The blockbuster series continues with an all-new STAR TREK adventure set after the events of STAR TREK BEYOND! Captain Kirk and the crew of the U.S.S Endeavour encounter a new threat to the Federation, but one very familiar to STAR TREK fans! Meanwhile, Spock and Uhura face an uncertain future on New Vulcan!

This month, two stories from different ends of the galaxy! First, a GOLD KEY homage from New York Times best-selling Star Trek author Dayton Ward, with Trek novelist and collaborator Kevin Dilmore, and art by Gordon Purcell (Star Trek), where Kirk and Spock find an uncharted planet inhabited by monstrous robots! And finally, a story by Sam Maggs, bestselling author of The Fangirl’s Guide to the Galaxy, with art by Rachael Stott (Star Trek, Doctor Who). Learn the backstory of Yeoman Leslie Thompson, the first and ONLY female redshirt to die in the ORIGINAL SERIES!

This second volume fills in another major gap in Star Trek lore, courtesy of these never-before reprinted comics that originally appeared in weekly British magazines in the early 1970s. There's much to love about these wonky, way-out writings and their atypical artwork. These oft-forgotten Star Trek tales represent a different era. They're lost gems with many facets and a unique perspective, an eccentric corner of Star Trek history unlike any other. These are the U.K. voyages of the starship Enterprise—and, now, at last, fans everywhere can experience them.

As a special bonus, Rich Handley provides the first half of a detailed encyclopedia of all things Star Trek from these British comics. Exploring the minutiae is half the fun of enjoying a franchise, and when it comes to Trek, there's no end of trivia to devour!

All-new stories set in the universe of the new Star Trek films! In “Legacy of Spock” the elder Spock joins the last survivors of Vulcan to search the galaxy for a new home. Then, in “Altered Encounters” the Five Year Mission continues for the Enterprise, as Captain Kirk and the crew encounter… themselves! Collects issues #55–60.

John Byrne presents all-new, feature-length tales set in the Star Trek: The Original Series universe, done in a unique, one-of-a-kind photomontage style. In “Mister Chekov,” find out what roles the navigator played aboard the Enterprise before his promotion to the starboard seat; in “Of Woman Born” Dr. McCoy confronts Captain Kirk with a staggering discovery–Lt. Carolyn Palamas is pregnant with the child of Apollo. Or is she?; and in "Swarm," an alien threat that numbers in the millions appears and star systems are already dying. What can the crew of the Enterprise do–alone?

The dedicated agents of the Federation Department of Temporal Investigations have their work cut out for them protecting the course of history from the dangers of time travel. But the galaxy is littered with artifacts that, in the wrong hands, could threaten reality. One of the DTI's most crucial jobs is to track down these objects and lock them safely away in the Federation’s most secret and secure facility. As it happens, Agent Gariff Lucsly and his supervisor, DTI director Laarin Andos, are charged with handling a mysterious space-time portal device discovered by Starfleet. But this device turns out to be a Trojan horse, linking to a pocket dimension and a dangerous group of raiders determined to steal some of the most powerful temporal artifacts ever known...

The Klingon Empire stands on the precipice. In the wake of violence from the cult known as the Unsung, paranoia threatens to break Chancellor Martok’s regime. Klingons increasingly call for a stronger hand to take control...one that Lord Korgh, master manipulator, is only too willing to offer.

But other forces are now in motion. Assisted by a wily agent, the Empire’s enemies secretly conspire to take full advantage of the situation. Aboard the USS Titan, Admiral William T. Riker realizes far more than the Federation’s alliance with the Klingons is in danger. With the Empire a wounded animal, it could either become an attacker—or a target.

Yet even as hostilities increase, Commander Worf returns to the USS Enterprise and Captain Jean-Luc Picard with a daring plan of his own. The preservation of both the Empire and the Federation alliance may hinge on an improbable savior leading a most unlikely force....

