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Star Trek The Official Discovery Starships Collection | U.S.S. Zimmerman NCC-1616 with Magazine Issue 27 by Eaglemoss Hero Collector

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Star Trek Discover Starships Collection #27 USS Zimmerman NCC-1616 Introducing to the Star Trek Discovery Official Starship Collection a Federation tug ship that never got a name on-screen in the episode "Brother"! U.S.S. Zimmerman NCC-1616 was a The Federation tug that was used by the Federation Starfleet in the 23rd-century. It was equipped with tractor beams for towing starships. Two of such ships were dispatched to tow the U.S.S. Enterprise to a repair facility after it was badly damaged attempting to scan the red bursts. Although the tugs seen onscreen did not have registries or names, Alex Kurtzman assigned the name for this model for the Star Trek Discovery Official Starship Collection. This fantastic Star Trek die-cast U.S.S. Zimmerman NCC-1616 Federation Tug Ship model recreates the starship as seen in the second season of Star Trek: Discovery. It was designed using parts of several ship-classes: primary hull from the Malachowski-class, the nacelles from the Hoover-class, and the pylon components from the Walker-class.

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Interview: Jason Zimmerman Talks USS Enterprise And 5,000 VFX Shots For ‘Star Trek: Discovery’

| March 28, 2018 | By: Christine Rideout 79 comments so far

One of the production department heads on the Star Trek: Discovery “Visionaries” panel at WonderCon was visual effects supervisor Jason Zimmerman . Following the panel, TrekMovie sat down with Zimmerman and other journalists at a roundtable interview where we talked about the process for making the award-nominated effects for the series, including the new USS Enterprise.

Jazon Zimmerman at WonderCon 2018

Re-making the Enterprise

How quickly did the approach for the USS Enterprise come, or were there a lot of designs?

A lot of the design stuff comes with the art department and production design, where they put things together. They do a ton of research and a ton of study, to see what the legacy of the ship has been. So, by the time it gets to us, we have a pretty good idea of what it is going to be. As we get into it, we have our modelers talk directly to the art department to make sure we understand this is this, and how does this work, and how does this relate to that.

Fortunately for me, one of the guys who was working on the model on my team is a huge Star Trek fan and knows as much as anybody. Having his knowledge has been invaluable. He has been able to go to them and ask, “This particular thing, why does it look the way it does and where is this from?” They had a lot of interaction with the art department, but having him was really, really helpful.

The USS Enterprise from season 1 finale (episode 15)

Favorite and most challenging shots

Is there a particular model or shot that you are particularly proud of?

I am proud of a lot on the show. There is a lot of stuff that I think looks good. I love in episode 1, with [Michael Burnham] flying to the artifact and that whole sequence, there are some really fun shots in there. I love Vulcan in episode 6, I am really proud of that. There are a lot of cool details we put into that short sequence. For episode 10 with Jonathan Frakes, he had a lot of great stuff. And for [episode] 15 we got to do the Enterprise, so that was one of those moments where I was like “I’m done, I can retire now.”

Was there anything that was a particularly hard challenge or struggle to get right?

I wouldn’t say we struggle with it, it is always just talking about the best way to shoot something. For instance, when you shoot zero-G, that is easier said than done. You are talking about wire work and wires have gravity. So, trying a way to shoot that and making it believable, especially as it has been done really well like in the movie Gravity .

Planet Vulcan as seen in episode 6

Feature film level effects, but not driving the story

What is the typical episode process?

It starts with the script and we go through it have a lot of questions at that point. We have a meeting with the department heads and Aaron [Harberts] and Gretchen [J. Berg] and Akiva [Goldsman] to talk about it and what they are thinking and what their ambitions are on what needs to be visual effects and what doesn’t need to be visual effects. After that we start building our assets and start putting together a shot list. We then shoot it and start to get an edit together and actually put into the visual effects into the edit. It evolves greatly, starting like with a title card that says, “Ship flies here,” and at the end it is the Enterprise and the Discovery facing each other.

How many effects shots are there for each episode, typically?

It varies a lot. For the season it was something like 5,000 [in total], so like a feature film.

That is kind of the ambition, to give the production a feature film texture?

It is definitely about having high-end visual effects. Ultimately the good thing about [executive producers] Aaron, Gretchen, Akiva, and Alex [Kurtzman] is that it is always about what the story is. If the story is that there are ten visual effects shots in an episode, that is what it is, and if it is 500, that is what it is going to be. We don’t drive the story, but we help it out. Looking at from that paradigm, you are not locked into a certain way of thinking. And at the same time, we get a breather every once in a while.

A wireframe view of the USS Shenzhou CGI model

Have you ever had to say “no,” due to time constraints?

No, it’s like anything, it’s a conversation. It is never a “no,” it is talking to everyone to see what they want and how much time we have and going from there.

What was the most iterations of a single effects shot that you have gone through?

We had one that was 146, that was the highest for the season. That is high, even for me. When I saw that, I felt really bad for the vendor.

Was that for the ISS Charon?

What is funny is you would think it was for one of those big “scopey” shots, but I think it was just a monitor comp. I don’t know why. We kept changing the graphics.

The USS Discovery destroys the ISS Charon in episode 13

More TrekMovie WonderCon 2018 coverage

Interview: Mary Chieffo Talks Klingon Sex And L’Rell’s Future

Full Star Trek: Discovery Visionaries panel video

Interview: ‘Star Trek: Discovery’ Showrunners Reveal Season 2 Theme, Plans For Burnham, Airiam And More

‘Star Trek: Discovery’ Showrunners Confirm Number Of Episodes In Season 2, Give Production Update

7 Things We Learned About ‘Star Trek: Discovery’ Season 2 At WonderCon Visionaries Panel

WATCH: ‘Star Trek: Discovery’ Bonus Scene Reveals A Familiar Storyline For Season Two

WonderCon18: IDW Announces ‘Star Trek: The Next Generation: Terra Incognita’ + Talk ‘Discovery’ Comics

Star Trek: Discovery  is available exclusively in the USA on  CBS All Access . It airs in Canada on the Space Channel and streams on CraveTV. It is available on Netflix everywhere else.

Keep up with all the  Star Trek: Discovery  news at TrekMovie.

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For season 2, would you please lay off the “blue filter” and disable the Lens Flare Generators? Thank you.

Absolutely. Call me old school, but the zoom-ins and rainbow filter and ultra-short starship shots have to go. I want to see what is going on, space should be dark, not look like some LSD-induced nightmare, I want flybys of starships and swooping shots instead of crazy pan and zoom. How many times did they really take time to show the ship? It’s a character, just like anyone else.

Absolutely agree. Trying to make out the designs of the various ships shown at times during season one was frustrating as all he*l. If I have to go back and freeze a shot to see what a ship looks like, that’s a problem for me.

I can live with space nebulae. However, some of the ship renders looked really cartooney. And the movements of both the ships and the camera often felt off, in addition to being only very short shots.

Space nebulae, in EVERY SHOT thou? Sure, they might be a near a nebula once in a while, but everytime we see ships from the outside? Disable the Blue Filter, or in the very least, tone it the f— down!

Agreed, the rainbow color look feels strange, especially since the interior shots of Discovery and other locations don’t apply the same “cartoony” style. I think the pictures above are a good indicator of what’s wrong here. Vulcan looks like it’s been filmed through a soap bubble, the Enterprise looks like it’S coming right out of V’Ger’s butt. :D

Blue. Blue haze everywhere. I look at their reimagined Enterprise and I don’t know what I’m looking at. Something underwater? Blue haze. Bad writing. Dark. Everything so dark and blue. I feel stressed after watching it. What happened to Star Trek?

Just think of all the hardworking crew who have to put in such long hours after being handed scripts produced by Aaron & Gretch overseeing a room of howler monkeys banging on typewriters.

You are getting extremely tiresome. Quit trolling and get a life.

Please, Admin, ban Galt the troll.

Please Admin, don’t ban anyone. Let Star Trek fans voice their criticism. Refering to the writers as howler monkeys is appropriate. The 11th hour ‘oh no, let’s change our minds about the war we were winning because they’ve planeted a bomb in our planet’s cave system’ had to have been written by howler monkeys, anyone that says different is being too defensive and needs to ask themselves why any negative opinions or critics of Discovery need to be “banned”? If you were so confident in Discovery being a good show, why would you be trying to censor people?

Yeah, let everybody have a say! Even the stupid ones! Martin, Galt, go ahead, share your profound views! Looking forward to it! Love monkeys with typewriters!

I’m not defending any one person’s post, but calling people out by name as being “stupid” should not be acceptable here either.

The difference is that Galt is a *troll*. They are completely incapable of making their point without resorting to name calling (“Gretchy”) and snark. It’s tedious, it’s incredibly rude and it’s now supremely annoying.

I have no issues with people not liking Discovery. We cannot all be the same after all! What I *do* have an issue with is people like Galt who simply resort to trolling and making fun of people. It’s as disrespectful as it is baffling. Why do folks like Galt feel the need to endlessly talk (and watch) about a television show that they clearly don’t like? That just tells me that they have nothing better to do with their day- which is pretty sad (but not entirely unexpected if I’m totally honest).

So yes, I do think that the administrators of this site need to block or at least warn people like Galt who have crossed a line from legitimate complaints into trolling. Also note how he only ever name calls Gretchen J. Berg. There’s a hint a sexism of there that needs to be shut down immediately.

No. It is not appropriate, unless you’re younger than fourteen (or Donald Trump). You needn’t get personal with your criticism to voice what you think went wrong with Discovery (and in that sense, I’ve been plenty critical). Unless you’re claiming that the finale was literally written by howler monkeys, there’s nothing accomplished with that insult that couldn’t be better expressed by just taking the writers to task for their work.

