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Star Trek III: Redemption

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"Time is of the essence."

Star Trek III: Redemption is a fan-produced CGI film, produced by Brandon M. Bridges as a sequel to the film Star Trek II: Retribution and the final entry in the Specter series. Work on the new movie's plot began as early as March 8, 2012, and writing officially commenced on July 17, 2012. At least a preliminary plot outline seemed to have been completed as of July 24, 2012, as the first teaser trailer was posted on YouTube on that date. A post on 3DGladiators.com indicated that production had officially commenced on Friday, July 27, 2012, and a project thread appeared shortly thereafter. A second poster for Redemption was posted in the Retribution project thread the same day.  The film's final scene was posted at 4:24 AM on Friday December 20th, 2013.

SummaryEdit

When a massive temporal disaster strikes, the year 2399 is left a devastated ruin with much of the Federation destroyed and Earth a volcanic wasteland.  In a desperate bid to restore the present, Captain Kendra Ronston reunites with her fractured crew, and travels into the past to undo the damage.  But waiting for her is the most sinister nemesis the Federation has ever known, and to stop him, she will have to enlist help from an unexpected source.

Act OneEdit

In late 2399, the USS F. Scott Fitzgerald is moored at the Starfleet Museum Annexe, the night before she is to be decommissioned. With the ship deserted and almost entirely powered down, Captain Kendra Ronston takes one last look around before disembarking herself.

After wandering through the ship, she finds herself in Ten Forward. After reminiscing alone for a few minutes, Renee Mitchell unexpectedly arrives, followed moments later by Dr. Falwell, Captain Hargrove, and Lesley Kal, who is now a civilian. After a tense moment between Kal and Mitchell--the two having parted ways years prior after a messy breakup--the planet below them suddenly begins to break up, and the five crewmembers are barely able to power up the engines in time to escape destruction themselves. Unable to raise Starfleet Command, they rush to Sector 001, only to find Earth a prehostoric and volcanic ruin devoid of life. As Ronston takes a shuttle down for a closer inspection, a ship from the Starfleet Corps of Engineers arrives, commanded by none other than Merv Ronston. Aboard the Fitzgerald, he explains that what happened in the Alphekka system and at Earth are just symptoms of a much larger problem, that space-time across the quadrant has been "fractured" somehow, and time distortions have devestated almost all of known space. Worse, the effect is spreading, and within five days the present will have been completely obliterated.

Captain Ronston sends him off to conduct a survey of the Federation and look for survivors, while she tracks the distortions to their source in the Vandor system. While investigating the remains of a laboratory on Vandor IV, Admiral Bradley Prentice and Dr. Braiyon Garr unexpectedly appear, having arrived by shuttlecraft hours earlier. Prentice agrees to join Ronston and assist in their efforts, while Mitchell makes a discovery of her own: DNA traces spread through the laboratory that are weeks old, which apparently belong to Dr. Braiyon Garr, and impossibly, also to the long-dead Captain Gaius Reyf, killed during a mission to Dominion space nearly two decades earlier.

Later, aboard the Fitzgerald, Garr reveals that the distortions in space and time were caused by a massive detonation of Omega particle energy, theorizing that if the explosion was somehow part of an effort to go back in time, it would amplify the molecule's destructive force and spread the devestating effects through time as well as space. Unfortunately, he lacks the scientific expertise to reverse the effect, and that even if he did, the only place to stop it would be at the focal point where it began in the first place--meaning they have to go back in time.

Ronston is able to locate a patch of stable space large enough to make the attempt, but getting to it requires crossing into Cardassian space, and even with the unfolding disaster, it's unlikely they would permit the Federation starship to cross their borders. With Prentice's help, the crew prepares to make the attempt, but when they enter Cardassian space they are immediately attacked by a trio of warships. Merv Ronston rescues them at the last minute, and despite taking severe damage during the battle, the Fitzgerald is able to successfully complete the time jump.

Act TwoEdit

Reproducing the temporal energy surge, the crew finds themselves in the year 2378, all but crippled from battle with the Cardassians and made worse by the rough trip through time. With the replicator system inoperative, Mitchell finds herself unable to make repairs, as all of the ship's emergency parts and supplies had been transferred already due to the impending decommissioning.  With less than two days of emergency life support remaining, a plan is hurriedly hatched to send an away team to the Fitzgerald of this time to obtain parts needed to make repairs.  With the crippled Fitzgerald concealed inside the Azure Nebula, a team of five departs in a shuttlecraft, leaving Dr. Falwell and Commander Mitchell behind.

The away team boards the past version of the Fitzgerald, and set to work rerouting the ship's security systems to avoid detection.  Although they are able to secure the supplies they need, Prentice accidentally sets off the intruder alert while trying to cover for Ronston, and the away team hastily falls back to the cargo bay.  Garr is able to beam Hargrove, Kal, and the supplies off the ship, but before he can do likewise for himself, Ronston, and Prentice, Merv Ronston shuts down the transporters.  Moments later, Lieutenant Erickson arrives with a security team, and quickly takes them to the brig.  On the shuttle, over Kal's objections, Hargrove elects to return to the Azure Nebula so that Mitchell can begin repairs.

On this era's Fitzgerald, Captain Reyf discusses the situation with Lieutenant Erickson and Commander Prentice in his ready room, and over their objections he decides to meet with the intruders and hear what they have to say. They tell him about the disaster in the future, and Prentice recounts his own experiences in the alternate timeline, suggesting this may be their only chance to prevent both disasters from happening. Reyf is suspicious of their account at first, but becomes convinced when Garr reminds him about the role he played after Reyf lost his father at Wolf 359.  At almost the exact moment, the transmission comes in from Mellis II advising of the visit by the Garr from this time frame.  After discussing the situation with his senior staff, Reyf allows Garr and his away team to return to their own ship.

With repairs nearly complete, Ronston meets with Kal in her ready room and, impressed by her renewed professionalism and exemplary performance since the disaster began, offers her the opportunity to return to Starfleet.  Before Kal can reply, Mitchell summons her to Engineering, reporting her readiness to reinitialize the main power systems.  With Ronston and Prentice assisting, Mitchell is able to bring main power back on-line, and minutes later the Fitzgerald--once again operational and with a now-reinstated Kal at the helm--leaves the Azure Nebula, and sets course for the Alcawell Mineral Refinery.

At the station, history unfolds as it did originally:  the Mark-I ISS Voyager appears, disables the shields around the space station, and then forces the inhabitants to evacuate.  Once all the ships, shuttlecraft, and escape pods are out of sensor range, this era's Garr boards the station to retrieve the neutrino dampener, only to face Ronston, Prentice, and Hargrove inside the main airlock, all armed with large phaser rifles.  A short time later, he meets with them along with his counterpart in the briefing room aboard his ship, and they tell him about their mission and ask for his help.  Deeply skeptical--in large part due to the presence of his counterpart--Garr at first refuses their request, until his future counterpart tells him that Reyf will die.

With Garr's help secured, the away teams returns to the Fitzgerald, where their Garr shares what he discovered on this era's Fitzgerald:  Drakus is dying, and soon.  Prentice recalls that in the alternate timeline, he used a modified phaser to disable the Borg technology that had been sustaining him, and that absent a replacement in 2399, the only possible answer would be to return to a time when the Borg were still a presence in the Alpha Quadrant.  This leads him to conclude that there's only one possible explanation:  Drakus is going to go back to the year 2367, with the objective of boarding the Borg cube that invaded Federation space, and salvaging the technology he needs while the Borg are "asleep."

Planning to follow Drakus back to 2367, Garr assists with last-minute preparations, moments before his counterpart destroys the Alcawell station--precisely as he did before.  Reminded that they're dealing with an unstable element with this era's Garr, Ronston orders the ship to warp speed, and both the Fitzgerald and the Mark-I ISS Voyager successfully complete a time jump to 2367.

Act ThreeEdit

Arriving safely in the year 2367, the crew is startled to discover that they are not alone: directly off their starboard beam is the USS F. Scott Fitzgerald, NCC-85107-A, from the year 2378. Prentice and Ronston angrily demand answers from Captain Reyf, who calmly explains that he wasn't about to let a crew of seven take on Drakus alone, and that if he really is responsible for Drakus' existence in the first place, the situation is partly his fault and he can't sit idly by and do nothing.  Though angry that Reyf' intervention has caused them to arrive one month later than they were supposed to, Ronston relents and says she understands why he did what he did, and accepts his offer of help.

Scanning space, there is no sign of Drakus, until a beacon begins to transmit on a frequency that could only have come from 2399.  Tracking it to its source, the Fitzgerald discovers a signal buoy floating in space, and a short time later the buoy begins to emit a powerful subspace signal and direct it towards the ship from 2399, activating one of the holodecks.  Going to the holodeck, Ronston finds herself face-to-face with none other than Drakus himself--and even more startling is the message he brings:  that all he wants is to live out his remaining days in peace, and that he's a changed man since he and Prentice last saw each other.  With that, he disappears.

Later, the three crews confer via visual teleconference, and all agree that they can't trust Drakus or take him at his word, and that something more must be going on.  When the Garr of 2378 hears Kal and Ronston discussing why the signal overloaded the ship's transceiver array, he realizes the signal is coming from the Beta Stromgren system--the self-same site where he first constructed the ISS Voyager.  Reyf wants to go there immediately, but Ronston wants to avert the temporal disaster in the future first, so the three ships set course for the source of the disaster:  Sector 411, the Beta Reticuli System.

The Mark-I ISS Voyager takes the lead while the starships Fitzgerald hang back, and seals what turns out to be a minor temporal fracture, before they continue on.  Unknown to the others, in the process he collected the verteron particles he needs to run his temporal reactor, the real reason he had the other two ships remain out of range.

En route to Beta Stromgren, Drakus visits the Mark-I ISS Voyager in holographic form, and presents his younger self with a tempting offer:  he has developed a process to restore damaged tissue to normal, but it won't work on his own physiology as he is "too far gone."  He offers to use it to restore Garr's physiology to its original state, in exchange for his help in defeating "those that stand between me and what I want."  Garr appears to consider his offer, and Drakus disappears.

A short time later, the ships arrive at Beta Stromgren, and make a chilling discovery:  a modified Federation construction yard putting out inexplicable energy readings, which lights up as the Fitzgerald approaches to reveal a red-hulled ISS Voyager, which Kal dubs "the Mark-II."  Drakus hails the 2399 Fitzgerald to gloat at their being too late to stop him, and as they watch the new ship powers up and launches from the yard.  A fierce battle ensues, as the two starships Fitzgerald make a valiant effort to disable the Mark-II before it can escape.  At first, Garr and the Mark-I ISS Voyager remain out of the fight, but seeing how badly Reyf and Ronston are overmatched and knowing they'll be killed without his help, he enters the fight against Drakus.

As he draws Drakus' fire away from the starships Fitzgerald, Reyf and Ronston swing around to take advantage of the Mark-II's one weak spot:  its aft command processors.  They manage to score a direct hit, but the impact sends the Mark-II careening into the Mark-I, which is disabled in the process.  At the same instant as Drakus regains control of his listing ship, his warp engines come on-line.  Enraged by his counterpart's betrayal, he destroys the disabled Mark-I, and then warps out of the system, leaving the two crippled starships Fitzgerald behind with the debris from the destroyed Mark-I.

Act FourEdit

After the Mark-II departs, Prentice locates a single intact escape pod among the Voyager debris.  Kal detects one life sign aboard, faint but alive, and Ronston orders it beamed to sickbay.  A recovering Garr demands to know why she didn't tell him their foe was a version of him from an alternate future; admitting that she made a mistake in not telling him, Ronston pledges full disclosure from that point on.

