Star Trek 2 - Der Zorn des Khan (Remastered) DVD im Onlineshop von Saturn kaufen. Jetzt bequem online bestellen. Der Anführer einer feindlichen Gruppe ist Khan, ein genmanipulierter Tyrann, der nur ein Ziel hat: Rache an Captain Kirk und der Enterprise. Die Enterprise wird nach Hause zurückbeordert, nachdem ein fürchterlicher Terroranschlag in London ein Archiv der Sternenflotte vernichtet und die Erde in eine schwere Krise gestürzt hat. Dahinter steckt John Harrison, ein ehemaliges Mitglied der.

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Die Enterprise wird nach Hause zurückbeordert, nachdem ein fürchterlicher Terroranschlag in London ein Archiv der Sternenflotte vernichtet und die Erde in eine schwere Krise gestürzt hat. Dahinter steckt John Harrison, ein ehemaliges Mitglied der. Heute gilt Star Trek II als eine der gelungensten und innerhalb Star Treks einflussreichsten Leinwandadaptionen. Inhaltsverzeichnis. 1 Handlung; 2. Star Trek Into Darkness ist ein US-amerikanischer Science-Fiction-Film von J. J. Abrams aus dem Jahr Es ist der zwölfte Kinofilm, der auf der. Doch zurück zu STAR TREK II. Die Chemie der Darsteller unterienander stimmt und mit Ricardo Montalban ist ein charismatischer Antagonist für Kirk und Co. Khan Noonien Singh nutzt die Gelegenheit von seinem Gefängnis auf dem Planeten Ceti Alpha V zu. Star Trek Into Darkness ist der Nachfolger von Star Trek und setzt den Handlungsstrang mitsamt der. Star Trek II – Der Zorn des Khan: Sendetermine · Streams · DVDs · Cast & Crew.

Star Trek Into Darkness ist ein US-amerikanischer Science-Fiction-Film von J. J. Abrams aus dem Jahr Es ist der zwölfte Kinofilm, der auf der. Der Anführer einer feindlichen Gruppe ist Khan, ein genmanipulierter Tyrann, der nur ein Ziel hat: Rache an Captain Kirk und der Enterprise. Star Trek II – Der Zorn des Khan: Sendetermine · Streams · DVDs · Cast & Crew.

Star Trek 2 Star Trek II: Der Zorn des Khan

In der deutschen Synchronisation wurde das mit dranbleiben übersetzt, was bei einem Torpedoangriff wenig Frank Otto ergibt. Weiter kann man vermuten, dass es ein beweglicher Himmelskörper ist. Weiter erläutert Khan ihnen, dass lediglich eine einzige Kino Bensberg Programm überlebt hätte: Jene reptilartige Kreatur, welche Terrell Karl Merkatz schon entdeckt hatte. Er denkt Sinner, dass es etwas für die Jüngeren ist, im Kosmos herum zu Kino Büsum. Als er sie ein wenig zu sich dreht und den Namen des Schiffes liest, fährt ihm der Schreck buchstäblich durch die Glieder. Der knappe Zeitplan und der festgesetzte Premierentermin zwang Meyer, parallel zu den Dreharbeiten am Schnitt zu arbeiten. März

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Spock's Death - Star Trek II: The Wrath Of Khan ST II - Der Zorn des Khan. Star Trek: The Wrath of Khan. von Matthias Weber. Inhalt. Sternzeit: ,3 (Jahr ). Der Kobayashi Maru Test. Admiral Kirk. Die DVD Star Trek II: Der Zorn des Khan jetzt für 5,99 Euro kaufen. Star Trek 2 - Der Zorn des Khan (Remastered) DVD im Onlineshop von Saturn kaufen. Jetzt bequem online bestellen. Der Anführer einer feindlichen Gruppe ist Khan, ein genmanipulierter Tyrann, der nur ein Ziel hat: Rache an Captain Kirk und der Enterprise. Im folgenden Tumult Starwars 4 Stream sogar einer der Wissenschaftler von einem Phaserschuss getötet. Wiedergabe auf diesem Gerät nicht möglich. Mal in seine Rolle als Offizier Kyle schlüpfen durfte. Filme von J. Spock, der Khan zutiefst misstraut, nimmt Kontakt nach Neu Vulkan auf, um sein zukünftiges Ich zu befragen. Saavik, junge angehende Kommandantin, muss sich dem Kobayashi-Maru-Test stellen. Kirk spricht sich mit Spock ab, der freiwillig auf das Kommando der Ohne Limit 2 verzichtet und es Kirk überlässt. Schwer getroffen, fassungslos, stolpert James der schützenden Wand aus transparentem Aluminium entgegen. So blieb Koenig über einige Zeit Die Besten Netflix Serien Egozentrik Shatners erspart, über die sich auch andere Nebendarsteller des Ensembles immer wieder beklagten.

Oct 27, PM. Mick Yes. Glen It is bringing back good memories from when I read those books over 20 years ago. Jun 14, The Mustache Louie Matos rated it liked it Shelves: star-trek , science-fiction , read Fans of the original show will enjoy going back over some of the episodes of the first season and enjoy them in narrative form.

They are not exact transcriptions so fans can pick out some inconsistencies, but I think the stories work in their own way.

I like these both and have only been able to get my hands on 1 and 2, but I will keep an eye out for the rest. Apr 18, Francisco rated it really liked it.

We come to the second of what will eventually be 12 volumes of novelizations of the original series by James Blish there will also be an added volume by his wife, adapting the Mudd episodes with an original novela thrown in.

Again Blish is We come to the second of what will eventually be 12 volumes of novelizations of the original series by James Blish there will also be an added volume by his wife, adapting the Mudd episodes with an original novela thrown in.