You know I’ve praised your insights in the past, and hope to continue to do so. A little less snark might be helpful in that regard, though. Criticism is one thing, dude, but it should never be necessary to get personal.

Herein lies the problem, Michael: Galt has no insight. If they had that- they would be involved in the production of the show. They would be privy to such details.

As it is- they appear to simply be a nasty, immature troll who takes some perverse pleasure in being extremely rude and offensive about the people involved in the creation of a television show that they do not like. They routinely belittle and insult those who have tried their best to create a television show. It has gone beyond critique and into the realm of trolling and cyber-bullying.

It is exactly this kind of so called “fan” that makes me deeply ashamed to be a part of this particular fandom. Galt is part of a fandom of a franchise that extols “infinite diversity in infinite combinations”- and yet they refuse to accept something different. It is *extremely* hypocritical.

What is more disheartening is that this wanton trolling and cyber bullying (calling the writers “howler monkeys” IS exactly that) has been allowed to go unchecked by the staff of this website. If I was to resort to Galt’s tactics, I have absolutely no doubt that I would be banned from this site- or something to that effect.

You can only criticise Discovery if you work on the show? Haha! No mate, we can say what we want and will. A poor first season, poor writing, poor continuity, poor insecure bullies who try and shut down any negative critique.

But–whatever you think of their performance on the show–so far as we know the writers on DSC have had no part in bullying or trying to shut down critical views on these threads. I would strongly suspect that anyone who would defend referring to such people as “howler monkeys” has at least a touch of the bully in him, though.

I’ve NEVER said that and you know it. And don’t you call me “mate”- you are not my friend. And dont you dare call me a bully. I am NOT attempting to prevent people from criticizing the show. I myself have taken issue with various aspects of the show but I have done so without name calling and resorting to disparaging female production staff with patronising name calling.

What I *am* doing now is calling out nasty, immature trolls like Galt.

And now you, Martin.

Should’ve asked why they used SO MANY NEBULA SHOTS! Seriously…it feels like I’m watching Pulsar Lost Colony due to the lack of normal space shots. Its all blue nebulae or some multicolor nebula. I don’t mind it for a shot or 2, but in EVERY shot?! Come on!

Black empty space is boring.

your short little snipe posts are what is boring. Try adding content next time.

A kmart just closed in my area.

Boring but it happens to be reality. Remember the long shot of the Discovery in 2001 without moving stars? Done for a reason… The old school motion control photography of the refit constituion class Enterprise by the amazing guys at RAA, Apogee, FGC, ILM for ST:TMP-VI (lets ignore Bran Ferren and mob in V) was the best, please bring it back. Even Seth McFarlane acknowledged this by getting the old Image G guys to undertake motion control photogrpahy of the Orville (then augmented with CGI where necessary)

madtrekfanuk,

Not to contradict the rest of your otherwise excellent post, but the stars are drifting in nearly every ship shot in 2001. Perhaps you are thinking of 2010, which has some cuts — one in particular of LEONOV docked with DISCOVERY — that look like freeze frames owing to the lack of any motion in the ships or starfields.

Also, RAA contributed nothing to the finished TMP except ship design and completion of the interior wormhole shots — everything else was tossed and/or redone by Trumbull and Dykstra teams. As to whether the RAA actually SHOULD have been tossed … that’s another issue altogether, but there’s no chance RAA could have possibly made the release date mandated, given the lack of equipment assembled in the previous year’s time and the way the show was being run. I’ve interviewed probably 30 VFX folks from TMP over the years, including a few from the RAA team, and there was way too much wrong going on there — it was NOT a case like ILM on the first SW, where it took them a year to assemble and finesse all the pieces to get running smoothly, it sounds like drugs and all sorts of other shenanigans were really sabotaging the process.

Also: Glenn Derry of the late Technoprops (now absorbed into Fox as part of their VFX and virtual production unit) worked with Rob Legato to execute the ORVILLE miniature build and shoot. I see he has credits going back to 1995, but nothing about him working at Image-G. Do you have some details I do not?

By “moving stars” I think he’s actually referring to multiplane stars, as utilized so frequently in TOS. I remember Dykstra mentioning in an interview once–I think in reference to his work on the original BSG–that multiplane stars drove him crazy.

Both of SW’s main VFX guys, Dykstra and Richard Edlund, hated multiplane stars — ironic, given that Edlund got his start on TOS doing beamups for a show that made multiplane stars into a thing and that the jump to lightspeed in SW (shot by Dennis Muren) is TOS on acid with a dose of 2001 — and I’ve seen Dykstra bring it up a few different times, including at least one interview about TMP (in RETURN TO TOMORROW book, and possibly Cinefex #2, and how you have to use it with discretion if at all.

I reread madtrek’s post and still can’t tell if you’re right or not about his intent. The ‘drifting stars’ thing in 2001 is featured in the new book about the making of Kubrick’s film … turns out that the stars drifting was not done to accent the music chosen, but because that was the limit on speed without the stars strobing. Then Kubrick just started playing music against the footage until Danube just clicked for him (though he did poll the folks in the room too, so he wasn’t above considering the opinions of others.)

That new book is called SPACE ODYSSEY and comes out in a few days, but you can probably do what I did and find an Advance Reader Copy on ebay — it is the rarest of books, something on 2001 that actually has NEW information and insights. The shot of the leopard attacking a guy during DAWN OF MAN — two of the ape guys in the background are ROTOSCOPED into the shot because the performers didn’t want to be on set with the animal. I’ve seen that sequence 200 times at least, and never noticed the very very slight giveaways, but if you look at the blu-ray, you can definitely tell something is off about those two guys at a couple of points. The death of HAL scene was much longer as shot, and probably would have been as painful as watching ET croak if kept at that length. Lots of good stuff, and the author has actual writing talent in addition to being a good journalist. I’m frankly quite jealous.

Thanks for the info. and the heads-up about the new 2001 book, always of interest considering it’s one of my Great Films (maybe THE Great Film). I was, and still am, very fond of Agel’s book about the making of the film (though the best sections are actually more about the reaction to it), even though I haven’t read it in decades.

With the exception of an occasional LOSCON I don’t do conventions much anymore, but some years ago I found myself in a dealer’s room confronting an old guy who looked absolutely nothing like Gary Mitchell or Frank Poole but nevertheless claimed to be Gary Lockwood. (This isn’t meant as an insult; as Steven King once mordantly observed, time kicks the crap out of people.) I’d really only meant to thank him for his work–and maybe reflect with him on the irony of a an actor who came across as the ultimate jock being so closely associated with two of the great nerd lodestones of the 20th century–while considering the purchase of the Trek/2001 memoir he was there to hawk. Unfortunately, he and his co-author were holding forth on politics, and it was as dismal a spectacle as you might imagine, so out of respect I just bit my tongue till it bled and turned away. I don’t regret my discretion in this instance, but kind of wish I’d gotten the book anyway.

I remember a Lockwood interview in STARLOG where he claimed Kubrick and Clarke started working on 2001 in 1954, not 1964, so I think anything he had to offer in later years might have been a little suspect. The book

The production values are top notch. Including the VFX. Too bad the writing and story people aren’t as good.

Someone should tell him the VFX look absolutely terrible in every way. Rendering, colour timing, filters used, design etc etc looks inferior to amateur Lightwave Trek shots from many years ago!

Let’s see some of the effects work you’ve done, so we can compare ;)

Dr Beckett, why should he do that? Are you saying one has to be a visual effects artist in order to have an opinion of visual effects? That makes no sense.

Jason, if you ever read this, please stop with grading everything in blue. The whole show takes on a hazzy feel and it does effect the way we feel as an audience trying to follow a scene in earnest. I resent the changes you all made to the Enteprise, when the DS9 episode had such respect for the past and did it so well. Some humble aztecing and some of your patented lens flares would have been enough. You all act like you’re ashamed of what came before, why not try creating new things instead of urinating on what came before? Or is that just too hard? You keep apologising for the aesthetic you’re now torch-barer to. The recent Star Wars disney films celebrate their aesthetic and preserve it – but Star Trek, always in the hands of non-fans tries everything it can to apologise for itself. ‘We’re cool now, honest. Look our Klingons have 4 nostrils and you sound like they have a mouth full of marbles’. ‘Look, it’s the enterprise but a sexier version because this is the Discovery universe, um, we mean Prime universe, um, we don’t quite know what it means but who cares, it’s only a paid tv gig until the next show I work on.’ You’re not fans and you don’t care.

it’s a lot easier showing 60’s technology and aesthetics when you are doing a show 100 years in the future. Discovery is trying to present a modern look because they have to to be taken seriously. They can’t show a 1960s ship in the same timeline. Why can’t people just accept this?

So by that logic, I guess everyone will be wearing glasses with Blue Filters applied, or being futuristic and all, probably implanted with cybernetic eyes with Always-On Blue Filters…

that’s the epitome of over reaction lol. No, my fought, I was really only addressing the line, ” I resent the changes you all made to the Enteprise, when the DS9 episode had such respect for the past and did it so well.”

That DS9 episode was a joke, the Enterprise looked like crap.

You are a joke HN4, and your posts are crap.

How mature of you Meurik.

Meurik’s just being honest, Ad. When somebody consistently posts one-line snipes, and rarely offers any content to back it up (and said content when proffered isn’t bringing anything special to the table), a response like Meurik’s is direct in calling attention to the core matter.

Now somebody who actually brings a POV AND usually supports it with content, that’s another thing (probably more dangerous), but HN4 (based on the last few days, which is the only time I’ve taken notice), doesn’t have the wherewithal or inclination, or possibly even the ability (though he/she does like LUTHER, which indicates some higher level function.) When I drop a one-liner, it CAN be supported by my history of posts on the subject and other significant writing credits, but so far as I know HN4 doesn’t have any street cred on which to cruise over that issue.

