WATCH STAR TREK FAN FILMS ON ROKU

Star Trek Continued is our updated NONcommercial (yes free and Ad-free) channel on Roku. The URL to the Roku store is very long and likely designed to direct you to the Roku site for your particular territory, such as the United States, Britain, and Germany. So, I’ll give you the general link for browsing, and then the link to “add” the channel to your Roku device. Of course, you may manually add the channel too simply by searching for Star Trek / Star Trek Continues / Continued. General Browser link: https://channelstore.roku.com/details/f98ddfa29e290dbb0cfb22e56c27b398:e1a98d1d2a684e1354c29a0a60742968/star-trek-continued-fan-films

And the “add link” which requires you to be logged into your Roku account in order to complete the add: https://my.roku.com/account/add?channel=phase2

What’s in it for me? Just the love for the Trek.

PS: If you would like to make a Star Trek fan film, then I’d love to be apart of it. The new Enterprise studio is in Sandusky, Ohio. And that’s just a two-hour drive from my home in Metro Detroit. I also talk film with fellow filmmakers and aspiring talent at our monthly Film Mixers. If you’re interested find me on Facebook.com/DeanLach.

OTOY and the Roddenberry Archive

NOT fan films, but I’ve decided to post some info and videos for those of you who have not (yet) enjoyed this wonderful homage to the origins, alumni and those who carry the Trek Torch. Note that most of these are very short but the last video is 10 minutes, so we think that’s cool. Cheers 😉

The Neutral Zone

From Georgia to the latest studio in Sandusky, Ohio. This page is and always will be in an “update” mode because more and more information is being shared with us from Facebook and other sources, like Ray and his construction-crew in Ohio.

So, there’s a hugh amount of history behind this studio. And although Vic is still involved, you’ll see alot of new info from Ray, who is the point-guy at the in-construction studio in Ohio.

Here’s a cool breakdown of sets from Star Trek alumni and Facebook…

“Hey STC Fans! Some of you have asked us how the rocks for our planet set were constructed. Here’s how we did it! For the most part they were a series of cardboard boxes beaten up and then covered in a spray foam insulation, much like in the original series. Because they were hollow and lightweight, they were easy to move around. When it came time to paint them, someone hit them with a big paint sprayer while Vic and other members of our crew stood beside them and threw handfuls of glitter on each structure! The paint fused the glitter to the rocks and made them look even more like the planet rocks we remember from TOS! The ultimate art project! Now that you know, maybe you’d like to try this on a smaller scale. If you do, send photos to our inbox and we’ll post them! (Looking at you, action figure and model enthusiasts!”

Horizon

One of my favorites, a well-done movie with great effects. BELOW is what is said about them, excerpted from Wiki, IMDB, and more: Tagline; In a time prior to the United Federation of Planets, a young coalition of worlds led by Earth battle the Romulan Star Empire for their very survival...

“Star Trek: Horizon won four of twelve categories in the 2017 Independent Star Trek Fan Film Awards (Best Special & Visual Effects; Best Original Music; Best Original Story or Screenplay; and Best Dramatic Presentation, Long Form), presented at and by Treklanta.

From Tommy, his note regarding a letter about IP use (this is a result of the AXE lawsuit which effected Tommy’s work and continues to (Axe) the rest of us to this day:

“Earlier today, executives from CBS reached out to me and advised me that their legal team strongly suggested that we do not move forward with plans to create a sequel to Horizon. While this is a sign of the current climate that we find ourselves in with Star Trek fan films, I want to personally thank CBS for reaching out to me, rather than including us in their ongoing lawsuit against Axanar.
“It was conveyed that the reason CBS was reaching out to me was due to the legal troubles stemming from the Axanar case. Again, CBS did not have to reach out personally. The message I received felt more like they were giving me a heads up before we got too involved in another project, rather than a group of angry executives swinging a hammer.
“On behalf of myself and Ryan Webber, my co-writer and co-producer on Federation Rising, we appreciate your initial support and are saddened that we cannot bring you what we believe was a fantastic feature film. However, rest assured that Ryan and I are committed to continuing our storytelling partnership with an original project. We also welcome other fan productions and fan film lovers to join us on this new venture.
“While we initially planned to debut our Kickstarter for Federation Rising this Saturday, we hope that you will instead stand with us as we announce an original sci-fi project that Ryan and I have been co-developing in addition to Federation Rising. We’re incredibly excited to tell you about this completely original story that follows the ideals set forth by Star Trek that Ryan and I have been such huge fans and admirers of our entire lives.”
– Tommy Kraft, Star Trek: Horizon creator

Watch Horizon on our Roku channel and don’t forget to support my efforts via paypal.me/moviesplus

Warp 66

Dan Reynolds and Glen L. Wolfe are a friend to Trek fan film lovers. Here are some excerpts from their studio website. And as usual I must preface that I do this to support the original site, especially if (if) the site goes down or info goes missing. So this is my homage to Glen and his team…

“Glen is a Writer, Producer, Director, Actor, Prop Builder and is well-known for his involvement in not only “The Federation Files” series episodes but has lent his talents on various other Star Trek Fan Films over the years.”

“Dan Reynolds is a Cinematographer, Sound Engineer, Composer, Music Producer, Actor, CG Effects Artist, Writer and performs most of the Post-Production duties for each episode of The Federation Files.”

The following is “Built from exact measurements from the original Star Trek series bluprints, WARP 66 Studios houses iconic sets like the Bridge, Sick Bay, The Transporter Room, Corridors, Briefing /Recreation Room, Captains Quarters and the Shuttle Craft interior.”

Note that I am going to soon build a page for the new Neutral Zone in Sandusky, Ohio — just as soon as Ray shares more pics with the public. For now, enjoy what Glen and Dan have accomplished, and let me know if IF you would like to shoot a fan-film in one of these Star Trek Fan-Owned Studios.

To help me support this site and my Roku channel (noncommercial of course.) See my paypal donation page: PayPal.Me

Yorktown: A Time To Heal, from 1985 to 2022, and Beam Me Up Sulu – a new documentary.

Okay, so as of May 2025 a new film, an Homage to the 1985/2022 Star Trek fan-film “Yorktown: A Time to Heal was released. Before I can post more about that, let’s take a quick look at Yorktown…

Yorktown: A Time to Heal was shot in 1985 with professional Super8 film. Oh, you may have heard of Super8 as a consumer level film format. That’s because for the most of us who know Super8, it was an elcheapo way of shooting film. We’d simply slap a Super8 cartridge into a cheap camera, and shoot. There was no sound, because (most not all) cartridges were film only — no mag-track and certainly no optical sound track was attached. And the film quality was meehhh, because the old camera’s only were equipped with a pull-down claw. There was no registration pin on consumer level cameras.

Well Yorktown is the exception. It was shot on a pro-camera, you can see the stillness, or I should say the clarity of the image. Was it shot on Reversal film? Likely, but that’s yet another technical thing that you likely are not interested in unless you’re an ole’ Cinematographer like myself. Okay, so now Yorktown is done, with all new SpFx. It’s fantastic and you may watch it courtesy of John Atkin, who completed the film recently.

Below is a bunch of copied and pasted info, with some of my interjections in [brackets.] So, of course pardon me for doing things the easy way. Or, maybe just appreciate the fact that I’m trying to document things just in case they get deleted or disappear, as fan-film websites often do. : Starring James Shigeta & George Takei. Directed by Da Han. Produced by Stan Woo. Original music by Chris Barr. Original song by Rayna. [Rayna does a great job on vocals and this music is wonderful, watch it on my Roku channel.] VFX Supervisor: Samuel Cockings. VFX by Samuel Cockings, Henry Gibbens, Roland Baron, and Tobias Richter. Executive Producer: Jem Ong Woo. Executive Producers: John Atkin, Glen Wolfe [of Warp 66 / Arkansas based Trek fan studio ] and Kasey Shafsky. A Stan Woo Production. An Eastern Picture. [Some work was done at the Neutral Zone studio, now in Sandusky, Ohio.]

Borrowed summary (Imdb:) Having escaped capture by the Klingons, a damaged Starfleet reconnaissance probe crashes undetected on the planet Pahl III. Hikaru Sulu, serving as first officer on the retrofitted USS Yorktown, is sent by Admiral Nogura [Shigeta] on a secret mission to help locate the missing spy drone. In order to prevent a catastrophic war from igniting with the Klingons, the USS Yorktown (under the command of Captain Bradley Frame) races against time to quickly find the lost drone, with orders to conceal its existence. At the same time, a terrorist group called S.H.A.R.K. discover the drone’s location, and plot to steal the device and use it for their own nefarious means.

Okay, and here is some BEAM ME UP SULU info:

Beam Me Up, Sulu — Highway Child is the dotcom. Here’s their description: Beam Me Up, Sulu

In 1985, George Takei helped a group of diehard Star Trek fans to make a student film in the California forest, but the footage mysteriously disappeared. Nearly 40 years later, Beam Me Up, Sulu tells the story of Takei’s extraordinary act of kindness, explores the history of Asian-American representation in television, and shows what Star Trek’s legacy of inclusion means to millions of fans.

Featuring: George Takei, Eugene Roddenberry, Alexander Siddig, Christina Chong, Ian Alexander, and Garrett Wang. [from Voyager] Directed by Timour Gregory and Sasha Schneider.

Add our Roku channel and watch more, it’s free, NONcommercial and umm, yeah free: https://my.roku.com/account/add/phase2

Below is what you’ll get if you google or smoogle it, but of course I’d like you to add my Roku channel.

Also, if IF, you’re a filmmaker, then see my MetroFilmFestival.com website and enter the fan-film festival. This year we’re screening films at my church, and the best films get streamed on my Roku channel, Website (here) and maybe other NONcommercial platforms.

PS: See the links for my paypal link, which is for donations, much needed to keep this site and the Roku channel afloat.

Dreadnaught Dominion

The Dreadnought Dominion Project takes place at the end of the third season of Star Trek (TOS, produced from 1966-70). Dominion introduces a Federation Class Starship with a tri-nacelle configuration first introduced in the “Star Trek Starfleet Technical Manual,” by Franz Joseph Designs (©1975 used with permission). This exciting new series chronicles the voyages of the U.S.S. Dominion NCC-2115 and her crew, commanded by Commodore Samuel Tobias Grissom.

There’s several episodes online, in the first program called “Haunted:” It has been two years since the Dominion was nearly destroyed in a savage, unprovoked attack. The Captain has been absolved of wrong doing, the ship has been repaired, and the re-launch is only hours away. Now, when the Captain (Commodore Grissom) finds that he is riddled with self doubts and guilt, he receives help from a very unlikely place.

Joan Marie Savage, Larry Fleming, John Sims, Dan Scanlan, Tracie Frank, Randy Wrenn, Gary Davis, and Allen Anderson in Redemption at Red Medusa (2019)

Anchors Away

It has been two years since the Dominion was nearly destroyed in a unprovoked attack. Admiral Bennett informs Commodore Grissom that his ship will launch in two weeks, but there is something big coming. Later, the crew assembles.Broken MIrror: “While investigating the strange behavior of a Romulan vessel, some of the Dominion crew become trapped in the mirror universe.”

Redemption at Red Medusa

Tue, Jun 4, 2019

Captain Jason Brousseau takes command of the DOMINION in this eighth outing of DREADNOUGHT DOMINION. The ship receives a mysterious distress signal which is reminiscent to the one that led the ship into a devastating ambush. Captain Brousseau and the crew must tread carefully and may end up finding Redemption at Red Medusa.Rate

Dreadnought Dominion (2015)

Broken Mirror

Mon, Jun 16, 2025

While investigating the strange behavior of a Romulan vessel, some of the Dominion crew become trapped in the mirror universe. The mission is one of deep space exploration, visiting Earth colonies, patrolling the Romulan Neutral Zone, and first contact with new civilizations.