Having discovered that the construction yard they found is actually a replicator, which Prentice dubs "the starship replicator," Ronston decides to use it to expedite repairs.  Knowing they have only one more opportunity to stop Drakus--when the Borg cube reaches Earth, only to be disabled by the Enterprise--Ronston insists that this time they must be ready.  With no time to lose, the crews immediately begin repairs and retrofits, and the ships are again made ready for action--just in time for the Battle of Wolf 359.  On her bridge, Kendra Ronston listens to the comm chatter from the battle, and when Kal announces that all the Federation power signatures from the battle site have ceased, she looks stricken.  Barely able to maintain her composure long enough, she orders a course set for the Wolf system as soon as the Borg ship departs, and then leaves the bridge.  Prentice explains that Ronston made the decision not to intervene with the battle, despite the fact that the two starships Fitzgerald combined possessed more than enough firepower to disable or even destroy a Borg cube of this era--and feels as though the decision was tantamount to killing all 11,000 plus herself.  Meanwhile, Reyf returns to his own ship, to grieve the loss of his father for the second time.

En route to the Wolf system, Reyf receives an unexpected visitor in his quarters:  his counterpart from the future.  Some time later, he boards the other Fitzgerald, but with Ronston unavailable, he speaks with Prentice instead, revealing his belief that the admiral is questioning his allegiance to Drakus.  Hargrove pointedly questions why his counterpart would "sell his soul to a devil like Drakus," and Reyf reveals that in return for his assistance, Drakus promised to rescue his father from the Goodson just before it was destroyed.  Prentice acknowledges that from his perspective, it might be worth it:  get his father back, then stop Drakus at some later date.  Just then, the call comes in that the Fitzgerald has reached the Wolf system.

Prentice returns to the bridge, and a visibly broken Ronston arrives a moment later, escorted by Dr. Falwell.  Ronston watches on the viewscreen as the Fitzgerald flies through the Wolf 359 debris field, and after a few minutes Kal asks to speak.  She gives a stirring speech, and the other bridge officers remind Ronston that the mission isn't over yet and they still need her.  When even the Garr from 2378 agrees, Ronston resumes command, and the ship sets course for Sector 001...where the Borg have already arrived.

As the Borg ship approaches Earth, the Fitzgerald and its counterpart arrive on the outskirts of Sector 001.  Reyf elects to join Ronston and her ship, while his Fitzgerald moves off to monitor the situation from a distance and render aid if required.  All preparations made, Ronston sets course for Earth, and they quickly catch up with the Borg vessel.  Kal quickly locates the Mark-II, powered down and secured via magnetic grapple to the hull of the Borg cube, on the far side from the Enterprise-D.  As the Fitzgerald closes in, the Borg attempt to lock on with their tractor beam; despite efforts by both Garrs, the shields fail and the Borg lock on.  They activate a cutting beam and begin slicing into the secondary hull, disabling the ship's propulsion systems in the process, before the Borg ship abruptly shuts down.  Kal immediately reads two transports from the Mark-II aboard the Borg cube and tracks the coordinates.  While Mitchell assesses the damage, Ronston leads an away team consisting of herself, Hargrove, Reyf, and both versions of Dr. Garr, all armed with specially adapted phaser rifles, aboard the Borg ship.

Inside the cube, Ronston and her away team track Drakus' life signs, and discover he and Admiral Reyf extracting nanoprobes from an inactive Borg drone.  Garr immediately fires, but Drakus is protected by a forcefield, and rejoices at his victory.  Ronston and her officers try to convince Admiral Reyf to help them, but the admiral does nothing.  Drakus gloats, only to be shot in the back by Admiral Reyf.  Drakus falls, and Admiral Reyf simply says to his counterpart:  "For our father." The admiral shuts down the forcefield and moves to join the away team, only to be shot in the back himself by Drakus, critically wounded but still alive on the deck.  Hargrove, Garr, and Ronston fire their phaser rifles in unison, completely vaporizing Drakus and ensuring he can never hurt anyone again.  The Garr from 2378 steps over to examine the body of Admiral Reyf as Prentice signals from the  Fitzgerald:  the propulsion systems have been badly damaged, and Mitchell can't fix them in time to get away from the Borg ship, meaning when the cube explodes, it will take the Fitzgerald with it.  Kal suggests evacuating in a shuttlecraft, and Prentice orders Ronston back immediately, knowing they have only a few minutes.  The away team prepares to depart, but are stopped when the 2378 Garr reactivates the forcefield, and declares his intention to remain aboard the Borg ship until it self-destructs, sacrificing himself rather than run the risk of turning into Drakus.  Ronston and her Garr try to persuade him to change his mind, but he remains adamant and refuses, leaving them no choice but to return to the ship without him. Moments later, Prentice pilots a shuttlecraft away from the  Fitzgerald, attempting to remain out of sight from Starfleet as he flees the area.  Seconds before the Borg cube explodes, Reyf's Fitzgerald enters transporter range and beams the shuttle aboard, before accelerating to warp speed away from the site. The Borg cube explodes, and history is left to unfold as it did before. Using the leftover boronite ore and the hastily-rescued reaction chamber, Mitchell is able to return Reyf and his ship safely to 2378, and the two crews say their tearful goodbyes.

EpilogueEdit

Returning to 2399, Ronston and her crew discover that 2399 is back to normal, not a trace of temporal damage.  More importantly, when the shuttle re-enters normal space, directly before them is the USS Wehmann--the ship belonging to Merv Ronston.  Along with space and time, Merv was restored as well.  On board, Kendra tearfully reunites with him, and together they all return to Earth.

Recording a log entry, Ronston remarks that it was surprisingly easy to convince Admiral Thornton that her experiences were genuine.  She also notes that she put her entire crew in for commendations, particularly Lesley Kal.  After some deliberation, Starfleet agreed to reinstate Kal's commission--but not as a lieutenant commander.  Ronston notes that Kal will have to work her way up from the rank of lieutenant, but that she can do so with the help of her friends.

A short time later, a shuttle is taking Ronston to her new command, ultimately revealed to be the new Sovereign-class USS F. Scott Fitzgerald, NCC-85107-B.  On board, Ronston is reunited with her entire crew, including Admiral Prentice, noting that Garr and Kristie are also present.  Prentice points out that Admiral Reyf is also present, the past having been changed so that he is still alive.  Surrounded by her friends and colleagues, Ronston formally assumes command of the new ship, and sets course for the unexplored mass of the galaxy.

In 2378, Gaius Reyf concludes a conversation with Kendra Erickson about their vision of the future, and in his quarters, sits at his desk, and asks the computer to play a particular music file.  Garr's favorite folk melody begins to play, and Reyf begins to smile, finding at last that comforting element to the music that his late friend had always tried to tell him about.

Memorable QuotesEdit

"Ronston to Mitchell, we need impulse power now!"

"Already on it!"

"Why is it taking so long?"

"The ship was about to be decommissioned, we weren't expecting to have to start them up again!"

-Kendra Ronston and Renee Mitchell, during the escape from Alphekka


"This situation is getting stranger by the minute, and I'm not sure I like what all the pieces of this puzzle are adding up to."

-Jennifer Hargrove


"We'd thought he was dead twice before that, and turns out we were wrong."

"Twice."

-Adm. Bradley Prentice and Dr. Braiyon Garr, discussing Drakus in the alternate timeline

CastEdit

It has been stated that most of the principal cast from the previous film will return, and that of those, most will be seen alongside their past counterparts from 2378. It has also been stated that at least three different versions of Dr. Garr will appear, presumably the alternate version of him seen at the end of Retribution, the original version in 2378, as well as Drakus, who will play the role of the film's villain.

  • Captain Kendra Ronston.  Commanding officer, USS F. Scott Fitzgerald.  In the film's opening scenes, she is shown packing up the last of her personal effects prior to the decommissioning of the ship.  When the temporal disaster strikes, she resumes her post and takes the Fitzgerald into space one last time to combat the phenomenon.
  • Admiral Bradley Prentice.  Starfleet flag officer.  Crossed paths with Dr. Braiyon Garr after the space-time continuum shattered in 2399, and was with him at Vandor IV investigating the source of the disaster when they encountered the Fitzgerald away team.  Prentice acts as an expert in the alternate timeline seen in Retribution throughout the film, and thus an expert on Drakus.  Despite his rank, his role remains advisory rather than supervisory aboard the Fitzgerald.
  • Captain Jennifer Hargrove.  Boarded the Fitzgerald for one last look around prior to its decommissioning, then assumed role as Captain Ronston's acting first officer following the temporal disaster.
  • Commander Renee Mitchell.  Boarded the Fitzgerald for one last look around prior to its decommissioning, then resumed her previous post as chief engineer of the Fitzgerald following the temporal disaster.  At the start of the film, she and Kal are shown to longer be on intimate terms as seen in Retribution; throughout the story they slowly repair their relationship.
  • Dr. Elizabeth Falwell. Chief medical officer of the Fitzgerald.  Accompanied Hargrove and Kal to the ship for a final visit prior to its decommissioning, and remained aboard following the temporal disaster.  In addition to her medical duties, Falwell became de facto ship's counselor and helped several of her colleagues cope with the difficulties of the situation they faced.
  • Lesley Kal. Former Starfleet lieutenant commander, boarded the Fitzgerald with Dr. Elizabeth Falwell and Captain Hargrove for one last look around, and remained aboard to assist the crew with their investigation.  No longer a member of Starfleet, she is later revealed to have left the Fitzgerald following an unknown incident involving Commander Mitchell and a serious falling-out with then-Commander Ronston.  Shortly after leaving the Fitzgerald, she entered a self-destructive spiral, and if not for Ronston's intervention, would have landed herself in serious trouble on several planets.  Over the course of Redemption she slowly repairs her relationship with Mitchell, and impresses Ronston sufficiently for her to offer her a privisional reinstatement of her commission.  On returning to 2399, Starfleet does formally restore her commission, but only to the rank of lieutenant.
  • Dr. Braiyon Garr (2399).  Highly placed Starfleet science officer.  His wife was killed when the temporal disaster struck in 2399, and enlisted the aid of first Admiral Bradley Prentice, and later Kendra Ronston and her crew, to undo the damage.
  • Dr. Braiyon Garr (2378).  Former Starfleet Intelligence operative and member of Section 31.
  • Drakus. Warlord from an alternate history, whose trip back in time at the start of the film seemingly triggers the temporal disaster across the galaxy.  Not seen for most of the film, Drakus' ultimate objective is revealed to be obtaining technology from the Borg cube that invaded Sector 001 in the year 2367, to restore his physiology to a fully functional state.  Although he is successful in reaching the cube, he is killed by the counterpart of Gaius Reyf.