Kmart I think you need to lay off the coffee.

If im honest- as much as I enjoy Trials and Tribulations as an episode of DS9- it does draw attention to how dates the TOS aesthetic was by the mid 1990s. The same goes for In A Mirror Darkly and Relics. I can see where HN4 is coming from in that respect, although I would hesitate to call such a feel good episode like Trials “a joke”.

It was a fanservice episode. They even considered giving Worf a makeover to make him look like a TOS Klingon. So it would have just been Michael Dorn wearing a foomanchew mustache.

I have street cred. I’m wearing Spock underpants and matching socks. Am I one of you now?

Gooba-gobble, Gooba-gobble

No one who chose to wear such sacred attire would say that the Enterprise looked like crap in “T and T.” You’re lying.

Post a photo, sport–then we’ll talk.

Respectfully disagree. The Enterprise in DS9 looked AWESOME! Plus, it was a ship from nearly 100 years in the past. It was reasonable it still maintained the TOS look. However, in STD, they set a production style that Enterprise had to match. Or the aesthetic they set up would not work (for their show, not for any other show). They decided it would be better if Enterprise looked right for their re-imagined TOS era than for the TOS era that was already established.

Exactly. And that was a reasonable decision for the FX people to make, even if you disagree with it.

The last three feature films capture that aesthetic you’re referencing will managing to present ships and objects in space that look physically real. The Enterprise in the last three films appears as an object you could physically touch. Everything on Discovery looks animated.

I think that’s because the CGI budget from the Kelvin Timeline movies were drastically higher than the CGI budget for Discovery. It’s not really fair to compare blockbuster CGI to some found on a TV show. Even the CGI in the Expanse looks animated.

Because this is the Trek fandom and for some reason, people cannot accept any kind of change whatsoever.

Man, I’d retire if I had a nickle for every time I’ve read someone making that silly Wars/Trek analogy. It’s just not the same challenge with regards to aesthetics or modernization at all .

Star Wars Rogue One shows you can make a sexy, flashy, modern film while celebrating an iconic aesthetic. The nostalgic Trek fans don’t want a button by button recreation of the TOS bridge, but entirely reimagining an iconic hero ship is the height of arrogance. They could show a close reproduction, subdue the colours, adapt the consoles, do things in a careful way to gel their series with the other 5 and decisions that were made before. They won’t do anything carefully. They create a prequel, and urinate all over it through their hipster chinos.

All right, I guess I need to spell this out for you.

Though Star Trek and STAR WARS are both ostensibly space operas, their appeal and thus their aesthetic requirements are entirely different. The production designers of ROGUE ONE had no difficulty seamlessly integrating their work with what had been established four decades ago in A NEW HOPE, because the factors that made those designs work back then haven’t changed. As a tribute to the Flash Gordon serials George Lucas loved as a child, and set in a galaxy long ago and far away, STAR WARS had no need to come off as a realistic depiction of humanity’s future in space; indeed, such realism would have been beside the point. Even Lucas has described his franchise as more space-fantasy than science fiction, and as such its settings are timeless, much as Oz and King’s Landing are timeless. Much of the tech looked worn and dated even by the standards of 1977, with the Millennium Falcon as a battered space jalopy and even the awesome Imperial fleet coming off like lumbering vintage World War II-era battleships. ROGUE ONE and the other films expanded the STAR WARS universe and the scope and scale of the visual FX, but did relatively little to update the original designs for the simple reason that it simply wasn’t necessary . STAR WARS isn’t expected to be modern, or believable. It’s just supposed to look exotic, and expensively cool.

Rebooting Star Trek was never going to be as easy, because for all its roots as a limited-budget TV series it had a vision of the future that people took very seriously, and that was central to its appeal. (That’s why Ballantine’s editions of the Enterprise blueprints and The Starfleet Technical Manual both became major bestsellers.) Unlike STAR WARS, and as articulated in the show’s Writer’s Guide, believability was key. When there was talk of reviving the show in the early ‘70s Roddenberry was initially resistant to changing the designs that had worked so well for the show, but by the time the ill-fated Phase II series went into preproduction in 1976 he had been convinced of the need for a fairly radical overhaul, to be not-so-convincingly explained by the ship’s presence in drydock for the previous year or two. So fiber optics and rear-projection replaced the old back-lit readouts, and the ship’s exterior took on a complexity that Matt Jeffries had never seen the need for. And over the ensuing decades, each iteration of the franchise has struggled with the conundrum of how to keep the show modern and believable while preserving the original design elements that audiences loved in the first place. You can certainly argue that the Discovery producers could have done a better job in that regard, but what you can’t argue is that STAR WARS and ROGUE ONE prove that believably depicting the future while honoring the past is easy. It isn’t.

Well stated. You can look at the Prequel Trilogy and see an evolution of design there, from the more 1930s-y Flash Gordon-y ships, exotic costumes etc of Phantom Menace, to a “1950s” streamline style in Attack of the Clones (hovercars, flying wings), to a point believably 16-18 years before Star Wars where we see things beginning to resemble the Original Trilogy designs. Rogue One ends 10 minutes before A New Hope begins, so it is contemporaneous to that time period (and Star Wars: Rebels if you count that).

The problem with designing anything for Star Trek is that there’s arguably too much visual canon, particularly from the TNG through Voyager periods, where we have a relatively neat linear evolution of ships, uniforms, displays, etc. Obviously some of that was retroactively created backstory, like the gold ship models in the briefing room, the reuse of the Excelsior for the B, the clunky but plausible execution of the model for the 1701-C, etc. As always, much was done for cost-savings like reusing set pieces, props and uniforms with slight modifications. But once it’s on screen it’s hard to imagine another interpretation.

In retrospect I think the production designers of Discovery did a very good job given the envelope they were allowed to work in, and made good choices where they decided to ignore previous visual canon. For instance, hairstyles are always something that can date a production; TOS had 60s hair IN SPACE and TNG had 80s hair IN SPACE basically, something you can’t really say about Discovery (Keyla Detmer’s undercut having at least the practical excuse of her optical prosthesis thingy). The Klingon designs do much more to make them alien, and not a human in a rubber forehead and wig. I can see the uniforms as a transitional style evolved from the 2230s high-waisted Buck Rogers / Forbidden Planet uniforms.

Where the show does fall down is its space shots, a few from the 2-part pilot excepted. They do indeed seem far too short; there’s something jittery about the animation frame rate at times, and there’s no great sense of scale.

The space backgrounds are indeed very busy, and in the larger battle scenes it’s been very hard to tell what’s happening. It’s paradoxically overlit and underlit at the same time.

The spore drive multiple-image spin effect just doesn’t really work – especially the way it jumps ‘up’ out of frame and then ‘down’ into frame like it’s some sort of ship on a string being lowered into a puppet show cabinet? And the counter-rotating ship sections made little sense.

Overall, the Klingon ship designs seemed the least successful; the BoP is dramatic looking compared to previous ones, but it really looks far too much like nuBSG’s Cylon Raider; the other ships have very confusing looks that seem to resemble clocks, violins and generic space-MMO game designs. They don’t really work on TV, especially not when shown in such short shots.

CHARON just looked like some previz work, absolutely godawful.

Wow. Jason Zimmerman is kind of a babe.

We need to get down to exploring again. Let’s see Discovery seek out some new and unusual lifeforms, and new civilizations. However, it seems as though ‘Section 31’ has commandeered our experimental science vessel for some, likely nefarious reason… I’ve never liked the concept of an autonomous, highly classified, unofficial department in the Federation that operates without the restraints of Starfleets directives. How could any honorable Starfleet officer serve this bastardized section? It’s like, “Screw the Prime Directive, we’re effing Section 31!” I understand it makes for great story telling, but it still seems anti-Star Trek to me.

I don’t care about lense flares but yeah, the FX shots need to be a tad longer and sharper to truly impress.

I think the main problem is the ship design. All starships called Enterprise, even Voyager, looked great from almost every angle. Discovery looks astonishing from some angles, especially from atop, but it looks ugly and uninspired from other angles. The side view is just plain hideous. Maybe they are trying to hide that shortcoming by using almost cartoonish color palates, background nebulae and zoom-in quick shots.

I think Trek FX had reached an all-time high during ENT’s third season, crisp and clear, straight-forward, well-balanced space action. The transition from physical model to CGI, that had taken over a decade, had finally been finished and it finally paid off at that point. Everything that came afterwards, including the KT reboots, moved astray from that (near) perfection by experimenting too much, agressively trying to be different.

I think the CG ship stuff actually looked very good in just the opening of the 09, with the close views of KELVIN, but that pretty much everything else in the whole film was a letdown, along with ID’s VFX. BEYOND went a good ways toward altering that, but ENTERPRISE … except for a few medium range deep space flybys, I don’t think I recall any shots in any season that convinced in the slightest. I’ve only seen a handful of seasons 3 & 4 eps, but I have looked at the occasional youtube anthology of VFX shots, and I just don’t see crisp & clear so much as I see Wrong, Wrong & Wrong. It still blows my mind that except for a few shots in GEN and FC, that the best ship shots in TREK seem to be from 1979 (though if DS9’s model shot VFX ever got recomped at full rez, they might be prime contenders.)

I’ve just rewatched the Season 1 cliffhanger minutes a couple of times on YouTube. I just love that scene. But what I’ve found most astonishing is the musical score during that scene. If I’m not mistaken, it contains a cue that’s highly reminiscent of Michael Giacchino’s movie scores… shortly after the NCC-1701 code comes in and Saru hails the Enterprise, there is a moment that has Giacchino’s semi-hysterical string tremolo that’s used to set up tension before the KT timeline main theme tunes in in the movies.