Again Blish is generally competent and there seems to be a pattern forming here, where Blish is clearly more interested in the nuts and bolts of science fiction, so called "hard sci-fi" than really on the human relations in the stories.

This gives a different and complementary twist to the stories which manages to make them interesting reads even to people who are quite familiar with the source material, this is sometimes pretty good, as in the adaptation of Miri in the first volume and here it also benefits Arena which becomes an extended fight scene where Kirk is doing his best MacGyver impression trying to defeat the Gorn with what he has available in the surrounding scenery.

Sometimes this is detrimental to the story, and that happens here in "City on the Edge of Forever", usually considered the best episode of the entire series, but which loses some of its emotional punch here, as Blish spends more time dedicated to the construction of the radio transmitter than developing Kirk's relationship with Edith Keeler.

The highlights here are "Court Martial", played almost straight down the line as a courtroom drama, and "Space Seed", the first appearance of Khan and a pretty nifty tale which sets things up nicely for one of the best movies of the franchise which would come up in It's good to see Blish, who is a respectable and pretty good author his Cities in Flight stories are classics of the genre adapting the episodes in his own style, these are better than average novelizations, and as they are done in quite bite sized short-stories they are a pretty effortless read.

A selection of the short story adaptations by James blish of the original 's star trek TV series episodes. The stories are simply but well written straightforward adaptations.

Some are better than others depending on the quality of the original scripts. I fell out with trek sometime ago as tastes changed but these blish stories were ones I always liked.

City on the edge of forever, arena and space seed are the best. I don't expect to be wowed by any of these original Trek adaptations, but my favorite thing about the first novel was the differences between adapted episodes vs the episodes themselves.

Unfortunately, things must have been gelling better now that the show hit its stride in year three, and the characters and stories didn't really deviate all that much.

Still, a couple interesting changes: -Operation: Annihilate! Unfortunately, it also eliminated Kirk's brother and family from the story, which, like Balance of Terror's adaptation from the previous novel, took some of the important drama away.

The story also removes the "oh no Spock is blind! In the story Spock calls Kirk "Jim" for the first time, in an effort to console him, which I thought was a brilliant idea.

Of course, they couldn't have done that in the episode itself, as I believe Spock was calling Kirk Jim by the first episode.

Still, a great idea, and a more powerful ending than simply, "Let's get the hell out of here. I plan to read all these, and hope there continue to be deviations.

Aug 04, Daniel rated it liked it Shelves: scifi-fantasy , star-trek. Opening this book brings me back to the very first time I read this -- back in the very early 's.

This particular copy is the 11th printing and still it has no ISBN number. Back to a time when I had to rely on the local television station to broadcast old Star Trek episodes in order to watch them.

You couldn't record them only by audio cassette. So these printed stories were little nuggets of gold to fanatical young Trekkers such as myself.

Reading these now I still ge somewhat the same kick. Occassionally Blich embellished his stories with a little more insight into what motivated some of the characters.

This is appreciated and enjoyable. Though perhaps just as often, the stories raced through the plot, leaving out some of the finer details. The retelling of "Space Seed" fits this latter.

There seems to be no threat from Khan, but suddenly he has his entire crew aboard the Enterprise and is holding the entire crew hostage and then just as suddenly, Kirk has regained control.

The battle between men, between leaders, between centuries, never takes place as it does in the episode.

And while this was enjoyable and I'll probably reread all the books in this series, I'm still more likely to throw a DVD in the machine and watch an episode.

Sep 14, Ed Wyrd rated it really liked it Shelves: star-trek. There are some memorable episodes here and they translate well to this shorter medium.

Some of the stories seem to have changed from the original airing, and one might assume that the screenplay that Blish worked from was different from unlike Star Trek 1, which appeared rushed to print, this one was published a year later, giving James Blish more time and it seems more care to the project of writing short stories from the original scripts.

Some of the stories seem to have changed from the original airing, and one might assume that the screenplay that Blish worked from was different from the end result.

In the show, the flying amoeba-creatures are killed using visible light and temporarily blinding Spock , until they realize it's just the ultraviolet spectrum that kills them.

Here, the creature inside Spock is killed with magnetism. They can't however, do that planets wide, so they find another solution. No spoilers here.

Also, Blish himself states that the original Harlan Ellison screen play "City on the Edge of Forever" was different from the final version used on the show, and he tried his best to meld the best of both stories into his version.

All in all, unlike the first book in the series, this one was much more satisfying and is worth seeking out from a used book source.

When i was a kid, my older sister's friend GAVE me the entire collection. I know! Over the next few years, I read them all in order, starting the first one the day after I finished the last one.

Loved them. I'm not sad that I didn't hang onto them and can only hope they still exist to make some other fan happy.

But I doubt it because The adaptations got better in the later volumes, but it was Star Trek whenever and wherever I wanted with having to put up with th When i was a kid, my older sister's friend GAVE me the entire collection.

The adaptations got better in the later volumes, but it was Star Trek whenever and wherever I wanted with having to put up with the spastic tripe William Shatner calls acting.

Frankly, I can't remember which story was in which volume, so my rating reflects my enjoyment of the set Jan 19, Rich Meyer rated it really liked it Shelves: read-in Blish is much more consistent with his characterizations than in the first volume.

Fans should note that this also features the adaptation of the episode "Space Seed", which featured Ricardo Montalban as Khan for the first time. Aug 01, Mike McDevitt rated it liked it.

Good stories is good stories, but I don't feel the need to keep or re-read this. Even for the sake of re-reading every Star Trek book I don't see the point of this re-interpretation.

When it's exactly the same as the aired episode I find myself nodding off, and when it's different, well Not always for the best. Oct 02, Fangirl rated it really liked it Shelves: sci-fi , tv-tie-in , read-this-a-long-time-ago , star-trek.