TriviaEdit

References to Star Trek canonEdit

  • The main title theme of Redemption is actually a medley of the title theme from Star Trek: The Motion Picture and the end credits theme from season 3 of Star Trek: The Next Generation.
  • The sound made by the doors on the 2399 Fitzgerald is from the TNG episode "Yesterday's Enterprise," and was chosen over the standard door sound to make the ship seem to be showing its age.
  • The ambient bridge sound of the 2399 Fitzgerald is one of two versions of the ambient sound of the Enterprise-E bridge, specifically that from Star Trek: First Contact.  The other, from Star Trek: Insurrection, would be heard at the end of the film as the ambient sound of the bridge of the Fitzgerald-B.
  • The combadges worn by the 2399 officers are those seen in the TNG episodes "Future Imperfect" and "Parallels."  Unlike those episodes, however, the colored bars behind the Starfleet delta do not indicate rank.
  • The sound made by the combadges in Redemption is a re-use of the sound made by Bajoran communicators in Star Trek: Deep Space Nine.
  • To present the impression that the computers aboard the 2399 Fitzgerald are more advanced (and to help differentiate them from those aboard the 2378 ship), where possible, sound effects from Star Trek: First Contact or later were used.  Scenes in 2378 continued to use sound effects from Star Trek TNG.  At the same time, hinting that the 2399 Fitzgerald is an older design and isn't fully outfitted with the latest upgrades, the LCARs displays continue to reflect the classic TNG design.  (Notably, the shuttlecraft seen early in the film features the newer "Future LCARs Concept" graphics by Robert Brisson and David Kleist, which were also seen on the bridge of the Wehmann.)
  • The "This station under computer control" LCARS graphics on the consoles on the 2399 Fitzgerald are inspired by similar graphics seen in Star Trek III: The Search for Spock
  • Vandor IV was the site of the Manheim experiments in the TNG episode "We'll Always Have Paris."
  • When Ronston argues with Hargrove about transporting down to Vandor IV, Hargrove at first strongly objects, a nod to an exchange between Captain Picard and Commander Riker in the TNG episode "Encounter at Farpoint", during which Riker recounted an incident when he refused to allow Captain De Soto to beam down to a planet.  The exchange in Redemption clearly shows Hargrove acting in the capacity of a first officer, despite holding the rank of captain, which is also a nod to Star Trek: The Motion Picture--which saw Captain Will Decker doing the same.  Falwell's response, citing regulations allowing the captain to lead an away team "accompanied by appropriate, armed escort" references Star Trek II: The Wrath of Khan, where a similar regulation was quoted by Lt. Saavik.
  • The sound and appearance of the 2399 Fitzgerald transporter is reminiscent of the 29th century transporters seen in "Relativity" (VOY).
  • In Ronston's ready room, the items on the shelf behind her chair are props from Star Trek: The Original Series (specifically a tricorder, phaser, and communicator).  The gold model across from her desk is that of an original-configuration Constitution-class starship, presumably the original Enterprise.
  • Like Captain Picard's, Ronston's ready room sports what appears to be a fish tank in one corner, though what (if anything) is inside is never addressed, and the prop is never shown up close.
  • The desktop computer terminals in use aboard the 2399 Fitzgerald reflect a design first introduced in Star Trek: Deep Space Nine, and later seen in several episodes of Star Trek: Voyager.
  • When elaborating on Omega, Garr mentions that Starfleet located a source of boronite ore in the Badlands.  Boronite ore was referenced in the VOY episode "The Omega Directive," in which Seven of Nine states that the Borg were able to use boronite to synthesize Omega molecules.  The Badlands were frequently seen or referenced in Star Trek: Deep Space Nine, and were depicted as an area filled with highly unstable and deadly plasma storms.
  • The Fitzgerald is shown to feature an Astrometrics lab, identical in appearance to that of the USS Voyager.  (In the first film, a large Stellar Cartography room was shown, identical to a similar facility seen on the Enterprise-D in Star Trek Generations; though not explicitly stated in dialogue, it may be assumed that this change and that of the transporter room is a result of the alternate timeline introduced at the end of the first film.  From a production standpoint, the changes were made as the Voyager sets were easier to light and produce scenes with.)
  • During the scene in Astrometrics, as Ronston explains that the space-time continuum is beginning to break apart, she shows the crew imagery to demonstrate what's happening.  The first is actually stock footage from the TNG episode "Redemption" showing the outbreak of the Klingon civil war (first renegade birds-of-prey attacking the IKS Bortas over Qo'nos, and then from the conclusion of the episode, the House of Duras under attack from orbit).  This sequence is accompanied by the music track "Klingon Attack," from Star Trek: The Motion Picture.  The second are recreations of shots from Star Trek: The Motion Picture, first showing the refitted USS Enterprise approaching the V'ger cloud, and then showing V'ger itself approaching Earth.  The second sequence is accompanied by another track from ST:TMP, this time an excerpt from "Spock Walk."  Production notes indicate that several other sequences were planned, but were dropped due to time constraints.
  • The sound effect of the 2399 Fitzgerald accelerating to warp speed is actually a re-use of the Enterprise's warp acceleration from Star Trek II: The Wrath of Khan.
  • Like TNG, VOY, and ENT, Redemption makes frequent references to the number 47.  One notable use comes when Dr. Garr mentions that the Fitzgerald has 47 decks, opposed to the 42 on a standard Galaxy-class starship.
  • The red alert sound of the 2399 Fitzgerald is that of the USS Voyager and the Enterprise-E.  The bridge lighting for condition red is also closely based on that of the Enterprise-E in Star Trek: First Contact.
  • During the attack by the trio of Cardassian warships, Dr. Garr says, "Congratulations, captain--you wanted them angry, they're angry!"  The same quote was spoken by Garak in the DS9 episode "Sacrifice Of Angels."
  • The interior ambient of the Borg cube is actually the corridor ambience of the original Enterprise, reduced in speed by 50%
  • The cargo bay and transporter used by the away team to transport back to their shuttle reflects the layout seen in TNG's first season, in the episode "Datalore."
  • The layout of Main Engineering on the 2399 Fitzgerald reflects a layout seen in one of the alternate universes seen in the TNG episode "Parallels," with the master systems display table (or "pool table") set alongside the warp core rather than in the main area. The set also features the large metal frame seen in TNG's "Booby Trap" and "Parallels," and in the film Star Trek VI: The Undiscovered Country.
  • On the 2399 Fitzgerald bridge, the two alert bars along the back wall employ colored graphics and do not change based on the ship's alert status as they did in Star Trek: The Next Generation.  This is a reference to the TNG episode "Parallels," where one of the alternate bridge sets did the same thing.  In Redemption, the colored bars are a re-use of the "condition green" alert bars from the Voyager bridge.
  • The light arches to either side of the command chairs on the 2399 Fitzgerald bridge, along with the added tactical console behind the captain's chair, are also from "Parallels."  As in that episode, the conn and ops stations are colored silver instead of their usual peach.
  • The consoles on the 2399 Fitzgerald feature metallic trim, something which was introduced in the future time frame of the TNG finale "All Good Things...", and which would later become part of the bridge sets of the Defiant and the USS Voyager.  The door labels are also reminiscent of the future time frame of "All Good Things..."
  • Early in the film, when the Fitzgerald reaches Sector 001 and races towards Earth, the shots of the ship flying past the various planets are inverted shots based on those from Star Trek: The Motion Picture.
  • The layout of the Fitzgerald shuttle cockpit is based on the runabout cockpits seen in Star Trek: Deep Space Nine.  This is correct given the exterior design of the shuttle (as seen in Star Trek: Insurrection, which did re-use the runabout set).  However, the set incorrectly uses the two-window design of the runabout (as opposed to the large single window on the shuttlecraft), and lacks side-facing windows.
  • The tricorders used by the 2399 officers are closely modeled after those seen in Star Trek Nemesis, and use the same sound effects.
  • When the 2399 away team transports down to Vandor IV, they are shown with devices attached to their uniforms (each on the left shoulder).  While a cut line of dialogue would have established these as personal forcefield generators to protect against the radiation in the laboratory, the props themselves are actually neural stimulators, as seen in Star Trek: Voyager.
  • The layout of the 2399 Fitzgerald transporter room reflects the layout of the one from Voyager and the Enterprise-E.
  • The 2399 Fitzgerald corridor set includes light fixtures to either side of turbolift doors seen in the corridor sets of the Enterprise-E.
  • The warp core on the 2399 Fitzgerald pulses in exactly the same way as the new warp core did in the TNG episode "Phantasms."
  • In the remastered version of Redemption, the two tall LCARS columns in Main Engineering (both in 2378 and 2399) show the correct graphics, as opposed to recycled graphics from "Future Imperfect." The column graphics were obtained from HD screencaps from "Remember Me" (the tall column in the main room, opposite the chief engineer's office), and from "Lonely Among Us" (the tall column in the back of the chief engineer's office), respectively.
  • The interior of the temporal vortex the Fitzgerald passes through is a re-use of the slipstream from Star Trek: Voyager.  Exterior shots of the Fitzgerald during that sequence are reminiscent of shots of the Enterprise-D inside the vortex from the TNG episode "Time Squared."
  • During the time travel sequence, the computer monitors all show static; this is a nod to Star Trek IV: The Voyage Home, where the same thing occurred on the bridge of the Klingon Bird-of-Prey.
  • The Azure Nebula, its appearance, and the fact of its composition including serillium are references to the VOY episode "Flashback."
  • The ambient sound of the bridge of the crippled 2399 Fitzgerald is actually that of the damaged Voyager bridge from the two-part episode "Year of Hell."
  • Redemption features a rare appearance of the Galaxy-class battle bridge emergency turbolift, seen only twice in Star Trek: The Next Generation--first, in the pilot, and later, in the season six episode "Starship Mine."  The turbolift seen in Redemption reflects the later design.
  • The controls of the large Volga-class shuttle (which dialogue shows is named the Reichert) used by the away team are portrayed by sound effects from Deep Space Nine runabouts and, in later scenes, the helm controls of the USS Voyager.
  • Ronston notes that Kal has previously worked as a Dabo girl on Casperia Prime.  The planet was mentioned as a potential honeymoon spot for Commander Worf and Jadzia Dax in the DS9 episode "Change of Heart."  The same conversation references the Qualor system (seen in the TNG episode "Unification"), Risa (frequently referenced, seen in the TNG episode "Captain's Holiday" and the DS9 episode "Let He Who is Without Sin..."), and Rigelian whiskey, alluding to a star system frequently referenced in Star Trek: The Original Series.
  • When the shuttle arrives at DS9, the flyover sequence references the pilot episode of Star Trek: Voyager, "The Caretaker."  In the episode, a shuttlecraft does a similar inspection of the USS Voyager docked at the station.  Like the episode, the sequence ends with a close flyover by the shuttle of the ship's registry:  USS F. Scott Fitzgerald, NCC-85107-A.
  • After the shuttle lands on the superstructure of the 2378 Fitzgerald, Kal says, "Disengaging engines, securing thruster exhaust...we're down."  The line references the Star Trek: Voyager episode "The 37s," where Tom Paris said exactly the same thing once the ship had landed on the planet's surface.
  • One scene in the 2399 sickbay shows props resembling Voyager test cylinders (as seen in the episode "Eye of the Needle") in Falwell's office.  Production notes indicate these were originally intended to be emergency lanterns'.
  • A scene in the 2378 engine room shows Merv Ronston carrying a holographic camera, similar to the one used by the Doctor in the VOY episode "Latent Image."
  • The graphic seen as Kal is accessing the command systems is almost identical to one seen in the TNG episode "Brothers."
  • Prentice notes that the original version of Dr. Garr (and thus, Drakus) was once a member of Section 31, the secretive Starfleet Intelligence organization introduced in the DS9 episode "Inquisition."
  • When Garr activates the companel on Deck 11, the display is actually a re-use of the holodeck control interface seen in Star Trek: First Contact.
  • In 2378, when Commander Prentice calls for intruder alert, Lieutenant Erickson follows the intruder (Admiral Prentice from the future) into a corridor, and is seen entering from the alcove opposite the blind corridor leading to the transporter room. Given the layout of the original Stage 8 complex, this is accurate, as a hidden door (never seen on screen) in the back of the chief engineer's office does indeed lead to that part of the corridor set.
  • Lt. Erickson's tactic to use thermal sensors to locate the intruders is reminiscent of Worf's method in the TNG episode "The Game."
  • The appearance of the 2378 transporter effect reflects that of the USS Voyager, while the sound is the one heard in Star Trek Generations.
  • The design of the Fitzgerald brig reflects that of the USS Voyager, albeit with TNG-style colors.
  • One of the items on the shelf in Reyf's ready room is a TOS-style science tricorder.
  • The gold model in Reyf's ready room is that of the refit USS Enterprise from Star Trek: The Motion Picture.
  • While in the 2378 brig, Garr mentions that with the use of Borg technology, he would "walk through this forcefield like it was thin air."  This is a reference to the Voyager episode "Hope and Fear," which saw Seven of Nine use exactly that method to escape Arturis' brig on the Dauntless.
  • The design of the 2378 observation lounge reflects the set layout as seen in Star Trek Nemesis, including the three gold starship models at either end of the room.  Though not seen clearly in Redemption, it may be assumed these models represent the history of the starships Enterprise, and not the lineage of the USS Fitzgerald.
  • The Type-7 shuttlecraft seen in the film (named "Celia") saw frequent use in the early seasons of Star Trek: The Next Generation.
  • While attempting to restart the main power grid, Prentice notes that there's a problem in one of the computer system's optronic integrators.  A similar device was mentioned by Chief O'Brien in the DS9 episode "The Assignment."
  • The climax of the film takes place during the events of the TNG episode "The Best of Both Worlds," part 2.  The events of the episode are briefly recapped near the middle of the film.
  • The exterior shot of the two starships Fitzgerald holding position just after arriving in 2367 echoes a similar shot from the TNG episode "Yesterday's Enterprise" (informally referred to as the "duality" shot).
  • The subspace beacon left by Drakus is played by a ship recorder from Star Trek: Enterprise.
  • When Merv Ronston and his team of engineers beams aboard the 2399 Fitzgerald, the large piece of equipment they have with them is the neurogenic field generator from the Voyager episode "Waking Moments."
  • The notion of a powerful subspace transmission activating a starship's holographic systems was inspired by the Voyager episode "Unimatrix Zero," where the Borg used a similar method to activate the sickbay holographic emitters to convey a holographic message from Captain Janeway.
  • Garr says that the site where he built the ISS Voyager is the Beta Stromgren system, a perfect site due to a supernova the previous year.  The system appeared in the TNG episode "Tin Man," and the supernova takes place at the end of that episode.
  • Kendra Ronston orders coffee from the replicator, "Double strong, double sweet."  This is a nod to Chief O'Brien, who in Star Trek: Deep Space Nine was frequently seen ordering coffee, "Jamaican blend, double strong, double sweet."
  • The sound effect of the close warp-speed flyby of the ISS Voyager is recycled from Star Trek III: The Search for Spock.
  • Garr's Price is Right holoprogram follows in the footsteps of Tom Paris and his assortment of 20th-century-themed holoprograms, including the "grease monkey" simulation and the Captain Proton program.
  • When Drakus appears in the mess hall of the ISS Voyager, Dark Garr immediately says "Who the hell are you?"  In Star Trek Generations, Dr. Tolian Soran greeted James T. Kirk in exactly the same way.
  • Drakus' response, "Don't you recognize your own face, in a mirror darkly?" references the episode of Star Trek: Enterprise by the same name.
  • In the first film, Garr's time device was powered by an "anti-time reactor," to which Drakus refers when visiting his younger counterpart in Redemption.  The concept of anti-time was introduced in the TNG series finale, "All Good Things..."
  • The "standard Federation construction yard" used by Drakus to construct the Mark-II ISS Voyager is played by the drydock model from Star Trek: The Motion Picture.
  • While studying sensor scans of the drydock at Beta Stromgren, Mitchell remarks, "Something weird is going on out there."  In the TNG episode "Emergence," Geordi La Forge says the same thing about one of the Enterprise's cargo bays, using nearly identical inflection.
  • When the Mark-II ISS Voyager launches, the bridge is shown at blue alert.  This is a nod to the VOY episodes "The 37s" and "Demon," where condition blue was also sounded.  In those episodes, it accompanied a starship landing or lifting off from a planetary surface.
  • During the Battle of Beta Stromgren, Reyf orders Lt. Erickson to "make the Fitzgerald a more serious threat."  Captain Janeway gave a similar order to Lt. Tuvok while attempting to disable the titular missile in the VOY episode "Dreadnought."
  • During the Battle of Beta Stromgren, Dark Garr identifies the secondary command processors of the Mark-II ISS Voyager as a vulnerable spot.  The same spot on the USS Voyager was also shown to be vulnerable in the Voyager episode "Basics," part 1.
  • When Admiral Prentice visits Dark Garr in the Fitzgerald sickbay, his first words are "How many fingers do I have up?", while holding up his hand and giving the Vulcan "live long and prosper" sign.  The gag is a direct allusion to Star Trek III: The Search for Spock, as is Dark Garr's wry response:  "That's not very damn funny."
  • The same scene also marks the first time Garr is seen without his signature glasses; his line "It's times like this I wish I wasn't allergic to Retinax-5" moments before he puts them back on is a reference to Star Trek II: The Wrath of Khan.  In that film, Dr. McCoy obeserves that he typically prescribes Retinax-5 for elderly patients with deterioriating eyesight, leading Admiral James T. Kirk to point out his allergy to the medication, thus necessitating his use of glasses.
  • The bridge of the Fitzgerald-B seen at the end of the film is a re-dress of the bridge of the USS Daystrom from the first film (itself based on the bridge of the Enterprise-B from Star Trek Generations), featuring colors sampled from HD screencaps of Star Trek: First Contact, and "Future LCARS Concept" computer screens by Robert Brisson and David Kleist.

