertainment franchise created by Gene Roddenberry and Its first series was seen on NBC in 1966. Its six most important TV series include: The Original Series, The Animated Series, The Next Generation, Deep Space Nine, Voyager, and Enterprise.

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Mar 9, 2022 By Dafont Leave a Comment

Star Trek is an entertaining television science fiction franchise created by Gene Roddenberry and first aired on NBC on June 26, 1966. Since then it has expanded significantly with four major series – Original Series, Animated Series, Next Generation (The Next Gen), Deep Space Nine Voyager and Enterprise being some of the more significant ones.

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This is from the box back.

Energize your communications with Star Trek typefaces, symbols and insignias!

This exciting new Bitstream font pack includes the typefaces used in the original Star Trek TV series and the Star Trek movies. You also get the font that appears on the exterior of all Starfleet vessels. And, there's a collection of insignias worn by the crew, plus symbols of the Klingon language and the Klingon Empire. It's everything you'll need to create pages that look like a Starfleet Command Communication.

The Star Trek Font Pack is a member of the Bitstream Li'l Bits series, an innovative collection of novelty fonts designed to bring character to all you do in Microsoft Windows 3.1.

• Star Trek -- the typeface design of the original Star Trek TV series
• Star Trek Film -- used for titles and credits in the Star Trek movies
• Star Trek Pi -- Star Trek insignias and Klingon symbols
• Starfleet Bold Extended -- the typeface used on the exterior of all Starfleet vessels
• Venetian 301
• Square 721 Condensed

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Screen Rant

14 biggest star trek updates: section 31, starfleet academy, strange new worlds & more.

Alex Kurtzman outlines his plans for the future of Star Trek to Variety, providing exciting updates on Section 31, Picard, Starfleet Academy and more!

• Star Trek franchise teases exciting future with reveals on Section 31, Strange New Worlds, and more in recent interview.
• Michelle Yeoh's Section 31 movie promises action-packed spy thrills in space, akin to Mission: Impossible.
• Starfleet Academy set in 32nd century, with new sets and episodes for fan favorite series like Strange New Worlds.

The Star Trek franchise has just revealed a treasure trove of new information about Star Trek: Section 31 , season 3 of Star Trek: Strange New Worlds and much more. With Star Trek: Discovery ending in 2024, and concerns over the implications of a potential Paramount merger, it's reassuring to discover that the future of the Star Trek franchise looks very bright indeed. Key figures like Alex Kurtzman and Eugene Roddenberry Jr. have revealed new details about the upcoming Star Trek movies , Michelle Yeoh's Section 31 , and a possible sequel to Star Trek: Picard in a brand-new interview.

In a Variety feature entitled The Future of ‘Star Trek’: From ‘Starfleet Academy’ to New Movies and Michelle Yeoh, How the 58-Year-Old Franchise Is Planning for the Next Generation of Fans , Adam B. Vary talks to a number of key figures involved with the current Star Trek TV shows and movies about the exciting future for the franchise. Talking to stars Anson Mount, Ethan Peck, and Michelle Yeoh, Adam B. Vary unearths some exclusive information about what to expect from Star Trek 's next few years on TV and in theaters.

Every Upcoming Star Trek Movie & TV Show

14 the first image of star trek: section 31 is released, michelle yeoh's georgiou meets a mystery figure.

The Variety feature gives Star Trek fans their first glimpse of Emperor Philippa Georgiou (Michelle Yeoh) back in action. Star Trek: Section 31 wrapped filming recently, so attention now turns to post-production ahead of a future release on Paramount+. The image shows Georgiou whispering something into the ear of a mysterious, but memorable looking character . Whether this is a Section 31 asset or one of the movie's antagonists is not yet clear.

Who this metal mohawked character with the tattoos and cybernetic augmentations will likely remain a mystery until such time as Star Trek: Section 31 releases a trailer. However, it's good to see Michelle Yeoh back in her trademark black leathers playing Georgiou again after such a long delay. The first image is an intriguing tease of things to come for Michelle Yeoh's appropriately top secret Section 31 movie.

13 Star Trek: Section 31 Features A Young Rachel Garrett

Played by hannibal's kacey rohl.

One of the biggest surprises from Variety 's Star Trek: Section 31 set report is the revelation that Georgiou will team up with a young Rachel Garrett (Kacey Rohl). Until now, the roles played by Section 31 's cast have been kept under wraps. Now it's been confirmed that Kacey Rohl will be playing the future captain of the USS Enterprise-C in Section 31 . All that's known about Garrett is how she dies, meaning that there's a lot of unexplored backstory for Section 31 to reveal.

Kacey Rohl starred as Abigail Hobbs in Hannibal , created by Star Trek: Discovery co-creator, Bryan Fuller.

Rachel Garrett's involvement in Star Trek: Section 31 could also narrow down when in the Star Trek timeline the movie is set. Rachel Garrett was a Starfleet officer in the early to mid 24th century, and died in 2344. This suggests that the Guardian of Forever didn't send Georgiou back to her own time in Star Trek: Discovery season 3 , but instead sent her to some point a few decades later.

