star trek picard soundtrack season 3

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Star Trek: Picard Soundtrack [ 2020 ]

Star Trek: Picard

Season 3 • Episodes

The Next Generation

16 Feb 23'

Part Two: Disengage

24 Feb 24'

Seventeen Seconds

2 Mar 23'

No Win Scenario

9 Mar 23'

16 Mar 23'

23 Mar 23'

30 Mar 23'

6 Apr 23'

13 Apr 23'

The Last Generation

20 Apr 23'

Popular songs from Season 3

I Don't Want To Set The World On Fire

The Ink Spots

E1 • The Next Generation

Ave verum corpus, K.618 (Arr. for Piano by Franz Liszt)

Wolfgang Amadeus Mozart

E3 • Seventeen Seconds

Nocturne in E Flat Major (Op. 9 No. 2)

I Can't Stop Crying

Will Grove-White

Les Troyens, Op. 29, H 133, Act V: No. 38. "Vallon sonore"

SWR Vokalensemble Stuttgart, WDR Rundfunkchor Köln, Chor der Württembergischen Staatsoper Stuttgart, Stuttgart Radio Symphony Orchestra & Michael Gielen

E2 • Part Two: Disengage

Guilty As Charged

Whitney Shay

Can't Break Away from That Girl

E4 • No Win Scenario

Daniel Delaney

Rollin'

J Clearwater

Hans Deimel

Rumble In the Jungle

Star Trek Picard Main Title

Tv Show Info

Music Supervisors

Liza Richardson

CBS All Access

Returning Series

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‘Star Trek: Picard’ Season 3 Soundtrack Album Details

Here’s the track list of the album ( might contain spoilers! ):

1. Beverly Crusher (3:02) 2. Old Communicator (1:58) 3. Hello, Beautiful (1:57) 4. Leaving Spacedock (3:44) 5. I Like That Seven! (3:29) 6. Breaking the Beam (3:59) 7. The Shrike (3:34) 8. Picard’s Answer (4:08) 9. Riker and Jack (2:08) 10. Call Me Number One (2:02) 11. No Win Scenario (3:57) 12. Blood in the Water (2:58) 13. Let’s Go Home (3:24) 14. Flying Blind (5:51) 15. A New Family (4:16) 16. Klingons Never Disappoint (5:32) 17. I Do See You (5:26) 18. Legacies (3:15) 19. Evolution (2:44) 20. La Forges (2:08) 21. Invisible Rescue (3:34) 22. Catch Me First (2:32) 23. Proteus (3:46) 24. Dominion (7:04) 25. Lower the Partition (3:38) 26. Get Off My Bridge (4:26) 27. Family Reunion (3:17) 28. Impossible (1:37) 29. Frontier Day (2:43) 30. Hail the Fleet (4:03) 31. You Have the Conn (3:44) 32. Make It So (6:02) 33. This Ends Tonight (3:07) 34. Battle On the Bridge (2:58) 35. All That’s Left (2:02) 36. Annihilate (3:05) 37. Trust Me (2:06) 38. The Last Generation (2:51) 39. Where It All Began (2:19) 40. The Missing Part of Me (4:30) 41. Must Come to an End (1:32) 42. A New Day (3:22) 43. Legacy and Future (1:44) 44. Names Mean Everything (1:43) 45. The Stars – End Credits (2:59)

Anyone know why there has been such a delay in releasing the Strange New Worlds season 1 score?

I have spoken with Nami. She is as frustrated as we are. She said it is some sort of sticking point with Paramount and one of the unions which she has no control over.

Where’s the cd option for us old folk?

Can anyone tell me if a CD of Picard Season 3 Soundtrack will ever be released. I keep looking but it’s amazing that I can’t find a CD available for purchase anywhere. If they have deceived not to release a CD can someone respond please.

Picard Season 3 soundtrack is not released on CD. You can purchase the FLAC 44khz 16-bit downloads and burn to audio CD.

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Soundtrack Information

Star Trek: Picard - Season 3

Lakeshore Records

Release Date: April 20, 2023

Formats: Digital, Vinyl

Star Trek: Picard (2020) [TV Series]
Stephen Barton
Frederik Wiedmann

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Buy the album from iTunes
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Related albums.

Star Trek: Picard - Season 2 Lakeshore Records

Released: April 29, 2022

Format: Digital (84 min)

Star Trek: Picard - Season 1 Lakeshore Records

Released: April 3, 2020

Format: Digital (157 min)

Star Trek: Picard: Blue Skies (Single) Lakeshore Records

Released: March 26, 2020

Format: Digital (3 min)

Star Trek: Picard - Season 1 - Chapter 1 Lakeshore Records

Released: February 7, 2020

Format: Digital (67 min)

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'Star Trek: Picard' Season 3: Listen to "Leaving Spacedock" From the Soundtrack [Exclusive]

"Leaving Spacedock," evokes the nostalgia of 'The Next Generation' while inspiring hope for the future.

Ahead of the series finale of Star Trek: Picard , Collider is thrilled to exclusively debut a new track from the Season 3 soundtrack. The new track, titled "Leaving Spacedock" plays over a key scene in the penultimate episode which is now available to watch on Paramount+. We won't spoil it for you, but if you're a fan of Star Trek: The Next Generation , it's a moment that will likely bring tears to your eyes. When you listen to "Leaving Spacedock," you will be able to recognize familiar refrains from Star Trek's past including the breathtaking theme of The Next Generation , as well as the theme of Picard .

New to the series, composers Stephen Barton and Frederick Wiedmann took on the challenge of honoring decades of Star Trek while putting a fresh twist on the music. Season 3 showrunner Terry Matalas said, "The score to Season 3 of Star Trek: Picard is a throwback to the classic theatrical scores by Jerry Goldsmith and James Horner ." Barton and Weidmann's score beautifully celebrates the history of the franchise while instilling this series with a bright, thrilling sound that invokes all of the hope and heart that Star Trek is known for. The music also creates an emotional, heart-pounding background to the on-the-edge-of-your-seat action and adventure that Season 3 is filled with.

On creating new music for the series, Barton said, "It is a musical story about legacy, about family, and about mixing the best of the Next Generation and the ‘next Next Generation ;’ and we hope it takes you on an epic journey.” Meanwhile, Weidmann also had high praise for the orchestra they worked with to bring the score to life saying, "It was a dream come true to record our phenomenal LA orchestra for these episodes, bringing to life a huge legacy of Star Trek themes, as well as new ones."

RELATED: 'Star Trek: Picard's Gates McFadden Talks Reuniting With the 'TNG' Cast in Episode 8

Star Trek: Picard Season 3 Honors Legacy in More Ways Than One

Speaking of legacy, Star Trek: Picard Season 3 has beautifully set up the option to continue this journey with, as Barton said, the next Next Generation . Matalas has spoken about a possible spin-off series titled Star Trek: Legacy that would follow the offspring of the classic Next Gen characters that have been introduced this season like Jack Crusher ( Ed Speleers ) as well as legacy characters like Seven of Nine ( Jeri Ryan ) . The series would also provide plenty of opportunity to bring back the iconic TNG characters, honoring the past while looking toward the future.

The series finale of Star Trek: Picard , which will be screened in IMAX in participating locations , hits Paramount+ next week on April 19, and the soundtrack will be available on digital platforms on April 20. You can listen to the exclusive new track from Episode 9 down below.

Star Trek: Picard, Season 3 (Original Series Soundtrack)

Stephen Barton & Frederik Wiedmann

45 SONGS • 2 HOURS AND 30 MINUTES • APR 20 2023

The Original Series
The Animated Series
The Next Generation
Deep Space Nine
Strange New Worlds
Lower Decks
Star Trek Movies
TrekCore on Twitter
TrekCore on Facebook

TREKCORE: One of the standout things to me through the first six episodes is the score for the season. It’s got a real classic feeling — compared to the classic films and the older shows. What was your edict, or were you given an edict when you guys came on board for Picard Season 3?