References to other franchisesEdit

  • A shot of the door to sickbay early in the film shows its room number to be 4077.  This is a reference to the TV series M*A*S*H, which was set as MASH #4077.
  • When her crew appears hesitant to leave the observation lounge during an early scene, Ronston raises her voice and says, "Unless I'm mistaken, it still says 'captain' on my uniform."  This is a nod to Stargate SG-1, in which Colonel Jack O'Neill frequently pointed out that "It says colonel on my uniform."
  • The set used for the Vandor IV laboratory is a re-use of the Genomex set from the TV series "Mutant X," reflecting the layout of that set as it was seen during the show's second season.
  • Among the debris in the destroyed Vandor IV laboratory are several consoles from Stargate Atlantis.  A Lantean holographic display can be seen on one of the back walls.
  • The ambient sound of the Vandor laboratory is that of the Technodrome from the 1987 Teenage Mutant Ninja Turtles cartoon.
  • The 2399 uniforms mirror designs seen in the Star Trek Online MMORPG game.  The belt buckle worn by Admiral Prentice is also from the game.
  • When the 2399 Fitzgerald arrives in Sector 113, after Prentice says "We have a problem," Ronston turns to him and says, "I didn't authorize any problems."  This mirrors a quote from Captain Dylan Hunt in the TV series Gene Roddenberry's Andromeda.
  • The requirement that the Fitzgerald accelerate to warp 8.8 to travel in time is a nod to the Back to the Future trilogy, which required the time vehicle to reach a velocity of 88 miles per hour.  Later in the film, Garr says, "You're not thinking fourth-dimensionally!", and in a later scene, Mitchell references a "flux capacitor."
  • The visual and sound effects of the Fitzgerald traveling through time are also obvious references to Back to the Future, which also used bursts of light to indicate a time shift was taking place.
  • After the time jump is completed, when Ronston regains consciousness in sickbay, Dr. Garr says to her, "That's right, Dorothy, it was all just a dream."  This is a dual nod to both the 1939 film The Wizard of Oz and the TV series Stargate SG-1, whose second episode saw Colonel Jack O'Neill use this same line.
  • One of the pieces of decoration in Ronston's ready room is a gold Touchstone, from the Stargate SG-1 episode of the same name.  The prop also later appears as set dressing in Kal's quarters.
  • During the shuttlecraft launch sequence, Falwell wishes the away team "Godspeed, and good luck."  This is a reference to Stargate SG-1, which frequently saw General Hammond giving the same sendoff to teams venturing through the Stargate.
  • Though the track was edited for its use in Redemption, the shuttle launch sequence is backed by music from Apollo 13 (specifically "All Systems Go/The Launch").  In Apollo 13, the track accompanied the launch of the titular spacecraft and mission.
  • The engineering tool used by Hargrove in the Jefferies tube is actually a Star Wars lightsaber.
  • When describing the location from which Drakus accessed the computer aboard the 2378 Fitzgerald, Garr says it came from "panel AA-23."  AA-23 was also the cell block number from which Luke Skywalker claimed to be transferring Chewbacca in Star Wars Episode IV: A New Hope.
  • As seen in the first film, the holoprogram Reyf and Falwell are discussing upon leaving the holodeck is a recreation of Mary Shelley's "Frankenstein."
  • Prentice's frequent use of the phrase "We're doomed" references the original Star Wars trilogy; in those films, C-3PO frequently lamented circumstances by saying those words.
  • The name of the Alcawell Mineral Refinery seen in this film comes from one of the Star Trek: Voyager novels, specifically #2 ("The Escape"), published in May 1995.  In the novel, Alcawell (roughly translated into "the station") is the site of a long-abandoned group of time shuttles, visited by the Voyager crew in desperate need of critical parts to repair the warp engines.  More on the novel can be found here.
  • The launch and docking bays of the Alcawell station are played by the hangar bay of an Imperial Star Destroyer and the Death Star, respectively.  The scale of the latter was clearly adjusted to accommodate the Intrepid-class ISS Voyager.
  • The sound of the boronite reaction chamber activating is actually the activation sound of the proton packs from the Ghostbusters films.
  • Prentice's quote, "Never put off for tomorrow what you can do yesterday" is a nod to the Men in Black: The Animated Series episode "The Head Trip Syndrome."  In the episode, Agent K said the same thing to Agent J just prior to traveling back in time.
  • The sound effect for impulse-power flybys of the ISS Voyager is a re-use of the sound of the MADmobile (from the Inspector Gadget cartoon) driving past.
  • When the beacon left by Drakus activates and begins broadcasting, the sound effect is that of an Imperial Probe Droid from Star Wars Episode V: The Empire Strikes Back.
  • The appearance of the temporal fracture seen midway through the film is a re-use of the appearance of an energy tear from the TV series Reboot.  The visual effect in Redemption is composed of six layers altogether, with four-second animations that loop.
  • Dark Garr's Price is Right holoprogram blends elements from a number of different incarnations of the show, and the scene in Redemption employs an assortment of camera shots actually seen on the show at various points in history.
  • Dark Garr's quarters on the Mark-I ISS Voyager feature a number of allusions to various 20th century franchises, including Back to the Future, The Legend of Zelda: Majora's Mask, Tron: Legacy, and Stargate SG-1.
  • When confronting Drakus at Beta Stromgren, Prentice tells him, "You can come along peacefully or in pieces."  This is a nod to an episode of DuckTales, where the same line was used by GizmoDuck to threaten a robotic opponent.
  • Following the Battle of Beta Stromgren, Dark Garr remarks, "...the tall, dark, and sinister ugly man that we're chasing down is really a scary future version of me."  The first half of the statement is a direct quote from Disney's Aladdin.
  • From the same scene, Dark Garr's remark "But if I can't trust you, then I can't trust your statement that I can trust you" directly quots the title character of the TV series House.
  • The notion of a starship replicator traces its origins to William Shatner's Mirror Universe anthology; in the novels Spectre and Dark Victory, Kirk's mirror-universe counterpart constructs just such a device in the Goldin Discontinuity.  Ronston's allusion to technical hurdles related to the replicator's size is also based on the novels.
  • In Lesley Kal's quarters on the 2399 Fitzgerald, the black panel next to the door shows a series of exotic-looking glyphs.  Those symbols are in fact the Stargate address for Earth (incorrectly featuring Earth itself as a point of origin), a reference to the TV series Stargate SG-1.

BloopersEdit

  • In an apparent blooper in the original release of Redemption, Admiral Prentice's uniform appears to change from the white Star Trek Online uniform to a First Contact-style uniform, as seen in the TNG films and the latter seasons of DS9, and then back again near the end of the film.  (This was later explained as a side effect of a costume change late in the production process, and would be corrected in Star Trek III Remastered to exclusively use the white uniform.)
  • The Master Systems Display in engineering on the 2378 Fitzgerald mistakenly shows the ship's registry number as NCC-85167-A.  NCC-85167-A was originally meant to be the Fitzgerald's registry number, and signage from early in the production cycle for Specter reflects it accordingly.  The error on the Engineering set was never corrected, and when the set was recycled for Redemption, it remains visible.
  • Near the middle of the film, just after Reyf orders Lt. Erickson to bring the 2399 officers to his ready room, the perspective cuts back to the brig.  In the first shot, the 2399 crew is mistakenly shown wearing their combadges.
  • Immediately after Mitchell restores power to the 2399 Fitzgerald, in the wide shot as the warp core lights up, Admiral Prentice can be seen leaving Engineering--but moments later, he and Mitchell arrive on the bridge in the same turbolift.
  • When Kal reports for duty after her commission is reinstated, she identifies herself as "Lieutenant Commander Lesley Kal."  Moments later, Ronston incorrectly addresses her as "Lieutenant," only to change to "Commander" later on.
  • After Kal and Mitchell reconcile in Ten Forward, Garr steps into the corridor to speak with Ronston.  Although they should be on deck 10, the door labels incorrectly show them to be on deck 12.
  • During the Battle of Beta Stromgren, Ronston orders "Hard to port;" the visual effect that follows mistakenly shows her Fitzgerald veering sharply to starboard

ThemesEdit

As its name implies, Redemption's primary motif centers around the notion of redemption; that is, restoring something damaged to its proper state, or better.