Maybe it’s just coincidence but it certainly feels like a nod to that great score…

I understand it’s an artistic choice, but I prefer the photo realism in fx shots to this new “painted” look. The space scenes look like background for some colorful anime rather than Trek. And there’s nothing wrong with using your scale and virtual lenses in a way that suggests heft and bulk as opposed to zipping around everywhere like a cartoon. The jump-drive-spin borders on being comical it looks so ridiculous.

Just think of all the time and money they could have saved the art department if they had simply respected the Star Trek universe and realized the Enterprise didn’t need redesigned. It just needed to be built. All I can do is shake my head at their incompetence.

CBS doesn’t own the rights to the TOS Enterprise. If they used that design they’d have to pay royalties to the Matt Jefferies Estate, so they elected to brief Jon Eaves and Scott Schneider to make the Enterprise 75% the same and 25% different.

Its a money thing and CBS got greedy so they had a new design they own created.

Can you provide a link substantiating this claim? Because, right now, I have a hard time believing it.

I find that explanation unlikely. My BD’s of TOS all have the CBS logo on them. The new CG added to the shows (done by CBS Digital, BTW) all used the original Enterprise design. If CBS weren’t allowed to do anything the HD upgrade never would have happened.

I find it pretty unlikely too. Seriously, that 25/75% split can definitely make the difference as to whether the Jeffries estate sees royalties or not? Never mind that such royalties would have to be minuscule in the context of the start-up costs associated with DSC’s first season; I’d love to see such a thing argued in court.

I talked to Scott Schneider, one of the designers of the Enterprise, on the Unofficial Star Trek fanpage on facebook where a lot of production members haunt.

He said Jon Eaves and he were briefed to change the TOS Enterprise by 25%. That’s why certain details like the red stripe beside the deflectors have two stripes rather then three for instance.

He was told by other people the Jeffries Estate owned the rights to the original design. I have yet to confirm this but I also havent had the time to.

Either way he was told to change it by a quarter but could leave 75% the same.

Can you provide a link to this exchange? No disrespect intended, but for the reasons listed above this just doesn’t make a whole lot of sense to me.

I think the reasoning behind the design tweaks has much more to do with “Discoizing” the look as overseen by executive producer Akiva Goldsman, who, as I understand it, was the driving force behind the inclusion of the Enterprise in the finale. Looking online, I believe it was an assumption Scott made about why he was asked to tweak it more.

I’ve never heard (nor can I find any evidence online) of this idea that Matt Jefferies owns a piece of the rights to the TOS Enterprise.

Being a production designer for a TV show means you’re an employee. The TV show hires you as a regular employee, so anything you make ends up the property of the production company that hired you. Typically employment contracts also have specific language built-in that spell it out.

In fact, basic copyright law says:

If a work is created by an employee in the course of his or her employment, the employer owns the copyright.

Source: https://fairuse.stanford.edu/overview/faqs/copyright-ownership/

Furthermore, if CBS were somehow trying to avoid paying fees, then why has the classic Enterprise shown up on countless pieces of merchandise, even to this day? All those pieces of merch have “Copyright CBS Studios” on it. Not “CBS Studios and the Jefferies Estate”.

And of course the classic Constitution class design was shown repeatedly throughout the franchise, in various on screen graphics, and then in physical form in DS9 “Trials and Tribble-ations”, and ENT “In a Mirror, Darkly”. Jefferies helped design the bridge set as well, which of course was shown in TNG “Relics”. And as others mentioned CBS made new CGI visual effects shots for TOS-R circa 2006-2008.

vfx were overcooked and looked bad the majority of shots, doesnt look like star trek at all, so i guess thats the reason, but please some realism would be nice

Feature-level FX? Just LOL. Cartoonish video-game like, where, sorry to say, even over 15 year old show (ENT) has managed to pull off a more convincing/realistic CGI. This show tries so hard toNOT BE Star Trek in all it does, including visuals and look&feel its funny. They got to find a way to sell it to 15y old ADHD teenagers, for sure.

I feel like there is a ‘vaseline’ filter on all the effect shots, and way too many flares and over the top colourization of nebulae and other space phenomena. Often times it feels like they are using all these filters to cover up potential mistakes or poor work — which I know really isn’t the case but it still feels that way. Give us an unobstructed view of the action! Some of the CGI shots in Enterprise and Voyager are superior and more realistic than this show. Really not trying to hate but I really don’t think this aesthetic will age well.

The nebula in Lethe was a particular low point for me. It looked like Babylon 5 disco strobe lights!

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Published Jan 10, 2020

U.S.S. Enterprise-D Goes For Gold With Hero Collector

Get one of First Contact's "little ships" all for yourself.

StarTrek.com

Ever since Star Trek: The Motion Picture first put the lineage of the Enterprise on display, Star Trek has been filled with galleries and collections that show off the Federation's finest vessel designs. Star Trek: The Next Generation went so far as to populate an entire wall of the Enterprise-D 's observation lounge with large golden models.

This set feature was lost after the fourth season, but received a major upgrade in Star Trek: First Contact . The Enterprise-E included a spacious showcase holding golden models of the USS Enterprise NCC-1701 and all five of its successor starships — sculpted by famed Star Trek designer John Eaves. The glass cabinet bore the brunt of Picard's outrage in his heated argument with Lily Sloane ("Jean-Luc, blow up the damn ship!") but was expanded further for Star Trek: Nemesis , with two new display cases and a further six ships.

Available January 16th, 2020 for the 20th Special Edition of the Star Trek: The Official Starships Collection , Hero Collector have recreated the very same gold model of the Enterprise-D – cast in incredible detail and plated in 18-carat gold! The ships will cost $64.95 and £49.99.

Check out two preview pages from the accompanying magazine, where designer Andy Probert and art director Herman Zimmerman recall designing the interior of the U.S.S. Enterprise-D alongside Gene Roddenberry.

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A friendly reminder regarding spoilers ! At present the expanded Trek universe is in a period of major upheaval with the continuations of Discovery and Prodigy , the advent of new eras in gaming with the Star Trek Adventures RPG , Star Trek: Infinite and Star Trek Online , as well as other post-57th Anniversary publications such as the ongoing IDW Star Trek comic and spin-off Star Trek: Defiant . Therefore, please be courteous to other users who may not be aware of current developments by using the {{ spoiler }}, {{ spoilers }} OR {{ majorspoiler }} tags when adding new information from sources less than six months old (even if it is minor info). Also, please do not include details in the summary bar when editing pages and do not anticipate making additions relating to sources not yet in release. THANK YOU

• Federation starship classes
• 23rd century Federation starship classes
• 24th century Federation starship classes
• Tug classes
• Malachowski class starships
• Helios class tugs

Helios class (tug)

• View history
• 1 Technical data
• 2 Service history
• 3 Known vessels
• 4.1 Connections
• 4.2 References
• 5 External link

Technical data [ ]

The Helios classes used the same compact primary hull with secondary hull -like extension at the aft end as the Malachowski -class light cruiser , which had a standard crew complement of 200.

An engineering sled was suspended between the nacelle pylons halfway between the ventral hull and the warp nacelles . The design of the nacelle pylons was based on the older Walker -class cruiser , while the nacelles themselves were smaller, shortened versions of their Hoover -class counterparts.

The basic color was two-toned metallic gray. The ship's registry, penned in black, sat atop a half circle of light metallic paint, embedded between sections of darker paint. Two trapezoid blocks were on the extended aft section of the saucer. These were reminiscent of the Miranda -class , and matched the Malachowski hull.

The Helios class was 163.37 meters long. It was fitted with tractor beam emitters powerful enough to tow starships many times its size. For large vessels, a pair of Helios Starfleet tugs could operate in conjunction. ( DSC Issue 27: "Starfleet Tug")

Service history [ ]

The Helios class was in service by the 2250s decade , around the time of the Federation-Klingon War of 2256-2257 . ( DSC Issue 27: "Starfleet Tug")

In the year 2257 , the USS Zimmerman and another Helios -class Starfleet tug held the USS Enterprise in position. The ship had been crippled in a more than a year-long one-year mission to the Pergamum Nebula . The tugs brought the Enterprise to a spacedock for repairs. ( DSC episode : " Brother ")

At Utopia Planitia in 2385 .

Ships of this class were in service in the 2380s decade , together with the 2250s-era Magee -class escort . On First Contact Day , 5 April 2385 , a pair of Helios -class tugs and a pair of Magee -class ships were docked together inside a drydock above Mars . On that day , Romulan manipulation led to Synths going on a rampage, destroying the Utopia Planitia Fleet Yards and setting Mars's atmosphere ablaze. ( Short Treks episode : " Children of Mars ")

In the year 2409 , the Helios moniker was given to a new class of science vessels , the Helios -class Dyson science destroyer . ( STO website : The Sphere  : Starfleet Advanced Dyson Science Destroyers )

Known vessels [ ]

Appendices [ ], connections [ ], references [ ].

• ↑ DSC episode : " Brother "
• ↑ Short Treks episode : " Children of Mars "
• ↑ 4.0 4.1 4.2 DSC Issue 27: "Starfleet Tug"

External link [ ]

• Federation tug (2257-2385) article at Memory Alpha , the wiki for canon Star Trek .
• 1 The Chase
• 2 Preserver (race)
• 3 Tzenkethi

Star Trek: Voyager (TV Series)

Life line (2000), robert picardo: the doctor, dr. lewis zimmerman.

• Photos (38)
• Quotes (34)

Photos 

Quotes 

The Doctor : You'd need a phaser drill to get through that thick skull of his!

Dr. Zimmerman : Get out!

Counselor Deanna Troi : Gentlemen...

Dr. Zimmerman : Oh, spare us your psychobabble!

Counselor Deanna Troi : I came here thinking that you were opposite sides of the same coin, identical but different. Now I see you're both exactly the same - you're both jerks!

Leonard the Iguana : Jerks.