STEPHEN BARTON: I think I think the biggest thing was — well, the first thing was, when I saw it had pretty much already been shot. I was on set a few times, so I think the biggest edict was a personal edict of “Don’t screw it up.”

Because, you know, when you watch… I’ve been on shows where you watch it and you’re like, “Eh, it’s pretty good.” This one, you watch it. I just sat and I binged and I watched it three or four times, and I’m like, “Oh my goodness me, this is really good.” So I think that was a big one.

But I mean, musically, for me, I think it was a little bit about bringing the sort of naval thing from Wrath of Khan and some of what James Horner brought, as well as obviously, the Jerry Goldsmith theme. But a bit more of that sort of militaristic feeling. Weaving that into it in a way that didn’t feel like it was sort of a time warp but in a way that felt sort of right for now, kind of.

I mean, [showrunner Terry Matalas] and I often talked about, like, what would James Horner do if he were here now? Kind of thing. And I think that was a lot of the approach. Yeah.

FREDERIK WIEDMANN: I think the big challenge was, times have changed slightly since The Next Generation was on the air. So how do we take this material and bring it into this current aesthetic of filmmaking without it feeling that we’ve pushed it too far into something modern, but still having the nostalgia feel alive and stay in the spirit of what fans want and want to go back to.

Here is the brilliant ⁦ @ComposerBarton ⁩ conducting his Titan theme with all those wonderful nods to Horner in his arrangement. String section only. It’s been stuck in my head for over a year. #StarTrekPicard pic.twitter.com/f5YCKXI6MS — Terry Matalas (@TerryMatalas) March 4, 2023

BARTON: The biggest part of it for me also, is the themes. You have to use and treat them like absolute nuggets of gold. And one of the things you can’t do is plaster them everywhere. You can’t literally use them like the wallpaper on some kid’s bedroom or something.

We want to have that sort of sense of like we’re telling a story and not just sort of going… you don’t want the music to be a commentator the whole time going, “You’re watching Star Trek !” “Did you forget you’re watching Star Trek ?” I mean, we get it. We know. So it’s using them in a very respectful way and then sort of finding ways to develop them.

Because, I mean, that’s the other thing. Every time you look at Jerry Goldsmith’s work, in particular, every movie, he found a new way of putting a spin on it. When we re-recorded certain pieces of music — because there are a few — we would go back and I would look at the movies and they were different speeds in different movies and go back and say, “Okay, well, do we want to be the speed from Nemesis , or do we want to look at this? What are we trying to say with this?”

TREKCORE: Yeah, because certainly, like in the end titles, you use the main theme from Star Trek: First Contact , but then you also use the theatrical film version of the Next Generation main title theme.

BARTON: The funny thing is where we’ve recorded any of those [with the orchestra] and some of the players had played on those movies, and it was one of those things where they would just sit there — our French horn player is a fabulous French horn player, he’s the principal of the Hollywood Bowl, a guy called Dylan Hart. And you could just see every time he came up on the sheet music in front of him, we looked over at him and he just smiled back and it’s like, “Okay, this is going to be fun.”

TREKCORE: But I also noticed along the way, especially in “The Bounty,” there’s things like that little thread of the STAR TREK IV theme — just a little nugget along the way.

BARTON: Well spotted, firstly!

TREKCORE: Well, it’s one of my favorite films. Was it a challenge to use any of that score that was produced for film in a television production. Was there stuff where we had to fight battles?

WIEDMANN: I don’t think at all, because all of this is so timeless to me, at least. And musically speaking, none of it feels old or dated — so whatever we were given as material to use and incorporate, it felt very natural and organic.

BARTON: From just a standpoint with Paramount, I think it was one of those Paramount-CBS things, they both realized what we were trying to do. It was one of those ones if you show, not tell. And we sort of said, okay, there’s certainly moments specifically in [“The Bounty”] where we come back to five separate themes — and so, it’s like you couldn’t not do that.

I mean, if we didn’t do that, it would seem like a sort of disservice. But I mean, part of doing that was also then to say, how do you present it in a way that honors it and isn’t just like hitting a button exactly like a needle drop? And so I think a lot of what we did was look at the heart of why those tunes worked and what they were saying.

Particularly with Voyager’s tune, I think that was one that every time… we don’t use it much, but when we do use it, we want it to mean something.

TREKCORE: There’s a lot of contemporary needle drops, as you put it, in the first several episodes as well. Were you involved with any of those choices or is that separate from your department?

BARTON: Most of those are courtesy of Drew Nichols, our editor, who is also one of the most phenomenal music editors. He’s someone who’s able to cut those and really choose incredibly well.

Especially source music for Liam Shaw for the dinner sequence and a couple of the other scenes where you really want it to say something — it’s not just background music, but you’re sort of saying something about the character. And he understands that innately. So most of that was in when we got there.

This interview has been lightly edited for clarity.

Lakeshore Records has announced the release date for Star Trek: Picard’s Season 3 soundtrack, a whopping 45-track collection of score from composers Stephen Barton and Frederick Wiedmann.

Arriving digitally on April 20, 2023 (coinciding with the Picard series finale), the extensive collection of music spans the entire ten-episode run of the show’s final adventure. There will also be a special vinyl release for the Season 3 soundtrack:

You can pre-save the digital soundtrack release here through Spotify, iTunes, and deezer, and check out the full track listing below.

Star Trek: Picard Season 3 will continue with “Dominion” on March 30 on Paramount+ in the United States and on CTV Sci Fi Channel and Crave in Canada — following the next day in the UK, Australia, Italy, France, Germany, Austria and Switzerland. The series is also available on Amazon’s Prime Video service in most other international locations.

Behind The Scenes
Frederick Wiedmann
Lakeshore Records
PIC Season 3
Soundtracks
Star Trek: Picard
Stephen Barton

Zanobard Reviews

For all your film, tv and game soundtrack review needs, star trek: picard (season 3) – soundtrack review.

Stephen Barton and Frederik Wiedmann’s score for the third season of Star Trek: Picard is utterly brilliant, and a spellbinding showcase of what the music for the show frankly should have sounded like in the first place. Gorgeous thematic reprisals and rich stylistic callbacks are amazingly abound in this two and a half hour Star Trek music extravaganza, and it’s just utterly captivating as a result. Stellar, even.

So the third season of Star Trek: Picard has been leaps and bounds better than seasons one and two, with one of the most enjoyable aspects being the music. Stephen Barton and Frederik Wiedmann have taken over compositional duties for this season – replacing Jeff Russo – and above all else seem to have brought an immense love and affection for all things thematically Star Trek to the series’ new music. Jerry Goldsmith, Alexander Courage, James Horner, Dennis McCarthy – they’re all here and here in spades, and the music just sounds so immense, so full of life, so fundamentally… Star Trek as a result. Take the first few cues of the album here for instance; ‘Old Communicator’ kicks the thematic reprisals off quietly with a gently serene rendition of the classic Alexander Courage Trek theme on strings, before ‘Hello Beautiful’ then harkens back to the musical style of James Horner – complete with flurrying strings and bold brass notes – while also teasing Jerry Goldsmith’s Star Trek: The Motion Picture theme, or The Next Generation (TNG) theme as it essentially later became.

The classically titled ‘Leaving Spacedock’ then brings the score to its first emboldened orchestral crescendo, with the TNG theme playing loudly and proudly on flourishing brass to start. As the track continues however the composers then introduce a brand new theme of their own making; an eight note motif for the U.S.S. Titan, the primary starship of the season. Now it’s a pretty memorable theme just by itself, but the absolutely exquisite use of a very James Horner-y musical style to essentially ‘launch’ the ship is what makes this track absolutely incredible overall, and ultimately sells this new Titan theme in about the most musically impeccable way possible as a result. I must say as well, Stephen Barton certainly proved a knack for emulating classic film composer styles with Star Wars Jedi: Fallen Order (in emphasising John Williams) and he certainly seems to be doing so again here to amazing effect with Horner. What a track! Subsequent cue ‘I Like That Seven’ then briefly breaks the epic-ness with a quietly solemn rendition of the new Titan theme on strings, before ‘Breaking The Beam’ then kicks off the score’s first major action setpiece. Thunderous brass and frenetic percussion occupy the majority of the track’s four minute runtime, with tensions rising and the pace quickening throughout until the track then comes to a pretty dramatic finishing crescendo.