This time, they find a rogue planet, with people on the surface who basically tell the Enterprise to go away for their own safety. Naturally, Picard sends people to investigate, and while that’s happening the entire planet disappears. And then things get really weird.

This will be another exploration story, with the Enterprise continuing its investigation of the Odyssean Pass, and a planet that--despite everything listed in official records--has apparently been visited before by people from Earth.

Naturally, this begs for some kind of twist for Picard and the gang, so....

This book is a direct sequel to Section 31: Disavowed, and it picks up a lot of those story lines that have been long simmering and long running for Bashir and his lady-love Sarina Douglas. And it's going to sort of bring it all to ahead as they risk everything on a gamble to finally expose Section 31 and drag them into the light. So it's essentially going to be one of those books where you say, "well, I know the hero's going to succeed", and the question, not really succeed, it's how much is he going to loose to get him there? What's it going to cost him.

The Titan and its explorer group get sent out to put a lid on a potential nightmare of a disaster. And it's going to be classic David Mack action romp, where you've got multiple factions coming at the problem from multiple directions, and everybody's fighting everybody, and everybody's trying to screw everybody else, and chaos ensues, and hijinks and laughs, and a good time is had by all.

The years of skill and experience in that room was amazing. Within a few weeks, it had turned into a who's who of Hollywood's best, each bringing their contributions. Unique and wild creatures were suddenly popping up all over the place, and I think everybody's excitement was contagious.

Understand, the movie started and stopped two to 3 times I believe.. It was a rough start and then it was full steam ahead with no compensation for the time lag in getting started.. The schedule remained the same.. During one of those start and stops this image was almost done but didn't make it to the door before the project went on hold the first time..So when we started up again the character was no longer relevant to the new direction...

Watching all the pieces come together was incredible and so was the amount of sweat under my fake face. As I lied there on the ground getting kicked by Sofia (spoiler), completely unrecognizable as a space reptile, I couldn’t be happier. My brother and I spent many nights as kids watching STAR TREK and THE NEXT GENERATION, and now I was living in that world.

Our character, when we introduce our protagonist, she is called Number One, for that very reason, in honour of Majel Barrett’s character in the original pilot. And as we were first talking about the series, and talking to CBS, we said, initially we will only call the character Number One, because in the 60s, in the first pilot, Gene Roddenberry was very progressive and had a female first officer.

Really when we developed this story, it could take place in either prime or the Kelvin. So the timeline was relatively inconsequential, but there was the cleanliness of keeping our series independent of the films. That way, we don’t have to track anything they’re doing, they don’t have to track anything we’re doing, and you can have two distinct universes.

I remember Alex and I talking about it very early on, about where it should be, and we felt like there was something nice about the prime universe, because there are so many aspects of The Original Series that would be fun to explore with updated production values.

...we are going to try to achieve a new look for Star Trek, that is very much Star Trek, but also very much our interpretation of Star Trek. I love each of the shows that I get work on to have a distinct aesthetic. So being able to apply the colour palette of some of these, whether it's Hannibal or Pushing Daises, and going in different direction with science fiction, it just felt like it was a good place to start our signature look for the Star Trek universe and work our way forward as we tell the stories.

It's really something completely different. I think when you see it, I can tell you specifically what the influences are, and the styles that we were creating a transporter accident of in our approach - A happy transporter accident - I think when you see the design I'll say, it’s a little bit of this, it's a little bit of that. 

We were having a wardrobe test a couple of days ago, and it was interesting to think, ok, now we need to take these colours, and we have to put them up against the bulkhead that has the ship's colours, and see what's going to be the best looking aesthetic for the show. So taking in the sets, and wardrobe, and lighting style.

Our first hint at a new look alien

One of the very cool things that we get to do on this show is we get to re-imagine all of the alien species that we’ve seen before in the series, and do something a little unique with that.