The film opens with images of a horrific temporal disaster, which has ripped apart the space-time continuum in 2399 and reduced Earth to a prehistoric volcanic wasteland.  Thus, the film's A-plot centers around the crew's efforts to undo the damage and restore the future.  A more subtle plot point centers around the Fitzgerald itself--at the start of the film, Ronston reveals that the ship is about to be decommissioned.  A later conversation with Prentice further reveals that the ship will then be "made into a museum piece," which Ronston's tone implies to be a less than fitting end.  The events depicted in the story, then, progress in such a way as to give the old ship a more proper sendoff.

The character arcs likewise share this theme, interspersed with the theme of friendship.  In the opening scenes of the film, as Ronston takes one last look around before disembarking, Mitchell appears, and the two spend a few minutes reminiscing--until Mitchell mentions Lesley Kal, with whom she was shown to be in a happy relationship at the end of Retribution.  Ronston then notes that none of the crew have had much luck with relationships, including her own attempts with Prentice.  Moments later, when Kal appears, she and Mitchell don't speak to each other and can barely even look at each other.  As the film progresses, their relationship gradually improves, until Mitchell reveals the depth of her feelings to Garr--not knowing Kal is standing in the open doorway and can hear her.  This returns their relationship to equilibrium, and the two embrace.

Kal has her own story arc.  In the opening scenes when she visits the ship, she alone is shown not wearing a Starfleet uniform, instead donning blue lipstick and a leather outfit reminiscent of an old-style flight suit.  It's revealed that she is no longer in Starfleet, and that whatever caused her relationship with Mitchell to disintegrate also destroyed her Starfleet career, after which she fell into a self-destructive spiral and wanted nothing further to do with duty or responsibility.  In a conversation with Ronston, Hargrove bluntly tells her not to trust Kal, but Ronston insists on giving her a chance to prove herself.  Then, when the temporal disaster happens, Kal has accompanied Falwell and Hargrove to the Fitzgerald, and finds herself pressed back into her former position as operations officer.  As the story progresses, Kal slowly regains the trust and respect of her crewmates--including Hargrove--and near the middle of the film, Ronston even reinstates her Starfleet commission in recognition for her continued service.

Another, similar story arc centers around the version of Dr. Garr from 2378, nicknamed "Dark Garr."  When Ronston and her crew first meet him, he displays all the traits he exhibited in Specter--arrogance, callousness, smugness, and above all cold determination to complete his own mission.  However, as soon as he learns that in Ronston's timeline, Gaius Reyf was killed in one of the last skirmishes of the Dominion War, he agrees to join their mission so as to prevent Reyf's death.  As the story progresses, he shows increasing signs of regaining his humanity.  Following an offer from Drakus to help restore his damaged physiology, Dark Garr decides the price is too high, and sides with Ronston and his era's Reyf, joining a fierce attack against the Mark-II ISS Voyager, even losing his own ship in the process.  Later, he even summons his future counterpart to make peace between them. Though the other Garr is initially skeptical, in light of his counterpart's heroism, he agrees to keep an open mind.

Kendra Ronston's relationships also play a significant role in the story.  Early in the first act, she meets up with ex-husband Merv Ronston over the volcanic Earth, and is less than kind in her dealings with him, at one point openly criticizing his attempts to patch things up with her as poorly timed and bluntly asserting her authority, sending him on a survey mission while she attempts to learn the cause of the temporal disaster.  Later, when the Fitzgerald is forced to cross into Cardassian territory, it comes under attack from three Cardassian warships and is nearly destroyed--until Merv Ronston arrives, and distracts the Cardassians long enough to allow Kendra to complete her mission, losing his life in the bargain.  Kendra is later shown to be devestated by this, and when her younger self asks if her Merv is "worth it," she immediately responds that he is.  Later, when the Merv Ronston of 2378 visits her in her ready room, Kendra nearly breaks into tears, and makes him promise her that no matter what happens, he will not turn his back on her younger self.  Given how hard-edged she is shown through most of the film, this was received by viewers as a particularly powerful moment for her.

It was also established at the end of Retribution that Admiral Reyf--from the alternate timeline seen in that film--had thrown his lot in with Drakus and was helping him, and is on the bridge of the Mark II ISS Voyager when it launches, serving as first officer and tactical officer while Drakus pilots the ship.  After the Mark II fails to overpower either the Mark I or either version of the Fitzgerald, Drakus becomes suspicious of Reyf's motives.  When the admiral visits his younger self via hologram, the younger Reyf reveals that he is questioning his allegiance, and that his reasoning for helping Drakus to start with was the promise that his father would be rescued before the Borg could destroy it at Wolf 359.

In addition to the theme of redemption, friendship plays a critical role in the advancement of the story.  Early in the mission, Ronston points out that for the first time in her career, she's leading a fractured crew that isn't a cohesive whole, and that frightens her even more than the outside threats they face.  Falwell tells her that the best thing to do is try to unite the crew behind something inspirational, becoming de facto ship's counselor in the process.  Falwell continues to play this role throughout the film, offering a caring ear and support whenever she can.  At one point, while the majority of the crew is aboard the counterpart Fitzgerald, she encourages Renee Mitchell to sleep on one of her biobeds when she realizes the engineer is afraid of being alone.

Moreover, later in the film, after Dr. Garr becomes depressed after visiting the counterpart Fitzgerald and seeing Reyf alive after so many years, Prentice sends Kal to speak to him and try to get him back to work, knowing she's faced her own share of personal demons.  She does, and Garr does indeed return to work, and when he takes proposed shield modifications to Mitchell, he realizes she's upset about something, and gets her to tell him about the problem, inadvertantly allowing Kal to overhear.

This is an especially important plot point because of the amount of backstory it has.  Earlier in the film, Ronston had a heart-to-heart conversation with Kal about helping keep her out of trouble after she left Starfleet.  Kal is visibly moved, but later Ronston has a similar conversation with the 2378 Reyf in his ready room after he follows them back in time.  In that exchange, Reyf comments, "I couldn't let you face this alone," referring to Ronston's mission to find Drakus and eliminate him once and for all.  In effect, this scene reveals that Reyf taught his crew good morals, particularly regarding friendship and the importance of helping others.  In turn, Kendra Ronston taught the same lesson to Kal, who in turn taught it to Garr.  Perhaps most critically of all, Reyf understands the importance of friendship and the support that comes with it due to Garr having helped him grieve and recover after the loss of his father.

Later, after the crew of the 2399 Fitzgerald listen to the Battle of Wolf 359 on Starfleet's comm channels, Kendra Ronston herself becomes depressed, knowing she's allowed over 11,000 innocent people to perish.  Falwell's best efforts yield no results, as she indicates to Prentice as she leaves Ronston's quarters.  When she later returns to the bridge, the rest of her crew--including Reyf--remind her that they're stronger as a team and that they need her.  Even Dark Garr agrees, and the collective insistence is enough to pull Ronston out of her depression, and she resumes command from Prentice just in time to set course for Sector 001 to intercept the Borg cube.

DedicationEdit

Dedication (Starfield)

For Kristie.

Like the first film, Star Trek III: Redemption begins with a "For Kristie" dedication.

Unlike the previous films, Redemption makes very little of the name.  A character named after the individual briefly appeared at the end of Retribution, and appears in two scenes in Redemption, first on the bridge of the Fitzgerald-B as Ronston assumes command, and then in a post-credits flashback.    As portrayed in this film, Kristie appears as a tall, muscular blonde woman, and in the scene in 2399, is shown wearing a Starfleet combadge, though not a uniform.  Unlike the previous films however, Redemption ends with a second dedication and a photo, which was also seen very briefly

ProductionEdit

Production of Redemption formally began on Friday, July 27, 2012. A new trailer was posted that featured several clips from Specter, newly re-rendered and sporting visual effects not seen in the original film, including what appeared to be a lensflare similar to that seen in Star Trek XI, seeming to indicate that this would be the new visual style for Redemption. Production notes indicated that a new version of the Deep Space Nine station would appear, the version by Jörg Gerlach replacing the original Dave Charnow version.

Like Specter and Retribution before it, Redemption is to be produced as though it were a live-action film, rather than a CGI production. Unlike the remastered versions of episodes of Star Trek: The Original Series or principal effects shots from Star Trek: Enterprise, CG effects shots are very restrained in terms of camera motion, and interior shots continue to utilize depth-of-field and other effects to mimic traits of practical productions. Thus far, Redemption has offered more animated shots of its various elaborate sets than either of its two predecessors, using simplified lighting setups for low-light scenes to decrease render times.

On Saturday, September 22, 2012, the final scene of Act I was posted (Scene 15, "Sector 113"), and it was announced that there would be a production stopdown to correct some errors and inconsistencies seen during Act I, most notably glitches with the uniforms and with the presence/absence of characters' eyebrows from one shot to the next.

Re-Use of Material from Star Trek: SpecterEdit

All of the production material from the first film remained archived during production of Retribution and, later, that of Redemption.  For those scenes of Redemption set in 2378, wherever possible material from Specter was re-used to speed production of those scenes.  In most cases, the original material was re-used without alteration, including shots of the original bridge and engineering sets, which continued to use static console displays instead of the video monitors introduced in Retribution.  The set briefly seen as Lieutenant Erickson's quarters was originally constructed during the Specter production cycle for an unproduced scene near the middle of the film; after that scene was initially cut the set was to be seen as part of the epilogue, but that was ultimately replaced with the scene in Ten-Forward.  During the second time-travel sequence, Garr appears to relive the circumstances of his life, expressed through stock clips seen in Specter shown in reverse chronological order to demonstrate the act of going back through time--all the clips in question were re-used from Specter without alteration.

The original character models for the Fitzgerald crew were also re-used, also mostly without modification.  The only change made was to correct an error with the characters' eye color--during Specter, only Reyf was intended to have brown eyes, while Prentice was intended to have blue and Merv Ronston to have green, however production errors resulted in all the characters having dark brown eyes at several points.  Those mistakes were corrected for their appearances in Redemption.

Other pieces of archived material saw significant updates for their appearances in Redemption.  Near the end of the film's second act, the Fitzgerald crew moves to intercept the ISS Voyager during its raid on the Alcawell Refinery, shown during Specter.  A portion of the original scene--complete with Electrasy's Cosmic Castaway--is re-used, however all the visuals were completely re-rendered to match the visual style of Redemption, and the sound effects mix was completely updated to include weapon sound effects from Babylon 5.  Several all-new shots also appear in that segment alongside the originals, including during the evacuation sequence--which boasts a new shot of shuttlecraft and escape pods flying out of a launch bay--as well as the shots of the ISS Voyager approaching the station.  Also, what in Specter was a static shot of Voyager in the docking bay has been replaced with an animated camera pass.

Star Trek III RemasteredEdit

In a Facebook post, Bridges indicated that the remastering process for Redemption was ongoing, and that more significant changes were in the works.  Among them was a new bridge for scenes in 2378, with a darker color scheme and harsher lighting, similar to the bridge from "Star Trek: Generations."

Main Bridge I (No Monitors)

2378 main bridge for the remastered version of Star Trek III: Redemption.

The absence of LCARS monitors on the workstations in the initial render suggested that the final set will include animated screens as Retribution and Redemption did.