We plan to post episodes for you to watch on our Roku channel, meanwhile you may watch via the posts below. But before we go, let’s take a look at the recent series called Project Runabout, which is well received on Youtube. Tell us how you like it (comment below please.)

Pilot – A Project Runabout: Film:

In this pilot for Project Runabout, a young pilot defends herself from a ruthless enemy and discovers the fight that is within herself.

Yorktown – A Project Runabout Film

21,072 views…Premiered Jul 17, 2022. When the Runabout: Rio Grande is sent to investigate a mysterious rift in space, the crew must stop a madman who threatens to erase Captain Brousseau of the Dominion from history.

It’s All Done With Mirrors – A Project Runabout film

The latest…The crew of the Runabout Rio Grande attempt to deliver Kataka’s portal opening device to the Department of Temporal Investigations. Meanwhile, the Romulans have other ideas. 0:00 – Intro 1:50 – Opening Credits 2:41 – Distress call 4:24 – On the Planet 8:38 – Pirate Standoff 11:34 – Dog fight 13:06 – Meanwhile on the Valdore 15:01 – Meet Agent Dresh 16:56 – DTI attack 19:12 – Delivering Lt Hann 19:49 – Paging Captain Farrell 20:55 – Mixed Signals.

I’ll have more for you about this series in the future. I really like it. Here’s the poster:

Aurora (A Northern Lights Movie)

I produced this relaxing film from dozens of short video clips that the International Space Station captured. I placed some relaxing music with it, so I think you’ll enjoy just chilling out to the visuals and music. It’s commercial free on my Roku channels. For those of you who like Science, below is information from NASA…

Sorry folks, this page is heavy on Direct links to Wikipedia!

Auroras, The Northern Lights

by Dean Lach in Science

Recently I compiled some really cool videos of the Aurora’s as seen from the International Space Station. It’s on the free, ad-free Martian Poop Roku channel.

Here’s some more info on the northern lights (aurora borealis) or southern lights (aurora australis),[c] is a natural light display in Earth’s sky, predominantly seen in high-latitude regions (around the Arctic and Antarctic). Auroras display dynamic patterns of brilliant lights that appear as curtains, rays, spirals, or dynamic flickers covering the entire sky.

Auroras are the result of disturbances in the Earth’s magnetosphere caused by the solar wind. Major disturbances result from enhancements in the speed of the solar wind from coronal holes and coronal mass ejections. These disturbances alter the trajectories of charged particles in the magnetospheric plasma. These particles, mainly electrons and protons, precipitate into the upper atmosphere (thermosphere/exosphere). The resulting ionization and excitation of atmospheric constituents emit light of varying colour and complexity. The form of the aurora, occurring within bands around both polar regions, is also dependent on the amount of acceleration imparted to the precipitating particles.

Planets in the Solar System, brown dwarfs, comets, and some natural satellites also host auroras.

Etymology

The term aurora borealis was coined by Galileo Galilei in 1619, from the Roman Aurora, goddess of the dawn, and the Greek Boreas, god of the cold north wind.

The word aurora is derived from the name of the Roman goddess of the dawn, Aurora, who travelled from east to west announcing the coming of the Sun. Aurora was first used in English in the 14th century.] The words borealis and australis are derived from the names of the ancient gods of the north wind (Boreas) and the south wind (Auster or australis) in Greco-Roman mythology.

Aurora borealis was first used to describe the northern lights by the French philosopher, Pierre Gassendi (also called Petrus Gassendus) in 1621, then entered English in 1828.

Occurrence

Earth’s night-side upper atmosphere appearing from the bottom as bands of afterglow illuminating the troposphere in orange with silhouettes of clouds, and the stratosphere in white and blue. Next the mesosphere (pink area) extends to the orange and faintly green line of the lowest airglow, at about one hundred kilometres at the edge of space and the lower edge of the thermosphere (invisible). Continuing with green and red bands of aurorae stretching over several hundred kilometres.

Auroras are most commonly observed in the “auroral zone”, a band approximately 6° (~660 km) wide in latitude centered on 67° north and south.[7] The region that currently displays an aurora is called the “auroral oval”. The oval is displaced by the solar wind, pushing it about 15° away from the geomagnetic pole (not the geographic pole) in the noon direction and 23° away in the midnight direction.[7] The peak equatorward extent of the oval is displaced slightly from geographic midnight. It is centered about 3–5° nightward of the magnetic pole, so that auroral arcs reach furthest toward the equator when the magnetic pole in question is in between the observer and the Sun, which is called magnetic midnight.

Early evidence for a geomagnetic connection comes from the statistics of auroral observations. Elias Loomis (1860),and later Hermann Fritz (1881) and Sophus Tromholt (1881)] in more detail, established that the aurora appeared mainly in the auroral zone.

In northern latitudes, the effect is known as the aurora borealis or the northern lights. The southern counterpart, the aurora australis or the southern lights, has features almost identical to the aurora borealis and changes simultaneously with changes in the northern auroral zone. The aurora australis is visible from high southern latitudes in Antarctica, the Southern Cone, South Africa, Australasia, the Falkland Islands, and under exceptional circumstances as far north as Uruguay.[12] The aurora borealis is visible from areas around the Arctic such as Alaska, Canada, Iceland, Greenland, the Faroe Islands, Scandinavia, Finland, Scotland, and Russia. A geomagnetic storm causes the auroral ovals (north and south) to expand, bringing the aurora to lower latitudes. On rare occasions, the aurora borealis can be seen as far south as the Mediterranean and the southern states of the US while the aurora australis can be seen as far north as New Caledonia and the Pilbara region in Western Australia. During the Carrington Event, the greatest geomagnetic storm ever observed, auroras were seen even in the tropics.

Auroras seen within the auroral oval may be directly overhead. From farther away, they illuminate the poleward horizon as a greenish glow, or sometimes a faint red, as if the Sun were rising from an unusual direction. Auroras also occur poleward of the auroral zone as either diffuse patches or arcs,[13] which can be subvisual.

Videos of the aurora australis taken by the crew of Expedition 28 on board the International Space Station.

Duration: 34 seconds.0:34

This sequence of shots was taken 17 September 2011 from 17:22:27 to 17:45:12 GMT, on an ascending pass from south of Madagascar to just north of Australia over the Indian Ocean.

Duration: 19 seconds.0:19

This sequence of shots was taken 7 September 2011 from 17:38:03 to 17:49:15 GMT, from the French Southern and Antarctic Lands in the South Indian Ocean to southern Australia.

Duration: 27 seconds.0:27

This sequence of shots was taken 11 September 2011 from 13:45:06 to 14:01:51 GMT, from a descending pass near eastern Australia, rounding about to an ascending pass to the east of New Zealand.

NOAA maps of North America and Eurasia

North America

Eurasia

These maps show the local midnight equatorward boundary of the aurora at different levels of geomagnetic activity as of 28 October 2011 – these maps change as the location of the geomagnetic poles change. A K-index of Kp= 3 corresponds to relatively low levels of geomagnetic activity, while Kp= 9 represents high levels.

Auroras are occasionally seen in latitudes below the auroral zone, when a geomagnetic storm temporarily enlarges the auroral oval. (I was lucky enough to see the Northern Lights just outside of Detroit while at Proud Lake Camp many-years ago.) Large geomagnetic storms are most common during the peak of the 11-year sunspot cycle or during the three years after the peak.[14][15] An electron spirals (gyrates) about a field line at an angle that is determined by its velocity vectors, parallel and perpendicular, respectively, to the local geomagnetic field vector B. This angle is known as the “pitch angle” of the particle. The distance, or radius, of the electron from the field line at any time is known as its Larmor radius. The pitch angle increases as the electron travels to a region of greater field strength nearer to the atmosphere. Thus, it is possible for some particles to return, or mirror, if the angle becomes 90° before entering the atmosphere to collide with the denser molecules there. Other particles that do not mirror enter the atmosphere and contribute to the auroral display over a range of altitudes. Other types of auroras have been observed from space; for example, “poleward arcs” stretching sunward across the polar cap, the related “theta aurora”,[16] and “dayside arcs” near noon. These are relatively infrequent and poorly understood. Other interesting effects occur such as pulsating aurora, “black aurora” and their rarer companion “anti-black aurora” and subvisual red arcs. In addition to all these, a weak glow (often deep red) observed around the two polar cusps, the field lines separating the ones that close through Earth from those that are swept into the tail and close remotely.

Images

 Duration: 11 seconds.0:11Video of the complete aurora australis by IMAGE, superimposed over a digital image of Earth

Early work on the imaging of the auroras was done in 1949 by the University of Saskatchewan using the SCR-270 radar.[17] The altitudes where auroral emissions occur were revealed by Carl Størmer and his colleagues, who used cameras to triangulate more than 12,000 auroras.[18] They discovered that most of the light is produced between 90 and 150 km (56 and 93 mi) above the ground, while extending at times to more than 1,000 km (620 mi).

Forms

According to Clark (2007), there are five main forms that can be seen from the ground, from least to most visible:[19]

Different formsDivergence point of a coronal aurora

  • A mild glow, near the horizon. These can be close to the limit of visibility, but can be distinguished from moonlit clouds because stars can be seen undiminished through the glow.
  • Patches or surfaces that look like clouds.
  • Arcs curve across the sky.
  • Rays are light and dark stripes across arcs, reaching upwards by various amounts.
  • Coronas cover much of the sky and diverge from one point on it.

Brekke (1994) also described some auroras as “curtains”. The similarity to curtains is often enhanced by folds within the arcs. Arcs can fragment or break up into separate, at times rapidly changing, often rayed features that may fill the whole sky. These are also known as discrete auroras, which are at times bright enough to read a newspaper by at night.

These forms are consistent with auroras being shaped by Earth’s magnetic field. The appearances of arcs, rays, curtains, and coronas are determined by the shapes of the luminous parts of the atmosphere and a viewer’s position.

Colours and wavelengths of auroral light

  • Red: At its highest altitudes, excited atomic oxygen emits at 630 nm (red); low concentration of atoms and lower sensitivity of eyes at this wavelength make this colour visible only under more intense solar activity. The low number of oxygen atoms and their gradually diminishing concentration is responsible for the faint appearance of the top parts of the “curtains”. Scarlet, crimson, and carmine are the most often-seen hues of red for the auroras.[citation needed]
  • Green: At lower altitudes, the more frequent collisions suppress the 630 nm (red) mode: rather the 557.7 nm emission (green) dominates. A fairly high concentration of atomic oxygen and higher eye sensitivity in green make green auroras the most common. The excited molecular nitrogen (atomic nitrogen being rare due to the high stability of the N2 molecule) plays a role here, as it can transfer energy by collision to an oxygen atom, which then radiates it away at the green wavelength. (Red and green can also mix together to produce pink or yellow hues.) The rapid decrease of concentration of atomic oxygen below about 100 km is responsible for the abrupt-looking end of the lower edges of the curtains. Both the 557.7 and 630.0 nm wavelengths correspond to forbidden transitions of atomic oxygen, a slow mechanism responsible for the graduality (0.7 s and 107 s respectively) of flaring and fading.[citation needed]

2024 appearance seen in England radiating blue through red aurora

  • Blue: At yet lower altitudes, atomic oxygen is uncommon, and molecular nitrogen and ionized molecular nitrogen take over in producing visible light emission, radiating at a large number of wavelengths in both red and blue parts of the spectrum, with 428 nm (blue) being dominant. Blue and purple emissions, typically at the lower edges of the “curtains”, show up at the highest levels of solar activity.[24] The molecular nitrogen transitions are much faster than the atomic oxygen ones.
  • Ultraviolet: Ultraviolet radiation from auroras (within the optical window but not visible to virtually all[clarification needed] humans) has been observed with the requisite equipment. Ultraviolet auroras have also been seen on Mars,[25] Jupiter, and Saturn.
  • Infrared: Infrared radiation, in wavelengths that are within the optical window, is also part of many auroras.
  • Yellow and pink are a mix of red and green or blue. Other shades of red, as well as orange and gold, may be seen on rare occasions; yellow-green is moderately common.[clarification needed] As red, green, and blue are linearly independent colours, additive synthesis could, in theory, produce most human-perceived colours, but the ones mentioned in this article comprise a virtually exhaustive list.