‘The Shrike’ then introduces a motif of sorts for the villainous Vadic and her supremely powerful titular ship. The music here plays quietly and ominously for much of the three minute cue, with quiet strings and moody electronics dropping hints towards a theme before loud brass then crashes out the track. ‘Picard’s Answer’ then continues the frantic action kick-started by ‘Breaking The Beam’ with loud bursts of brass hinting back toward that classic Jerry Goldsmith-esque Star Trek sound with short renditions of the Titan theme playing infrequently throughout. An absolute plethora of action cues then follow this excellent introduction, with ‘Call Me Number One’ kicking things off with frenetic strings and emphatic percussion, ‘No Win Scenario’ then building to crescendo with the Shrike motif held villainously high, ‘Blood In The Water’ hitting dramatically back with the Titan theme on loudly thunderous brass, ‘Let’s Go Home’ building tension again with increasingly frenetic orchestra and finally ‘Flying Blind’ then bringing it all to dramatic conclusion with the Titan and Shrike motifs locked in vicious orchestral combat togehter with several James Horner-isms until the track then closes on a particularly tense crescendo. All-in it’s got to be said, for a lengthy series of similar-sounding action cues this section of the score is actually a pretty entertaining listening experience, with the way the new motifs are fleshed out and the composers’ excellent use of orchestra being particularly standout.

A brand new theme is then introduced in ‘A New Family’. The track starts with a particularly victorious flourish of the Titan motif followed by a brief reprisal of Goldsmith’s TNG theme, before said new motif is then introduced at the 00:57 mark; it’s a rather gorgeous piece of music overall – played on simply luscious-sounding strings and brass – and it gets a happily lengthy introduction here, with the absolute cherry on top then being another playthrough of the TNG and Titan themes to crown off the pretty stellar track. Thematically though, this is only where the fun begins for the next couple of cues; subsequent piece ‘Klingons Never Disappoint’ for instance reprises none other than Jerry Goldsmith’s Klingon theme from Star Trek: The Motion Picture amongst a frenetic action orchestral spread (complete with thunderous brass and percussion), with ‘Legacies’ then bringing thematic cameos galore with loving reprisals of Alexander Courage’s Original Series theme, Dennis McCarthy’s main motif from Deep Space Nine and even Jerry Goldsmith’s wonderful theme for Voyager , and the new Family theme then bringing the track to a gentle strings-based close. A rapid pace then kicks into gear with action cue ‘Invisible Rescue’, with frenetic strings and worrisome brass locking the Titan theme and James Horner’s classic danger motif in frantic orchestral battle for the majority of the track’s three minute runtime.

Dramatic villainy arrives in the eight minute atmospheric setpiece ‘Dominion’; a rather eerie piano kicks off the cue, with serene strings then gradually picking up the pace for the first few minutes. As the track continues more and more instrumentation then starts to join the fray, all the time getting louder and more intense with emboldened brass eventually taking over the musical charge until a particularly malevolent crescendo is then reached to bring the cue to a emphatically villainously grand finale. The heroic counterattack then begins in the subsequent ‘Lower The Partition’ with the Titan theme building amongst hopeful strings and brassy bursts abound, before ‘Get Off My Bridge’ then unleashes the Family theme in a thunderously victorious rendition at spectacular volume to start, and then brings in the Titan motif once again to close out the track on a fist-pumpingly heroic finish. Another wondrous thematic reprisal then occurs in ‘Family Reunion’ as Goldsmith’s TNG theme finally plays again in full, gorgeously orchestral form (though still not for long enough) with Courage’s classic Star Trek motif reprising in similarly upbeat style in ‘Frontier Day’ on celebratory brass and strings.

Thankfully though we don’t have to wait around too long for the TNG theme to appear again. Action track ‘You Have The Conn’ for example teases it slightly with a short heroic rendition, but it’s subsequent and standout cue ‘Make It So’ where things then really get cracking. Courage’s classic Star Trek theme kicks off the track, with gently upbeat strings hinting toward things to come as the music then slowly starts to build. A little hint towards Dennis McCarthy’s Star Trek: Generations overture plays at the two minute mark, with brief reprisals of Goldsmith’s TNG and Courage’s classic themes following on initially quiet brass. From here though the track then just starts to go, with orchestra building, volume increasing and intensity reaching fever pitch until the TNG theme is then utterly unleashed in about as gloriously heroic a rendition as you could possibly get, I mean seriously. It’s absolutely. Utterly. Outstanding. You can tell the entire score so far has been building up to this one musical moment, and oh boy was it worth it. And the best part? This is only the beginning. From here the action finale of the score then properly begins, with track ‘Annihilate’ for example thundering along with frenetic brass and strings until a loud and very First Contact -esque rendition of the TNG theme plays right as the track crescendos. ‘Trust Me’ then pulls Courage’s Trek theme into the fight with a pretty spectacularly heroic rendition towards the end of the track.

As the album starts to draw to a close, the rather beautiful ‘The Missing Part Of Me’ slows things down in its first half with a rather downtrodden orchestral take on the Family theme before then building back up in the back half to loud orchestral epic-ness. ‘Must Come To An End’ then picks up where this leaves off with the orchestra now at grandiose fever-pitch, and from here until pretty much the end of the score now it simply doesn’t let up. ‘A New Day’ for instance reprises the Courage Trek, Family and Titan themes in loudly hopeful form on strings, with ‘Legacy And Future’ then lovingly bringing back Dennis McCarthy’s ‘To Live Forever’ motif from Star Trek: Generations alongside the Titan theme. ‘Names Mean Everything’ then grandly closes the chapter on the Titan’s epic story with the loudest, most thunderously triumphant rendition of its theme yet on fist-pumping brass, and to finish up the composers then have one last treat in store with final track ‘The Stars – End Credits’. The Titan motif makes a brief appearance at the start of this wonderful cue, but it’s the TNG theme that then takes centre stage as it reprises in its longest playthrough of the score on typically heroic and very Goldsmith-sounding orchestra. In essence, it’s a full new playthrough of the theme akin to the Trek movie end credits tracks of old, and so naturally is about as amazing a finale as you could get here really. Just brilliant.

Overall, Stephen Barton and Frederik Wiedmann’s absolutely astounding score for the third season of Star Trek: Picard is, quite honestly, exactly what the music for the entire show should have sounded like in the first place. Let’s start with the themes; there is a very clear love for all things musically Star Trek displayed throughout this utterly sublime two and a half hour album – complete with very Goldsmith-inian and Horner-esque stylistic quotes throughout – but it’s the way the themes are used, both iconic old and spectacular new, that are the absolute stars of the show here. Barton and Wiedmann expertly use all the classic themes you’d expect them to to stunning effect, teasing Goldsmith’s Next Generation theme in particular – the one they know we all want to hear – throughout the score until finally unleashing it in all its glory towards the end, and it sounds so utterly immense as a result. ‘Make It So’, ‘Annihilate’, ‘The Stars – End Credits’ – every time it appears, it just excels, and it appears in full as well, not just in tiny little cameos. We also hear a ton of other thematic material from Goldsmith, as well as motifs from Dennis McCarthy, James Horner and Alexander Courage of course, and the music just sounds so rich, so utterly Star Trek as a result. It’s truly spellbinding. The new themes too – Titan and Family being the standouts – also fit with the classic material here impeccably well, altogether weaving this immense thematic tapestry which combined with the excellent orchestral style make the composers’ work here an absolute triumph, from enjoyable start to impeccable finish. What a send-off!