The Doctor : Try to leave a few of my enhancements intact. I don't want to look like every other EMH on the block.

The Doctor : I ran a mitochondrial scan. There was something... odd about the results, so I spent a full hour analyzing, and what did I discover? He's a Vulcan marsupial. He reconfigured my tricorder!

Dr. Zimmerman : Reginald was right about you. You HAVE exceeded the sum of your programing. You've accomplished far more than I would have ever predicted but, let's face facts, you never overcame the inherent flaws in your personality subroutines. You're arrogant, irritable - a 'jerk', as Counselor Troi would say.

The Doctor : I believe she was describing YOU as well.

Dr. Zimmerman : Don't change the subject.

Dr. Zimmerman : Do you know how humiliating it is to have 675 Mark Ones out there scrubbing plasma conduits... all with my face?

Haley : Lieutenant Barclay is here to see you.

Dr. Zimmerman : I told you I wasn't...

Haley : He says it's urgent.

Dr. Zimmerman : Can't it wait till I'm dead?

[the Doctor is going to be sent to the Alpha Quadrant through a data stream] 

Seven of Nine : I've removed your singing algorithms. They'll be stored in the memory buffer until you return.

The Doctor : Why?

Seven of Nine : Your program's too large for the data stream. I have to extract all non-essential subroutines.

The Doctor : They're essential to me. They're part of who I am.

Seven of Nine : Are you planning on performing opera during your visit?

The Doctor : No.

Seven of Nine : Will you be reciting poetry?

The Doctor : Doubtful.

Seven of Nine : Hoverball? Holophotography?

The Doctor : I may want to take a few snapshots to document my trip.

Seven of Nine : Sexual activities?

The Doctor : I get the point.

The Doctor : I was compressed into a data stream and transmitted from the Delta Quadrant.

Dr. Zimmerman : [grouchy]  Congratulations. I recommend a tour of Jupiter's third moon. I hear the lava flows are lovely this time of year.

The Doctor : What were your initial symptoms?

Dr. Zimmerman : [sarcastically]  Radical hair loss.

Dr. Zimmerman : You brought a Mark One 30,000 light years to treat me? I was wrong about you, Reginald, you do have a sense of humor.

Dr. Zimmerman : Enough questions! Finish your scans and get out of here!

The Doctor : Doctor?

Dr. Zimmerman : I said get out of here!

The Doctor : I traveled halfway across the galaxy to treat you. The least you could do is show a little gratitude.

Dr. Zimmerman : Thank you. GET OUT OF HERE!

Haley : Sounds like you're making progress.

The Doctor : How so?

Haley : He only teases people he likes.

The Doctor : Then he must love me.

[Dr. Zimmerman has proposed sending a Mark IV back to Voyager] 

Barclay : They don't want a Mark IV. They want their friend.

Dr. Zimmerman : No EMH was ever designed to be anyone's friend! He's just a hologram!

Haley : Is that how you feel about me? Just a hologram?

[he stares at her] 

Dr. Zimmerman : I will not be ambushed in my own lab.

Dr. Zimmerman : Well... I guess it is comforting to know that... at least one of you is still doing what I designed you to do.

The Doctor : We should begin the procedure. Please - give me a chance to make you proud of me.

Dr. Zimmerman : [after a pause]  Maybe we could... try it. See how it goes.

The Doctor : See how it goes.

Dr. Zimmerman : Just don't expect me to put you in my will.

The Doctor : To your knowledge, have you been exposed to theta radiation?

Dr. Zimmerman : No.

The Doctor : Neutron flux?

Dr. Zimmerman : Never.

The Doctor : Have you had intimate relations with a Bolian?

Dr. Zimmerman : These are questions first year medical students would ask!

The Doctor : I'm just being thorough.

Leonard the Iguana : Just being thorough.

The Doctor : Undercover insects? Talking iguanas? This isn't a research station! It's a... three... ring... circus! You should charge admission!

The Doctor : Computer, deactivate iguana.

Dr. Zimmerman : How dare you!

The Doctor : I'm a doctor, not a zoo keeper.

The Doctor : [after squashing Roy the holographic fly with a book]  Finally. I've accomplished something.

Seven of Nine : [looking at Dr. Zimmerman's profile]  You bear a striking resemblance.

The Doctor : He used his own physical parameters as a model for my matrix. Can't say I blame him. A doctor needs to inspire confidence in his patients. Compassionate eyes and a strong chin can go a long way.

Haley : Lunch!

Dr. Zimmerman : [sniffs the air]  That's not pork chops.

Haley : It's salad.

Dr. Zimmerman : I didn't ask for salad.

Haley : It's healthy.

Dr. Zimmerman : I'm dying. A piece of meat won't kill me any quicker.

The Doctor : I also have an exceptionally high tolerance for difficult patients.

Dr. Zimmerman : I didn't program you for sarcasm.

The Doctor : You'll find I'm full of surprises.

Dr. Zimmerman : You weren't programed to care. You were programed to hold a scalpel.

The Doctor : I told you, I'm not the same EMH you created six years ago.

Dr. Zimmerman : Of course, you can sing and dance. I should install you in a Ferengi nightclub.

Counselor Deanna Troi : [on Barclay's Voyager program]  So, this is Voyager. I like it.

The Doctor : It's a remarkable facsimile, but Mr. Barclay did get a few of the details wrong. For one thing, Neelix doesn't purr.

[Dr. Zimmerman pinches Deanna Troi in the arm] 

Counselor Deanna Troi : Ow!

The Doctor : He thinks you're a hologram.

Counselor Deanna Troi : [to Zimmerman]  I can assure you I'm quite real!

Dr. Zimmerman : [quickly closing his dressing gown]  Oh. Well, the last beautiful woman to walk in here turned out to be *him*.

The Doctor : I'll take that as a compliment.

Barclay : [about Dr. Zimmerman]  I take it that you, um, still haven't been able to diagnose him.

The Doctor : On the contrary. The patient appears to be suffering from an acute case of ARROGANCE!

The Doctor : Thank you, Counselor, for extending that olive branch.

Haley : Star date 53292, my program malfunctioned and you canceled a lecture on Vulcan and came all the way home to repair me.

Dr. Zimmerman : There's nothing worse than addressing a room full of pointy-eared blowhards.

Dr. Zimmerman : "Emergency Medical Hotheads!" "Extremely Marginal House calls." That's what everyone used to call the Mark Ones, until they were bounced out of the Medical Corps.

Counselor Deanna Troi : Reg tells me you won't let The Doctor help you.

Dr. Zimmerman : He's a Mark-1. He's obsolete. I'd be safer in the hands of a Klingon field medic.

Dr. Zimmerman : Good riddance to bad photons.

Dr. Zimmerman : You're still searching for that ship, what's it called, Pioneer?

Barclay : Uh, Voyager.

Dr. Zimmerman : Your program's been stabilized.

The Doctor : I - I'm going to be okay?

Dr. Zimmerman : No, you're going to be better than okay.

[reinitializes the Doctor's program] 

The Doctor : Welcome to sick bay. How may I help you today?

The Doctor : Fractal algorithms are notoriously unstable.

Dr. Zimmerman : In the hands of a novice. Oops.

The Doctor : Oops? What's oops?

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Jason Zimmerman (‘Star Trek: Discovery’ visual effects supervisor) on being ‘excited’ for the brave new world of season 3 [EXCLUSIVE VIDEO INTERVIEW]

• May 30, 2021 2:00PM

“When I knew we were launching into a new thing and building our own canon, I was very excited to contribute to the legacy of ‘Star Trek,’” visual effects supervisor Jason Zimmerman admits about the brave new world of “ Star Trek: Discovery ” season 3.

“Then it set in that we’re creating canon, so in a different way it’s just as challenging and daunting because you’re developing something that the fans are going to look to with the same amount of love that they did at the Enterprise or the Borg Cube or any of those things,” he reveals. Watch our exclusive video interview with Zimmerman above.

SEE Exclusive Video Q&A with ‘Star Trek: Discovery’ star and showrunners on season 3, including that spectacular finale

“Star Trek: Discovery” premiered in September 2017 on what was then called CBS All Access (and is now Paramount +) to praise from critics and fans as a welcome reboot of the revered franchise, with its first season is set roughly ten years before the events of “Star Trek: The Original Series.” The show’s acclaimed third season (it has an impressive 91% “fresh” rating at Rotten Tomatoes ) follows the crew of the USS Discovery as they travel over 900 years into the distant future. It stars Sonequa Martin-Green , Doug Jones , Anthony Rapp , Mary Wiseman , Wilson Cruz , David Ajala , Michelle Yeoh and Rachael Ancheril , with Alex Kurtzman and Michelle Paradise serving as showrunners.

With the USS Discovery travelling to the future, beyond existing Star Trek timelines, the show was given a newfound freedom to explore a new time period without being so weighted down with the enormous and often cumbersome responsibility of staying true to existing canon in the expansive “Star Trek” TV and cinematic universe.

SEE Emmys 2021 predictions slugfest: Best Drama Series

This season’s main focus was the big mystery of this distant future: What caused “the burn” – the cataclysmic event that led to the destruction of all spacecraft across the universe. Rather than it be the result of an act of war, or a natural galactic disaster, it was discovered that the ultimate trigger for the cataclysmic event was the devastated cry of a Kelpian child over its mother’s death, a huge gamble by Kurtman and Paradise that paid off given fan reaction to the big revelation.

For Zimmerman, it was important that the visual effects created for “the burn” and its cause primarily focused on the emotion. “As a visual effects guy, sometimes visual effects can be spectacle for the sake of being a spectacle, but they don’t really necessarily drive the story forward,” he explains. “Working with Alex and Michelle and Olatunde [ Osunsanmi , one of the show’s directors] and everybody, a lot of the time they they’ll say ‘is the shot emotional enough,'” the Emmy nominee recalls, asking questions that are fundamental to the many shots designed by him and his team. “Are we serving the tone of the story? Are we serving what they’re trying to tell and trying to get across? Does it have the right emotion?”