Changes with time

Construction of a keogram from one night’s recording by an all-sky camera, 6/7 September 2021. Keograms are commonly used to visualize changes in aurorae over time.

Auroras change with time. Over the night they begin with glows and progress toward coronas, although they may not reach them. They tend to fade in the opposite order.[21] Until about 1963, it was thought that these changes are due to the rotation of the Earth under a pattern fixed with respect to the Sun. Later, it was found by comparing all-sky films of auroras from different places (collected during the International Geophysical Year) that they often undergo global changes in a process called auroral substorm. They change in a few minutes from quiet arcs all along the auroral oval to active displays along the darkside and after 1–3 hours they gradually change back.[27] Changes in auroras over time are commonly visualized using keograms.[28]

At shorter time scales, auroras can change their appearances and intensity, sometimes so slowly as to be difficult to notice, and at other times rapidly down to the sub-second scale.[22] The phenomenon of pulsating auroras is an example of intensity variations over short timescales, typically with periods of 2–20 seconds. This type of aurora is generally accompanied by decreasing peak emission heights of about 8 km for blue and green emissions and above average solar wind speeds (c. 500 km/s).[29]

Other auroral radiation

In addition, the aurora and associated currents produce a strong radio emission around 150 kHz known as auroral kilometric radiation (AKR), discovered in 1972.[30] Ionospheric absorption makes AKR only observable from space. X-ray emissions, originating from the particles associated with auroras, have also been detected.[31]

Noise

Aurora noise, similar to a crackling noise, begins about 70 m (230 ft) above Earth’s surface and is caused by charged particles in an inversion layer of the atmosphere formed during a cold night. The charged particles discharge when particles from the Sun hit the inversion layer, creating the noise.[32][33]

Unusual types

STEVE

In 2016, more than fifty citizen science observations described what was to them an unknown type of aurora which they named “STEVE“, for “Strong Thermal Emission Velocity Enhancement”. STEVE is not an aurora but is caused by a 25 km (16 mi) wide ribbon of hot plasma at an altitude of 450 km (280 mi), with a temperature of 3,000 °C (3,270 K; 5,430 °F) and flowing at a speed of 6 km/s (3.7 mi/s) (compared to 10 m/s (33 ft/s) outside the ribbon).[34]

Picket-fence aurora

The processes that cause STEVE are also associated with a picket-fence aurora, although the latter can be seen without STEVE.[35][36] It is an aurora because it is caused by precipitation of electrons in the atmosphere but it appears outside the auroral oval,[37] closer to the equator than typical auroras.[38] When the picket-fence aurora appears with STEVE, it is below.

Dune aurora

First reported in 2020,[39][40] and confirmed in 2021,[41][42] the dune aurora phenomenon was discovered[43] by Finnish citizen scientists. It consists of regularly-spaced, parallel stripes of brighter emission in the green diffuse aurora which give the impression of sand dunes.[44] The phenomenon is believed to be caused by the modulation of atomic oxygen density by a large-scale atmospheric wave travelling horizontally in a waveguide through an inversion layer in the mesosphere in presence of electron precipitation.[41]

Horse-collar aurora

Horse-collar auroras (HCA) are auroral features in which the auroral ellipse shifts poleward during the dawn and dusk portions and the polar cap becomes teardrop-shaped. They form during periods when the interplanetary magnetic field (IMF) is permanently northward, when the IMF clock angle is small. Their formation is associated with the closure of the magnetic flux at the top of the dayside magnetosphere by the double lobe reconnection (DLR). There are approximately 8 HCA events per month, with no seasonal dependence, and that the IMF must be within 30 degrees of northwards.[45]

Conjugate auroras

Conjugate auroras are nearly exact mirror-image auroras found at conjugate points in the northern and southern hemispheres on the same geomagnetic field lines. These generally happen at the time of the equinoxes, when there is little difference in the orientation of the north and south geomagnetic poles to the sun. Attempts were made to image conjugate auroras by aircraft from Alaska and New Zealand in 1967, 1968, 1970, and 1971, with some success.[46]

Causes

A full understanding of the physical processes which lead to different types of auroras is still incomplete, but the basic cause involves the interaction of the solar wind with Earth’s magnetosphere. The varying intensity of the solar wind produces effects of different magnitudes but includes one or more of the following physical scenarios.

  1. A quiescent solar wind flowing past Earth’s magnetosphere steadily interacts with it and can both inject solar wind particles directly onto the geomagnetic field lines that are ‘open’, as opposed to being ‘closed’ in the opposite hemisphere and provide diffusion through the bow shock. It can also cause particles already trapped in the radiation belts to precipitate into the atmosphere. Once particles are lost to the atmosphere from the radiation belts, under quiet conditions, new ones replace them only slowly, and the loss-cone becomes depleted. In the magnetotail, however, particle trajectories seem constantly to reshuffle, probably when the particles cross the very weak magnetic field near the equator. As a result, the flow of electrons in that region is nearly the same in all directions (“isotropic”) and assures a steady supply of leaking electrons. The leakage of electrons does not leave the tail positively charged, because each leaked electron lost to the atmosphere is replaced by a low energy electron drawn upward from the ionosphere. Such replacement of “hot” electrons by “cold” ones is in complete accord with the second law of thermodynamics. The complete process, which also generates an electric ring current around Earth, is uncertain.
  2. Geomagnetic disturbance from an enhanced solar wind causes distortions of the magnetotail (“magnetic substorms”). These ‘substorms’ tend to occur after prolonged spells (on the order of hours) during which the interplanetary magnetic field has had an appreciable southward component. This leads to a higher rate of interconnection between its field lines and those of Earth. As a result, the solar wind moves magnetic flux (tubes of magnetic field lines, ‘locked’ together with their resident plasma) from the day side of Earth to the magnetotail, widening the obstacle it presents to the solar wind flow and constricting the tail on the night-side. Ultimately some tail plasma can separate (“magnetic reconnection“); some blobs (“plasmoids“) are squeezed downstream and are carried away with the solar wind; others are squeezed toward Earth where their motion feeds strong outbursts of auroras, mainly around midnight (“unloading process”). A geomagnetic storm resulting from greater interaction adds many more particles to the plasma trapped around Earth, also producing enhancement of the “ring current”. Occasionally the resulting modification of Earth’s magnetic field can be so strong that it produces auroras visible at middle latitudes, on field lines much closer to the equator than those of the auroral zone.Moon and aurora
  3. Acceleration of auroral charged particles invariably accompanies a magnetospheric disturbance that causes an aurora. This mechanism, which is believed to predominantly arise from strong electric fields along the magnetic field or wave-particle interactions, raises the velocity of a particle in the direction of the guiding magnetic field. The pitch angle is thereby decreased and increases the chance of it being precipitated into the atmosphere. Both electromagnetic and electrostatic waves, produced at the time of greater geomagnetic disturbances, make a significant contribution to the energizing processes that sustain an aurora. Particle acceleration provides a complex intermediate process for transferring energy from the solar wind indirectly into the atmosphere.

Aurora australis (11 September 2005) as captured by NASA’s IMAGE satellite, digitally overlaid onto The Blue Marble composite image. An animation created using the same satellite data is also available.

The details of these phenomena are not fully understood. However, it is clear that the prime source of auroral particles is the solar wind feeding the magnetosphere, the reservoir containing the radiation zones and temporarily magnetically trapped particles confined by the geomagnetic field, coupled with particle acceleration processes.[47]

Auroral particles

The immediate cause of the ionization and excitation of atmospheric constituents leading to auroral emissions was discovered in 1960, when a pioneering rocket flight from Fort Churchill in Canada revealed a flux of electrons entering the atmosphere from above.[48] Since then an extensive collection of measurements has been acquired painstakingly and with steadily improving resolution since the 1960s by many research teams using rockets and satellites to traverse the auroral zone. The main findings have been that auroral arcs and other bright forms are due to electrons that have been accelerated during the final few 10,000 km or so of their plunge into the atmosphere.[49] These electrons often, but not always, exhibit a peak in their energy distribution, and are preferentially aligned along the local direction of the magnetic field.

Electrons mainly responsible for diffuse and pulsating auroras have, in contrast, a smoothly falling energy distribution, and an angular (pitch-angle) distribution favouring directions perpendicular to the local magnetic field. Pulsations were discovered to originate at or close to the equatorial crossing point of auroral zone magnetic field lines.[50] Protons are also associated with auroras, both discrete and diffuse.

Atmosphere

Auroras result from emissions of photons in Earth’s upper atmosphere, above 80 km (50 mi), from ionized nitrogen atoms regaining an electron, and oxygen atoms and nitrogen based molecules returning from an excited state to ground state.[51] They are ionized or excited by the collision of particles precipitated into the atmosphere. Both incoming electrons and protons may be involved. Excitation energy is lost within the atmosphere by the emission of a photon, or by collision with another atom or molecule:Oxygen emissionsgreen or orange-red, depending on the amount of energy absorbed.Nitrogen emissionsblue, purple or red; blue and purple if the molecule regains an electron after it has been ionized, red if returning to ground state from an excited state.

Oxygen is unusual in terms of its return to ground state: it can take 0.7 seconds to emit the 557.7 nm green light and up to two minutes for the red 630.0 nm emission. Collisions with other atoms or molecules absorb the excitation energy and prevent emission; this process is called collisional quenching. Because the highest parts of the atmosphere contain a higher percentage of oxygen and lower particle densities, such collisions are rare enough to allow time for oxygen to emit red light. Collisions become more frequent progressing down into the atmosphere due to increasing density, so that red emissions do not have time to happen, and eventually, even green light emissions are prevented.

This is why there is a colour differential with altitude; at high altitudes oxygen red dominates, then oxygen green and nitrogen blue/purple/red, then finally nitrogen blue/purple/red when collisions prevent oxygen from emitting anything. Green is the most common colour. Then comes pink, a mixture of light green and red, followed by pure red, then yellow (a mixture of red and green), and finally, pure blue.

Precipitating protons generally produce optical emissions as incident hydrogen atoms after gaining electrons from the atmosphere. Proton auroras are usually observed at lower latitudes.[52]

Ionosphere

Bright auroras are generally associated with Birkeland currents (Schield et al., 1969;[53] Zmuda and Armstrong, 1973[54]), which flow down into the ionosphere on one side of the pole and out on the other. In between, some of the current connects directly through the ionospheric E layer (125 km); the rest (“region 2”) detours, leaving again through field lines closer to the equator and closing through the “partial ring current” carried by magnetically trapped plasma. The ionosphere is an ohmic conductor, so some consider that such currents require a driving voltage, which an, as yet unspecified, dynamo mechanism can supply. Electric field probes in orbit above the polar cap suggest voltages of the order of 40,000 volts, rising up to more than 200,000 volts during intense magnetic storms. In another interpretation, the currents are the direct result of electron acceleration into the atmosphere by wave/particle interactions.