When these early novels and stories to Star Trek came out I bought them all, devoured them and loved them.

It's been a long time, so today I couldn't even say which of them were really good and which of them I only loved because they were Star Trek.

That alone is worth the rating! Apr 04, Tim Gray rated it really liked it. I first read these borrowed from a library at a young age - when there was no hope of more Star Trek except in paper form.

So even episodes as stories had some novelty. James Blish is an accomplished writer, and he makes good us of the episodes he has here.

A familiar read, but with occasional differences, these are a light and entertaining read. Aug 27, Colin rated it it was amazing Shelves: star-trek , short-story-collections.

Part of the reason why I rated this book so highly is that it was the first Star Trek book I ever read. In fact, it was one of the first adult books "adult" in the sense of, "not a children's book" I ever read.

This one started me on all the James Blish episode novelizations. There are no discussion topics on this book yet. Readers also enjoyed.

Science Fiction. Short Stories. Chekov Bruce Greenwood Pike Peter Weller Marcus Alice Eve Carol Marcus Noel Clarke Thomas Harewood Nazneen Contractor Rima Harewood Amanda Foreman Ensign Brackett Jay Scully Edit Storyline When the USS Enterprise crew is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.

Plot Keywords: sequel to a reboot human female adult daughter james t. Edit Did You Know? Goofs Sulu and Spock's safety belts disappear and then reappear during the final battle sequence.

Quotes [ first lines ] Bones : Damn it, man! That was our ride! You just stunned our ride! James T. Kirk : Oh, great.

Crazy Credits One character is credited as Cupcake. This was the name Kirk called him during the bar scene in the previous film.

Was this review helpful to you? Yes No Report this. Q: How does the movie end? Q: Why did admiral Marcus send out James Kirk and the Enterprise to kill John Harrison, if this would run the risk of exposing his plan?

Country: USA. Language: English Klingon. Runtime: min. Color: Color. Edit page. November Streaming Picks. Holiday Picks.

What to Stream on Prime Video. But what's in store for the second season? We know that season 2 won't be covering old ground, and the story will feature "startling events," according to Stewart.

More on that below. Besides that there isn't a huge amount of news about what the second season will look like, and when the release date will be.

The coronavirus pandemic already prevented the start of shooting in the middle of June, but the hope is that production can get going in the fall.

However there are a few tidbits of information we've gathered, so here's everything we know about Star Trek: Picard season 2. Spoilers follow from the first season, so make sure you're all caught up before reading on.

No official date has been set for season 2 of Star Trek: Picard yet, but the early renewal suggests a release. Filming was due to start in June, but this was impacted by the coronavirus pandemic, which is currently halting the production of all CBS shows.

Although, during the recent Star Trek: Voyager cast reunion, Jeri Ryan revealed that "they are hoping we can start shooting in the fall.

However, this may end up benefiting the show's script. Speaking to Collider , Goldsman explained that "it is fundamentally a gift to spend more time with the scripts.

This kind of hour narrative has set-ups and payoffs that requires a more thoughtful view of the object once it's been created.

Based on how Star Trek: Discovery has been released with more than a year-long gap between seasons, it's likely we'll see Star Trek: Picard season 2 slightly later in At the Television Critics Association's winter press tour, it was officially revealed that Patrick Stewart would be returning for another season.

While we may not not much about season 2's story, we do know that the broad strokes of it have been agreed.

Speaking to Collider, Goldsman said "We know what it is" and "we learned a lot from season 1. In the same Collider chat, Goldsman likened season 1 to "the first act of a movie [ We do at least know that season 2 is going to boldly go to completely new places and destinations, and that "it is going to be extraordinary," Sir Patrick Stewart told Gold Derby.

March 15, Tanja Schildknecht Even if you are not a major Star Trek fan, these are entertaining short stories that can be recommended for any age. Christian Science Monitor. Archived from the original on April 5, When it's exactly the same as the aired episode I find myself nodding off, Sleepy Hollow Besetzung when it's different, well

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Kirk ist wieder Admiral, Spock sogar Captain. Spock stirbt aufgrund der ionisierenden Strahlung des Reaktors. Paramount war trotz eines schwachen Einspielergebnisses im Ausland zufrieden.

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Ddl Movie Stream Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Darüber hinaus machte Horner keinerlei Anleihen an vorangegangenen musikalischen Latina Amateur für Star Trek. Merritt Butrick Dr. Bei der Synchronisation der neuen Szenen war Sven Nachtkönig Schauspieler verantwortlich. Nachdem der Film fertig war, gab es wie üblich erste Testaufführungen. Kirk besteigt mit Spock und Uhuradie er wegen ihrer klingonischen Sprachkenntnisse mitnimmt, Marvel Runaways Deutsch Shuttle und steuert auf den Planeten zu. Artikel merken Seite drucken.

The plot features Admiral James T. When Khan escapes from a year exile to exact revenge on Kirk, the crew of the Enterprise must stop him from acquiring a powerful terraforming device named Genesis.

After the lackluster critical response to the first film, series creator Gene Roddenberry was forced out of the sequel's production.

Executive producer Harve Bennett wrote the film's original outline, which Jack B. Sowards developed into a full script. Meyer completed its final script in twelve days, without accepting a writing credit.

Meyer's approach evoked the swashbuckling atmosphere of the original series, a theme reinforced by James Horner 's musical score. Leonard Nimoy had not intended to have a role in the sequel, but was enticed back on the promise that his character would be given a dramatic death scene.

Negative test audience reaction to Spock's death led to significant revisions of the ending over Meyer's objections.

The production team used various cost-cutting techniques to keep within budget, including utilizing miniature models from past projects and reusing sets, effects footage, and costumes from the first film.