Score: 8.5/10

Standout Cues: 32. Make It So/45. The Stars – End Credits

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Star Trek: Picard Season 3 Soundtrack

Action TV Series , Adventure TV Series , Canal+ , Drama TV Series , Oi Play TV , Paramount+ , Prime Video , Sci-Fi TV Series , TV Series

Season 3 • Episode 1 : ‘The Next Generation’ (S03E01)

Season 3 • Episode 2 : ‘Disengage’ (S03E02)

Season 3 • Episode 3 : ‘Seventeen Seconds’ (S03E03)

Season 3 • episode 4 : ‘no win scenario’ (s03e04), season 3 • episode 5 : ‘imposters’ (s03e05), season 3 • episode 6 : ‘bounty’ (s03e06), season 3 • episode 7 : ‘dominion’ (s03e07), season 3 • episode 8 : ‘surrender’ (s03e08), season 3 • episode 9 : ‘vox’ (s03e09), season 3 • episode 10 : ‘the last generation’ (s03e10).

Category: Action TV Series , Adventure TV Series , Canal+ , Drama TV Series , Oi Play TV , Paramount+ , Prime Video , Sci-Fi TV Series , TV Series

IMDB: Star Trek: Picard

Frederik Wiedmann

Stephen Barton

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3 thoughts on “Star Trek: Picard Season 3 Soundtrack”

Does anyone know what the song is that is playing in 10 Forward Holodeck (Jean Luc & Ro Laren scene) in “episode 5” at the 28mins 38 Seconds mark? Thanks.

Episode 6…. Sorry I forgot to mention that in my last message.

The song that is playing in 10 Forward Holodeck bar, (Scene with Jean Luc & Jack Crusher) is the blues track “My Guitar Can’t Stand You No More” by “Duke Shelby”

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Stephen Barton, Frederik Wiedmann Star Trek: Picard, Season 3 (Original Series Soundtrack)

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Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack

The third season of "Star Trek: Picard" gives fans yet another opportunity for further adventures with Patrick Stuart's titular "Next Generation" captain, and it seems this installment of the series is delving deeper into franchise nostalgia than ever before. The third set of episodes is packed to the brim with major cameos from familiar USS Enterprise faces, thrilling space-bound set pieces, and entertaining easter eggs for "Star Trek" die-hards. However, for all the things that "Star Trek: Picard" Season 3 is offering to fans, some are laser-focused on the show's impressive soundtrack.

Certain viewers have taken to social media to effuse praise onto the show's Season 3 soundtrack, as well as its composers Stephen Barton and Frederik Wiedmann. "Honestly, the whole soundtrack this season is amazing," u/Rupe_Dogg wrote. "Stephen Barton has done tracks that emulate Jerry Goldsmith (First Contact) and James Horner (Wrath of Khan/Search For Spock), as well as plenty of new sounds." Particular praise has been leveled at the use of "First Contact" as the end credits theme, with u/dub4er_tx commenting: "My heart melts when the ending score starts." The positivity doesn't end there, either.

Everyone is jazzed about the soundtrack

Even before "Star Trek: Picard" Season 3 finished releasing new episodes, some fans were already hounding for a way to obtain the full soundtrack for themselves. "Please tell us the #StarTrekPicard music will be released as a CD!" @SteveBrant tweeted. Other fans, like @HLKBSTR , voiced similar words of excitement for a full release of Season 3's OST.

Fans aren't the only ones who have been getting a lot out of the "Star Trek" Season 3 soundtrack either. Even individuals involved with the show have been vocal in their enjoyment of the score. Alana actress Mica Burton tagged Stephen Barton on Twitter, writing: "You have a chokehold on my emotions with this score." Meanwhile, series showrunner Terry Matalas shared a video of Barton composing the theme for the USS Titan. "It's been stuck in my head for over a year," he wrote.

It's a good thing that the score has been so well-received, as the composer team seems to have put a gargantuan amount of effort into its development. In an interview with Broadcast Music , Barton revealed that they went through nearly every "Star Trek" TV series and movie, picking out relevant motifs to reference. "We had free rein to use the tunes, but we wanted to use them as precious gems and not just 'Star Trek' wallpaper," he explained. "There are times where I'm staying very close to the Goldsmith orchestrations, or Horner's, in particular, but also times where I've re-imagined it."

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Listen To A Clip Of The USS Titan Theme From Star Trek: Picard Season 3

| December 25, 2022 | By: TrekMovie.com Staff 66 comments so far

One of the changes for season three of Star Trek: Picard will be with the music with a new composer. Showrunner Terry Matalas brought in his former 12 Monkeys collaborator Stephen Barton to help create a score to match his vision for the season, and they have a holiday treat, sharing a bit of the new original music from the score.

Titan theme

One of the reasons Barton was brought in for season 3 was to bring some of the classic Star Trek movie themes into the show to match the cinematic style Matalas wants to evoke. This includes him recreating some of the classic musical moments from composers like Jerry Goldsmith and James Horner.

Naturally, the primary hero ship, the USS Titan-A, has a theme. Matalas has shared a “happy holidays!” gift of a video of the Titan theme being recorded, which definitely fits in with classic Star Trek movie music. See the video below

View this post on Instagram A post shared by Terry Matalas (@terrymatalas)

Make your own Titan music

Barton has shared the sheet music for the theme, which he says was “basically co-written” with Matalas. The showrunner has added that he wants to hear some fan covers of the music.

Let’s hear some covers, fans! #StarTrekPicard ! https://t.co/5taCvFldQX — Terry Matalas (@TerryMatalas) December 24, 2022

If you are musically inclined and decide to make your own cover, be sure to share it with Terry and Stephen on Twitter (or Instagram).

Coming on Feb 16

The third and final season premieres on Thursday, Feb. 16, 2023, exclusively on Paramount+ in the U.S., with new episodes of the 10-episode-long season available to stream weekly on Thursdays. Here is the latest trailer from NYCC.

Picard streams exclusively on Paramount+ in the U.S.A. It is distributed concurrently by Paramount Global Content Distribution on Amazon Prime Video in more than 200 countries and territories, and in Canada it airs on Bell Media’s CTV Sci-Fi Channel and streams on Crave.

Keep up with news about the Star Trek Universe at TrekMovie.com .

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Beautiful. Star Trek feels more and more Star Trek to me every season. The theme is a nice touch and it DOES evoke the classic films.

This has to be the moment the Titan is coming out of Drydock or the first time they see her

Looks like they have had star trek 3 on repeat, very retro!

Very Horner-esque and a throwback to the lush, melodic form of film composing that hasn’t been in style for a number of years.

Yeah, the horns in harmony playing is very naval. Sounds great.

Reminded me a bit of the music from wrath of khan

Agreed. Some of us just enjoy and appreciate being swept up in the music of the late Mr. Horner. A composer/conductor friend of mine from years back, commented on the death of Mr.Horner work as being a passing of one of the last composers of that style of melodies. His ST III score is my #1 favorite, and my most-played ST score to this day, with the lush beauty of the “Return to Vulcan” cue helping carry me through the passing of a couple of very close loved ones…

Yes, lots of callbacks to STII, STIII, and even a touch of Goldsmith. I still think the Titan design is ugly and lazy and too reliant on Star Trek Online design cues, but at least we get pretty music…Picard has been rather lackluster in that regard. Very excited for season 3!

We’ll it still looks infinitely better than the NX-01 incremental design cluster-f#@k that wrote over Rodenberry’s XCV-330 established canon. Lol, that lowest bar will probably never be reached again. That was by far the worst major starship ever in Star Trek.

The NX-01 is one of my favorites. It feels more primitive than Kirk’s ship, but still beautiful in its own way.

Same! Absolutely love it. I still want to see the refit on air one day, beyond the model we got in Picard.

I could not disagree more, buy hey, IDIC. I mean, 30% of the nation still likes that orange haired wannabe dictator, so what are we gonna do, lol.

You’re losing your touch man. Here I am agreeing with you again, on both the NX-01 and the orange bloated loudmouth. Just too bad I couldn’t have the satisfaction of voting against him in 2020 (I’m Canadian).

LOL, awesome!

ONE LION. FINAL WARNING for political trolling. And on Christmas!

OK, sorry, it was intended as humor.