So, we were looking at a specific species costume on Friday, and Jesse Alexander, who is one of the writers, was commenting on the cosplay aspects of it, and how it has kind of gone a quantum leap forward, and what were the people who do cosplay going to do? And Aron Coleite, another one of our writers was like, “They are going to rise to the occasion!”. So for all of us who have fetishised the look of all of the various species over the years of watching Star Trek, it’s fun for us to put a new spin on old favourites.

We’ve talked about the musical approach to this show, because music is so important to Star Trek, and it is its voice in many ways. We all remember the Spock versus Kirk fight, and the score for that, so it would be great to homage to some of those things. I don’t think we would use them specifically, but it’s certainly something that we have had discussions about, and I don’t yet know whether or not we’re going to commit to that.

So orchestral versus synthetic: I think there’s a lot of very interesting things happening here musically - We absolutely have to have orchestral elements of the show, and a live orchestra. We've talked about  that; if we don’t have a live orchestra for the show, we would be the first Star Trek television series not to have a live orchestra.

But you look at how some interesting hybridisations of synth and orchestral scores have serviced Star Trek very well: Jerry Goldsmith’s score for First Contact had some fantastic mixed pieces. And I look at what Hans Zimmer does, and I love his score for Interstellar. So it’s interesting to take a bit of a mix with our approach, and we’ll see when we get to that level of the production. But I’m very excited about the music, the music is incredibly important.

With the exception of Deep Space Nine when it got into the Dominion War, when it was very serialised, Star Trek has primarily been episodic. So I feel like we're going to be different in that regard, in that we'll be serialized. But time is something that I think we'll have the opportunity to play with in uncharacteristic ways.

I would strongly recommend that we never do twenty-six episodes; I think it would fatigue the show. Ideally, I would love to do ten episodes, I think that’s a tighter story.

We’re talking about all sorts of things that we can do to keep Star Trek interesting for subscribers to CBS All Access. But right now we’re working on thirteen episodes and they’re going to order more when they’re ready… or not!

The key for all of these guys was to make each one unique and special. Sanja had various silhouettes picked out and we tried several before getting here. 

The Survival Jacket appears fairly complex, but it's actually very highly complex. Not only were we sourcing over seven different fabrics used for this jacket ranging from a cotton duck to polyester to china silk, but we had fabric that was screen printed as well as a specialty vinyl for the pipping. The original jacket also utilized mixed media elements including rubber, plastic, and metal. We feel our attention to detail for this piece was extremely high and the fit is perfect. Even though this ornate costume stands in contrasts to the typically understated look of Starfleet's uniforms, fans will see after the movie that it fits within the context of the story.

Kirsten Beyer and a big Discovery banner (via Jordan Hoffman)

Lower your expectations. If you go into our show with open hearts and open minds, then you may be rewarded.

In all due respect, fans do not know what is best for them.

The question to me about killing Spock wasn't whether to do it, but it was whether we could do it well.

The spirit of inclusion in Discovery doesn't only refer to sexual orientation.

There will be new aliens and interesting life forms, some as part of the main cast.

All art is product of the time in which its created. Our show will be a product of 2016.

Current events always kick-start his writing process. Star Trek VI started this way as I spoke with Nimoy.

There are no shortage of current events that raise questions, like ISIS. What does it mean to not be able to negotiate with a foe?

The most important part [of Star Trek] is the sense of optimism without painting too pretty of a picture.

During the shooting of Star Trek, bits and pieces of episodic footage were left on the cutting room floor and later preserved in film canisters by The Roddenberry Estate. Recognizing the value of the footage, CBS painstakingly catalogued, transferred, analyzed, and pieced together these Vault materials, which include alternate takes, deleted scenes, omitted dialogue, outtakes, and original visual FX elements.

Star Trek: The Original Series - The Roddenberry Vault includes twelve classic episodes chosen for their relevance to the Vault materials, and presented in 1080p High Definition with both DTS 7.1 Master Audio as well as newly restored original Mono.  Eleven of these episodes contain isolated music tracks.  Newly recorded audio commentaries appear on three fan-favorite episodes.