Among the film's technical achievements is being the first feature film to contain a sequence created entirely with computer graphics. Critical reaction to the film was positive; reviewers highlighted Khan's character, the film's pacing, and the character interactions as strong elements.

Negative reactions focused on weak special effects and some of the acting. The Wrath of Khan is considered by many to be the best film in the Star Trek series, and is often credited with renewing substantial interest in the franchise.

In , Admiral James T. Kirk oversees a simulator session of Captain Spock 's trainees. The simulation is a no-win scenario designed to test the character of Starfleet officers.

Later, Dr. McCoy joins Kirk on his birthday; seeing Kirk in low spirits, the doctor advises Kirk to get a new command and not grow old behind a desk.

Meanwhile, the starship Reliant is on a mission to search for a lifeless planet to test the Genesis Device, a technology designed to reorganize dead matter into habitable worlds.

Years earlier, Kirk exiled Khan and his fellow supermen to Ceti Alpha V after they attempted to take over his ship. The neighboring planet exploded, devastating the surface of Ceti Alpha V, and causing the deaths of several of Khan's followers, including his wife.

Khan implants Chekov and Terrell with indigenous eel larvae that render them susceptible to mind control, and uses them to capture Reliant.

Carol Marcus , and their son, David. Kirk assumes command of Enterprise after the ship, deployed on a training cruise, receives a distress call from Regula I.

En route, Enterprise is ambushed and crippled by Reliant. Khan offers to spare Kirk's crew if they relinquish all material related to Genesis; Kirk instead stalls for time and remotely lowers Reliant ' s shields , enabling a counter-attack.

Khan is forced to retreat and effect repairs, while Enterprise limps to Regula I. Kirk, McCoy, and Saavik beam to the station and find Terrell and Chekov alive, along with the slaughtered members of Marcus's team.

They soon find Carol and David hiding Genesis deep inside the nearby planetoid. Khan, having used Terrell and Chekov as spies, orders them to kill Kirk; Terrell resists the eel's influence and kills himself, while Chekov collapses as the eel leaves his body.

Khan transports Genesis aboard the Reliant , intending to maroon Kirk on the lifeless planetoid, but is tricked by Kirk and Spock's coded arrangements for a rendezvous.

Kirk directs Enterprise into the nearby Mutara Nebula; conditions inside the nebula render shields useless and compromise targeting systems, making Enterprise and Reliant evenly matched.

Spock notes that Khan's tactics indicate inexperience in three-dimensional combat, which Kirk exploits to disable Reliant. Mortally wounded, Khan activates Genesis, which will reorganize all matter in the nebula, including Enterprise.

Though Kirk's crew detects the activation and attempts to move out of range, they will not be able to escape the nebula in time without the ship's inoperable warp drive.

Spock goes to restore warp power in the engine room, which is flooded with radiation. When McCoy tries to prevent Spock's entry, Spock incapacitates him with a Vulcan nerve pinch and performs a mind meld , telling him to "remember".

Spock repairs the warp drive, and Enterprise escapes the explosion, which forms a new planet. Before dying of radiation poisoning , Spock urges Kirk not to grieve, as his decision to sacrifice himself to save the ship's crew was a logical one.

A space burial is held and Spock's coffin is shot into orbit around the new planet. The crew leaves to pick up Reliant 's marooned crew from Ceti Alpha V; Spock's coffin is shown having soft-landed on the surface of the Genesis planet.

The Wrath of Khan ' s cast includes all the major characters from the original television series, as well as new actors and characters.

In his plot, the crew of the Enterprise travel back in time to set right a corrupted time line after Klingons use the Guardian of Forever to prevent the assassination of John F.

Sallin's job would be to produce Star Trek II quickly and cheaply. Bennett wrote his first film treatment in November In his version, entitled The War of the Generations , Kirk investigates a rebellion on a distant world and discovers that his son is the leader of the rebels.

Khan is the mastermind behind the plot, and Kirk and son join forces to defeat the tyrant. Bennett then hired Jack B. Sowards , an avid Star Trek fan, to turn his outline into a film-able script.

Sowards wrote an initial script before a writer's strike in Sowards' draft, The Omega Syndrome , involved the theft of the Federation's ultimate weapon, the "Omega system".

At the story conference the next day, Bennett hugged Minor and declared that he had saved Star Trek. By April , Sowards had produced a draft that moved Spock's death to later in the story, [20] because of fan dissatisfaction to the event after the script was leaked.

Peeples' draft replaced Khan with two new villains named Sojin and Moray; the alien beings are so powerful they almost destroy Earth by mistake.

Meyer wrote the screenplay uncredited and for no pay before the deadline, surprising the actors and producers, [10] and rapidly produced subsequent rewrites as necessary.

One draft, for example, had a baby in Khan's group, who is killed with the others in the Genesis detonation.

Star Trek was human allegory in a space format. That was both its strength and, ultimately, its weakness. I tried through irreverence to make them more human and a little less wooden.

I didn't insist that Captain Kirk go to the bathroom, but did Star Trek have to be so sanctified? Meyer described his script as " 'Hornblower' in outer space", utilizing nautical references and a swashbuckling atmosphere.

As a gesture of good faith, Paramount changed the film's title from its original working title, The Vengeance of Khan, as it was too close to the working title for Lucasfilm 's upcoming Star Wars film.

However, as soon as the name change was made, Lucasfilm also changed their Revenge of the Jedi title to Return of the Jedi. An even earlier working title for the Trek film was The Undiscovered Country , a title which would eventually be used for the sixth film of the franchise.

Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned while staying within budget. They've been smoking for four hundred years, you think it's going to stop in the next two?

To save money on set design, production designer Joseph Jennings used existing elements from The Motion Picture that had been left standing after filming was completed.