I don’t see how ENT decanonized the XCV-330 ringship. On the contrary, it established that ringships were a common Vulcan design, so we can surmise that one of Earth’s first starships — a pre-Warp 5 one — was based on Vulcan design. It likely plied the routes between Earth and the nearest systems, such as Vulcan and Alpha Centauri.

Of course that fits NOW because of the Berman canon re-write. They doubled down on it and created that new backstory which just seems so perfectly reasonable now.

That TMP scene with Decker and Ilaia clearly shows the XCV-330 as the precursor starship to TOS Enterprise — and Rodenberry deliberately included that in that scene, so that is what he intended as canon. Drexler and Okuda even came to Berman twice with XCV-330 derived designs for the Enterprise series starship, but Berman refused, and insisted on something derivative. And then after it debuted on Enterprise, well of course they double-downed on the canon re-write in multiple ways in later eps and other Berman series to cement in their canon rewrite. I mean the whole Vulcan ringship thing was made up AFTER the Berman NX-01 canon force-fit, so of course it supports that house of cards perfectly logical explanation…lol

I think it depends on the point of view. As an UFP starship and a predecessor of the TOS-Enterprise the NX-01 makes sense. It looks more primitive and clunkier, at least way more primitive than the Enterprise refit. And by calling the show Enterprise there was a reason to have a starship which could be identified as some kind of Enterprise. Too bad, the design aged badly since it wasn’t a physical model. 20 years later it looks way to CGI. Nevertheless I like that design. But it should be HD-remastered.

But canon-wise it doesn’t make sense, because the NX-01 was a HUMAN starship BEFORE the UFP of planets was founded. Shouldn’t the flagship of the UFP incorporate designs of starships of different species? Especially since humans were technologically behind other advanced species? Inside ENT it makes sense to have humans, vulcans, andorians and Tellarites their own starship designs. But inside the whole Star Trek universe the NX-01 should have looked that way after the foundation of the UFP and not before. What happened in Starfleet with the other designs of those who founded the UFP?

It was on the wall in the bar on the episode that showed Archer doing the test flight. So yes the human ring ship is canon.

Not in love with the Titan either but I’m hoping it will grow on me. If it turns out to be a great season then it won’t matter at all to me.

Sorry but last season’s score was BEAUTIFUL! From the updated opening theme to some of the callbacks we got. It’s still a beautiful score to listen to for sure

I would say this evokes Goldsmith’s “The Enterprise” track from TMP more than the Horner soundtracks. Very majestic and naval.

I think it does both. It sounds like the Enterprise coming out of the drydock in TMP and ST II.

I didn’t know it was possible to evoke James Horner and Jerry Goldsmith simultaneously in the same 36 seconds, but that madlad Stephen Barton did it!

Yes exactly. I just listened to it again and you can definitely hear a mix of Goldsmith and Horner. Very well done indeed!

Most early Horner IS just recycled Goldsmith (BATTLE BEYOND THE STARS riffs on PATTON as well as GREAT TRAIN ROBBERY and TMP.) Then he made a disgustingly good living ripping off Ligeti for ALIENS and PATRIOT GAMES and probably a couple more places, but most often just reworking (sometimes without even changing orchestrations) his own stuff. 48HRs is COMMANDO is pretty much all other then-contemporary films scored by Horner. The same stuff you hear in STEALING THEENTERRISE is in BRAINSTORM and UNCOMMON VALOR, while ALIENS takes from that and from WOLFEN/KHAN.

All that aside, this excerpt sounds very promising. Can’t imagine the visuals will in any way do it justice given the way all ship VFX look under shows produced by Orci’s old writing partner, but that starship has cleared sailed.

Very true. First noticed Horner’s self plagiarism in Brainstorm. I thought I was listening to the score from TWOK.

It is a little-known fact that the aliens in Aliens spontaneously developed their forehead ridges when hearing the STTSFS Klingon Theme recycled for them.

I noticed something from ST III in Aliens too.

And so did Jerry Godlsmith. I swear I heard something from TMP in Poltergeist. And so did also the composer from ST IV, who recycled the main theme from Lord of the Rings 1978.

Great composers have been riffing their own work or others for centuries. Bach did it lots in his lifetime; one of Brahm’s most famous works is a variation on a Hadyn theme. Leonard Rosenman’s opening credits to Star Trek IV also take a pretty well known melodic line from Bach’s first movement in his 2nd Brandenburg Concerto.

Are you talking about the VFX or the designs? I think the VFX looks better than anything in the Berman era, and we can’t all have ILM at our beck and call. As for the designs, I think they look great apart from the Titan, which I can tell was designed by a fan. A talented fan, to be sure, but the design of the engineering hull still feels a bit boxy and off. It feels like the first draft of something spectacular that people would be talking about for a long time, but only if they had touched it up a bit. Particularly the deflector and the nacelles. I love the saucer, though.

But hey, if the story is good, I can forgive all the scrawny nacelles the show could possibly throw at me. And if the music is any indication, they’ve nailed the nautical feel of TNG. For me, that’s half the battle.

The designs aren’t great, but in the eps I’ve seen (no DSC since end of s2, can’t pay me to go there again) the vfx, except for some cg creature work in dsc s1, are absolute rubbish. This deliberate choice to go gauzy and underdetailed in the vacuum of space is absurd — like using imagery from seaQuest for a space show — as well as aesthetically for the not so great birds. It isn’t a matter of lousy vendors, they have all done superb work — just not on Kurtzman trek.

I kind of agree with you. The vfx feels strangely smooth and glossy, almost as if they are rendering the effects in the space scenes through the lens of Kari Lake’s zoom camera. (Not intended as political trolling, I just couldn’t think of a better description for what I mean.)

I had to look up the Lake reference, as I have a tendency of late to skip right past anything having to do with her unless there is an indication in the headlines that she is getting caught or punished (to put a trek-minded spin on things as a pretense of relevance to the board, this is also how I’ve had to start looking at anything about Marc Cushman and especially Alec Peters, who I’ve come to think of as Trump for the trek fan fiefdom.) Even so, I kinda like your take on the VFX.

Through a glass, darkly (and smudged) , is what I had as a title for a little rant I had put together about KurtzTrek spaceship vfx stuff a couple of years back, before I decided to stop giving my best stuff away for free to message boards (am now planning to give my best stuff away for free to a little-traveled 007 forum now that I have put together a kickass pretitlesequence to introduce the next Bond, one that Bond devotees should eat up and Eon would not consider in a million years, but at least it’ll get all the venom I’ve had for all their wrong turns this century out of my system.)

Channeling James Horner, with a nod to Goldsmith as well – love it!

It sounds like it was inspired by TWOK soundtrack. Love it!

Sounds beautiful. Less than two months to go!

Oh that’s unmistakably Horner STII/STIII inspired, very extravagant for a modern TV show (aka retro). I’m still not sure how I feel about the TOS Movie aesthetics going on with this series, that’s not really my vision for TNG in particular which has its own music and visual style. But I do love the more grand naval theming of the TOS movies, that’s something that makes them particularly unique and still beautiful today. The brass probably could use some tweaking in this clip, or re-mixing, but still very beautiful.

Ummm, TNG’s theme was lifted from TMP and its characters are all return Phase II characters plus Aliens’ female marine… Nothing wrong with borrowing from the original.

This point could be reasonable in 1987, but TNG developed its own tone and visual identity over 7 seasons and 4 movies. This Titan concept seems like Matalas just wanted to take a crack at combining two things he loved: TOS movies and TNG. Unfortunately, there’s a decent chance this season is going to be a muddled mess due to these disparate influences.

There were TOS movie tropes that got trotted out for late-era TNG, some used, others not. In AGT, Picard and co were originally going to steal the E-D out of an orbiting museum, sorta llike TSFS, and the s6 finale was going to have the E-D totalled, also a la TSFS. Disparate influences can enhance as well as distract or muddle.

Sine the Orville does the same, why not do it that way in the original franchise? ;-)

Has a real TMP vibe…. I’m also okay with the ship design, knowing that all Trek ships require serious suspension of disbelief.

Except the TMP refit of course, right?