Ionospheric resistance has a complex nature, and leads to a secondary Hall current flow. By a strange twist of physics, the magnetic disturbance on the ground due to the main current almost cancels out, so most of the observed effect of auroras is due to a secondary current, the auroral electrojet. An auroral electrojet index (measured in nanotesla) is regularly derived from ground data and serves as a general measure of auroral activity. Kristian Birkeland[55] deduced that the currents flowed in the east–west directions along the auroral arc, and such currents, flowing from the dayside toward (approximately) midnight were later named “auroral electrojets” (see also Birkeland currents). Ionosphere can contribute to the formation of auroral arcs via the feedback instability under high ionospheric resistance conditions, observed at night time and in dark Winter hemisphere.[56]

Interaction of the solar wind with Earth

Earth is constantly immersed in the solar wind, a flow of magnetized hot plasma (a gas of free electrons and positive ions) emitted by the Sun in all directions, a result of the two-million-degree temperature of the Sun’s outermost layer, the corona. The solar wind reaches Earth with a velocity typically around 400 km/s, a density of around 5 ions/cm3 and a magnetic field intensity of around 2–5 nT (for comparison, Earth’s surface field is typically 30,000–50,000 nT). During magnetic storms, in particular, flows can be several times faster; the interplanetary magnetic field (IMF) may also be much stronger. Joan Feynman deduced in the 1970s that the long-term averages of solar wind speed correlated with geomagnetic activity.[57] Her work resulted from data collected by the Explorer 33 spacecraft.

The solar wind and magnetosphere consist of plasma (ionized gas), which conducts electricity. It is well known (since Michael Faraday‘s work around 1830) that when an electrical conductor is placed within a magnetic field while relative motion occurs in a direction that the conductor cuts across (or is cut by), rather than along, the lines of the magnetic field, an electric current is induced within the conductor. The strength of the current depends on a) the rate of relative motion, b) the strength of the magnetic field, c) the number of conductors ganged together and d) the distance between the conductor and the magnetic field, while the direction of flow is dependent upon the direction of relative motion. Dynamos make use of this basic process (“the dynamo effect“), any and all conductors, solid or otherwise are so affected, including plasmas and other fluids.

The IMF originates on the Sun, linked to the sunspots, and its field lines (lines of force) are dragged out by the solar wind. That alone would tend to line them up in the Sun-Earth direction, but the rotation of the Sun angles them at Earth by about 45 degrees forming a spiral in the ecliptic plane, known as the Parker spiral. The field lines passing Earth are therefore usually linked to those near the western edge (“limb”) of the visible Sun at any time.[58]

The solar wind and the magnetosphere, being two electrically conducting fluids in relative motion, should be able in principle to generate electric currents by dynamo action and impart energy from the flow of the solar wind. However, this process is hampered by the fact that plasmas conduct readily along magnetic field lines, but less readily perpendicular to them. Energy is more effectively transferred by the temporary magnetic connection between the field lines of the solar wind and those of the magnetosphere. Unsurprisingly this process is known as magnetic reconnection. As already mentioned, it happens most readily when the interplanetary field is directed southward, in a similar direction to the geomagnetic field in the inner regions of both the north magnetic pole and south magnetic pole.

Auroras are more frequent and brighter during the intense phase of the solar cycle when coronal mass ejections increase the intensity of the solar wind.[59]

Magnetosphere

Schematic of Earth’s magnetosphere

Earth’s magnetosphere is shaped by the impact of the solar wind on Earth’s magnetic field. This forms an obstacle to the flow, diverting it, at an average distance of about 70,000 km (11 Earth radii or Re),[60] producing a bow shock 12,000 km to 15,000 km (1.9 to 2.4 Re) further upstream. The width of the magnetosphere abreast of Earth is typically 190,000 km (30 Re), and on the night side a long “magnetotail” of stretched field lines extends to great distances (> 200 Re).

The high latitude magnetosphere is filled with plasma as the solar wind passes Earth. The flow of plasma into the magnetosphere increases with additional turbulence, density, and speed in the solar wind. This flow is favoured by a southward component of the IMF, which can then directly connect to the high latitude geomagnetic field lines.[61] The flow pattern of magnetospheric plasma is mainly from the magnetotail toward Earth, around Earth and back into the solar wind through the magnetopause on the day-side. In addition to moving perpendicular to Earth’s magnetic field, some magnetospheric plasma travels down along Earth’s magnetic field lines, gains additional energy and loses it to the atmosphere in the auroral zones. The cusps of the magnetosphere, separating geomagnetic field lines that close through Earth from those that close remotely allow a small amount of solar wind to directly reach the top of the atmosphere, producing an auroral glow.

On 26 February 2008, THEMIS probes were able to determine, for the first time, the triggering event for the onset of magnetospheric substorms.[62] Two of the five probes, positioned approximately one third the distance to the Moon, measured events suggesting a magnetic reconnection event 96 seconds prior to auroral intensification.[63]

Geomagnetic storms that ignite auroras may occur more often during the months around the equinoxes. It is not well understood, but geomagnetic storms may vary with Earth’s seasons. Two factors to consider are the tilt of both the solar and Earth’s axis to the ecliptic plane. As Earth orbits throughout a year, it experiences an interplanetary magnetic field (IMF) from different latitudes of the Sun, which is tilted at 8 degrees. Similarly, the 23-degree tilt of Earth’s axis about which the geomagnetic pole rotates with a diurnal variation changes the daily average angle that the geomagnetic field presents to the incident IMF throughout a year. These factors combined can lead to minor cyclical changes in the detailed way that the IMF links to the magnetosphere. In turn, this affects the average probability of opening a door[colloquialism] through which energy from the solar wind can reach Earth’s inner magnetosphere and thereby enhance auroras. Recent evidence in 2021 has shown that individual separate substorms may in fact be correlated networked communities.[64]

Auroral particle acceleration

Just as there are many types of aurora, there are many different mechanisms that accelerate auroral particles into the atmosphere. Electron aurora in Earth’s auroral zone (i.e. commonly visible aurora) can be split into two main categories with different immediate causes: diffuse and discrete aurora. Diffuse aurora appear relatively structureless to an observer on the ground, with indistinct edges and amorphous forms. Discrete aurora are structured into distinct features with well-defined edges such as arcs, rays and coronas; they also tend to be much brighter than the diffuse aurora.

In both cases, the electrons that eventually cause the aurora start out as electrons trapped by the magnetic field in Earth’s magnetosphere. These trapped particles bounce back and forth along magnetic field lines and are prevented from hitting the atmosphere by the magnetic mirror formed by the increasing magnetic field strength closer to Earth. The magnetic mirror’s ability to trap a particle depends on the particle’s pitch angle: the angle between its direction of motion and the local magnetic field. An aurora is created by processes that decrease the pitch angle of many individual electrons, freeing them from the magnetic trap and causing them to hit the atmosphere.

In the case of diffuse auroras, the electron pitch angles are altered by their interaction with various plasma waves. Each interaction is essentially wave-particle scattering; the electron energy after interacting with the wave is similar to its energy before interaction, but the direction of motion is altered. If the final direction of motion after scattering is close to the field line (specifically, if it falls within the loss cone) then the electron will hit the atmosphere. Diffuse auroras are caused by the collective effect of many such scattered electrons hitting the atmosphere. The process is mediated by the plasma waves, which become stronger during periods of high geomagnetic activity, leading to increased diffuse aurora at those times.

In the case of discrete auroras, the trapped electrons are accelerated toward Earth by electric fields that form at an altitude of about 4000–12000 km in the “auroral acceleration region”. The electric fields point away from Earth (i.e. upward) along the magnetic field line.[65] Electrons moving downward through these fields gain a substantial amount of energy (on the order of a few keV) in the direction along the magnetic field line toward Earth. This field-aligned acceleration decreases the pitch angle for all of the electrons passing through the region, causing many of them to hit the upper atmosphere. In contrast to the scattering process leading to diffuse auroras, the electric field increases the kinetic energy of all of the electrons transiting downward through the acceleration region by the same amount. This accelerates electrons starting from the magnetosphere with initially low energies (tens of eV or less) to energies required to create an aurora (100s of eV or greater), allowing that large source of particles to contribute to creating auroral light.

The accelerated electrons carry an electric current along the magnetic field lines (a Birkeland current). Since the electric field points in the same direction as the current, there is a net conversion of electromagnetic energy into particle energy in the auroral acceleration region (an electric load). The energy to power this load is eventually supplied by the magnetized solar wind flowing around the obstacle of Earth’s magnetic field, although exactly how that power flows through the magnetosphere is still an active area of research.[66] While the energy to power the aurora is ultimately derived from the solar wind, the electrons themselves do not travel directly from the solar wind into Earth’s auroral zone; magnetic field lines from these regions do not connect to the solar wind, so there is no direct access for solar wind electrons.

Some auroral features are also created by electrons accelerated by dispersive Alfvén waves. At small wavelengths transverse to the background magnetic field (comparable to the electron inertial length or ion gyroradius), Alfvén waves develop a significant electric field parallel to the background magnetic field. This electric field can accelerate electrons to keV energies, significant to produce auroral arcs.[67] If the electrons have a speed close to that of the wave’s phase velocity, they are accelerated in a manner analogous to a surfer catching an ocean wave.[68][69] This constantly-changing wave electric field can accelerate electrons along the field line, causing some of them to hit the atmosphere. Electrons accelerated by this mechanism tend to have a broad energy spectrum, in contrast to the sharply-peaked energy spectrum typical of electrons accelerated by quasi-static electric fields.

In addition to the discrete and diffuse electron aurora, proton aurora is caused when magnetospheric protons collide with the upper atmosphere. The proton gains an electron in the interaction, and the resulting neutral hydrogen atom emits photons. The resulting light is too dim to be seen with the naked eye. Other aurora not covered by the above discussion include transpolar arcs (formed poleward of the auroral zone), cusp aurora (formed in two small high-latitude areas on the dayside) and some non-terrestrial auroras.

Historically significant events

The discovery of a 1770 Japanese diary in 2017 depicting auroras above the ancient Japanese capital of Kyoto suggested that the storm may have been 7% larger than the Carrington event, which affected telegraph networks.[70][71]

The auroras that resulted from the Carrington event on both 28 August and 2 September 1859, are thought to be the most spectacular in recent history. In a paper to the Royal Society on 21 November 1861, Balfour Stewart described both auroral events as documented by a self-recording magnetograph at the Kew Observatory and established the connection between the 2 September 1859 auroral storm and the Carrington–Hodgson flare event when he observed that “It is not impossible to suppose that in this case our luminary was taken in the act.”[72] The second auroral event, which occurred on 2 September 1859, was a result of the (unseen) coronal mass ejection associated with the exceptionally intense Carrington–Hodgson white light solar flare on 1 September 1859. This event produced auroras so widespread and extraordinarily bright that they were seen and reported in published scientific measurements, ship logs, and newspapers throughout the United States, Europe, Japan, and Australia. It was reported by The New York Times that in Boston on Friday 2 September 1859 the aurora was “so brilliant that at about one o’clock ordinary print could be read by the light”.[73] One o’clock EST time on Friday 2 September would have been 6:00 GMT; the self-recording magnetograph at the Kew Observatory was recording the geomagnetic storm, which was then one hour old, at its full intensity. Between 1859 and 1862, Elias Loomis published a series of nine papers on the Great Auroral Exhibition of 1859 in the American Journal of Science where he collected worldwide reports of the auroral event.[8]

That aurora is thought to have been produced by one of the most intense coronal mass ejections in history. It is also notable for the fact that it is the first time where the phenomena of auroral activity and electricity were unambiguously linked. This insight was made possible not only due to scientific magnetometer measurements of the era, but also as a result of a significant portion of the 125,000 miles (201,000 km) of telegraph lines then in service being significantly disrupted for many hours throughout the storm. Some telegraph lines, however, seem to have been of the appropriate length and orientation to produce a sufficient geomagnetically induced current from the electromagnetic field to allow for continued communication with the telegraph operator power supplies switched off.[74] The following conversation occurred between two operators of the American Telegraph Line between Boston and Portland, Maine, on the night of 2 September 1859 and reported in the Boston Traveller:

Boston operator (to Portland operator): “Please cut off your battery [power source] entirely for fifteen minutes.”