Each of the set’s three discs features documentaries that weave together the previously unseen Vault materials with all-new interviews by key creative and production personnel and famous fans.  The three new documentaries exploring the “making of” the celebrated series and its enduring legacy are:

Inside The Roddenberry Vault Rod Roddenberry introduces viewers to the discovery of his father’s long-lost Star Trek film reels. With footage from each of the 12 episodes, this three-part special feature offers a guided exploration into the historical significance of the newly discovered material through new interviews with dozens of Star Trek alumni and historians.

Star Trek: Revisiting A Classic offers a look back at the origins of the iconic series, including glimpses of life on the set with new interviews featuring guest stars, directors and production personnel.

Strange New Worlds: Visualizing the Fantastic dives into the creation of spaceships, transporters, and the classic Star Trek visuals. The in-depth feature combines newly found original visual effects elements photography along with interviews with effects masters and Star Trek veterans such as Industrial Light and Magic founding member Richard Edlund, Doug Drexler, Dan Curry and Gary Hutzel.

Star Trek figures interviewed for these exclusive documentaries include William Shatner (Captain James T. Kirk); writers Dorothy “D.C.” Fontana, David Gerrold and John D.F. Black; director Ralph Senensky; casting director Joseph D’Agosta; visual effects artist Richard Edlund; and actors from the 12 featured episodes such as: Clint Howard (“The Corbomite Maneuver”), BarBara Luna (“Mirror, Mirror”), Leslie Parrish (“Who Mourns for Adonais?”), Charlie Brill (“The Trouble with Tribbles”), Michael Forest (“Who Mourns for Adonais?”), Bobby Clark (“Arena”) and Elinor Donahue (“Metamorphosis”). Plus, the collection features new interviews with an impressive array of some of Star Trek’s biggest fans including The Big Bang Theory co-creator Bill Prady, The Simpsons writer/producer David Mirkin, Family Guy writer/producer David A. Goodman, NASA’s Bobak Ferdowsi, Bill Nye (The Science Guy), and more.

Giving fans access to even more fragments of unseen footage and omitted dialogue from the groundbreaking series is a collection of Vault materials entitled Swept Up: Snippets from the Cutting Room Floor.

The purpose of doing this really, is to collect a lot of stuff that's never been reprinted, or not been in print in a very long time.

Bringing Star Trek back to television carries a responsibility and mission: to connect fans and newcomers alike to the series that has fed our imaginations since childhood. We aim to dream big and deliver, and that means making sure the demands of physical and post-production for a show that takes place entirely in space, and the need to meet an air date, don’t result in compromised quality. Before heading into production, we evaluated these realities with our partners at CBS and they agreed: Star Trek deserves the very best, and these extra few months will help us achieve a vision we can all be proud of.

A favorite TOS episode "Balance of Terror" is a touchstone for the #StarTrekDiscovery story arc

Majel's voice is recorded phonetically, and we're working to get her voice for things such as Siri, maybe voice of the computer on #STDiscovery

• Dilithium Is a Girl's Best Friend, by Neil Bryant
• A Christmas Qarol, by Gary Piserchio and Frank Tagader
• The Sunwalkers, by Kelli Fitzpatrick
• The Seen and Unseen, by Chris Chaplin
• The Façade of Fate, by Michael Turner
• The Manhunt Pool, by Nancy Debretsion
• The Dreamer and the Dream, by Derek Tyler Attico
• The Last Refuge, by Roger McCoy
• Life Among the Post-Industrial Barbarians, by John Coffren
• Upon the Brink of Remembrance, by Kristen McQuinn

...there was very little interest from retailers in a re-issue of the TOS retro cloth releases. We would like to find a way to release some of the new TOS figures we showed, but we have no plans for any more TNG or other TOS retro cloth figures at this point.

We really would like to do something with Minimates for the 50th, but the retailers did not seem interested when we checked with them. We’ve not given up yet, but we’ll have to see.