The remastering process began almost immediately after the full cut of Redemption was posted to YouTube.  The process continued through 2014, with progress photos regularly posted on Facebook via an album dedicated to the project, comparing the original and remastered versions of various shots.  Star Trek III Remastered was declared completed on Tuesday, August 13, 2014, and the following five days were reportedly spent attempting to present the film at its original resolution of 1128x480, as opposed to 720x306 as it had been seen previously on YouTube.  A video was finally uploaded on Saturday, August 16, 2014, but it appeared to retain the same resolution as the previous release.  At the same time, previously-posted individual scenes from Star Trek III Remastered were removed, and the existing cut of Star Trek III: Redemption on YouTube was made unlisted.  At the time, the original release had aggregated 117,287 views.

Production HiatusEdit

On Thursday, March 7, 2013, it was announced via Facebook post that Scene 61--"Cemetery of Dead Ships / Kendra's Back"--would be the final segment of Redemption posted before production went on hiatus. Bridges indicated that like a similar hiatus during the production of Retribution, this would be due to a deployment to Afghanistan, and production would resume once that deployment was completed.

On Sunday, September 1, 2013, the first of a new series of video tests appeared on YouTube, indicating at least a limited resumption of production.  In response to viewer inquiry, Bridges commented that he wasn't "quite back yet," and that the clips represented only some "tinkering around" with ideas from the written conclusion of Redemption.

The new clips all appeared to be from the film's final scenes and contained several spoilers from the film's ending:

  • Volga-class shuttle returning to 2399, discovering the USS Wehmann waiting for it (the Wehmann was last seen early in the film, its commander Merv Ronston sacrificing himself along with his ship and crew to buy the Fitzgerald enough time to reach warp 8.8)
  • the Wehmann arriving at the 2399 Earth, restored to normal
  • the Sovereign-class USS F. Scott Fitzgerald NCC-85107-B accelerating to warp speed, followed by a dissolve to the F. Scott Fitzgerald NCC-85107-A, presumably back in 2378
  • Gaius Reyf listening to the theme music from Garr's Price is Right holodeck program in his quarters, before the image dissolves to an exterior shot of the FItzgerald moving off, just as the end credits roll

On Monday, November 18, 2013, Bridges announced via YouTube comment that production of Redemption would resume within two weeks, and that he anticipated completing the film before the end of the year as originally planned.  The first new segment was posted two weeks later, on Monday, December 2, 2013.

SequelEdit

Midway through production, rumors began to circulate regarding whether Redemption would be followed by a sequel. Bridges was unequivocal in declaring that Redemption would be the definitive conclusion of the Specter trilogy and that it would be his final Star Trek film outing, adding that the ending of the third film would close out the trilogy in "a very fitting" manner.

Fitzgerald and Judicator

Concept art for an unproduced sequel to "Star Trek III: Redemption:" the USS F. Scott Fitzgerald and the USS Judicator.

Script notes indicated that at least at one point, either a fourth film or a spinoff episode was planned.  Only a few details of the aborted script were made available:

  • The untitled two-part episode follows Reyf and his crew in the "corrected" timeline seen at the end of Redemption
  • In similar fashion to "All Good Things" (TNG), a massive space-time disruption mysteriously appears in Sector 411, in the Beta Reticuli system
  • The visual effect for the anomaly would be a re-use of the temporal fracture seen in Redemption
  • The plot would involve a ship from the future (post-2399), implied by concept art to be played by Mark Kingsnorth's Ascension-class, commanded by an aged Kendra Ronston
  • The final words of the first part would be "He's coming" (exactly who "he" was meant to be was never made clear; it can be assumed that this refers to Drakus)
  • At the conclusion of the second part, the Fitzgerald is struck and damaged by an emission from the anomaly, similar to the Enterprise-B's encounter with the Nexus energy ribbon in Star Trek Generations, resulting in Captain Reyf becoming unstuck in time; this was to have set up a multi-episode arc involving his recovery

EndingEdit

Shortly after Act III began production, rumors began to spread regarding possible endings for Redemption. Myriad predictions had already circulated on YouTube, but fueling speculation was a request made via TrekMeshes for a Sovereign-class texture set featuring the registry name and number of the Fitzgerald. A short time later, a modified version of Paul Trenkler's Sovereign-class mesh was made available at Trekmeshes.ch featuring custom-made registry, confirming that future plans for Redemption somehow involve a Sovereign-class USS F. Scott Fitzgerald. No additional details were immediately available concerning the new ship's involvement, though original script notes from Specter archived at Scifi-Meshes.com indicated that at one point, the Fitzgerald was to be a Sovereign-class vessel rather than a Galaxy-class refit.

On Friday, January 4, 2013, the first details of Redemption's finale emerged via YouTube in response to a viewer inquiry.  In response to a question regarding whether the finish would result in the destruction of the 2399 Fitzgerald, the producer confirmed that while the ship would in fact be destroyed, Captain Ronston and her crew would all survive, and in fact would return to 2399.

The ending as produced keeps largely to the expected outline.  When the Fitzgerald intercepts the Borg cube at Earth, the ship is damaged by a Borg assault similar to that seen in "The Best of Both Worlds."  While Ronston leads an away team into the cube for a final confrontation with Drakus, Mitchell reports the damage has disabled the ship's propulsion systems and can't be repaired in time to escape the Borg cube's coming self-destruction.  On the cube, Drakus is protected by a forcefield but is shot from behind by Admiral Reyf, who prepares to join Ronston and her crew before being shot and fatally wounded by Drakus.  Combined weapons fire from Ronston, Reyf, and Hargrove incinerates Drakus, destroying him for good.  While Reyf pauses to speculate on the life his double would've lived in 2399, the younger Dr. Garr from 2378 reactivates Drakus' forcefield generator and refuses to go back with Ronston, believing that no matter what happens there will always be a chance he'd turn into Drakus, a possibility he can't live with.  Despite an emotional plea from Reyf, Garr refuses to relent, and Ronston is forced to beam back to the Fitzgerald without him.

As Captain Reyf's Fitzgerald from 2378 races to rescue the 2399 officers, they take refuge in a shuttlecraft and move to intercept the other Fitzgerald.  Ensign Kal is able to modify the transporters to transport the moving shuttlecraft aboard, and seconds before the Borg cube explodes, she is able to rescue the shuttle, and the Fitzgerald escapes to warp.  Returning all involved to their own times, Ronston finds herself in command of a new Sovereign-class USS F. Scott Fitzgerald, Gaius Reyf alive, Garr and Kristie reunited, and everything back to normal in 2399.

A post-credits scene explains how the various timelines apparently resolved, since clues are given throughout the film that by its conclusion the Prime timeline seen at the beginning of Specter and the one seen in Redemption are one and the same.  In the year 2369, just after Garr accepts the assignment to Starfleet Intelligence, he is visited by Kristie, and as she leaves, she is met by an ensign bearing a message seemingly received eight months prior (the approximate time frame of the events seen in the film's final act), coded for Kristie's eyes only and with instructions to deliver it to that time and place.  After the ensign leaves, Kristie plays back the message, only to see a recording of Dr. Garr apparently made aboard the Mark-I ISS Voyager prior to its destruction, who wants to talk to her about "the future."  The final shot of the film depicts the Fitzgerald approaching an untouched and pristine Earth.

Post-ProductionEdit

Shortly after the first full cut of Redemption was posted, Bridges indicated that additional post-production work would be done on the completed film before it was officially finalized.  The full cut posted already boasted several improvements, including a new bridge set and higher-quality renders of the characters; the initial cut of Redemption had been rendered using Poser's "preview" settings, while in the full cut the bulk of the first act looked to have been re-rendered using the Poser FireFly engine.  The differences were especially noticeable thanks to the 2399 uniforms, which gained shine effects and detailed bump mapping on the collars.

In addition to updating the sets and re-rendering the character animations at higher resolutions, several scenes were revised from their initial versions.  The first such scene as Scene 16B, the initial time jump back to 2378; the revision replaced David Fang's cover of "Hope Lives Again (Arkology Theme)" with the original version by Matthew McCauley, but was otherwise indistinguishable from the initial version.  Next was Scene 58B, "The Battle of Beta Stromgren," which saw significant changes and improvements from the original version; to date several revisions have been posted to YouTube, with the latest sporting "Borg Attack" (from the Star Trek: Enterprise episode "Renegeration"), as well as a number of new visual effects shots.

Bridges has indicated that unlike Specter and Retribution, whose post-production processes were partial and abbreviated, Redemption would be completely remastered over time, and that in its final form Redemption would be "as close to perfect as possible."

FeaturetteEdit

Shortly after production of the film wrapped, Bridges released a new featurette exploring the history of the trilogy and various aspects of its making, as well as anecdotes about the effort. The featurette was divided into a number of distinct segments, and ran for approximately a half an hour in length. In addition to clips from the three films, the featurette also included hitherto-unseen archive footage from the first version of Specter, depicting a very different plot structure and far more primitive sets.

The featurette was hosted by Bridges himself, in the style of an interview to an unseen individual off-camera.  Tellingly, his suit included several U.S. military insignia, including a battalion crest on one lapel and an Afghanistan pin on the other.  Production of both Retribution and later Redemption were interrupted by deployments to Afghanistan.

Fan InvolvementEdit

Unlike the preceding two films, when Redemption commenced production, no real effort was made to solicit story feedback from viewers. Scifi-Meshes.com--whose membership had played an integral role in the creative process for the first film and most of the second--appeared to be uninvolved with Redemption, and the project thread on 3DGladiators.com seemed less collaborative and more presentational. Bridges has been largely silent on the matter, except for a single comment via Facebook that after what happened with Scifi-Meshes.com towards the end of Retribution's production cycle, input on the story from viewers--while still welcome--would be strictly controlled, and that he was no longer affiliated with SFM.  A subsequent post on 3DGladiators.com on another topic confirmed the latter sentiment.

Deleted ScenesEdit

Midway through production, notes emerged detailing several scenes which had been deleted before being made. Most were brief character moments involving Lesley Kal, both the 2378 and 2399 versions, however those were dropped due to pacing concerns. A full scene between Captain Ronston and Admiral Prentice aboard the shuttle while waiting for word from the away team was also scrapped; that conversation would have shown them discussing the failed relationship that Ronston alluded to at the beginning of the film. It too was dropped over concerns about pacing, fearing too much time had already been spent on the Kal-Mitchell love story, and the Ronston-Prentice arc could be developed later in the production.

Script notes also show a major aspect of the time travel/alternate history plot was dropped. According to the notes, at some point, the 2399 and 2378 crews would have compared notes on their respective histories, discovering that in the original history Dr. Garr created a number of holoprograms while at Starfleet Academy, while in the revised history he did not, and that difference would be explained by Reyf never having lost his father and therefore never needing Garr's help to recover, a difference further attributable to the unseen presence of the ISS Voyager at the Battle of Wolf 359 in 2367. In Specter, Garr had offered to take Reyf to that time and place to save his father, as he had been believed killed when the Borg destroyed his ship--however, in the alternate history created at the end of Specter, the ISS Voyager would have destroyed the Goodson before the Borg could, ensuring Thomas Reyf's death as the first act of Drakus' revenge. Understandably, this plot arc was dropped for fear of making the story too complicated for casual viewers.

Additional notes concerning the climax of Redemption indicated that at one point, the Fitzgerald was to undergo saucer separation, however that plot aspect was scrapped when a model of the Galaxy-class dreadnought could not be located that could properly separate.

A deleted scene taking place just before the fleet arrives at the Beta Reticuli system was to have featured Dark Garr visiting Ronston via hologram in her ready room, to ask for her insights on his lost humanity.  This would have set up Dark Garr's arc for the remainder of the film; several references to this scene remained in the final film, especially the fact that from that point forward Ronston seems to take a softer hand with him.  The scene, later identified as Scene 53D, "A Residue of Humanity," was later produced and added to Star Trek III Remastered.