PREDICT  the 2021 Emmy nominees through July 13

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Screen Rant

Every 1990s era star trek crossover.

The 1990s were a golden age for Star Trek as crossovers between TNG, DS9, and Voyager formed a vast fictional universe that was ahead of its time.

The 1990s were a golden age for Star Trek as the popularity of Star Trek: The Next Generation spawned two spinoff series which regularly crossed over, creating an interconnected fictional universe that was ahead of its time. Star Trek: Deep Space Nine was the first of these spinoffs, premiering in 1993 with an episode that featured Patrick Stewart and established Colm Meaney's Chief O'Brien. The DS9 pilot continued a tradition established by the TNG premiere, which featured a cameo by DeForest Kelley as Dr. Leonard "Bones" McCoy, a touching way of passing on the torch to the next generation.

When Star Trek: Voyager premiered in 1995, its first mission launched from Deep Space Nine, meaning that characters from both shows briefly interacted. There were occasionally attempts made at more ambitious crossovers, like a Star Trek: Deep Space Nine season finale that would feature the USS Enterprise-D defending the station from invading Cardassians. However, these proved too difficult to realize, so instead the 1990s Trek shows had an extensive list of smaller crossover episodes that presented the Star Trek universe as a sprawling fictional world for the first time ever.

21 DS9: Emissary (Jean-Luc Picard)

As the first of Star Trek: The Next Generation 's spinoffs, it was necessary for a character like Captain Jean-Luc Picard (Patrick Stewart) to appear in the Star Trek: Deep Space Nine to pass on the torch. The scenes between Picard and Commander Benjamin Sisko (Avery Brooks) were electric and established how different a show DS9 would be. Sisko had problems with Jean-Luc Picard , and it was very clear that, as Bajor's Emissary, Sisko's loyalty wouldn't always be to the Federation. This was in sharp contrast to Picard's unwavering belief in the Prime Directive and the mission of the Federation, making his cameo the perfect way to lay the groundwork for the show that DS9 would become.

20 DS9: Past Prologue (Lursa & B’Etor)

Star Trek: TNG 's villainous Duras sisters Lursa (Barbara March) and B'Etor (Gwyneth Walsh) appeared in the very next episode of DS9 . This was presumably to further emphasize the connections between both shows. In "Past Prologue", the Duras sisters tried to play Bajoran terrorist Tahna Los (Jeffrey Nordling) and the Cardassians against each other. They sold Tahna the powerful element bilitrium to use in a weapon with which he planned to destroy the wormhole. Unbeknownst to Tahna, the Duras sisters were also feeding information to Garak (Andrew J. Robinson) with the hope of profiting from both sides of the Cardassian-Bajoran conflict.

19 DS9: Q-Less (Q and Vash)

Sisko's one and only confrontation with Q (John de Lancie) further established his differences from Picard. Nobody thought to just punch the trickster god in the face until Commander Benjamin Sisko. It was the final confirmation to audiences that Sisko was " not Picard ", and ensured that Q and Sisko never did battle again. In "Q-Less", the cosmic trickster visited DS9 to attempt a reunion with Picard's ex-lover Vash (Jennifer Hetrick), but he failed to win her back, losing the archeologist to her new business partner, Quark (Armin Shimerman).

18 DS9: The Forsaken, Fascination, and The Muse (Lwaxana Troi)

Lwaxana Troi (Majel Barrett) the mother of TNG 's Counselor Deanna Troi (Marina Sirtis) made three appearances in DS9 . As a Betazoid Ambassador, she first visited the station as part of a fact-finding mission to the Gamma Quadrant. Lwaxana formed an immediate attraction to Constable Odo (Rene Auberjonois), and the pair had a close friendship throughout her DS9 episodes. Odo even married Lwaxana Troi to protect her from being separated from her unborn child. Lwaxana also helped Odo realize his feelings for Major Kira Nerys (Nana Visitor), which he would eventually act upon in DS9 season 6.

17 DS9: Multiple Episodes (Gowron)

Klingon Chancellor Gowron (Robert O'Reilly) appeared in multiple DS9 episodes, featuring most prominently from season 4 onwards as the Dominion manipulated the Klingon Empire into declaring war against Cardassia. The loyalty between Commander Worf (Michael Dorn) and Gowron would be tested throughout DS9 , culminating in a ritualistic duel to the death in DS9 's final season. Gowron's first crossover appearance was in a much lighter episode, season 3's Klingon wedding comedy "The House of Quark". The episode saw Quark roped into a scheme by Klingon widow Grilka (Mary Kay Adams) to keep control of her House following the death of her drunken husband, bringing the Ferengi barman face to face with Gowron.

16 DS9: Defiant (Thomas Riker)

In season 3, "Defiant" was one of DS9 's biggest crossovers up to that point, featuring the appearance of Jonathan Frakes as Commander William T. Riker. Except, he wasn't playing Will, he was playing Riker's transporter clone Thomas . The episode revealed that Thomas Riker had defected to the Maquis and stole the USS Defiant to expose the existence of secret Cardassian military installations. By the end of the episode, Thomas was placed in Cardassian custody. Jonathan Frakes and the DS9 writers' room had wanted to bring the character back at some point, but the opportunity never materialized.

15 DS9: Sons of Mogh (Kurn)

Worf's brother Kurn (Tony Todd) made a single crossover appearance in "Sons of Mogh", in which he requested that Worf kill him to restore his honor. After Worf had opposed the war against the Cardassians, the House of Mogh was in disgrace, and Kurn could no longer live with the shame. Although Worf initially attempted to carry out the ritual, he was stopped by Odo and Lt. Jadzia Dax (Terry Farrell). Realizing that giving Kurn a new purpose as a security officer on DS9 still didn't solve the problem, Worf had his brother surgically altered and his memories erased. Kurn left DS9 to live a new life as Rodek, tragically leaving Worf more alone than before.

14 DS9: Sons And Daughters, You Are Cordially Invited (Alexander Rozhenko)

Worf's son Alexander Rozhenko (Marc Worden) is featured in two episodes of Star Trek: DS9 , including his attendance at Worf and Dax's wedding in "You Are Cordially Invited". Alexander first returned in the season 6 episode "Sons and Daughters" when Worf was surprised to find his son serving aboard the IKS Rotarran. Alexander's clumsiness was a source of frustration and embarrassment to Worf, however, he eventually realized that he must let his son go his own way. After attending his father's wedding, Alexander transferred to the IKS Ya'Vang for the remainder of the Dominion War.

13 DS9: Doctor Bashir, I Presume? (Dr. Lewis Zimmerman)

When Dr. Julian Bashir was selected to be the model for the next generation of Emergency Medical Hologram, it was only natural that Dr. Lewis Zimmerman (Robert Picardo), creator of Star Trek: Voyager 's EMH would visit Deep Space Nine. Zimmerman was certainly a genius, but he also had a weakness for beautiful women, gambling, and drinking. This was in sharp contrast to his creation, who had more highbrow interests like opera and literature.

12 DS9: Through The Looking Glass (Mirror Tuvok)

Star Trek: Voyager never visited the Mirror Universe, so Tim Russ holds the distinction of being the only cast member to play his darkest timeline counterpart. "Through the Looking Glass" aired in April 1995, only three months after Voyager had begun, so it was a neat nod to DS9 's newest franchise stablemate. In the episode, Sisko was sent to the Mirror Universe to convince Jennifer Sisko (Felecia M. Bell) to join the Terran Rebellion, of which Mirror Tuvok was a member.

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11 VOY: Caretaker (Quark and Morn)

Unlike DS9 's "Emissary", Star Trek: Voyager didn't have Commander Benjamin Sisko pass the torch to Captain Kathryn Janeway (Kate Mulgrew). However, the USS Voyager departed from DS9 to explore the Badlands in search of Tuvok and the missing Maquis. While there, Ensign Harry Kim (Garrett Wang) was nearly the victim of a con by Ferengi bartender Quark, until Lt. Tom Paris (Robert Duncan McNeill) stepped in. As ever, Quark's Bar's best customer Morn could also be seen enjoying a drink during the scene.

10 VOY: Multiple episodes (Reginald Barclay)

TNG 's anxious holodeck expert Lt. Reginald Barclay (Dwight Schultz) made several appearances in Star Trek: Voyager over the years. Initially, Reg appeared as part of a holographic delusion experienced by Voyager 's EMH Doctor (Robert Picardo) in which he believed he was his creator Lewis Zimmerman. Later in Voyager , Reg would become obsessed with helping the USS Voyager return to the Alpha Quadrant. He became a key member of the Pathfinder project that finally re-established communications between Voyager and Starfleet, and also assisted the alternate reality Admiral Janeway in returning to her past in the Voyager finale.

9 VOY: Death Wish (Will Riker)

In the Star Trek: Voyager episode "Death Wish", Commander William T. Riker was called as a witness in a right-to-die trial for a rogue Q known as Quinn (Gerritt Graham). Initially furious to be drawn into another of Q's games, Will learned that Quinn had saved the life of one of his ancestors. Without Quinn, there would be no Will Riker, which was evidence of the positive impact that the suicidal Q could still have on the universe. Unfortunately for Janeway and the crew, Riker wasn't allowed to retain his memories of the trial and so couldn't inform Starfleet of Voyager's predicament.

8 VOY: Multiple episodes (Q)

Picard will always be his favorite but Janeway came a close second during Star Trek: Voyager . So enamored with Kathryn Janeway was Q that he even proposed mating with the Starfleet Captain to restore balance to the Q Continuum. It was fun to see how the dynamics shifted slightly when it came to Q and Star Trek's first female Captain compared to Picard. His three appearances in Star Trek: Voyager expanded further on life inside the Q Continuum, placing the Voyager crew in the heart of the godlike race's civil war, and also introduced Q's son (Keegan de Lancie).