Rachel Garrett: Star Trek’s Most Tragic Enterprise Captain Explained

12 michelle yeoh calls section 31 "mission: impossible in space", star trek's spy movie is more tom cruise than john le carré..

Oscar winner Michelle Yeoh discussed her love for the character of Georgiou in the Variety piece, and gave an enticing tease of what to expect. Yeoh describes Star Trek: Section 31 as "" Mission: Impossible" in space " which is a neat elevator pitch that gives audiences a good idea of what to expect. Under the creative direction of Tom Cruise and Christopher McQuarrie, the Mission: Impossible movies have become thrilling globetrotting adventures, filled with incredible stunts.

The idea of transposing that Mission: Impossible style to the Star Trek universe suggests that Michelle Yeoh's movie will be full of action and adventure. Star Trek: Section 31 writer Craig Sweeny backs this up, by explaining what Star Trek 's spy movie isn ' t . Read Craig Sweeny's quote below:

“I didn’t want to make the John le Carré version, where you’re in the headquarters and it’s backbiting and shades of gray. I wanted to do the people who were at the edges, out in the field.

11 Section 31 Visit An Alien Nightclub

Georgiou visits a club full of classic star trek aliens..

When Adam B. Vary visits Michelle Yeoh on the set of Star Trek: Section 31 , she's preparing to shoot a scene inside an alien nightclub. From Quark's Bar in Star Trek: Deep Space Nine to the pleasure planet of Risa, there are many ways to unwind in the Star Trek universe. However, given that this is Section 31 , it's likely that the nightclub visited by Georgiou and Garrett will be a seedier location, perhaps where the mysterious mohawked figure is holding court.

Intriguingly, the Variety feature also reveals that the nightclub will be populated by some classic Star Trek aliens. This location is clearly some sort of hub where the movers and shakers of the galaxy are meeting up, making it a prime location for Section 31's best operatives to be seen. Adam B. Vary gives an enticing description of the action on set while filming this scene from Star Trek: Section 31 in a quote below:

A few minutes later, dozens of extras in all manner of outlandish evening wear file into the club, several of them made up as classic “Star Trek” aliens that fans might be surprised to see in this kind of swanky establishment.

10 Jonathan Frakes' Star Trek: Strange New Worlds Season 3 Episode Is A Hollywood Murder Mystery

Frakes says that it's “the best episode of television" he's ever done..

Jonathan Frakes is returning to direct an episode of Star Trek: Strange New Worlds season 3 that he says is "the best" he's ever done. That's quite a claim, given the director's prolific output between Star Trek: The Next Generation and SNW season 3. Frakes' episode is reportedly a "Hollywood murder mystery", which invokes images of hard-boiled detectives and glamorous settings. It sounds like one more thing to be excited about as production on Strange New Worlds season 3 continues.

9 Starfleet Academy Confirmed To Take Place In Star Trek's 32nd Century

The show will build on star trek: discovery's established canon..

Alex Kurtzman confirms to Variety that Star Trek: Starfleet Academy will be set in the 32nd century, presumably following on from Star Trek: Discovery 's final season . The Variety feature astutely points out that, by setting Starfleet Academy in the largely unexplored 32nd century, it will reduce the amount of revision that its young adult audience will have to do. Interestingly, the feature also highlights that Star Trek has an aging fanbase, which makes a show like Starfleet Academy vital in building fandom's next generation .

Alex Kurtzman doesn't confirm if any of Star Trek: Discovery 's cast will be making the transition to Star Trek: Starfleet Academy . However, the confirmation of the 32nd century setting does make it more likely that Mary Wiseman's Tilly could appear in the show as an instructor . While casting is still being kept under wraps, Kurtzman and the team did reveal some more information about Starfleet Academy 's setting.

Starfleet Academy Show Is "Trying To Tell A Star Trek Story In A New Way", Says Tawny Newsome

8 starfleet academy will be set in san francisco, star trek's ya show is making the voyage home..

Set designs shared with Variety by Alex Kurtzman and production designer Matthew Davies reveal that Star Trek: Starfleet Academy will return to San Francisco . When Captain Michael Burnham (Sonequa Martin-Green) and the crew arrived in the 32nd century in Star Trek: Discovery season 3, Earth was no longer a member of the Federation. This meant that Starfleet Headquarters, and a fledgling Starfleet Academy had moved off-world.

The designs reveal that the 32nd century Starfleet Academy will have " a striking view of the Golden Gate Bridge ", cementing its location. San Francisco has always been Starfleet's home , so it's fitting that Star Trek: Starfleet Academy will have its roots there. Rooting the show in San Francisco also gives Starfleet Academy a chance to explore what life on Earth looks like in Star Trek 's 32nd century.

7 Starfleet Academy Will Be Star Trek's Biggest-Ever Set

Every inch of pinewood toronto’s 45,900 square foot soundstage will be used..