VoiceoversEdit

In response to inquiries from Star Trek Reviewed and other volunteer groups seeking to contribute voiceovers to Retribution following its completion, Bridges issued a strongly-worded statement discouraging such requests, adding that voiceover casting calls would not be issued until Redemption was completed, if even then, as no final decision had yet been made regarding a voice cast.  A request by a fan audio group to do their own dub independently was also denied, Bridges justifying the decision by expressing discomfort with having potentially multiple versions of Redemption on the Web, emphatically stating that no fan dubs conducted in this manner would be honored if and when a casting call occurred.

Shortly following the completion of the first full draft of Redemption, Bridges stated in a YouTube comment that due to the outcome of the first casting call for Specter, no voice casting would be carried out for it, Retribution, or Redemption, and that the versions using his temp tracks would be the final and definitive versions.

ReceptionEdit

Initial reaction to Redemption was overwhelmingly positive, with early scenes generating far more hits than the final scenes of Retribution. Viewers reacted strongly to the destruction of Alphekka IV and to the chilling views of the devestated Earth, as well as the new and underlying friction between the crew.

Early scenes suggested the dynamic would be very different among the principal cast than it has been in the previous two films, and that in addition to the overarching sci-fi plot, a significant subplot would be the different crewmembers attempting to resolve their differences.

Viewers continued to respond positively through the completion of Act I and well into Act II, with many commenting that the production felt like "an old-fashioned Star Trek episode." Viewers have credited the small character moments--in particular the scenes with Dr. Falwell--as some of the best elements of the film.

Reaction to Redemption remained largely positive during and after production, with viewers consistently referring to the third film as "epic," and a fitting conclusion to the trilogy.  Like its predecessors, Redemption received high praise for its faithful depiction of the Gene Roddenberry universe and its ideals for humanity, in particular the role of teamwork in solving the galaxy's problems.  Unlike in Retribution, the divisions between the crew are believable, as is the ultimate resolution of those conflicts.  Viewers also responded very positively to the arc involving Captain Ronston's decision to allow Wolf 359 to happen, particularly her emotional breakdown in its aftermath.  Above all, fans praised the story's dedication to quality, the depth of the characters, and the film's avoidance of the typical pitfalls of fan works.

The primary criticism directed at Redemption centers around the lack of a full voice cast, a trait shared by the previous two films.  Critics have also panned some of the visual effects sequences, in particular shots during the Beta Stromgren battle sequence, many of which mirror shots from the series and films.

During production of the film's first act, criticism--some of it harsh--was directed at the depiction of the relationship between Lesley Kal and Renee Mitchell.  Although it was seen in Retribution, it was treated exactly the same as any other relationship among the crew; in Redemption, their estrangement and eventual reconciliation become significant plot points, ultimately resolved with the assistance of Dr. Garr.  Although the issue of homosexual relationships was given a wide berth in the majority of Star Trek canon--addressed directly only in the DS9 episode "Rejoined"--in response to criticism of his depiction of one in Redemption, Bridges was quick to point out that it was a logical inclusion to the plot given the dynamic among the crew in this film, which was different and less comfortable than it had been previously.  Moreover, Star Trek has always approached different lifestyles--usually portrayed via alien races--with a mindset of openness and tolerance, and notably Ronston's crew reacts to their relationship just like any other.

Following its release, Redemption remained by far the most popular entry in the trilogy.  In April 2014, Redemption eclipsed Specter in numbers of views, reaching 74,024 on April 29th, compared to Specter's 69,698 on the same date.  It accumulated in five months a view count of over 80,000, a figure that Specter had yet to reach despite being available for viewing since August 2012.  As much as two months after its release, Redemption continued to attract an average of 1,000 views daily, compared to 250 for Specter and 155 for Retribution.

By comparison, Retribution had attracted only 36,495 total views, despite having been available for viewing for five days more than Specter.

SoundtrackEdit

Unlike its predecessors, Redemption draws from a wide variety of sources for its music. Specter and Retribution largely relied on cues from within the Star Trek franchise, while Redemption has ventured into other franchises and even other genres for source music. Along with score from contemporary and mainstream media, lesser-known entries such as Mainframe Entertainment's ReBoot and Disney's DuckTales feature film are incorporated, representing the lighter tone of this film compared to Retribution.

 
1. Main Titles (Star Trek: The Motion Picture) Jerry Goldsmith
2. End Title 3rd Season Long Version (Star Trek: The Next Generation) Alexander Courage/Jerry Goldsmith
3. Evacuate (Star Trek: First Contact) Jerry Goldsmith
4. First Contact (Album Version) (Star Trek: First Contact) Jerry Goldsmith
5. Grotto Song (Fern Gully) Alan Silvestri
6. My Right Arm (Star Trek Nemesis) Jerry Goldsmith
7. Escape from the Ocampa Underground (VOY: "The Caretaker") Jay Chattaway
8. Deck 15 (Star Trek Generations) Dennis McCarthy
9. Sad City (ReBoot) Robert Buckley
10. The Proteus (Lost in Space) Bruce Broughton
11. Ruined Landscape (The Neverending Story) Klaus Doldinger/Giorgio Moroder
12. Suite (TNG: "Relics") Jay Chattaway
13. Cygnus Floating (The Black Hole) John Barry
14. The Door Opens (The Black Hole) John Barry
15. That's Gotta Hurt (ENT: "Canamar") Brian Tyler
16. Technodrome (Teenage Mutant Ninja Turtles) Shuki Levy
17. We Drill (Armageddon) Trevor Rabin
18. The Same Race (Star Trek: Insurrection) Jerry Goldsmith
19. Suite (TNG: "Yesterday's Enterprise") Dennis McCarthy
20. Suite (TNG: "Yesterday's Enterprise") Dennis McCarthy
21. Suite (TNG: "Relics") Jay Chattaway
22. TV Theme (Star Trek: The Motion Picture) Jerry Goldsmith
23. Main Title/Klingon Battle (Star Trek: The Motion Picture) Jerry Goldsmith
24. V'Ger Signals the Creator (Star Trek: The Motion Picture) Jerry Goldsmith
25. Warp Point Eight (Star Trek: The Motion Picture) Jerry Goldsmith
26. Ideals (Star Trek Nemesis) Jerry Goldsmith
27. The Escape Pods (Star Trek: First Contact) Jerry Goldsmith
28. Hope Lives Again (Arkology Theme) (Andromeda Coda) David Fang
29. Durant is Dead (The Black Hole) John Barry
30. Picard's Plan/First Chase Pt. 1 (TNG: "Encounter at Farpoint") Dennis McCarthy
31. Suite (TNG: "Relics") Jay Chattaway
32. Master Alarm (Apollo 13) James Horner
33. Hope Lives Again (Arkology Theme) (Gene Roddenberry's Andromeda) Matthew McCauley
34. Suite (TNG: "Relics") Jay Chattaway
35. Suite (TNG: "Relics") Jay Chattaway
36. Spock's Arrival (Star Trek: The Motion Picture) Jerry Goldsmith
37. Suite (ENT: "These are the Voyages...") Dennis McCarthy
38. Assembling B-4 (Star Trek Nemesis) Jerry Goldsmith
39. The Future Isn't Written (Back to the Future III) Alan Silvestri
40. Primalosity (TNG: "All Good Things") Dennis McCarthy
41. Hymn to the Sea (Titanic) James Horner
42. A Good Lighter (Battlestar Galactica: "Hand of God") Bear McCreary
43. "All Systems Go"/The Launch (Apollo 13) James Horner
44. Admiral and Commander (Battlestar Galactica) Bear McCreary
45. New Enterprise (ENT: "Broken Bow") Dennis McCarthy
46. End Credits (ENT: "Broken Bow") Diane Warren
47. T'Pol's Quarters (ENT: "Similitude") Velton Ray Bunch
48. Shakedown Cruise Report (Star Trek V: The Final Frontier) Jerry Goldsmith
49. Suite (TNG: "Yesterday's Enterprise") Dennis McCarthy
50. Suite (TNG: "Relics) Jay Chattaway
51. Wander My Friends (Battlestar Galactica for Solo Piano) Joohyun Park
52. First Contact (Star Trek: First Contact) Jerry Goldsmith
53. Scotty's Bridge (TNG: "Relics") Jay Chattaway0
54. Suite (TNG: "Relics") Jay Chattaway
55. Suite (TNG: "Relics") Jay Chattaway
56. Planning a Full-Scale Invasion (Ducktales the Movie: Treasure of the Lost Lamp) David Newman
57. Suite (TNG: "Relics") Jay Chattaway
58. Past Glory (Star Trek Generations) Dennis McCarthy
59. Sam! (The Day After Tomorrow) Harold Kloser
60. Data and the Emotions (Star Trek Generations) Dennis McCarthy
61. Fight at Genomex (Mutant X: "A Breed Apart") Lou Natale
62. Take Over the World (Mutant X: "A Breed Apart") Lou Natale
63. Finale (Mutant X: "A Breed Apart") Lou Natale
64. Clash of the British Titans/Placating Picard/Untitled M33/Face of the Enemy [Act Out] (TNG: "Face of the Enemy") Don Davis
65. Romantic Theme (Disney's Talespin) Christopher L. Stone
66. Star Trek: First Contact Marcus Lundberg
67. Treasure Room (National Treasure) Trevor Rabin
68. The Inner Light fountainkeeper
69. Archer's Theme (ENT: "Broken Bow") Dennis McCarthy
70. Love Theme (Armageddon) Trevor Rabin
71. Jack Tells Kim He's Not Coming Back (24) Sean Callery
72. Repairs (Star Trek Nemesis) Jerry Goldsmith
73. Wherever You Will Go (Piano) MisterSteini
74. Cody's Flight (Disney's The Rescuers Down Under) Bruce Broughton
75. Warp Point Nine (Star Trek: The Motion Picture) Jerry Goldsmith
76. VOYager (Piano) DanielBarkleyMusic
77. A New Friend (Star Trek Nemesis) Jerry Goldsmith
78. Deactivating B-4 (Star Trek Nemesis) Jerry Goldsmith
79. VOYager (Piano) Aidan Schneider
80. Grotto Song (Fern Gully) Alan Silvestri
81. Cosmic Castaway (Titan A.E.) Electrasy
82. Suite (TNG: "Relics") Jay Chattaway
83. Micro Exam (Star Trek: The Motion Picture) Jerry Goldsmith
84. Pre Launch Countdown (Star Trek: The Motion Picture) Jerry Goldsmith
85. The Factory Goes Haywire (Jetsons: The Movie) John Debney
86. To 1885 (Back to the Future III) Alan Silvestri
87. River Cruise Pt. 2 (Charlie & The Chocolate Factory) Danny Elfman
88. Coming to Rest (Star Trek Generations) Dennis McCarthy
89. 70,000 Light-Years from Home (VOY: "The Caretaker") Jay Chattaway
90. The Force Field (Star Trek: The Motion Picture) Jerry Goldsmith
91. A Good Lighter (Battlestar Galactica: "Hand of God") Bear McCreary
92. Suite (TNG: "Relics") Jay Chattaway
93. Humanity Taken (TNG: "The Best of Both Worlds") Ron Jones
94. TV Theme/Warp Point Nine (Star Trek: The Motion Picture) Jerry Goldsmith
95. "Faith of the Heart" Orchestral Romulan64
96. Whitmore Hires Milo (Atlantis: The Lost Empire) James Newton Howard
97. Reporting for Duty (TNG: "Yesterday's Enterprise") Dennis McCarthy
98. Underwater Search [Part 1] (Titanic) FFDream10
99. First Sign of Borg (Star Trek: First Contact) Jerry Goldsmith
100. 39.1 Degrees Celsius (Star Trek: First Contact) Jerry Goldsmith
101. Watch Your Caboose, Dix (Star Trek: First Contact) Jerry Goldsmith
102. Fully Functional (Star Trek: First Contact) Jerry Goldsmith
103. Data Malfunctions (Star Trek Generations) Dennis McCarthy
104. Soran's Plan Revealed (Star Trek Generations) Dennis McCarthy
105. Voyager Main Title (Piano) Scott Hamilton
106. Raid Post Mortem (Star Trek Generations) Dennis McCarthy
107. Harriman and the Ribbon (Star Trek Generations) Dennis McCarthy
108. Kirk Saves the Day (Star Trek Generations) Dennis McCarthy
109. Archer's Theme (ENT: "Broken Bow") Dennis McCarthy
110. Admiral (TNG: "Encounter at Farpoint") Dennis McCarthy
111. Oops (TNG: "When the Bough Breaks") Ron Jones
112. Seeing Her Again (TNG: "We'll Always Have Paris") Ron Jones
113. The Price is Right (2007) Edd Kalehoff
114. Voyager Main Title (Piano) Daniel Barkley
115. The Lion's Den (Star Trek: First Contact) Jerry Goldsmith
116. Torture (Star Trek Generations) Dennis McCarthy
117. Ashlocke's Back/Much Needed Rest (Mutant X) Lou Natale
118. Retreat (Star Trek: First Contact) Jerry Goldsmith
119. Battle for the Array (VOY: "Caretaker") Brian Tyler
120. "I'm back!" (Fern Gully) Alan Silvestri
121. Underwater Search [Part 1] (Titanic) FFDream10
122. News Report (Tron: Legacy) Daft Punk
123. Preparing for Battle (Star Trek Nemesis) Jerry Goldsmith
124. International Code (Independence Day) David Arnold
125. Tears in My Beers (Supernatural) Jay Gruska
126. March Over the Rooftops (Mary Poppins) Robert B. Sherman
127. Titanic Suite (Titanic) James Horner
128. Wolf 359 (DS9: "Emissary") Dennis McCarthy
129. Captain Borg (TNG: "Best of Both Worlds") Ron Jones
130. Theme of Sadness (The Neverending Story) Klaus Doldinger/Giorgio Moroder
131. Storm & The Dead (Battlestar Galactica Miniseries) Richard Gibbs
132. One Last Visit (DS9: "The Visitor") Dennis McCarthy
133. Kirk Takes Command (Star Trek II: The Wrath of Khan) James Horner
134. Hot and Heavy (The Black Hole) John Barry
135. Battle in the Mutara Nebula (Star Trek II: The Wrath of Khan) James Horner
136. No Threat (Star Trek: Insurrection) Jerry Goldsmith
137. Beamed to the Farm (VOY: "The Caretaker") Jay Chattaway
138. The Dish (Star Trek: First Contact) Jerry Goldsmith
139. No Success (Star Trek: First Contact) Jerry Goldsmith
140. Fully Functional (Star Trek: First Contact) Jerry Goldsmith
141. To the Rescue (TNG: "All Good Things") Dennis McCarthy
142. First Sign of Borg (Star Trek: First Contact) Joel Goldsmith
143. All the Time (Star Trek: First Contact) Jerry Goldsmith
144. Elegy for John (Supernatural) Christopher Lennertz
145. Flight of the Phoenix (Star Trek: First Contact) Jerry Goldsmith
146. Bird of Prey Decloaks (Star Trek III: The Search for Spock) James Horner
147. Battle in the Mutara Nebula (Star Trek II: The Wrath of Khan) James Horner
148. The Genesis Cave (Star Trek II: The Wrath of Khan) James Horner
149. First Contact Album Version (Star Trek: First Contact) Jerry Goldsmith
150. End Credits (Star Trek: First Contact) Jerry Goldsmith