Stunning! Majestic! Star Trek Big Picture theme! Been needed for a while now!

Sounds beautiful.

This gives me hope Matalas might someday take a crack at exploring the time period right after Undiscovered Country. I have no idea what stories could be told there, but when it comes to music and visuals, the TOS movies have always been my favorite.

Oh that would be MOST excellent.

The years after the movies and before TNG are an obvious period to fill in with another show. Even a limited one season 6-8 part series or a made for streaming movie would be welcome.

Matalas however seems to be a TNG era guy with a vision of how to take that forward into the 25th century. So, why not just be happy with that.

Goldsman seems to have a lock on the Pre-TOS to TOS era, with if anything too much of a focus on laying the foundation for TOS as opposed to telling the story of Pike’s Enterprise. It’s hard to know if another strong Showrunner would be permitted to colour in the era following.

That said, I’m one of those that really likes the Vanguard Treklit novel series that overlap with the end of TOS and go beyond.

There’s a large contingent of Treklit fans that would like the Vanguard books to be reworked into streaming serials.

Vanguard’s overarching story arc is pretty dark, more in the tone of DS9 and more than a touch of a precursor for The Expanse, but really digs into some of the issues running behind the stories of TOS era and the movies: Colonization, competition for territory with the other major species, genetic manipulation for terraforming. The relations with the Klingons are central.

The 1701 Enterprise makes appearances in the Vanguard books. A new TOS novel, ‘In Harm’s Way’ just came out with the Enterprise responding to a distress call related to the Vanguard project. It’s one of David Mack’s better books, and could be read as a stand alone.

Well, because what I’ve seen of the 25th century so far does nothing for me, at least in terms of storytelling. Frankly, aside from some nice visual touches here and there, the trailer for season 3 looks like the hamfisted TNG movie we didn’t get in 2004 or so. But hopefully I’m wrong.

And judging from interviews, Matalas seems to be more than just a TNG era guy. So there’s always hope.

Matalas involved in other Berman era series. I just don’t see him as deep fan of the TOS era the way Goldsman and Chabon are (and what seemed to be a problem with them helming a sequel with TNG legacy characters).

What Matalas really gets my respect for is 12 Monkeys. It’s a great example of a tightly plotted serialized show, all the more so since it lands it’s ending through four seasons of timey wimey stuff.

I was hoping his influence would save the time travel story in Picard season two. It’s clear he was given the greenlight to just turn the page for season three.

I heard Goldsmith more than Horner, but that’s me. Of course, early Horner was aping Goldsmith.

Sounds beautiful, can’t wait to see the Titan leaving spacedock with Kirk, Spock, and Bones…oh hang on, which generation is this series about? If the ship looks TMP/TOS movie and the music sounds like TMP/TOS movie… can’t blame them as both that look and sound are iconic and alluring… but feels a bit like they’re trying to sellotape TMP/TOS vibes onto TNG crew?

At least they’re applying some familiar Trek vibe to this series. I don’t know what vibe that was in the previous seasons, but it sure didn’t feel like TNG or any other Trek in my opinion.

Yeah, good point. Although the first episode of Season 2 had it’s merits.

I agree. The season 2 opener was pretty good.

‘My friends.. We’ve come home..’

oh wait that was Rosenmans christmas score, sorry.

(BTW I’ve just realised where that iconic ‘chewie we’re home’ was ripped from!)

Matalas was obviously brought in to salvage S3. Actually with the exception of a couple of disasterous episodes, I enjoyed S1, but he came in too late to save S2 from being almost a complete debacle.

The music sounds great… Matalas is obviously working hard on so many levels to bring us what many are hoping will be season 8 of TNG! No matter what, I am sure it will be a big improvement on S2!

52 days and counting folks! Looking forward to Feb 16th… and to next Thurs for Star Trek Prodigy’s season finale.

It sounds as though he was supposed to help with season 2, but that the powers that be made a decision to make such a radical change for season 3 that he was pulled away to focus in that early in production of season two.

Yeah, too many showrunners for S2… from what I understand he is the sole showrunner for S3.

As for S2, with the exception of a couple of episodes… what a disaster! Too many cooks in the kitchen!

Cool! That tune has some Goldsmith and Horner vibes and those of the old, three-note CBS audio logo.

I prefer the beastie boys

i’m guessing Star Trek Titan will be the next live action show

i would love a computer animated half hour show with riker and the titan (post nemesis pre picard) but i think that’ll never happen

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Pulled out of retirement (again) by a distress call from old flame Beverly Crusher (Gates McFadden), Jean-Luc Picard (Patrick Stewart) enlists the help of Captain Riker (Jonathan Frakes) and sets out to save the day. What he uncovers, however, is a conspiracy reaching to the furthest corners of the Federation, and the return of an old foe, long thought defeated.

“One of the best things about this season of Picard? The music” Junkee.com

“Picard's secret weapon is composer Stephen Barton, whose score flawlessly blends old and new themes together.” cbr.com

Product details

Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 12.2 x 12.2 x 0.4 inches; 1.05 Pounds
Manufacturer ‏ : ‎ LAKESHORE RECORDS, VINYL ONLY
Original Release Date ‏ : ‎ 2023
Date First Available ‏ : ‎ March 25, 2023
Label ‏ : ‎ LAKESHORE RECORDS, VINYL ONLY
ASIN ‏ : ‎ B0BZLLZY8S
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 2
#1,678 in Soundtracks (CDs & Vinyl)

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Soundtrack for Season 3 of ‘Star Trek: Picard’ Now Available for Streaming

The soundtrack for season 3 of Star Trek: Picard is now available for streaming. The score arrives as the final episode of the season and series arrives on Paramount+. The soundtrack covers the span of the entire season and does have potential spoilers in its track listings for those who haven’t finished the season yet.

The soundtrack includes several new themes, most notably that of the Titan, and also many classic Star Trek themes intertwined within. This creates a listening experience that is boldly moving forward with a firm foundation in the past. The soundtrack is written by Stephen Barton and Frederik Wiedmann.

Star Trek: Picard season 3 showrunner Terry Matalas talked about bringing the soundtrack to life in an interview with Den of Geek. “If we were going to say this is the last Star Trek: The Next Generation film, or 10 of the last Star Trek: The Next Generation movies—because all the episodes are very different—then it needed to sound like that, too,” Matalas said. “And that required Stephen Barton. Then, later in the season, the score gets so massive as the story grows that we had to bring in some help from Frederik Wiedmann, who’s a brilliant composer as well. I grew up with legends [like] Jerry Goldsmith and James Horner. Not to mention Dennis McCarthy and Cliff Eidelman. All those Trek composers have nods.”

The soundtrack is now available on music streaming services like Spotify and Apple Music. It also was made available on vinyl for pre-sale and quickly sold out. It is unknown if sales will reopen at this time. Below the player with the third season soundtrack for Star Trek: Picard are the listings for both streaming and vinyl versions of the soundtrack.

Star Trek: Picard Season 3 Soundtrack

Star trek: picard season 3 soundtrack track listing.

Star Trek: Picard (Original Series Soundtrack – Season 3 on Vinyl) – Stephen Barton & Frederik Wiedmann

Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters) Star Trek: Picard features Sir Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on Star Trek: The Next Generation and in 4 feature length films. The new series will follow this iconic character into the next chapter of his life. Pulled out of retirement (again) by a distress call from old flame Beverly Crusher (Gates McFadden), Jean-Luc Picard (Patrick Stewart) enlists the help of Captain Riker (Jonathan Frakes) and sets out to save the day. What he uncovers, however, is a conspiracy reaching to the furthest corners of the Federation, and the return of an old foe, long thought defeated.

Track Listing:

Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind

Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion

Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began

Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

Release on or around 05/12

What do you think about the season 3 soundtrack for Star Trek: Picard ? What is your favorite track? Share your thoughts and opinions in the comments below!

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Star Trek Picard (Original Series Soundtrack - Season 3) - Stephen Barton & Frederik Wiedmann

Double lp on sky blue with white burst colored vinyl, with full color gatefold sleeve and inserts, “one of the best things about this season of picard the music” junkee.com.

Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters)

Star Trek: Picard features Sir Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on Star Trek: The Next Generation and in 4 feature length films. The new series will follow this iconic character into the next chapter of his life.

Track Listing: Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind

Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion

Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began

Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

Release on or around 05/12

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'Star Trek: Discovery' season 5 episode 7 'Eirgah' is the best yet of this final season

So, just to clarify, Moll and L'ak are chasing the ultimate power in the universe, to trade it so they can, in essence, elope..?!

Warning: Spoilers ahead for "Star Trek: Discovery" season 5, episode 7

Almost immediately, we're treated to the return of Commander Nhan (Rachael Ancheril), who we last saw in the episode " Rubicon " S04, E09, just like we called a couple of weeks ago with episode 3, "Jinaal." And you know, this new episode, entitled "Eirgah," starts off strong and actually holds our attention throughout. In short, with just three more episodes remaining until the end of " Star Trek: Discovery " forever and ever, we actually get a pretty good installment.

Yes, it seems the writers aren't quite sure what to do with Captain Rayner's character, and that was always a danger. Callum Keith Rennie is an actor of the highest caliber, and a reoccurring B-character was never going to be worthy of his talent. And so we seem to continually walk the very thin line between a basic, two-dimensional character and someone who teases the tiniest hint of Mariana Trench -like depth.

Regardless, we are at least given a little more insight into his background, and, of course, it leaves us wanting so much more — though his character is so disappointingly clichéd at times, you really have to wonder how Raynor actually made it through Starfleet and ended up with his own command in the first place.

Related: Watch the bittersweet trailer for 'Star Trek: Discovery's final season (video)

Watch Star Trek on Paramount Plus: Get a one month free trial

Get all the Star Trek content you can possibly handle with this free trial of Paramount Plus. Watch new shows like Star Trek: Discovery and all the classic Trek movies and TV shows too. Plans start from $4.99/month after the trial ends.

scene from a sci-fi tv show depicting three woman wearing futuristic spaceship-commander uniforms

Another interesting observation is the mention of the USS Mitchell, clearly a nod to the actor Kenneth Mitchell, who popped up a number of times in "Star Trek: Discovery" playing various roles, but who tragically died from complications of ALS back in February . Possibly an indication of when this scene was actually filmed, which seems really rather recent, but it's a small matter.

Arguably the most important issue to focus on here is that Malinne "Moll" Ravel (Eve Harlow) and L'ak (Elias Toufexis) are in fact chasing the ultimate power in the universe, to trade it ... so they can, in essence, elope? It's less of a romantic gesture and slightly more of a staggeringly irresponsible and breathtakingly selfish thing to do, don't you think?

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"Oh, darling, let's go and visit Risa, the pleasure planet, for our honeymoon," purred Moll as she gently shifted under the bed sheets, her skin enjoying every moment of contact with the luxury one-billion-thread Vulcan cotton.

"We could do that," he replied, his arms still wrapped around her. "But don't forget, absolutely everyone in the galaxy is dead, so we'd have to make our own Samarian Sunsets..." he added almost as an afterthought.

closeup of a gray-haired, bearded man wearing a starship-commander uniform

But enough of all of that. There are a number of reasons, many beyond the obvious, as to why this is a pretty good episode. The obvious ones include the fact that this episode didn't rip off any decades-old sci-fi that the millennial scriptwriters have only just discovered, so you know, that's always a plus. It happens, sure. It's like discovering the music of T-Rex for the first time, 20 years later, then trying to form a band, aged 13½, believing beyond any doubt that you have a rock-star future ahead of you, basically by copying their songs. The difference is, you were prepubescent, no one in the band could actually play an instrument — and the writers on "Discovery" are Paid Professionals.

Interestingly, this episode is the first major directorial role that Jon Dudkowski has had, and frankly, it shows a lot of promise. He too, we suspect, has studied the work of the legendary Vince Gilligan, and some of the camera angles and edits reflect this. The problem with all of Nu-Trek is that a ton of different directors are hired to come onboard and churn this stuff out. " Picard " was practically a case study on how not to production line principal photography as quickly as possible. Because every director has their own style and when you have a minimum of say, six different styles, more often than not, it jars, making the show inconsistent and harder to enjoy, ultimately driving a wedge between the viewer and the experience.

"Discovery" too suffers from the same problem, but if they'd given Dudkowski the whole season to direct, well, we might have had better episodes, and certainly a more consistent experience. Having the same showrunner isn't the same as having the same director, and having a variety of such notably different styles, in this instance, is a bad thing. Each episode should be a labor of love, and, as such, in a show where the season is only 10 episodes long, both the season and the show would really benefit from being seamless.

illustration of a large starship against the blackness of space

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Of course, quite how much actual control Dudkowski had we'll never know. But this installment definitely benefits from good dialogue, good pacing, some creative cinematography and even little touches like how Burnham is never quite given the chance to use a catch phrase, lame or otherwise. And that self-aware-style of writing has been noticed and appreciated.

The fifth and final season of "Star Trek: Discovery" and every other episode of every "Star Trek" show — with the exception of "Star Trek: Prodigy" — currently streams exclusively on Paramount Plus in the U.S., while "Prodigy" has found a new home on Netflix.

Internationally, the shows are available on Paramount Plus in Australia, Latin America, the UK and South Korea, as well as on Pluto TV in Austria, France, Germany, Italy, Spain and Switzerland on the Pluto TV Sci-Fi channel. They also stream on Paramount Plus in Italy, France, Germany, Switzerland and Austria. In Canada, they air on Bell Media's CTV Sci-Fi Channel and stream on Crave.

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When Scott's application to the NASA astronaut training program was turned down, he was naturally upset...as any 6-year-old boy would be. He chose instead to write as much as he possibly could about science, technology and space exploration. He graduated from The University of Coventry and received his training on Fleet Street in London. He still hopes to be the first journalist in space.

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29 April 2022 31 Songs, 1 hour, 24 minutes ℗ 2022 Lakeshore Records

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Star Trek’s Michael Dorn Wanted Worf To Kill A Popular Deep Space Nine Character In Picard Season 3, And I’m Glad This Didn’t Happen

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Although Star Trek: Picard Season 3 reunited most of the Star Trek: The Next Generation starring actors for the first time since 2002’s Star Trek: Nemesis , they didn’t all show up at once. In the case of Michael Dorn’s Worf , his first scene in the episode “Disengage” saw him rescuing Michelle Hurd’s Raffi Musiker from the crime lord Sneed, and he beheaded the Ferengi on his way out. But if Dorn had his way, he would have killed a different Ferengi instead: Quark, one of the other major characters from S tar Trek: Deep Space Nine , and I’m glad this didn’t happen.

Armin Shimerman, who played Quark for the entirety of Deep Space Nine ’s seven-season run, shared this tidbit of information while appearing on TrekMovie ’s All Access Star Trek podcast. Dorn came aboard Deep Space Nine at the beginning of Season 4 following The Next Generation’s conclusion, so he and Shimerman spent a lot of time together in the mid-late ‘90s, but decades later, the latter wasn’t particularly enthused about the former wanting to slice Quark’s head off. As he recalled:

Dorn called me up and said, ‘I’m doing an episode of Picard where I kill off a Ferengi. Wouldn’t it be great if it were you?’ I said, ‘Michael no, it would not be great.’ I told him just to forget about that idea altogether.

Jonathan Frakes, who was also a guest on this episode, speculated that Michael Dorn didn’t know Worf would be cutting Sneed’s head off, but Armin Shimerman told the William Riker actor and longtime Star Trek director that, at the very least, Dorn was aware Worf was going to kill a Ferengi. In the end though, it was Sneed who met this fate, with the character being played Aaron Stanford, who previously worked with showrunner Terry Matalas on the 12 Monkeys TV show.