Portland operator: “Will do so. It is now disconnected.”

Boston: “Mine is disconnected, and we are working with the auroral current. How do you receive my writing?”

Portland: “Better than with our batteries on. – Current comes and goes gradually.”

Boston: “My current is very strong at times, and we can work better without the batteries, as the aurora seems to neutralize and augment our batteries alternately, making current too strong at times for our relay magnets. Suppose we work without batteries while we are affected by this trouble.”

Portland: “Very well. Shall I go ahead with business?”

Boston: “Yes. Go ahead.”

The conversation was carried on for around two hours using no battery power at all and working solely with the current induced by the aurora, and it was said that this was the first time on record that more than a word or two was transmitted in such manner.[73] Such events led to the general conclusion that

The effect of the Aurora on the electric telegraph is generally to increase or diminish the electric current generated in working the wires. Sometimes it entirely neutralizes them, so that, in effect, no fluid [current] is discoverable in them. The aurora borealis seems to be composed of a mass of electric matter, resembling in every respect, that generated by the electric galvanic battery. The currents from it change coming on the wires, and then disappear: the mass of the aurora rolls from the horizon to the zenith.

May 2024, a series of solar storms caused the aurora borealis to be observed from as far south as FerdowsIran.

Historical views and folklore

The earliest datable record of an aurora was recorded in the Bamboo Annals, a historical chronicle of the history of ancient China, in 977 or 957 BC.[79] An aurora was described by the Greek explorer Pytheas in the 4th century BC.[80] Seneca wrote about auroras in the first book of his Naturales Quaestiones, classifying them, for instance, as pithaei (‘barrel-like’); chasmata (‘chasm’); pogoniae (‘bearded’); cyparissae (‘like cypress trees’); and describing their manifold colours. He wrote about whether they were above or below the clouds, and recalled that under Tiberius, an aurora formed above the port city of Ostia that was so intense and red that a cohort of the army, stationed nearby for fire duty, galloped to the rescue.[81] It has been suggested that Pliny the Elder depicted the aurora borealis in his Natural History, when he refers to trabeschasma, “falling red flames”, and “daylight in the night”.[82]

The earliest depiction of the aurora may have been in Cro-Magnon cave paintings of northern Spain dating to 30,000 BC.[83]

The oldest known written record of the aurora was in a Chinese legend written around 2600 BC. On an autumn around 2000 BC,[84] according to a legend, a young woman named Fubao was sitting alone in the wilderness by a bay, when suddenly a “magical band of light” appeared like “moving clouds and flowing water”, turning into a bright halo around the Big Dipper, which cascaded a pale silver brilliance, illuminating the earth and making shapes and shadows seem alive. Moved by this sight, Fubao became pregnant and gave birth to a son, the Emperor Xuanyuan, known legendarily as the initiator of Chinese culture and the ancestor of all Chinese people.[citation needed] In the Shanhaijing, a creature named Shilong is described to be like a red dragon shining in the night sky with a body a thousand miles long. In ancient times, the Chinese did not have a fixed word for the aurora, so it was named according to the different shapes of the aurora, such as “Sky Dog” (天狗), “Sword/Knife Star” (刀星), “Chiyou banner” (蚩尤旗), “Sky’s Open Eyes” (天开眼), and “Stars like Rain”

In Japanese folklorepheasants were considered messengers from heaven. However, researchers from Japan’s Graduate University for Advanced Studies and National Institute of Polar Research claimed in March 2020 that red pheasant tails witnessed across the night sky over Japan in 620 A.D., might be a red aurora produced during a magnetic storm.[85]

The Aboriginal Australians associated auroras (which are mainly low on the horizon and predominantly red) with fire.

In the traditions of Aboriginal Australians, the Aurora Australis is commonly associated with fire. For example, the Gunditjmara people of western Victoria called auroras puae buae (‘ashes’), while the Gunai people of eastern Victoria perceived auroras as bushfires in the spirit world. The Dieri people of South Australia say that an auroral display is kootchee, an evil spirit creating a large fire. Similarly, the Ngarrindjeri people of South Australia refer to auroras seen over Kangaroo Island as the campfires of spirits in the ‘Land of the Dead’. Aboriginal people[which?] in southwest Queensland believe the auroras to be the fires of the Oola Pikka, ghostly spirits who spoke to the people through auroras. Sacred law forbade anyone except male elders from watching or interpreting the messages of ancestors they believed were transmitted through an aurora.[86]

Among the Māori people of New Zealand, aurora australis or Tahunui-a-rangi (“great torches in the sky”) were lit by ancestors who sailed south to a “land of ice” (or their descendants);[87][88] these people were said to be Ui-te-Rangiora‘s expedition party who had reached the Southern Ocean.[87] around the 7th century.[89]

Aurora pictured as wreath of rays in the coat of arms of Utsjoki

In Scandinavia, the first mention of norðrljós (the northern lights) is found in the Norwegian chronicle Konungs Skuggsjá from AD 1230. The chronicler has heard about this phenomenon from compatriots returning from Greenland, and he gives three possible explanations: that the ocean was surrounded by vast fires; that the sun flares could reach around the world to its night side; or that glaciers could store energy so that they eventually became fluorescent.[90]

Walter William Bryant wrote in his book Kepler (1920) that Tycho Brahe “seems to have been something of a homoeopathist, for he recommends sulfur to cure infectious diseases ‘brought on by the sulfurous vapours of the Aurora Borealis’”.[91]

In 1778, Benjamin Franklin theorized in his paper Aurora Borealis, Suppositions and Conjectures towards forming an Hypothesis for its Explanation that an aurora was caused by a concentration of electrical charge in the polar regions intensified by the snow and moisture in the air:[92][93][94]

May not then the great quantity of electricity brought into the polar regions by the clouds, which are condens’d there, and fall in snow, which electricity would enter the earth, but cannot penetrate the ice; may it not, I say (as a bottle overcharged) break thro’ that low atmosphere and run along in the vacuum over the air towards the equator, diverging as the degrees of longitude enlarge, strongly visible where densest, and becoming less visible as it more diverges; till it finds a passage to the earth in more temperate climates, or is mingled with the upper air?

Observations of the rhythmic movement of compass needles due to the influence of an aurora were confirmed in the Swedish city of Uppsala by Anders Celsius and Olof Hiorter. In 1741, Hiorter was able to link large magnetic fluctuation to the observation of an aurora overhead. This evidence helped to support their theory that ‘magnetic storms’ are responsible for such compass fluctuations.[95]

Frederic Edwin Church‘s 1865 painting Aurora Borealis

A variety of Native American myths surround the spectacle. The European explorer Samuel Hearne travelled with Chipewyan Dene in 1771 and recorded their views on the ed-thin (‘caribou’). According to Hearne, the Dene people saw the resemblance between an aurora and the sparks produced when caribou fur is stroked. They believed that the lights were the spirits of their departed friends dancing in the sky, and when they shone brightly it meant that their deceased friends were very happy.[96]

During the night after the Battle of Fredericksburg, an aurora was seen from the battlefield. The Confederate Army took this as a sign that God was on their side, as the lights were rarely seen so far south. The painting Aurora Borealis by Frederic Edwin Church is widely interpreted to represent the conflict of the American Civil War.[97]

A mid 19th-century British source says auroras were a rare occurrence before the 18th century.[98] It quotes Halley as saying that before the aurora of 1716, no such phenomenon had been recorded for more than 80 years, and none of any consequence since 1574. It says no appearance is recorded in the Transactions of the French Academy of Sciences between 1666 and 1716; and that one aurora recorded in Berlin Miscellany for 1797 was called a very rare event. One observed in 1723 at Bologna was stated to be the first ever seen there. Celsius (1733) states the oldest residents of Uppsala thought the phenomenon a great rarity before 1716. The period between approximately 1645 and 1715 corresponds to the Maunder minimum in sunspot activity.

In Robert W. Service‘s satirical poem “The Ballad of the Northern Lights” (1908), a Yukon prospector discovers that the aurora is the glow from a radium mine. He stakes his claim, then goes to town looking for investors.

In the early 1900s, the Norwegian scientist Kristian Birkeland laid the foundation[colloquialism] for the current understanding of geomagnetism and polar auroras.

In Sami mythology, the northern lights are caused by the deceased who bled to death cutting themselves, their blood spilling on the sky. Many aboriginal peoples of northern Eurasia and North America share similar beliefs of northern lights being the blood of the deceased, some believing they are caused by dead warriors’ blood spraying on the sky as they engage in playing games, riding horses or having fun in some other way.[citation needed]

Extraterrestrial aurorae

See also: Magnetosphere of Jupiter § Aurorae

Jupiter aurora; the far left bright spot connects magnetically to Io; the spots at the bottom of the image lead to Ganymede and Europa.An aurora high above the northern part of Saturn; image taken by the Cassini spacecraftA movie shows images from 81 hours of observations of Saturn’s aurora.

Both Jupiter and Saturn have magnetic fields that are stronger than Earth’s (Jupiter’s equatorial field strength is 4.3 gauss, compared to 0.3 gauss for Earth), and both have extensive radiation belts. Auroras have been observed on both gas planets, most clearly using the Hubble Space Telescope, and the Cassini and Galileo spacecraft, as well as on Uranus and Neptune.[99]

The aurorae on Saturn seem, like Earth’s, to be powered by the solar wind. However, Jupiter’s aurorae are more complex. Jupiter’s main auroral oval is associated with the plasma produced by the volcanic moon Io, and the transport of this plasma within the planet’s magnetosphere. An uncertain fraction of Jupiter’s aurorae are powered by the solar wind. In addition, the moons, especially Io, are also powerful sources of aurora. These arise from electric currents along field lines (“field aligned currents”), generated by a dynamo mechanism due to the relative motion between the rotating planet and the moving moon. Io, which has active volcanism and an ionosphere, is a particularly strong source, and its currents also generate radio emissions, which have been studied since 1955. Using the Hubble Space Telescope, auroras over Io, Europa and Ganymede have all been observed.

Auroras have also been observed on Venus and Mars. Venus has no magnetic field and so Venusian auroras appear as bright and diffuse patches of varying shape and intensity, sometimes distributed over the full disc of the planet.[100] A Venusian aurora originates when electrons from the solar wind collide with the night-side atmosphere.