Star Trek: Starfleet Academy appears to be literally building the titular educational establishment for use in the show, making it the biggest set ever constructed for Star Trek . Looking over the designs with Alex Kurtzman and Matthew Davies, Adam B. Vary gives a sense of the scale of the 32nd century's Starfleet Academy. Read his quote below:

a sprawling, two-story structure that will include a mess hall, amphitheater, trees, catwalks, multiple classrooms and a striking view of the Golden Gate Bridge in a single, contiguous space. To fit it all, they plan to use every inch of Pinewood Toronto’s 45,900 square foot soundstage, the largest in Canada

6 The Enterprise Gets A New Science Lab In Star Trek: Strange New Worlds Season 3

And there's a glimpse of ethan peck's spock at work..

Star Trek: Strange New Worlds season 3 will debut a new science lab set , and it looks very impressive. Intriguingly, the new lab is described as having "a four-foot pool of water that swirls underneath the central workbench". Whether this means that Strange New Worlds will introduce its own cetacean ops, or continue Starfleet's love of whales , remains to be seen. Either way, the new set is an impressive addition that suggests Lt. Spock (Ethan Peck) will need to upgraded facilities to solve some scientific conundrum in SNW season 3.

5 There's No Genre That Strange New Worlds Can't Do

"could it do muppets sure. could it do black and white, silent, slapstick maybe”.

Star Trek: Strange New Worlds showrunner Akiva Goldsman reaffirms that the Star Trek: The Original Series prequel can attempt any genre. Responding to Vary's question of whether there's a genre that Strange New Worlds couldn't do, Goldsman had an " impish " response. Read Goldsman's quote about a potential Star Trek: Strange New Worlds Muppet episode below:

“As long as we’re in storytelling that is cogent and sure handed, I’m not sure there is,” [...] “Could it do Muppets? Sure. Could it do black and white, silent, slapstick? Maybe!”

4 Strange New Worlds AR Wall Can Be Disorienting For The Cast

But not for everyone....

Elsewhere in the Variety feature, Anson Mount discusses Star Trek: Strange New Worlds ' use of the AR wall to create alien backdrops. Where previous Star Trek shows had used a greenscreen, the LCD screens that make up SNW 's AR wall allow the actors to actually see the environments that they're acting against . While it's a benefit, it doesn't always create a great experience for the actors, as Anson Mount points out.

“The images on the walls start to move in a way that makes no sense,” [...] “You end up having to focus on something that’s right in front of you so you don’t fall down.”

However, Ethan Peck says that he doesn't get disoriented by the AR wall, wryly joking that Spock wouldn't be fazed by it, so he's simply method acting. Hilariously, Anson Mount also reveals that they refer to the AR wall as the Holodeck. The route that actors take to the AR wall on the set of Star Trek: Strange New Worlds is even decorated with posters of the holodeck, and a sign that reads "Weclome to the Holodeck" in the classic Star Trek font.

Enterprise’s Holodeck Is Star Trek’s “Most Imaginative” Invention, Says TNG Producer

3 alex kurtzman is considering a "follow up" to star trek: picard, could patrick stewart get his wish for a final picard movie.

While news of Star Trek: Legacy is absent from Variety 's sprawling feature about the future of the franchise, Alex Kurtzman does drop a small hint about continuing the story of Star Trek: Picard . It's long been suspected that Star Trek: Section 31 will pave the way for more Paramount+ exclusive movies . This is confirmed by Kurtzman, who is already considering potential follow-ups should Section 31 be a success. A follow-up Star Trek: Picard movie is one of the projects that Kurtzman is considering, but there's no further information as to what this would be.

2 Toby Haynes' Star Trek Movie Is An Origin Story For The Entire Franchise

Is star trek's origin movie set for 2026's 60th anniversary.

Variety has confirmed that Seth Grahame-Smith's Star Trek movie, to be directed by Andor 's Toby Haynes, will be an origin story for the entire franchise . More interesting still is that the movie is rumored to be "on track" for pre-production to begin by the end of this year. This suggests that the theatrical release Toby Haynes' Star Trek origin movie could form part of the 60th anniversary celebrations in 2026. Star Trek: First Contact did something very similar for the 30th anniversary celebrations in 1996, so it will be interesting to see how a new movie continues that story 30 years later.

1 The Flight Attendant's Steve Yockey Is Working On Star Trek 4

Yockey is the latest writer to work on the kelvin timeline's finale..

While Toby Haynes' Star Trek origin movie currently appears to be on track, Star Trek 4 remains in development hell. The Variety feature states that Paramount still intends to give Chris Pine's Star Trek movies a final chapter, but not much has changed since the last disappointing update. However, it has been confirmed that The Flight Attendant creator Steve Yockey is now working on a new draft of Star Trek 4 , but there's no further information than this. While the Kelvin Timeline movies still being stuck at the scripting stage may be disappointing, it's hard to deny that the future of the wider Star Trek franchise looks very bright indeed.

Every Star Trek Show And The Kelvin Timeline Movies Are Now Streaming On Paramount+.

Source: Variety