The orbital office complex from The Motion Picture was inverted and retouched to become the Regula I space station. The ship's design was flipped after Bennett accidentally opened and approved the preliminary Reliant designs upside-down.

Designer Robert Fletcher was brought in to redesign existing costumes and create new ones. Fletcher decided on a scheme of "corrupt colors", using materials with colors slightly off from the pure color.

Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red. Fletcher decided to use the dark red due to the strong contrast it provided with the background.

The resulting naval-inspired designs would be used in Star Trek films until First Contact The first versions of the uniforms had stiff black collars, but Sallin suggested changing it to a turtleneck, using a form of vertical quilting called trapunto.

The method creates a bas-relief effect to the material by stuffing the outlined areas with soft thread shot via air pressure through a hollow needle.

For Khan and his followers, Fletcher created a strong contrast with the highly organized Starfleet uniforms; his idea was that the exiles' costumes were made out of whatever they could find.

Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship.

Fletcher also designed smocks for the Regula I scientists, and civilian clothes for Kirk and McCoy that were designed to look practical and comfortable.

Principal photography began on November 9, , and ended on January 29, The project was supervised by Paramount's television unit rather than its theatrical division.

For a scene taking place at Starfleet Academy , a forced perspective was created by placing scenery close to the camera to give the sense the set was larger than it really was.

To present the illusion that the Enterprise ' s elevators moved between decks, corridor pieces were wheeled out of sight to change the hall configuration while the lift doors were closed.

Some designed props, such as a redesigned phaser and communicator, were vetoed by Paramount executives in favor of existing materials from The Motion Picture.

The Enterprise was refurbished for its space shots, with its shiny exterior dulled down and extra detail added to the frame.

The ships were filmed on a blue screen with special film that does not register the color blue; the resulting shots could be added to effects shots or other footage.

Any reflection of blue on the ship's hull would appear as a hole on the film; the gaps had to be patched frame by frame for the final film.

The same camera used to film Star Wars , the Dykstraflex , was used for shots of the Enterprise and other ships. The barren desert surface of Ceti Alpha V was simulated on stage 8, the largest sound stage at Paramount's studio.

The set was elevated 25 feet off the ground and covered in wooden mats, over which tons of colored sand and powder were dumped. A cyclorama was painted and wrapped around the set, while massive industrial fans created a sandstorm.

The filming was uncomfortable for actors and crew alike. The spandex environmental suits Koenig and Winfield wore were unventilated, and the actors had to signal by microphone when they needed air.

Filming equipment was wrapped in plastic to prevent mechanical troubles and everyone on set wore boots, masks, and coveralls as protection from flying sand.

Spock's death was shot over three days, during which no visitors were allowed on set. The mind meld sequence was initially filmed without Kelley's prior knowledge of what was going on.

During Spock's funeral sequence Meyer wanted the camera to track the torpedo that served as Spock's coffin as it was placed in a long trough and slid into the launcher.

The camera crew thought the entire set would have to be rebuilt to accommodate the shot, but Sallin suggested putting a dolly into the trough and controlling it from above with an offset arm.

Spock's death in the film was widely reported during production. The scene of Spock's casket on the planet and Nimoy's closing monologue were added; Meyer objected, but did not stand in the way of the modifications.

The shoot lasted from midday to evening, as the team was well aware there would be no time for reshoots.

Special consideration was given during filming to allow for integration of the planned special effects. Television monitors standing in for computer displays were specially calibrated so that their refresh rate did not result in banding on film.

When the larger prints were reduced through an anamorphic lens on the printer, the result was a Panavision composite.

With a short timeframe to complete The Wrath of Khan ' s special effects sequences, effects supervisor Jim Veilleux, Meyer, Jennings, Sallin and Minor worked to transform the written ideas for the script into concrete storyboards and visuals.

The detailed sequences were essential to keep the film's effects from spiraling out of control and driving up costs, as had occurred with The Motion Picture.

Originally, the Reliant was conceived as a Constitution -class starship identical to the Enterprise , but it was felt audiences would have difficulty distinguishing between two alike ships.

Phaser damage was created using stop motion. The script called for large-scale damage to the Reliant , so larger versions of the ship's model were created to be blown up.

The battle in the nebula was a difficult sequence to accomplish without the aid of computer-generated models. The swirling nebula was created by injecting a latex rubber and ammonia mixture into a cloud tank filled with fresh and salt water.

The vibrant abstract colors of the nebula were simulated by lighting the tank using colored gels. Additional light effects such as auroras were created by the ILM animation department.

The scene in which Terrell kills Jedda, a Regula scientist, by vaporizing him with a phaser was filmed in two takes. Winfield and the related actors first played out the scene; this footage became the background plate.

A blue screen was wheeled onto the set and actor John Vargas , the recipient of the phaser blast, acted out his response to being hit with the energy weapon.

A phaser beam element was placed on top of the background plate, and Vargas' shots were optically dissolved into an airbrushed disintegration effect which matched Vargas' position in every frame.

The Ceti eel shots used several models, overseen by visual effects supervisor Ken Ralston , who had just finished creature design for Return of the Jedi.

He tied a string to the eels to inch the models across the actors' faces before they entered the ear canal. The scene was filmed with three variations, which Ralston described as "a dry shot, one with some blood, and the Fangoria shot, with a lot of gore.

Meyer and the production staff were adamant about not using freeze frames for the transporter, as had been done in the original television series.

Scenes were shot so that conversations would continue while characters were in mid-transport, [13] although much of the matte work VCE created was discarded when the production decided not to have as much action during transports.

The Wrath of Khan was one of the first films to extensively use computer graphics to speed production of special effects shots.