An aurora was detected on Mars, on 14 August 2004, by the SPICAM instrument aboard Mars Express. The aurora was located at Terra Cimmeria, in the region of 177° east, 52° south. The total size of the emission region was about 30 km across, and possibly about 8 km high. By analysing a map of crustal magnetic anomalies compiled with data from Mars Global Surveyor, scientists observed that the region of the emissions corresponded to an area where the strongest magnetic field is localized. This correlation indicated that the origin of the light emission was a flux of electrons moving along the crust magnetic lines and exciting the upper atmosphere of Mars.[99][101]

Between 2014 and 2016, cometary auroras were observed on comet 67P/Churyumov–Gerasimenko by multiple instruments on the Rosetta spacecraft.[102][103] The auroras were observed at far-ultraviolet wavelengths. Coma observations revealed atomic emissions of hydrogen and oxygen caused by the photodissociation (not photoionization, like in terrestrial auroras) of water molecules in the comet’s coma.[103] The interaction of accelerated electrons from the solar wind with gas particles in the coma is responsible for the aurora.[103] Since comet 67P has no magnetic field, the aurora is diffusely spread around the comet.[103]

Exoplanets, such as hot Jupiters, have been suggested to experience ionization in their upper atmospheres and generate an aurora modified by weather in their turbulent tropospheres.[104] However, there is no current detection of an exoplanet aurora.

The first ever extra-solar auroras were discovered in July 2015 over the brown dwarf star LSR J1835+3259.[105] The mainly red aurora was found to be a million times brighter than the northern lights, a result of the charged particles interacting with hydrogen in the atmosphere. It has been speculated that stellar winds may be stripping off material from the surface of the brown dwarf to produce their own electrons. Another possible explanation for the auroras is that an as-yet-undetected body around the dwarf star is throwing off material, as is the case with Jupiter and its moon Io.[10

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Aurora

Aurora (Star Trek CGI)

I found the Harry Mudd inspired film and Aurora a few years ago. It’s great work. I feature it on my noncommercial Roku channel called Martian Poop. Below is copied and pasted from the creator’s website, which as you may know I do this kind of thing for nostalgia’s sake, because you never know when a fan film website will go down. After all, they make NO money from their ventures, and neither do I (see my donation link, wink wink.)

From Tim’s site: Aurora is an original animated production set in the Star Trek universe. Aurora follows the exploits of captain Kara Carpenter and her new (and only) Vulcan first mate T’Ling on their tiny merchanter cargo ship Aurora. These fully CG-animated movies are set just after the original Star Trek series in a lawless sector of space, where Kara and T’Ling engage in their marginal venture while trying to both turn a profit and stay out of trouble, but even in the vastness of space, trouble is never far away…and sometimes the past is never far enough behind.

Inspiration for Aurora. The inspiration for following the exploits of interstellar merchanters rather than Starfleet characters comes from the many civilians that Kirk’s Enterprise encountered in the original series: as a kid, I would see these jumpsuit-clad people on this planet or that station and wonder more about their stories–where did they come from? How did they get there? What happened to them afterwards? “Mudd’s Women,” for example, always stuck with me, perhaps because it contained some of the only extended scenes in the original series between ordinary human civilians with no Starfleet characters around–particularly the scenes where Eve and the miner Childress go through a kind of prickly courtship, and Childress proves to be nicer and more vulnerable than he seemed, and Eve proves to be tougher and smarter than she appeared; it was a rare glimpse into a whole different side of the Trek universe by showing us fleshed-out civilian characters with their own histories and personalities, and suggested endless possibilities for non-Starfleet characters and stories. But for all the civilians–even Harry Mudd–it seemed to me that they’d have to be almost as courageous as the Enterprise crew to leave their home planet behind and put themselves out there in that very same unpredictable and sometimes hostile galaxy–but without a heavily armed starship at their disposal!

Other inspiration for me, in terms of space merchanter life, comes from the many science fiction novels of C.J.Cherryh (who has won both Hugo and Nebula awards for her writing). Cherryh’s sharp writing, eye for technical detail, and portrayal of characters who don’t act like characters but instead act like real, flawed people make for fully realized settings and stories where it doesn’t take a giant space battle to make you turn the pages (not that there isn’t the occasional giant space battle), since space has hazards enough for anyone willing to try to get from point A to point B in one piece. Cherryh also particularly shines at creating believable aliens and alien cultures. I recommend the Chanur Saga and Downbelow Station as good books to start with.

Lifelong Trekker. I guess I hadn’t really realized what a lifelong Trekker I was until I decided to create Aurora. I had always been interested in animation, and when I finally had the means to do an entire movie, Star Trek was the first thing I thought of. Perhaps it was partly that Enterprise had recently been cancelled, but I was feeling a void, and it seemed like the only way to fill it was to do it myself. (I’ll confess that I didn’t know that there were other fan films until after I had started production!) In any case, working on Aurora made me think about how I really grew up on Star Trek: as I mentioned, I watched the original series first-run as a little kid in the 60’s; got to know the episodes by heart in syndication in the early 70’s; went and saw Gene Roddenberry talk at the local university in the mid-70’s; got together with friends for a party to celebrate the launch of Next Generation in the 80’s; almost couldn’t keep up in the 90’s between Voyager, DS9, and the movies; and finally in the 00’s there was Enterprise, which I had to tape and send to a friend who didn’t get UPN. I don’t know what the future holds for Star Trek, but all the fan productions, fan fiction, and general Trek activity on the web is certainly exciting and proves there is still widespread interest, so I’ll continue to work on my little corner of the Trek universe.

Thanks–Tim

Star Trek: Aurora: it’s “Trek” outside the uniform…

Okay so that’s the end of the copied and pasted part from Tim’s website. You may remember that I spoke about fan-film property rights on the front page of the website. I simply hope to support his efforts and that’s why you see what you do herein. Remember, we do fan films and related things like this website on a “wing and a prayer” and for the love of it all.

The Verse

The ultimate Firefly/Serenity fan film in all its glory…The following contains some excerpts from IMDB and other sources like LootCrate.

I think it’s safe to say that Joss Whedon‘s Firefly series isn’t going to come back anytime soon, if ever. Thanks to the fans, though, that universe will never die! Loot Crate has released a 15-minute short film called “The Verse” that is set in the world of Firefly, and it actually turned out really cool.

The short features a new crew, a new Serenity inspired ship called the Overland, and, of course, a story that features a little bit of misbehavin’.

The dialogue and tone of the short feel very familiar, and I’m sure fans of the series are really going to enjoy what it has to offer, especially when it comes to the humor. Even though this is a different crew full of characters with different names, they are obviously based on the lovably awesome crew of the Serenity, and it works really well in this.

Meet Captain Bret Hunter (Ryan Caldwell), a former Alliance Navy man gone AWOL, and his ragtag crew and passengers aboard the Overland, a scrappy transport ship on the outskirts of the galaxy–and the law. Along for the ride are: Caroline Stack (Jennifer Wenger), a formidable bounty hunter and co-owner of the ship; ship’s pilot Travis “Yoke” Sandspur (Peter Weidman), the Captain’s old Navy buddy; Rusty Duvall (Zack Finfrock), awkward and genius ship’s mechanic; Maribelle Crawford (Tybee Diskin), a Governor’s runaway daughter and master markswoman; and Jon “Chow” Zhou (Ewan Chung), a traveling salesman/conman attempting to make a buck and show his worth on board. After rounding up Annie Whitehall (Alex Marshall-Brown), an unlikely bounty wanted for murder, Stack commissions Captain Hunter to deliver the girl to a border planet, but Commodore Woodruff (Vic Mignogna of Star Trek Continues) has other plans.
—Marissa Zaenger

Starring Hunter (the captain): Ryan Caldwell (@rycaldwell)

With: Jennifer Wenger as “Stack” (@JennyWenger) (of Salvage Marines, starring Casper Van Dien)

Also with…Yoke: Peter Weidman (@PeterWeidman) Maribelle: Tybee Diskin (@hellotybeeren) Rusty: Zack Finfrock (@ZackFinfrock) Annie: Alex Marshall-Brown (@amarshallbrown) Chow: Ewan Chung (@ewanchung)

I searched for original postings of the The Verse article by Lootcrate, but it’s gone online. Below are snapshots from the magazine, which you may want to zoom into in order to read.

ART & MORE…

About these pics…

I decided to post all these pics because many were shot on location at the California studios rather than at a custom made studio like The Neutral Zone. And also, these are a great record of how pre-production was done, so it’s great food for thought if you would like to make a Firefly fan film. Note: I’d love to make a Firefly fanfilm here in metro Detroit some day, let me know if you’re interested on my Facebook.com/DeanLach page or comment below. Cheers for now…Dean

PS: Support our NONcommercial efforts via paypal.

Star Trek: Of Gods and Men

It is the year 2306. Thirteen years have passed since Captain James T. Kirk was swept away by the Nexus, after saving the crew of the USS Enterprise-B. The remaining crew members of the original USS Enterprise have gone their separate ways. Captain Nyota Uhura and Captain Pavel Chekov, along with Captain John Harriman of the Enterprise-B, come together for a special dedication in honor of Kirk’s Enterprise. Their reunion is cut short when they receive a distress call from a mysterious planet, that presses the three friends to embark on a mission that will change their lives forever.

Star Trek: Of Gods and Men is a noncanonical and unofficial Star Trek fan film, which contains many cast members from the Star Trek TV series and movies. Its backstory is Charlie X, the second episode of Star Trek: The Original Series. Described by the producers as a “40th-anniversary gift” from Star Trek actors to their fans, it was filmed in 2006, but its release was delayed until 2007–08. It was not endorsed by the rights-holders of Star Trek, but has been covered on the official Star Trek website.

Star Trek: Of Gods and Men features an enormous slate of well known talent. Below is a rare poster for the film, which started out as a Star Trek “fan-film” Directed by Tim Russ of Voyager. There is only (one) other Trek-branded film made by the same team of filmmakers (Atomic Network.)

Directed by Tim Russ
Screenplay by Ethan H. Calk Sky Conway Jack Treviño
Story by Sky Conway Tim Russ Jack Treviño Ethan H. Calk
Produced by Sky Conway
Starring Nichelle Nichols Walter Koenig Grace Lee Whitney Alan Ruck Chase Masterson Tim Russ
Garrett Wang Ethan Phillips J. G. Hertzler Cirroc Lofton Gary Graham

Cinematography Douglas Knapp
Music by Justin R. Durban
Release date June 15, 2008 Running time 89 minutes

The film starts in 2305, when a mysterious man (William Wellman Jr.) with mind-powers approaches a station manager. (Neelix, Ethan Phillips from Voyager is in this scene!) I won’t give it all away, but suffice to say that later in the film Chekov (under the nom de guerre “Kittrick”) and his shape-shifting companion Ragnar (Gary Graham), lead a movement of freedom fighters…

It’s important to note that although this film was very promising, and it’s fun to watch, it was good enough to ramp up the Crowdsourcing campaign for the next film “Renegades.” Before we get into that second film Directed by Tim Russ, here’s some more details about Of Gods and Men.