7 VOY: Multiple episodes (Deanna Troi)

When Reg Barclay's obsessions with USS Voyager began to become a problem, he required the help of Counselor Deanna Troi. Deanna made three appearances in Voyager , first helping Reg with his Voyager obsession, then mediating a dispute between the Doctor and his creator, Lewis Zimmerman. Her final Voyager appearance was in the episode "Inside Man", in which she helped Reg unmask a Ferengi plot to profit from the Borg nanoprobes contained within the DNA of Seven of Nine (Jeri Ryan).

6 VOY: Timeless (Geordi La Forge)

In the episode "Timeless", future versions of Ensign Harry Kim, Commander Chakotay (Robert Beltran) and the Doctor tried to change the past by saving Voyager from a catastrophic crash. When they stole a Delta Flyer to complete their mission to change history, they were pursued by the USS Challenger. The Challenger was commanded by none other than Captain Geordi La Forge (LeVar Burton, who also directed the episode), who had a tense standoff with Chakotay as both men understood what it would take for them each to complete their missions.

5 VOY: Multiple episodes (Borg Queen)

Predictably for a starship stranded in the Delta Quadrant, the USS Voyager regularly clashed with the Borg Collective. Many of these clashes brought the crew of Voyager face-to-face with Star Trek 's Borg Queen , who was first introduced in Star Trek: First Contact . The Borg Queen appeared in three Voyager 2-parters - "Dark Frontier", "Unimatrix Zero", and "Endgame". Original Borg Queen actress Alice Krige only played the Borg Queen in the Star Trek: Voyager finale, with the role being played by Susanna Thompson in the earlier episodes.

4 TNG: Birthright, Part 1 (Julian Bashir)

When the USS Enterprise-D returned to Deep Space Nine in "Birthright", Lt. Commanders Data (Brent Spiner) and Geordi La Forge teamed up with DS9 's Dr. Julian Bashir to investigate a mysterious device found in the Gamma Quadrant. After further investigation, the device seemingly allowed Data to experience dreams. The prospect of a dreaming android was fascinating to Dr. Bashir who helped Data get to the bottom of the strange visions in the hope of turning it into a fascinating paper for the Starfleet Cybernetics Journal.

3 TNG: Firstborn (Quark)

In "Firstborn", TNG 's Commander Will Riker sought assistance from DS9 's Quark for information about the villainous Duras sisters. The Ferengi bartender was typically evasive, until Riker offered him a bribe - vouchers for 12 bars of latinum. Riker had no intention of sending the vouchers on to Quark, however, as he had already voided them. Quark was meant to make another appearance alongside the Star Trek: TNG cast in Star Trek: Insurrection , but the scene was cut for time.

2 Star Trek: First Contact (The Doctor)

Although it's not technically Star Trek: Voyager 's EMH who appears in Star Trek: First Contact , it's a definite crossover appearance. Dr. Beverly Crusher (Gates McFadden) activated the EMH to provide a distraction when she evacuated sick bay to escape the Borg takeover of the USS Enterprise-E. Voyager 's Ethan Phillips also appeared in First Contact not as Neelix, but as a nightclub owner in one of Picard's Dixon Hill holonovels.

13 Times Star Trek: Voyager's EMH Said Bones McCoy's "I'm A Doctor, Not A ..."

• The Doctor, portrayed by Robert Picardo in Star Trek: Voyager, humorously uses Dr. McCoy's catchphrase, "I'm a doctor, not a...", and establishes franchise continuity.
• The Doctor showcases ethical integrity and progression, facing various challenges while maintaining a professional and exploratory purpose.
• Each instance of The Doctor saying McCoy's line highlights character development, relationships, and technology in intricate storylines.

Star Trek: Voyager 's Emergency Medical Hologram (EMH), AKA The Doctor (Robert Picardo), frequently repeated the iconic catchphrase of Dr. Leonard "Bones" McCoy (DeForest Kelley) from Star Trek: The Original Series. Somewhat temperamental and impatient, The Doctor was the Chief Medical Officer of the USS Voyager in the (initial) absence of other medical staff. Evolving considerably over Voyager 's seven seasons, Picardo's Doctor is an essential character who showcases not only creative talents and ability but also ethical and moralistic integrity with a professional and exploratory sense of purpose.

Joining Captain Kathryn Janeway (Kate Mulgrew) and the cast of Star Trek: Voyager on their travels through the Delta Quadrant, Picardo's Doctor is progressive yet demonstrates several qualities that reflect traits or viewpoints from the franchise's past. One such facet is the use of the catchphrase, " I'm a doctor, not a ..." initially made famous by Dr. Leonard "Bones" McCoy in Star Trek: The Original Series . It's a nice nod to continuity, allowing Picardo's technologically unusual character a grounded sense of familiarity and purpose. Here's a look at every time Voyager 's Doctor said Bones McCoy's most famous line.

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"i'm a doctor, mr. neelix, not a decorator.", star trek: voyager season 1, episode 5 - "phage".

Star Trek: Voyager season 1, episode 5, "Phage," marks the first instance of The Doctor using Dr. McCoy's famous TOS catchphrase. In an amusing scene between an increasingly frustrated Doctor and an ailing Neelix (Ethan Phillips) , Picardo's determined Doctor administers vital medical treatment following the unexpected removal of Neelix's lungs. Despite his condition, Neelix maintains a healthy spirit and even makes a lengthy list of requests for improved comfort and aesthetic enjoyment, suggesting the addition of " a nice tapestry or a painting " and commenting on the ugly sickbay ceiling. The Doctor remarks that he is " a doctor, Mr. Neelix, not a decorator ," and delegates the requested tasks.

This Star Trek: Voyager season 1 scene showcases the resilience of both characters - each discomforted by their unexpected circumstances and ongoing events yet masking concerns with surface-level frustration and ambivalence. Despite the Doctor's electronic and emotional nature, Picardo's character demonstrates real patience and an appropriately gentle countenance designed to comfort and care for patients.

"I'm a doctor, not a performer."

Star trek: voyager season 2, episode 20 - "investigations".

Appointed as the USS Voyager's official morale officer, Neelix designs an " uplifting and optimistic " daily news program to be broadcast to the ship and attempts to enlist other officers for different segments. The Doctor initially dismisses Neelix's request, saying, " I'm a doctor, not a performer. I don't have time for such nonsense ." Neelix perseveres, suggesting a segment on " healthful living " and suggesting that such a feature might considerably propel the Doctor's celebrity and influence within the crew.

The Doctor later reconsiders and demands two segments from a distracted Neelix the following day: how to keep your nostrils happy and the hidden mysteries of the adrenal gland. Star Trek: Voyager , season 2, episode 20 offers a sentimental insight into the Doctor's slightly nerdy personality and multi-character perspectives on life on board a starship, countering the soft glimpses with an overall plot around espionage and deception.

"I'm a doctor, not a bartender."

Star trek: voyager season 2, episode 6 - "twisted".

An unexpected spatial anomaly interrupts Kes' (Jennifer Lien) surprise birthday party in the ship's holodeck and envelops the USS Voyager with an energy field. The Doctor, attending as the simulated scenario's bartender, clarifies that his presence is primarily in an official capacity and lists several unpleasant potential medical conditions that could arise. As Voyager's communications and technological systems malfunction, the Doctor's attempts to return to sickbay and leave the holodeck are unsuccessful. Having drawn the attention of the overly-affectionate simulated bar's owner, Sandrine (Judy Geeson), Picardo's exasperated Doctor exclaims, " How many times do I have to tell you, Madam, I am a doctor, not a bartender."

It deftly weaves intimate character narratives with grand and perplexing confrontations with the unknown.

The multilayered Star Trek: Voyager season 2, episode 6 is a testament to the show's intricate storytelling. It deftly interweaves intimate character narratives with grand and perplexing confrontations with the unknown. The Voyager crew's collective response to the spatial anomaly, juxtaposed with the holographic Doctor's struggle to return to sickbay and his inadvertent antagonizing of several other holographic characters, adds layers of complexity, amusement, and endearment.

"I'm a doctor, not a voyeur."

Star trek: voyager season 2, episode 7 - "parturition".

The USS Voyager sets course to a planet rich in protein and amino acid readings, dubbed "Planet Hell," to alleviate the ship's growing food issues . Star Trek: Voyager season 2, episode 7 sees essential progression in the characterization of several crucial Voyager crew members and their respective relationships, balancing the more weighty developments with less profound interactions among the ship-board crew.

As Voyager approaches the planet, the Doctor contacts the bridge. Having eavesdropped on a conversation between Captain Kathryn Janeway (Kate Mulgrew) and Commander Chakotay (Robert Beltran) , the Doctor informs them of a skin irritation issue from the planet's trigemic vapors and suggests that automatic EMH inclusion in such discussions would prevent the need for routine eavesdropping to " monitor issues involving the health of the crew." As Janeway questions the frequency of this habit, the Doctor says, " I'm a doctor, not a voyeur. I am programmed to be discreet."

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"i'm a doctor, not a counter-insurgent.", star trek: voyager season 3, episode 1 - "basics, part ii".

Star Trek: Voyager 's gripping season 3 premiere episode continues the Voyager season 2 finale as the back half of a major Star Trek: Voyager two-parter . With the bulk of the USS Voyager crew stranded and struggling for survival on a desolate and hostile planet, only a few officers remain on board the starship with 89 villainous Kazon.

The Doctor is not just a hologram - he is a Starfleet hologram.