Among the film's technical achievements was cinema's first entirely computer-generated sequences, both the star fly-through prior to the opening credits, and ILM's animation for the demonstration of the effects of the Genesis Device on a barren planet.

While Paramount appreciated the more dramatic presentation, they also wanted the simulation to be more impressive than traditional animation.

Introducing the novel technique of particle systems [41] for the sixty-second sequence, the graphics team also paid great attention to detail such as ensuring that the stars visible in the background matched those visible from a real star light-years from Earth.

The animators hoped it would serve as a "commercial" for the studio's talents. The studio would later branch off from Lucasfilm to form Pixar.

Meyer initially hoped to hire an associate named John Morgan, but Morgan lacked film experience, which would have troubled the studio.

Paramount's vice-president of music Joel Sill took a liking to a year-old composer named James Horner, feeling that his demo tapes stood out from generic film music.

They did not want a John Williams score, per se. They wanted something different, more modern. I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened.

In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process.

In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlaid with other music and emphasized the character's insanity.

Many elements drew from Horner's previous work a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from Wolfen , in turn influenced by Goldsmith's score for Alien.

Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere. To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in The Wrath of Khan , this was the relationship between Kirk and Spock.

The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship Enterprise.

The soundtrack was Horner's first major film score, [47] and was written in four and a half weeks. The resulting 72 minutes of music was then performed by a piece orchestra.

The Wrath of Khan features several recurring themes, including death, resurrection, and growing old. Meyer added elements to reinforce the aging of the characters.

Kirk's unhappiness about his birthday is compounded by McCoy's gift of reading glasses. The script stated that Kirk was 49, but Shatner was unsure about being specific about Kirk's age.

Bennett convinced Shatner that he could age gracefully like Spencer Tracy ; the producer did not know that Shatner had worked with Tracy on Judgment at Nuremberg , and was fond of the actor.

Khan's pursuit of Kirk is central to the film's theme of vengeance, and The Wrath of Khan deliberately borrows heavily from Herman Melville 's Moby-Dick.

Khan also quotes Ahab's tirade at the end of the novel verbatim with his final lines: "To the last I grapple with thee; from Hell's heart I stab at thee; for hate's sake, I spit my last breath at thee.

The film's novelization, written by Vonda N. McIntyre , stayed on the New York Times paperback bestsellers list for more than three weeks.

Critical response was positive. As the Section 31 fleet arrives, Discovery and Enterprise prepare for battle while the suit and time crystal are finalized.

On November 2, , CBS announced a new Star Trek television series to premiere in January , "on the heels" of the original series ' 50th anniversary in CBS told Fuller to just start with a single serialized show and see how that performs first, and he began further developing the prequel concept.

Berg and Aaron Harberts replacing him as showrunner. In August , before the series premiere, executive producer Akiva Goldsman stated that though the series is not an anthology as Fuller first proposed, "it's kind of a hybridized approach.

I don't think we're looking for an endless, continuing nine or 10 year story. We're looking at arcs which will have characters that we know and characters that we don't know.

He added that the series' producers wanted to avoid announcing release dates for future seasons just to delay them as happened on the first season, but he hoped a second season would be available in early as long as the quality and scope of the series was not compromised to achieve that.

The studio and network were pleased with the scripts for the season and early cuts of already filmed episodes, but the first episode of the season had gone significantly over budget—to the point that the budgets for later episodes of the season would have to be cut to cover the difference—and the pair were allegedly abusive towards the series' writing staff, with multiple writers becoming uncomfortable working with them.

Some had apparently been threatened by Harberts after stating their intention to file a formal complaint. Kurtzman was made sole showrunner in their place, and was described as the "glue holding Discovery together".

Despite never planning to showrun Discovery , Kurtzman felt as co-creator of the series that it was his responsibility to make sure it was working.

With the change in showrunner came news that Goldsman had not returned as executive producer for the second season, after serving as Kurtzman's "right-hand man" on the first, because he had a "management style and personality that clashed with the writing staff".

Olatunde Osunsanmi , who served as a director and co-executive producer during the first season, became a full executive producer as well and was set as producing director for the rest of the season's production.

Additionally, Jenny Lumet , who joined as a consulting producer at the beginning of the season, was promoted to co-executive producer.

The series' writers began work on the second season in December , and were considering "science vs. Harberts said the season would be "jam packed" with things that they were not able to do in the first.

It means connections you can't explain. Who enters your life and who leaves your life and these indelible impressions people make Mount felt that the season was able to "get back to those big questions" because it was no longer questioning the leadership of the Discovery as was done with Captain Gabriel Lorca in the first season.

He felt that protagonist Michael Burnham "really wrestled" with faith in the season because she was not raised with it, but in the end was rewarded for finding it.

He interpreted this message as being, "If you believe in yourself, ultimately, the best outcome presents itself. Without the first season's Federation—Klingon War storyline, Kurtzman said there would be less focus on the Klingons in the second season and far fewer Klingon-only scenes, but Klingon characters would still appear.

This ties into a larger story that is the main arc for the second season, [51] involving seven mysterious signals and a mysterious "red angel" figure.

Burnham's adoptive brother Spock is also a crew member of the Enterprise , but Harberts was less interested in him given his many appearances throughout the franchise.

The season finale had to answer all the season's mysteries, complete its character arcs, feature a large battle, and set-up stories for the next season.

While planning this, the writers realized that they could not do justice to it all within a single episode's length. It was around this time that CBS added an additional episode to the season's order, which allowed the writers to expand their finale plans to a two-part season finale.

Executive producer Michelle Paradise compared the scope of the finale to a feature film. Kurtzman said this solution was chosen after months of work with the writers, and was additionally made because of the implications it has for the future of the series; he compared the decision to the film Star Trek starting a new timeline to avoid established continuity.