Walter Koenig as Captain Pavel Chekov / Kittrick


Nichelle Nichols as Captain Nyota Uhura


Alan Ruck as Captain John Harriman


Garrett Wang as Commander Garan


William Wellman Jr. as Charlie Evans


J. G. Hertzler as Koval, a Klingon


Gary Graham as Ragnar


Tim Russ as Tuvok


Chase Masterson as Xela, an Orion


Ethan Phillips as Data Clerk


Cirroc Lofton as Sevar, a Vulcan


Lawrence Montaigne as Stonn


James Cawley as Commander Peter Kirk (James T. Kirk’s nephew)

Grace Lee Whitney as Janice Rand


Herbert Jefferson as Captain Galt

Daamen Krall as Gary Mitchell
Crystal Allen as Conqueror Navigator Yara

Bobby Quinn Rice as G.S.S. Conqueror Klingon Officer/Romulan Officer
John Carrigan as Klingon Officer Kel’mag / G.S.S. Conqueror Klingon Officer
Jeff Quinn as Conqueror Helmsman, a Romulan[3]
Arlene Martel as Vulcan Priestess
Jack Donner as Wedding guest
Tania Lemani as Wedding guest


Celeste Yarnall as Wedding guest


Production

The series was directed by Tim Russ and conceived and produced by Sky Conway. Best known for playing Tuvok on Star Trek: Voyager, Russ had directed one episode of that series. The series was shot on the Star Trek: New Voyages sets in Port Henry, New York. Scenes were also shot around the Los Angeles area, including at Vasquez Rocks, a popular site for Star Trek location footage.[Scenes set at the Vulcan Science Academy were filmed in the San Fernando Valley.[6] Principal photography began July 12, 2006, and finished in October 2006.

The series was produced with a budget of $150,000. Actors were paid according to SAG guidelines, but others involved in the making of the miniseries helped to produce it with little or no pay as “a labor of love”.

Returning Star Trek cast and crew

Recap of talent: The miniseries starred Nichelle Nichols as Nyota Uhura, Walter Koenig as Pavel Chekov, Grace Lee Whitney as Janice Rand, and Celeste Yarnall as Yeoman Martha Landon, (here, as special wedding guest) from the original series.[8] Alan Ruck also reprised his role as Captain Harriman from Star Trek Generations, and Tim Russ appeared as Tuvok. Other regular Star Trek actors appeared in new roles, including Garrett Wang (Harry Kim) and Ethan Phillips (who played Neelix from Voyager), J. G. Hertzler, Cirroc Lofton, and Chase Masterson (Martok, Jake Sisko, and Leeta from Star Trek: Deep Space Nine), and Gary Graham (Ambassador Soval from Enterprise). The series was written by DS9 writers Jack Treviño and Ethan H. Calk. Douglas Knapp, the director of photography, had worked on Voyager.

Co-writer Jack Treviño explained how so many actors from the series had been willing to participate:

Trek actors have a special relationship with their fans … they regarded the project, not only as the ultimate thank you to Gene Roddenberry and the original stars of Trek, but [also] as a thank-you to [the fans] who supported the series over the last 40 years.

Executive producer Douglas Conway had tried to assemble more of the original series cast, but when George Takei (Hikaru Sulu) was not available, this led to the idea of including Ruck’s character as captain.[10]

Three actors from Star Trek: New Voyages, James Cawley, Jeff Quinn, and Bobby Quinn Rice (Kirk, Spock, and Peter Kirk), also featured.

Release dates

The press releases in July and October 2006 anticipated a Christmas 2006 release.[8] On January 6, 2007, the first part of the series was announced as delayed until April. This was to allow the three parts of the miniseries to be released closer together, with the second part following in May, and the third in June.

On April 15, 2007, the planned release date of part one, the official website announced that the release of the films had been delayed yet again. On October 31, 2007, the official website announced that part one would be released on December 22, 2007.[12] On February 20, 2008, part two was announced to be released on March 15, 2008.[13] On May 22, 2008, part three was announced to be released on June 15, 2008.

In a May 2007 interview with Houston Chronicle blogger J. Kevin Tumlinson, director Tim Russ said the producers were attempting to distribute the project through current Star Trek franchise owner CBS, and if successful, they would sell the production as either a download or a DVD. The producers then clarified on the official forum that while “plans to release the series as a free download remain in place”, licensing by CBS would be required for any versions for sale, e.g. DVDs.[15]

In November 2008, Renegade Studios began giving free DVDs of the film as thank-you gifts to their online customers. As of December 2009, a new edition of the DVD with pop-up commentary trivia was being offered.

Reception

The film won the 2008 Best Web Production award from SyFy Portal.[16]

Follow-up

Star Trek: Renegades, a series directed by Russ and with many others of the series team, was released on a nonprofit basis in 2015.

Watch Star Trek: Of Gods and Men on our Martian Poop Roku channel!

Digital Ghost

Nicely done effects and German dialog, we’ve posted the Youtube video here, and it has SUBTITLES BURNED IN ENGLISH. (So you should not need to turn CC on.)

A prototype starship, completely controlled by an artificial intelligence, goes rogue. The two Starfleet officers overseeing the test flight try to stop the machine. Production by “The LIght Works” — however their website is no longer functional, so I don’t have a lot of details. Here’s some pics, featuring German Actor, Erich Redman and others.

Watch on Youtube here:

Paragon’s Paragon

One of the earliest Star Trek fan films.  The first cut ran for an hour and was shot on 16mm film using a full-size recreation of the Bridge set. It also used a wide variety of film special effects techniques on a budget of over $2,000 ($12,000 in 2023 dollars) and received considerable coverage in Don Dohler’s Cinemagic magazine for low budget filmmakers. Dohler subsequently used its crew to make his first feature film, The Alien Factor (1978).

Filmmaker John Cosentino made what could be argued is the first MAJOR Star Trek Film in 1974. Paragon’s Paragon was done well before the days of CGI; and was made with family and friends, sets built in a basement, miniatures, and visual effects done on a homemade optical printer. John Cosentino has given me permission to post his masterpiece on Youtube. The making of the film was heavily covered in Don Dohler’s Cinematic magazine.

Below is a copy of the files that I found from the original blog. I’m simply going to cut n’ paste, so here goes, in all it’s early-glory:

TODAY’S ARTICLE GIVES PRAISE TO “FRED” and Yes you are on PARAGONS PARAGON BLOG PAGE!
Who is “Fred“? He is the man with the most fantastic collection of Star Trek related blog material on the planet. He is the guy that somehow got me to transport myself into 2012 Star Trek planet Earth and start blogging.
If you happen to be someone stumbling on my blog and have never seen Fred’s you do not know what you are missing. Try um, you’ll like um.
There is a lot of things about Paragons Paragon that will be on his site that won’t be on mine. Of course many things will be repeated because he has too much stuff about Paragon that I won’t be able to remember what I said in 1975. I just browsed Freds site and think I have something he may want to add. (To stray for a moment.I checked out his artwork.
He has talent , don’t you agree?)It is a Bridge made around the same time as mine or a little later, by folks in Bangor, Maine?
If I am mistaken then anyone out there please let me know. If I find the letter I will post it. I do not remember the details but the Bridge is beautiful. The amount of excitement and energy that Star Trek created is and was amazing! CHECK OUT THIS BRIDGE : IT IS NOT MINE

My best guess on why screen is like a tv screen is so they could use a video tape on the screen. Remember this was done a long time ago.

Well so long for now. For you new comers I have a couple of other sites : One is a professional business site and the other is a
blog related to how I use business materials , and training, to fix carpets and make monsters occasionally. Scroll down and their are links occasionally to these sites.
April 25, 2012 PARAGONS PARAGON: PASSPORT TO FUN
and ADVENTURE Posted by JC under Uncategorized

PASSPORT TO FUN AND ADVENTURE IS AN UNDERSTATEMENT
If you’ve seen some of my articles (blogs) their is great variety of things that I have done and they were all connected to the root spawning seed ” Paragons’ Paragon”. Here it is many years after its conception and it has been revived. It is like being transported back in time. So bear with me because to me it is all connected. Paragon was ten years in the “waiting” to be finished. And when it was done and shown once to an audience of about 100people I found other projects diverted me away from it until now. Also we had a carpet instal and carpet repair business , which was a two man operation myself and my dad.
Feel free to browse at the above link or at www.carpetrepairnow.com to learn how carpet install and repair skills were used to do things needed for Paragon and other film projects.

The miniature was about one foot big. Aluminum foil was glued to the walls over string so the foil had a twisted look to it. The energizer tubes are cardboard cylinders from inside of toilet paper rolls. The people were matted into the twinkle away and
disappear effect. That is Shamba who is our version of Uhura. Shamba is the name of an African city. That is how I chose all the unusual names except Sellek and the doctor.
PATIENCE, PERSISTENCE, TRIAL AND ERROR OR TRAINING
One of my goals with my telling personal stories about Paragon and other related projects is to show that amazing things can come out of doing something we enjoy doing. For example: Maybe in the beginning we are sometimes not so good at what
we like doing. Guess what I know an artist that works on major motion pictures doing matte paintings who wasn’t very good at art in his high school years. I saw 5o not so good tries at art in the basement of his mom and dads house. No one could
have guessed by looking at his paintings that he had such hidden talent. But he kept at it. He went to a college art school and became an amazing artist. He did things for free or small amounts of money and built up a resume of art projects to show
people. Eventually things clicked for him.
Mark and I were going to work on a film project about a creature created from the polluted water in the Love Canal. I was going to construct it and he designed it. The project fell through. But doing things you like to do is never a waste of time.
Check out the creature he drew in the photo below. I was going to build it for a project of my own but I never got enough financing for the project. But it was fun to try.

Paragons Paragon was the beginning of a wonderful journey for me lasting 20 years. Then there was a lull for me, and now
Paragon has attracted attention again. I’m a behind the scenes guy and until recently remained quietly unnoticed. I am glad that I am digging up the old photos and slides. The memories are good ones. They are “bright” and full of “good feelings’ . Of
course there are people missing now both in family, and in friends made in those wonder full twenty years of Star Trek and many film related projects.
HERE IS A GUEST VISITOR TO OUR HOME TO SEE THE BRIDGE IN 1975
He is Mike McMasters. In the 1970 he built a full size Star Trek bridge that was set up at the conventions that were held in hotels. The stars took photos in it. It was quite impressive. However it contained a lot of cardboard and the fire marshals said
it had to be sprayed with a fire retardant. The chemicals destroyed the cardboard areas of his set. I regret that I never got to see it. He died as a young man. I am not familiar with the circumstances.
I am on the left. How about them thare Elvis sideburns. Sharp ahh!
The two people in the background are from Oakland University’s Star Trek / Science Fiction Club. They asked me to give a slide show about Paragon and the making of it at one of their conventions. I did just that. We loaded up the helm and captains
chair and I talked for an hour and showed slides many of which are on this blog. It was a big hit. People wanted to hear more but the room was needed for other scheduled events.
All these experiences were very scary in a way to me. I was a not in the lime light kinda guy. To give a speech in high school or college was the worst punishment possible. I would sink down in my chair in school hoping somehow that the teacher would
forget to call on me. But there I was in front of 150 people, some not five feet in front of me. Once I got going it turned out to be fun.
There was one miss-hap. This was in the 70’s and long hair on boys and men was pretty common , but a new phenomenon.
People would raise their hands to ask questions as I showed the slides. The room was dark but not theater dark. A hand in the back went up and I without really paying attention said ” Yes, the girl in the back please” A deep voice answered and I
apologized for the wrong gender. I learned quickly to look before I speak at conventions.
If you look closely at the hand rails on my bridge behind him you might notice that they are kinda thin. For the movie at Mikes suggestion I used two by fours and they looked much more natural.
Whatever projects I was working on I always was still maintaining and doing my www.cosentinocarpet.com business. You are welcome to go to it and browse around in it. You will have to write it in the address bar as this is not a link.