Musical MotifsEdit

Like Specter before it, Redemption uses musical leitmotifs in its score:

  • Jerry Goldsmith's theme from Star Trek: Voyager is used frequently with Dr. Garr (both versions), and is used to represent his humanity.  It is heard in this capacity for the first time just before the Fitzgerald reaches Alcawell, as Garr visits Mitchell in Ten Forward and talks to her about reconciling with Kal.
  • Jay Chattaway's theme from The Inner Light, used in Specter's epilogue to represent Garr's innocence, reappears during an exchange between Ronston's Garr from 2399, and Captain Reyf in 2378, but tellingly is never heard in any scene with Dark Garr.
  • Diane Warren's instrumental version of "Faith of the Heart," the theme from Star Trek: Enterprise, became the ship's theme for the Fitzgerald in the first film, and was heard several times as the ship's musical identity.  That theme resurfaces multiple times in Redemption, first as the shuttle makes its final approach to DS9; then later as Ronston sees her ship through a window; third, as the ships leave the Beta Reticuli system; and finally, as Ronston sees her ship for the final time through the window of the shuttlecraft near the film's climax.

SetsEdit

The sets for Redemption were mostly the sets from Retribution, retextured to appear more like their TNG counterparts, and with brighter and more natural lighting schemes. Because the plot called for both the 2378 and 2399 versions of the sets to appear side by side, some 2399 sets were modified so as to be readily distinguishable from their 2378 counterparts.

In addition to re-using and redressing sets from the previous two films, several new sets were constructed specifically for Redemption.  In addition to a brig for the Fitzgerald--which appeared to be a recolored version of the Voyager brig--several new sets for the ISS Voyager were built, including the residential corridor, a full mess hall, as well as a new set for Garr's quarters.  They were seen briefly in Specter, following the nightmare sequence, though that set was an unlit re-dress of the Fitzgerald quarters set, and the shot was framed in such a way that only a few stock props were visible.  The new Voyager quarters set appeared to resemble Garr's quarters as seen at the end of Retribution; some of the same props were visible, as were diplomas that were seen in Garr's office in Specter.

The first trailer released offered glimpses of several original sets from Specter, notably the captain's ready room and the main corridors, and while there appeared to be some improvements in lighting, most of the sets otherwise appeared unchanged from the first film.

Promotional renders made available on Facebook on Friday, July 27, 2012 offered the first glimpse of the set for Dr. Garr's quarters aboard the 2399 version of the Fitzgerald, which differed from the brief look that appeared in the first and second trailers. Instead of a view of the Milky Way galaxy, the large wall monitor displays a view of a blue planet and moon, and the room appears fully furnished. The gold NCC-1701-A model, gold Triforce symbol, Delorean time machine, diplomas, antique television, and Risian Horga'hn remain on the set from Retribution; new additions included the photo of Kristie from the office at Starfleet Headquarters in Specter, a 3D chessboard, a camping lantern, bar of gold-pressed latinum, and large photo or painting on the far wall; and a Green Lantern from the franchise of the same name, and what appeared to be the Touchstone from the Stargate SG-1 episode of the same name on one momento shelf; an Atari and Nintendo Entertainment system on the other. Several photos also called attention to what appeared to be a framed photo autographed by MMA Fighter Tecia Torres, which one caption indicated was featured by special arrangement with Torres herself.

Dedication PlaqueEdit

Bridge Plate 00005

The dedication plaque of the USS F. Scott Fitzgerald NCC-85107-A, as seen in the opening scene of Star Trek III: Redemption.

For the first time, a closeup will be featured of the dedication plaque on the bridge set of the Fitzgerald. Because it was never clearly visible in either of the previous two films, a proper plaque was never made; instead, a rudimentary alteration was made to a scan of the plaque from the Enterprise-D. The new version sports the ship's complete name, the USS F. Scott Fitzgerald, and lists the ship as a "Mark-II Galaxy-class" starship.

The plaque changed multiple times during production of Redemption and Star Trek III Remastered.  The opening shot in the prologue sequence was reworked to replace the still shot with a close camera pass, which for the first time rendered the text clearly legible on screen (a similar pass was introduced at the end of Scene 68, "Cemetery of Dead Ships," just before Ronston addresses Dr. Garr).  Production stills showed that over the course of production of Star Trek III Remastered, at least three distinct versions of the plaque were used.  During the epilogue scene on the bridge of the Fitzgerald-B, that ship's dedication plaque was also clearly shown in a closeup, with a distinct set of names from its predecessor and a different ship's motto.

Third-Party ContributionsEdit

More than its two predecessors combined, Redemption features a number of assets contributed specifically for the production, rather than objects fortuitously located during the production process.

UniformsEdit

Redemption features a different uniform design for personnel in 2399 than was used in the previous two films. Specter and Retribution utilized the First Contact-style uniform made by Warrior (and available for download at 3DGladiators.com), with Voyager- and TNG-style variants created as needed. Redemption, on the other hand, features uniforms styled after those used in Star Trek: Online. Early clips featured a modified version of Warrior's original texture, however by the time the third scene was completed, new uniform textures had been created specially for use in the film by DeviantArt user DopiusFishius. The new uniforms were introduced in Scene 4, and earlier scenes were re-rendered to reflect the new uniforms during later production stopdowns.

TNG TricordersEdit

Redemption will feature new props for the scenes in 2378. Specter and Retribution had featured props from the now-defunct DTEMachine.com, including VOY-style tricorders, a hypospray, and a desk computer. For Redemption, new versions of those props would be featured--including for the first time a TNG-style science tricorder in what may be an in-universe retcon--courtesy of DeviantArt user TheMightyZoidZilla (see External Links below), who agreed to provide the props specifically for use in the production.

VOY TricorderEdit

The scenes set in 2378 and involving the crew from that year will feature the second-generation tricorders from Star Trek: Voyager, and for those scenes, a new and much more detailed 3D model by Tim Davies (DeviantArt user SuricataFX) will replace the previous model, originally from DTEMachine.com.

Type 25 ShuttleEdit

Later planned scenes will involve the use of a 2399-era shuttlecraft, in contrast to the Insurrection-style shuttlecraft already seen during the low-altitude flyover of Earth. Original script notes had indicated that the Volga-class runabout would play the role, however DeviantArt user JamieTakahashi granted the use of his Type-25 shuttle for those scenes.

LCARSEdit

For the first time since Specter, Redemption will feature all-new LCARS console graphics for the starship sets, including the bridge of the ISS Voyager, provided by Robert (Robert Brisson) and Deif (David Kleist), both from The LCARS Community. Adge's LCARs will continue to serve as graphics for animated computer screens.

Robert's improved graphics could first be seen in the Astrometrics set in Scene 12, on the side workstations and their control panels, though the original graphics from 2006 remained in use on the main consoles in the center of the room. Kleist's Future LCARS Concept (FLC) graphics have been slated to replace the more traditional graphics in the Fitzgerald shuttle cockpit, and this change will be introduced in the next full cut of Redemption to be released.

HD ScreencapsEdit

Acknowledgement was given in the film's end credits to TrekCore.com, explained via Facebook post as the source of HD screencaps which were used in refining the lighting and coloring of some of the sets.

ShipsEdit

ISS Voyager (Blue)

ISS Voyager Mk I

In addition to the USS F. Scott Fitzgerald, the ISS Voyager returns. The original, the Mark I, as seen in Specter and in Retribution, and a new version, the Mark II, being constructed by Drakus in 2367. The Mark II features a dark red hull and an overall darker color scheme in contrast to the Mark I.

ISS Voyager (Red)

ISS Voyager Mk II

It was stated during the production of Specter that the overall blue color scheme of the ISS Voyager was based on the character of Megabyte from the TV series ReBoot. The Mark II ISS Voyager seen in Redemption seems to have drawn its color scheme from the character Hexadecimal, from the same series.

In Specter, the ships' warp engines glowed a solid blue color, much like the visual effects of the TV series and films. Beginning with Retribution, however, the engines were shown to have a subtle shifting pattern to them, similar to the visual effects for the warp cores in Star Trek: The Motion Picture and Star Trek: Voyager. Clips shown in the trailer depict the engines as operating both ways, so it was not immediately apparent which standard (or both) would be featured in Redemption.

External LinksEdit

Star Trek III: RedemptionEdit

  • YouTube: Star Trek III: Redemption
  • YouTube: Star Trek: Time Warp Trilogy "Making Of" Featurette

Star Trek III RemasteredEdit

  • YouTube: Star Trek III: Redemption [Remastered]

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