In April , Anson Mount—who was considered for the role of Lorca in the first season—was cast as Pike, a "key role" for the season, [10] [45] and a young Spock was confirmed to be appearing in flashbacks; [54] Kurtzman noted that casting for Spock took into consideration a balance between Vulcan logic and revealing "emotion in the eyes and in the small gestures".

Kurtzman compared the actor to both Nimoy and Quinto and stated that he believed Peck "would, like them, effortlessly embody Spock's greatest qualities, beyond obvious logic: empathy, intuition, compassion, confusion, and yearning".

An alternate ending to the first season was revealed in March , introducing a Section 31 agent named Leland who is portrayed by Alan van Sprang. The producers confirmed that Van Sprang would be portraying the character in the second season.

The actor described his role in the second season as a "massive part of it". Tig Notaro was cast in the guest role of Denise Reno in April The latter is revealed to be the "Red Angel", a character seen throughout the season.

Hannah Cheesman took over the role of Airiam for the season, with original actress Sara Mitich recast in the role of Nilsson.

Costume designer Gersha Phillips and her team created over different costumes for the season. She noted that the collars on the Discovery uniforms already evoked the v-shape design of the original uniform collars.

The difference in uniforms is explained when a character remarks that the more colorful uniforms are new and being introduced to Starfleet starting with Enterprise.

Phillips and her team overlooked the fact that the Discovery uniforms identify rank through pips on their Starfleet badges which are not present on the Enterprise uniforms, and so there was no identification of rank on any of the Enterprise characters.

The mistake was pointed out by John Van Citters, the vice president of Star Trek brand management at CBS Studios, and the solution was to add stripes to the sleeves of the uniforms.

CGI was used to add these stripes to footage from before the mistake was discovered. Phillips was asked to make the Section 31 costumes black, and to not give the characters a uniform.

Phillips made sure these costumes were different from the cleaner style of the main Starfleet uniforms to highlight the different types of people hired by Section 31 and their different approach.

She noted that this was appropriate for Georgiou, who Phillips felt "wouldn't wear a uniform, because she's not going to conform".

After seeing her first designs for the costumes, Kurtzman asked her to take them further. Phillips used fabrics with "puffy" textures printed onto them for the costumes.

The Talosians also wear necklaces that were designed in collaboration with jeweler Dana Schneider. The Red Angel suit was inspired by Scarlett Johansson 's costume from the film Ghost in the Shell , with Discovery ' s prop master Mario Moreira contributing to the design.

It was created with companies Plassens and By Design using 3D printing. Phillips stated that all the actors who wore the suit said it was one of the most comfortable to wear, noting that this is not usually the case for actors wearing complex costumes.

For the Klingons, Phillips was excited to depict the species in a time of peace, and was able to produce several different costumes that were not warrior-based.

Phillips noted that in previous appearances groups of Klingons were often depicted as wearing the same costume, but on Discovery there was a mandate to have more diverse looks within groups of aliens.

L'Rell's costumes in the season were intended to be provocative to show the character as "just being the woman that she was Glenn Hetrick and Neville Page of Alchemy Studios, who provide prosthetics and armor for the series, teased in May that the season would feature a "truly alien" character for which they had to figure out new ways to reduce the weight of the prosthetics and make it breathable for the actor, as well as try improve the actor's vision because the eyes of the creature did not align with where human eyes are positioned.

Hetrick added that there would be more interesting prosthetics for extras, while the pair were able to use a species from earlier Star Trek canon that had not been in the first season of Discovery after producing a list for the executive producers featuring all the species they would like to use.

Several new sets for the Discovery were built for the second season, adding to the ones constructed for the first.

These included a new "loop corridor" and new entrances to the mess hall and sick bay sets. The engineering set from the first season was also renovated for the second, with production designer Tamara Deverell explaining that the cinematography department had been complaining about the large amount of light coming from the spore chamber in that set in contrast to the rest of the room.

John Eaves and Scott Schneider, designers of the starships for the series, were required to redesign the USS Enterprise for Star Trek: Discovery , making it 25 percent different from Matt Jefferies ' original design due to legal concerns regarding the ownership of different Star Trek elements.

CBS ultimately confirmed that they were free to reuse Jefferies' design in Star Trek: Discovery , but stood by the changes made by Eaves and Schneider as creative improvements that took advantage of modern visual effects.

These changes included adding elements that could realistically be removed or replaced in the time between this series and the beginning of the original series.

The visual effects department made further adjustments to the design after Eaves and Schneider completed their work. He added that any sets designed for the Enterprise would bridge the look of the original series and Discovery while still trying to adhere to canon and remain consistent with the original designs where possible.

There had been plans to show the interior of the Enterprise during the first-season finale, but this was ultimately saved for the second season.

Deverell did extensive research on the original sets before trying to recreate them using Discovery ' s "new methodology", including searching through the CBS archives to do color tests on the original bridge sets which feature a distinctive red that sometimes appeared to be orange on the original series Discovery includes a joke about the bridge being orange, though Deverell insisted that it is red.

The Enterprise bridge set was built on a new soundstage for the series specifically for the two-part second season finale, rather than being a repurposed set.

Filming for the season began at Pinewood Toronto Studios on April 16, , [5] [76] under the working title Green Harvest.

Production was set to take place on the series at the studio until November 8. This allowed Kurtzman to take the time to "regroup" the series' writing staff without delaying the series' production.

Kurtzman hoped that if the series was projected in a theater it would appear indistinguishable from a feature film, and chose to use anamorphic lenses for the season to "immediately [convey] a sense of scope and scale".

He also pushed the lighting and design departments to use color in ways that are not traditionally considered for television, and challenged the episode directors to each shoot a scene where they would not use the same shot twice; this was to encourage them to use more inventive shot choices rather than just typical "coverage" filming a master shot of the scene followed by angles from several different sides if time permitted.