Following examining a young child - the first Cardassian-Kazon hybrid - the Doctor ponders aloud about the futility of the ship's current situation and the limitations of his holographic presence. Asking, " What am I supposed to do? Lead a revolt with a gang from Sandrine's? Conjure up holograms of Nathan Hale and Che Guevara? I'm a doctor, not a counter-insurgent . " The characteristically dramatic statement and subsequent theorizing about a self-taught program on guerrilla warfare adds mounting tension to the unfolding events, culminating in a realization that the Doctor is not just a hologram - he is a Starfleet hologram.

"I'm a doctor, not a database."

Star trek: voyager season 3, episode 9 - "future's end, part ii".

In this second part of another Star Trek: Voyager two-parter , Captain Kathryn Janeway and the USS Voyager attempt to preserve the security of the past after the ship is heavily damaged by Henry Starling's (Ed Begley Jr.) attack in the previous episode. Starling, having downloaded a proportion of Voyager's databanks - including the Emergency Medical Hologram program - equips The Doctor with a mobile holo-emitter and later schemes to travel into the future to steal more advanced technology

Star Trek: Voyager season 3, episode 9 introduces a significant character development for the Doctor, with the implementation of a major hardware upgrade.

When Starling demands Captain Kathryn Janeway 's psychological profile from The Doctor, the defiant EMH responds, "I'm a doctor, not a database," Starling comments, "I'd say you're a little bit of both," referring to the hologram's technological makeup. Star Trek: Voyager season 3, episode 9 introduces significant character development for the Doctor, with the implementation of a major hardware upgrade.

"I'm a doctor, not a peeping Tom."

Star trek: voyager season 5, episode 2 - "drone".

The Doctor's mobile holo emitter is damaged during a survey mission when the shuttlecraft encounters spatial turbulence. Back on the USS Voyager, Lt. B'Elanna Torres (Roxann Dawson) informs the Doctor that some circuits in the mobile emitter were fused during transport back to the ship. The following morning, oblivious to social cues and normalcy, The Doctor calls for an update at an inopportune moment , leading to an amusingly awkward situation.

As Lt. Torres prepares to enter a sonic shower, The Doctor tells her, " I'm a doctor, not a peeping Tom. There's nothing I haven't seen before. " Frustrated, Torres throws her towel over the communications display screen. Despite the Doctor's general demonstration of respect, consideration, and patient confidentiality, moments such as this underscore the character's lack of social sensitivity and an accompanying sense of empathy and humility, resulting in an odd blend of personality traits for a character whose entire existence is designed for healthy interactions with others.

"I'm a doctor, not a battery."

Star trek: voyager season 5, episode 13 - "gravity".

The Doctor, Tuvok (Tim Russ) , and Lt. Tom Paris (Robert Duncan McNeill) are stranded on a desert planet when their shuttle crash lands in a temporally distorted area of space. Following the repair of the Doctor's damaged mobile emitter, Tuvok suggests that the EMH program should stay offline as much as possible, given the limited resources to preserve the option of the emitter as a power source. Affronted, the Doctor exclaims, "I'm a doctor, not a battery , " drily adding that Paris' sub-par hunting skills should perhaps necessitate a similar status.

The Doctor's limited scope in "Gravity" highlights an adaptability and innate frustration at technological limitations.

Star Trek: Voyager season 5, episode 13 is bittersweet, told in a series of flashbacks, with Tuvok exploring the lessons of his past to make sense of his present. The curious exploration of race, technology, and natural phenomena is rich and considered, with the characters' sentiments and outlooks working to complement and disrupt. Despite the enhanced potential of Picardo's character, the Doctor's limited scope in "Gravity" highlights an adaptability and innate frustration at technological limitations.

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"i'm a doctor, not a dragon slayer.", star trek: voyager season 5, episode 14 - "bliss".

Star Trek: Voyager, season 5, episode 14, "Bliss," offers an interesting premise involving The Doctor. The Voyager crew is affected by a giant " beast " capable of neurogenic telepathy and manipulation. Amid several other unaffected crew members, Picardo's Doctor identifies peculiarities in the crew's dopamine levels and becomes suspicious. Although The Doctor is promptly deactivated to prevent interference in the creature's scheme, the EMH is later reactivated and ultimately instrumental in saving the ship.

Following the creature's defeat, The Doctor is offered a place to work alongside Qatai (W. Morgan Shepard). The Doctor responds, " I'm a doctor, not a dragon slayer. My program requires that I do no harm ." Interestingly, the Doctor uses a similar phrase upon reactivation in Voyager's sickbay when Qatai requests access to the ship's weapons manifest, stating, " This is a sickbay, not an arsenal ." "Bliss" showcases the Doctor's proclivities towards peace and well-being against a backdrop of disruption and telepathic and biological manipulation.

"I'm a doctor, not a zoo keeper."

Star trek: voyager season 6, episode 24 - "life line".

Voyager's Doctor temporarily transfers to the Alpha Quadrant's Jupiter Station to treat the creator of the Emergency Medical Hologram, Lewis Zimmerman (Robert Picardo), who is dying of a fatal condition. Believing he can adapt a Borg regeneration technique, The Doctor's files are condensed for efficient transport. However, it soon becomes clear that Zimmerman is not particularly interested in the Doctor's aid.

In Star Trek: Voyager , season 6, episode 24, "Life Line," Robert Picardo plays two visually similar characters - one human, one electronic. With the aid of Counsellor Deanna Troi (Marina Sirtis) , the Doctor ultimately achieves a successful medical outcome despite Zimmerman's attitude. When the Doctor deactivates Dr. Zimmerman's talking holographic iguana Leonard with an explanatory " I'm a doctor, not a zoo keeper, " Zimmerman electronically transfers the EMH to another room. It's a whimsical and frustrating study of family, stubbornness, and fear, with the characters' similarities and differences working well to heighten the drama, tension, and chaos.

"I'm a doctor, not an engineer."

Star trek: voyager season 7, episode 9 - "flesh and blood".

Star Trek: Voyager season 2, episode 9, "Flesh and Blood," is the first installment of a two-part story in which the USS Voyager crew encounters the Hirogen, a race of hunters, and a ship of holograms. When The Doctor's program is stolen by a fleeing vessel, the EMH appears on a ship of holograms needing his medical expertise. The Doctor protests that he is " a doctor, not an engineer ."As Picardo's The Doctor argues that the technological nature of the damaged holograms requires repair from an engineer, not healing from a doctor, the officer in charge, Iden (Jeff Yagher), convinces the reluctant EMH to offer assistance. The Doctor's connection to both crews provides an exciting, deep insight into Picardo's evolving and complex EMH character. Part of and loyal to the Voyager crew, the Doctor shares significant overlap in physical presence with the holograms.

"I'm a doctor, not a commando."

Star trek: voyager season 4 episode 14 - "message in a bottle".

Robert Picardo's Doctor risks uncertain transportation to the USS Prometheus in the far-away Alpha Quadrant in Star Trek: Voyager , season 4, episode 14, "Message in a Bottle." Teaming up with the initially-hesitant medical hologram EMH-2 (Andy Dick), the Doctor must figure out how to reclaim the ship from Romulans to complete his mission and contact Starfleet. Intelligently exploring the technological capacity and ingenuity of the Doctor's holographical nature and abilities through character interaction and upgrade, "Message in a Bottle" uses the Doctor as a beacon of hope and accessibility.

The evolving interaction between Picardo's Doctor and the EMH-2 is an amusing and fascinating display of sophisticated Starfleet programming.

The evolving interaction between Picardo's Doctor and the EMH-2 is an amusing and fascinating display of sophisticated Starfleet programming. Quickly identifying the Doctor as an " inferior " design, the EMH-2 comments on the " beady eyes" and " inferior bedside manner " and deactivates its program to await rescue. When Voyager's Doctor reactivates the program and insists they work together to retake the ship, the EMH-2 claims, " I'm a doctor, not a commando ."

"I'm a doctor, not a door stop."

Star trek: first contact.

Robert Picardo plays the EMH Mark I Doctor on the USS Enterprise-E in Star Trek: First Contact . Faced with invasion by the Borg and imminent assimilation on the Enterprise, Dr. Beverly Crusher (Gates McFadden) activates the Emergency Medical Hologram and orders a diversion to allow the crew to flee to safety. The Doctor responds, " This isn't part of my program. I'm a doctor, not a doorstop. " Ultimately, the Doctor offers the attacking drones an analgesic cream for theoretical skin irritation caused by Borg implants.

While the EMH in Star Trek: First Contact isn't the same Doctor as on Star Trek: Voyager , it's a crowd-pleasing movie cameo for Robert Picardo.

The Doctor is a fascinating character in Star Trek: Voyager and the overall franchise, offering a slow yet complex look at evolving technology and its relationship with individualism. Ironically, then, The Doctor's regular use of Dr. Leonard McCoy's catchphrase is not indicative of this quality but instead offers an upbeat and nostalgic nod to franchise continuity, simultaneously developing a sense of affection and warmth to Picardo's iconic and creatively ambitious character.

Star Trek: Voyager and Star Trek: The Original Series are available to stream on Paramount+.

Star Trek: Voyager

Release Date May 23, 1995

Network UPN

Star Trek: The Original Series

Release Date September 8, 1966

Network NBC

Christian Zimmerman

• View history

Christian Zimmerman played Third Lamat'Ukan in the Star Trek: Deep Space Nine sixth season episode " One Little Ship ".

Zimmerman has also guest-starred in Silk Stalkings (with Charlie Brill , Paul Townsend and James Ingersoll ), Pensacola: Wings of Gold , Malibu, CA and Will & Grace .

He also appeared in the films Seeking the Cafe Bob , Scorpio One (with Robin Curtis , George Murdock and Lance LeGault ) and Sex and the Single Guy .

External link [ ]

• Christian Zimmerman at the Internet Movie Database