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Star Trek: Picard 3
Star Trek: Picard, Season 3 (Original Series Soundtrack)Stephen Barton, Frederik WiedmannDownload the album: https://lnk.to/ST-Picard3 SUBSCRIBE: http://bit....
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Listen to Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton & Frederik Wiedmann on Apple Music. 2023. 45 Songs. ... Home; Browse; Radio; Search; Open in Music. Star Trek: Picard, Season 3 (Original Series Soundtrack) Stephen Barton, Frederik Wiedmann. ORIGINAL SCORE · 2023 . Preview. April 20, 2023 45 Songs, 2 hours ...
Star Trek: Picard
Star Trek: Picard Soundtrack [2020] 49 songs / 150K views. Previous. Season 3. Next. Back to. Star Trek: Picard. Season 3 • Episodes # 1. The Next Generation. 16 Feb 23' 5 songs # 2. ... Popular songs from Season 3 . Ave verum corpus, K.618 (Arr. for Piano by Franz Liszt) Wolfgang Amadeus Mozart. 97.
'Star Trek: Picard' Season 3 Soundtrack Album Details
Lakeshore Records will release a new soundtrack album for the Paramount+ original series Star Trek: Picard.The album features selections of the original score from the show's third and final season composed by Stephen Barton (Star Wars Jedi: Fallen Order, Apex Legends, 12 Monkeys, Titanfall) and Frederik Wiedmann (The Dragon Prince, Occupation: Rainfall, Green Lantern: The Animated Series ...
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Listen to Star Trek: Picard, Season 3 (Original Series Soundtrack) on Spotify. Stephen Barton · Album · 2023 · 45 songs.
Star Trek: Picard
1:43. 45. The Stars - End Credits. 2:59. Total Album Time: 150:16. Star Trek: Picard - Season 3 soundtrack from 2020, composed by Stephen Barton, Frederik Wiedmann. Released by Lakeshore Records in 2023 containing music from Star Trek: Picard (2020).
Listen to Track from 'Star Trek: Picard' Season 3 Soundtrack
Image via Paramount+. Ahead of the series finale of Star Trek: Picard, Collider is thrilled to exclusively debut a new track from the Season 3 soundtrack. The new track, titled "Leaving Spacedock ...
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Listen to Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton & Frederik Wiedmann on Apple Music. ... Star Trek: Picard, Season 3 (Original Series Soundtrack) Stephen Barton, Frederik Wiedmann. SOUNDTRACK · 2023 Preview. Song. Time. Beverly Crusher. 1. Beverly Crusher. PREVIEW. 3:02. Old Communicator. 2. Old Communicator.
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Listen to your favorite songs from Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton & Frederik Wiedmann Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. ... Star Trek: Picard, Season 3 (Original Series Soundtrack) Stephen Barton & Frederik Wiedmann. 45 SONGS • 2 HOURS AND 30 MINUTES ...
Star Trek Picard
Suite of tracks taken from the official Star Trek Picard Season 3 Soundtrack (Stephen Barton, Frederik Wiedmann)Click Like and Subscribe for more...Twitter: ...
INTERVIEW
Lakeshore Records has announced the release date for Star Trek: Picard's Season 3 soundtrack, a whopping 45-track collection of score from composers Stephen Barton and Frederick Wiedmann. Arriving digitally on April 20, 2023 (coinciding with the Picard series finale), the extensive collection of music spans the entire ten-episode run of the ...
Star Trek: Picard (Season 3)
April 30, 2023 • Zanobard. Stephen Barton and Frederik Wiedmann's score for the third season of Star Trek: Picard is utterly brilliant, and a spellbinding showcase of what the music for the show frankly should have sounded like in the first place. Gorgeous thematic reprisals and rich stylistic callbacks are amazingly abound in this two and ...
Star Trek: Picard Season 3 Soundtrack
9 March 2023. 3 songs. 1. Can't Break Away from That Girl - Slam Allen. [0:02'] Opening song. Picard has lunch at the restaurant when the cadets show up and ask him about the encounter with Hirogen. 2. Star Trek Picard Main Title - Jeff Russo. [0:08'] Intro song / Title card.
Interview: 'Picard' Season 3 Composers On How They Are Reviving Classic
Lakeshore Records has announced they will be releasing the soundtrack for season 3 of Star Trek: Picard, containing 45 tracks. The digital release will arrive on April 20, the day of the season ...
Stephen Barton, Frederik Wiedmann
Stephen Barton, Frederik WiedmannStar Trek: Picard, Season 3 (Original Series Soundtrack) Stephen Barton, Frederik Wiedmann. Star Trek: Picard, Season 3 (Original Series Soundtrack) Listen to Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton, Frederik Wiedmann.
Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack
Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack. Trae Patton/ Paramount+. By Ethan Zack / March 14, 2023 12:55 pm EST. The third season of "Star Trek: Picard" gives fans yet another ...
Listen To A Clip Of The USS Titan Theme From Star Trek: Picard Season 3
The third and final season premieres on Thursday, Feb. 16, 2023, exclusively on Paramount+ in the U.S., with new episodes of the 10-episode-long season available to stream weekly on Thursdays ...
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Check out Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton & Frederik Wiedmann on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.co.uk. ... Star Trek: Picard, Season 3 (Original Series Soundtrack) Stephen Barton & Frederik Wiedmann. 45 SONGS • 2 HOURS AND 30 MINUTES • APR 20 2023. Play.
Star Trek Theme (HQ)
Original creator by Jerry Goldsmith from End Credits from Star Trek®: First Contact.And for the Star Trek Picard Season 3 Theme by Stephen Barton that took i...
Star Trek Picard Original Series Soundtrack Season 3 Volume 1
Amazon.com: Star Trek Picard Original Series Soundtrack Season 3 Volume 1: CDs & Vinyl. CDs & Vinyl. ›. Soundtracks. $3499. Get Fast, Free Shipping with Amazon Prime FREE Returns. FREE delivery Wednesday, April 17 on orders shipped by Amazon over $35. Or fastest delivery Tuesday, April 16. Order within 13 hrs 40 mins.
Soundtrack for Season 3 of 'Star Trek: Picard' Now Available for Streaming
Star Trek: Picard season 3 showrunner Terry Matalas talked about bringing the soundtrack to life in an interview with Den of Geek. "If we were going to say this is the last Star Trek: The Next Generation film, or 10 of the last Star Trek: The Next Generation movies—because all the episodes are very different—then it needed to sound like ...
Star Trek Picard (Original Series Soundtrack
Pulled out of retirement (again) by a distress call from old flame Beverly Crusher (Gates McFadden), Jean-Luc Picard (Patrick Stewart) enlists the help of Captain Riker (Jonathan Frakes) and sets out to save the day. What he uncovers, however, is a conspiracy reaching to the furthest corners of the Federation, and the return of an old foe, long ...
Star Trek: Picard, Season 3 (Original Series Soundtrack)
Listen to Star Trek: Picard, Season 3 (Original Series Soundtrack) by Stephen Barton & Frederik Wiedmann on Apple Music. 2023. 45 Songs. Duration: 2 hours, 30 minutes.
'Star Trek: Discovery' season 5 episode 7 'Eirgah' is the best yet of
Warning: Spoilers ahead for "Star Trek: Discovery" season 5, episode 7. Almost immediately, we're treated to the return of Commander Nhan (Rachael Ancheril), who we last saw in the episode ...
Star Trek: Picard
2020. The Night of (Music From the HBO Original Series) 2016. What Remains of Edith Finch (Original Soundtrack) 2018. Listen to Star Trek: Picard - Season 2 (Original Series Soundtrack) by Jeff Russo on Apple Music. 2022. 31 Songs. Duration: 1 hour, 24 minutes.
Star Trek's Michael Dorn Wanted Worf To Kill A Popular Deep ...
Although Star Trek: Picard Season 3 reunited most of the Star Trek: The Next Generation starring actors for the first time since 2002's Star Trek: Nemesis, they didn't all show up at once. In ...
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Meet the Star Trek: Strange New Worlds Season 3 cast. Anson Mount (Capt. Christopher Pike) Captain Pike is the immediate predecessor to Capt. James T. Kirk on the Enterprise. The character has ...

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Star Trek: Picard Season 3 Soundtrack

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