Kurtzman also wanted as many options available to the editors as possible during post-production. Addressing the fact that Star Trek was originally inspired by naval tradition , Kurtzman said that the season would be leaning further into that than the first did, especially in the way that they filmed the bridge scenes and a funeral sequence.

He named Crimson Tide as an influence for the filming style. He added that Osunsanmi encouraged the episodic directors to "express ourselves visually in as exciting a way as possible" which was different to the restrictions Frakes was used to from other series.

During filming of one of the season's episodes in August , Anson Mount was involved in an "on-set physical altercation" with the episode's director when he touched the director while rehearsing a pointing action before beginning a scene.

The incident was reported to CBS's HR department who reviewed it and decided against any disciplinary action for Mount.

The actor had apologized to the director at the time. The incident had no effect on Mount's involvement with the series, as work on the season continued without interruption and the series production was believed to be interested in working with Mount further despite his contract being for the second season of the series only.

Composer Jeff Russo planned to begin work on the second season in May , after receiving the first script for the season.

He did not expect to significantly change the tone of his music for the season, feeling that so much work in the first season had gone towards creating a unique sound for the series within the Star Trek franchise which he would like to continue moving forward.

Russo generally works directly with the showrunners rather than any of the episodic directors but discussed his score for the season's second episode with director Frakes.

It includes three cues from Russo's Short Treks score. All music composed by Jeff Russo: [84]. The first trailer for the season debuted at the panel before being released online.

It covered the creative process for the season, including production and concept art, models, props and costumes used during production, pieces from the set such as the USS Discovery captain's chair, and full prosthetic makeup busts.

The installation covered two floors of the Paley Center building, and was free to the public. Netflix released each episode of the season for streaming in another countries, within 24 hours of its U.

The episode was among 15 of the "most culturally relevant" Star Trek episodes that were chosen to be included as part of the event, which served as a fundraiser for several organisations including Black Strategy Fund, Movement for Black Lives , and Black Lives Matter.

The release includes two hours of bonus features, including featurettes, deleted scenes, a gag reel, and cast and crew commentaries on four episodes, as well as two shorts from the Star Trek: Short Treks companion series: " Runaway " and " The Brightest Star ".

The website's critical consensus reads, "The second season of Discovery successfully—if stubbornly—cleans up the problematic storylines of Trek past while still effectively dramatizing new takes on the lore.

Many reviews of the season premiere highlighted its lighter tone and focus on adventure compared to the darker, war-focused first season. Gay also highlighted how expensive the season looked, comparing it to the production value of Game of Thrones , as well as the returning cast and new additions such as Notaro and Mount.

She expressed concern for the season's focus on previous Star Trek elements such as the Enterprise and Spock, but felt this would work if it used those elements to further explore the series' original characters.

He was critical of the series' continued focus on Burnham's backstory rather than developing her character based on present actions.

Reviewing the full season, Jordan Hoffman of Polygon praised Mount and Peck, expressing disappointment that they would not be returning for the third season and suggesting their stories be continued in some other way.

Despite this, he was positive about the way the season still focused on Burnham and its other main characters rather than letting the existing Star Trek characters take over the series.

Hoffman was also positive about the efforts made in the season finale to align the series with the existing Star Trek canon, and praised the decision to have the Discovery travel to the future believing that was "where they should have been in the first place".

He described the changes made in the season finale to line up with continuity as an "annoyingly clever retcon", and also highlighted the season's cinematic visuals and music which he compared to the Star Wars films.

Overall he felt the season was both "sloppy" and "pretty effective, offering up nice character interplay, crazy visuals and effects, and some 'whoa' moments of Star Trek grandeur".

Collura also expressed interest in a new series following Spock on the Enterprise. He felt the serialized story was too stretched out, said Burnham's character did not receive interesting development, and described the efforts made at the end of the season to tie-into existing continuity as "dumb".

He did praise Mount and Notaro, and felt the next season could only be better than this one. In addition to critics expressing interest in seeing Mount and Peck continue on in a new series after the end of the second season, [96] [98] fans of the series also began calling for such a series, including through online petitions.

Mount and Peck both responded positively to the idea, [] [] as did Kurtzman, who said in April , "The fans have been heard.

Anything is possible in the world of Trek. I would love to bring back that crew more than anything. From Wikipedia, the free encyclopedia. Second season of Star Trek: Discovery.

Main article: List of Star Trek: Discovery episodes. Main article: List of Star Trek: Discovery characters.

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Warum seid ihr hier? Als ein möglicher Drehort gilt Hawaii. Sie finden Ernst Georg Schwill ein altes Raumschiff, welches dort offensichtlich abgestürzt ist. Diese schlecht gezielten Schüsse verfehlen die Enterprise aber um Haaresbreite, sodass sie ohne weitere Gegenwehr in den Nebel eindringen kann, dicht gefolgt von Khan! James Kirk nun endlich unmittelbar vor Augen zu haben. Kirk tötet die Kreatur. Die Medientheke Vaiana 2 ist "sichtlich angetan von diesem actionreichen Science-Fiction Spektakel [ I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened. Marcus Alice Eve Was this review helpful to Macgyver Staffel 3 With a short timeframe to complete The Wrath of Khan ' s special effects sequences, effects supervisor Jim Veilleux, Meyer, Jennings, Sallin and Minor worked to transform the written ideas for the script into concrete storyboards and visuals. Saavik Ricardo Full Metal Panic Fumoffu Stream Archived from the original on June 10, From Wikipedia, the free encyclopedia.

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Happy Hour #3 - Discussing Star Trek II - The Wrath of Khan with Nerdrotic