One of the adventures that I enjoyed was when I joined a Star Trek club. It wasn’t your typical club.
The Star Trek club actually had an Attorney as its Captain, a Business woman as its First Officer, and me as its Chief Engineer. We had an artist in it and two Star Trek paperback novel writers . They could play the bagpipes and did so at one of our party’s that Jimmy Dohan came to. I am standing on the right of Diane and Gregory Broduer.
The club had the opportunity to chauffeur some of the stars, like Scotty, Sulu, and Chekov to and from the airport.
Sometimes the stars would agree to come to a private party at a club members home. What a great way to meet Walter Keonig and Jimmy Dohan. Mr.Dohan was just like his chacter in Star Trek. George Taki was a runner and one early morning in
downtown Detroit before the convention was underway I bumped into him and said hi. Detroit was much safer 20 years ago.

In the above photo I made myself up like a Klingon for a Star Trek club party. That year Mr. Jimmy Dohan was given a sword
salute as the bagpipes were played. He was really nice to go along with the Star Trek stuff. He knew we appreciated both his
acting and his character. I am not eight feet tall and touching the ceiling. It is a very low ceiling.

…But the film is 37 years old now (1975) and I guess that is to be expected.
If I had my drruthers I would make a 45minute edited version of the original Paragons Paragon and shot a 45 minute sequel with the original actors.
A script is already done. All the important players are still alive and well. It would be a unique movie and a fun convention film package. Actors years older struggling with age, and no make up needed.
In order to do that I would buy a new computer along with sound and video editing programs and fix Paragon myself.
Would I take a chance on re-mastering the original from the super 8 mm film? I am not sure? However the odds are against it turning out ok and favor the money going down the drain on a conversion that fails.
Eliminating the original actors voices in Paragons Paragon, dubbing in new voices, and new sound track is not an option. Itjus t would not be the same movie to me. I think 45 minutes of occasional hard to hear actors voices and a loss of humor scenes, and some of story line would be a better option than new voices. At least a good size chunk of the movie could be seen.
THANK YOU ALL
The blog is in a “holding pattern”. I am flying around in circles not sure about what I might do with it. At the very least it has supplied material for interested parties about Paragons Paragon.That was its main purpose.
IF YOU ARE A NEW PERSON TO THIS POST; go the end and then go forward from there. You will see mostly Star Trek
“Paragons Paragon” material and how it evolved.
IF YOU ARE A REGULAR VIEWER; tell me what you might want to know about or see. Other than the 1hr.20min. Paragons Paragon movie.
OK, SO WHAT MIGHT STILL BE IN THE WORKS? I still want to make a 20 to 30 minute edited version available on the blog. When will it happen? I haven’t got the slightest idea. Just keep checking in every couple of months or so. I may have a
third blooper already converted, but am not sure about it.
NOT ENOUGH RESPONSE FOR THE VIDEO CLIP how to do it IDEA to pursue more of them. However any of my regular followers that want to have something posted, or articles that you want me to write about, all you have to do is ask.
THE BEST THING FOR ME ABOUT THE BLOG has been meeting new friends and connecting with old ones. All of whom I
will make a point of meeting in person soon.
Your friend
John

ENJOY NEW OLD BLOOPERS
Sorry about the delay in adding new post articles. So let this current post be a fun trip back in time. The scenes will give you a
good idea of where and how everything was filmed. You can see the cafeteria was right next to the bridge and if you lookclos e at other clips the basement becomes very apparent.
We fooled around a lot and tried to make the work schedule into as mush fun as we could. Sellek and Kirk were the biggest hams. They constantly tried to top one another by being the person to get the last funny line in.

And it never hurts to have a pretty girl in a short skirt now and again I found myself with extra film that I had to run through the camera so I put the camera on a tripod and did my share of silliness. This included a short version of the ” Soupy Shuffle”. The shuffle is a sideways dance that was done by Detroits’ own Soupy Sales on his tv show that was for kids at lunch time. I , like many kids, would rush home from school ( a one mile walk or run in this case) to gobble down my lunch and watch as much of his half hour show as I could before running back to school. I hated eating in the school cafeteria. It was like a punishment to me when it rained and I had to stay at school for lunch. Times have changed for kids, haven’t they…

END OF CUT N’ PASTE POST. BELOW ARE YOUTUBE VIDEOS. (Note that we likely will not place the film(s) on our Roku channel because of the quality. But, if…IF we can get a good Resolution, then we’ll follow up on Martian Poop, the Roku channel.

And below is Part 2.

Do you like that we busted our Hiny’s putting together all this old material? Then please follow up with a donation to our Paypal account 🙂

LOVE YA, DEAN!

Starship Farragut

The Star Trek fan film “Starship Farragut” is based on the original Star Trek television series, following the adventures of the crew aboard the USS Farragut. It features live-action episodes, animated episodes, and a comic book, and was produced by Farragut Films from 2007 to 2021.

From IMDB: Fan-made show based on the original Star Trek series follows the adventures of Federation Starship Farragut, its crew and Captain John Thomas (Jack) Carter. Set in the same era as the original ST series (TOS.)

After two finely made Animations and a half dozen other programs, the show was relaunched recently as Farragut Forward. Farragut Forward is a Star Trek fan production that is a continuation of the adventures from the long-running fan series Starship Farragut. Set in the 1980s Star Trek movie era, it is a partnership between Farragut Films and Kaotica Studios.

The first of the “Forward” series will soon be posted on our Martian Poop Roku channel (Free and without any commercialization.) Meanwhile, you may watch it here via Youtube. Note that I found a version that is not monetized, which is the way Fan Films are supposed to work 🙂 Read more below…

Farragut stars John Broughton as Captain John Carter, Michael Bednar as Commander Robert Tacket, and Holly Bednar as Chief Engineer Michelle Smithfield with an ensemble cast. The premise is simply put, “New Ship, New Crew, New Adventures”. The episodes “For Want of a Nail” and “A Rock and a Hard Place” won the award for Best Fan Film at the Wrath of Con Film Festival in Panama City, Florida in 2008 and 2009 respectively.[42] As of April 2020 seven episodes had been released. The eighth and series finale “Homecoming” was released in 2021.[43] In 2022, production on a follow-up project entitled Farragut Forward began production in conjunction with Kaotica Studios, moving the storyline forward into the “Movie Era”, putting members of the crew aboard the Miranda-class (similar to the USS Reliant seen in Star Trek II: The Wrath of Khan) USS Farragut (NCC-1941).[44]

https://www.paypal.me/MoviesPlus

Before Farragut there was a TOS-replica Film Studio in NY.

The story behind Star Trek Phase II and New Voyages

Crew

The Star Trek: New Voyages pilot episode was produced by James Cawley, Jack Marshall (series director at the time), Pearl Marshall, Max Rem and Jerry Yuen. Episode 1 was produced by James Cawley, Jack Marshall, Pearl Marshall, Max Rem, Amanda Stryker, James Lowe, Jeff Quinn, John Muenchrath and Rod Roddenberry (Gene Roddenberry’s son). Episode 2 was produced by James Cawley, Jack Marshall, Erik Goodrich, James Lowe, Jeff Quinn, John Muenchrath and Rod Roddenberry.

The pilot and the first two episodes were directed by Jack Marshall. However, after filming of “To Serve All My Days” it was announced (December 29, 2005) that Marshall would leave the series. Marshall had been offered a position with the visual effects team of Battlestar Galactica and moved from Washington DC in February 2006 to Los Angeles California.

(Note to filmmakers — yes, fan films are a great way to augment your career, and Marshall’s story is proof.)

Max Rem continued his participation for another 6 months of post production and then also left the project.

July 2013 saw major announcements for production of the series, with James Cawley leaving the role of Captain Kirk to focus solely on production of the show and original series writer David Gerrold taking on the duties of Executive Showrunner in hopes of producing episodes with greater regularity. Gerrold also personally announced that due to an overwhelming backlog, the show would no longer accept script submissions, nor would any episodes based on existing Star Trek books, comics, stories or other published works be adapted to the series – due to a request by CBS legal in the fall of 2011. Rather, all further episodes will come from original works by previous Star Trek writers or crew associated with the series.

The first episode, “In Harm’s Way,” features Eugene “Rod” Roddenberry Jr., the son of Star Trek creator Gene Roddenberry, as a consulting producer. Sam Witwer (“Crashdown” from Battlestar GalacticaDoomsday in Smallville and Galen Marek from Star Wars: The Force Unleashed) is the voice of the Guardian of Forever (credited as “Simon Judas Raye”).

For the second episode, “To Serve All My Days,” written by original series writer D.C. Fontana, original cast member Walter Koenig reprises his role as Pavel Chekov. Mary-Linda Rapelye (Irina Galliulin in the original series episode “The Way to Eden”) appears as an ambassador.

The third episode, “World Enough and Time,” was co-authored by Marc Scott Zicree and Michael Reaves. Zicree, who also directed the episode, contributed the stories for the “First Contact” episode of Star Trek: The Next Generation and “Far Beyond the Stars” for Star Trek: Deep Space Nine. Reaves, who co-wrote (with Diane Duane) the “Where No One Has Gone Before” episode of Star Trek: The Next Generation, originally pitched a story to the unproduced Star Trek: Phase II series in which Sulu ages by thirty years, and that story served as the basis for this New Voyages episode. Majel Barrett Roddenberry provided the computer voice in this episode.

Like all fan-films, New Voyages existed at the whim of the Star Trek franchise owners CBS (and previously Paramount Pictures), which previously tolerated the distribution of fan-created material as long as no attempt was made to profit from it.[8]

This tolerance was tested in early 2012 when New Voyages announced that they would film “He Walked Among Us,” an unproduced script that Norman Spinrad had sold to the original series. But when CBS claimed ownership of the material, the plans were canceled. CBS had not protested over the series’s use of “Blood and Fire”, which had been written for Star Trek: The Next Generation; “The Child”, and “Kitumba”, which had been similarly developed in the late 1970s for the aborted series Star Trek: Phase II, or Mind-Sifter published by Bantam Books, because they were written before the Star Trek movies directed by JJ Abrams were in production. (“The Child” was produced for “Star Trek: The Next Generation.) CBS wants to keep all material it has previously purchased or licensed in any way as possible work to be drawn on for future licensed films.[9]

New Voyages’ legal status was ultimately decided in 2016 following the release of new Star Trek fan film guidelines.

SIDEBAR:

There was a dude who had the frakin-nerve to raise money for his Trek fan-film while stating on his Crowdfunding page that the Cast and Crew were (I guess slated) to be Professional, rather than composed of well-meaning fans. His crowdfunding campaign (may have appeared ) to be a money-making venture set to rival the Studios. And he even did a proof of concept video with professional, well known Sci-Fi Alumni.

I won’t say his name…or the project name because it shall remain in the history book as a giant cluster-frak that screwed all Trek fan filmmaker’s…but you didn’t hear that here, wink, wink.

That said, even though a fan film maker writes a story and shoots a Trek-based film, in my humble opinion the content is still not entirely the filmmakers. Nope, because how can you own something that is “owned” by someone else — ugh, this sounds weird eh? Especially because people do make film-parodies.

So to be clear, the studio sued the “dude,” and also put into place more-strict guidelines for the future productions involving Star Trek “IP.”

And what happened to all of us Star Trek fan film makers? Well, we’re pissed at that dude because he put an AXE to our productions. Now, are there people out there who think the “AXE dude” was in the right? Let’s answer the question this way – – it appears that the dude in question is still making Trek films and getting public support.

But I wonder, do they live by the credo that says “ohh, the big studios are rip-offs, and they make too much money and deserve to have their stuff stolen, used, and exploited…” If that’s the case, maybe think about your own work. Do you get paid to do your work? Or do you feel that the entire world has the right to exploit your stuff no questions asked?

Back to the Phase II and NV details…

Furthermore, the studios response to the “AXE” controversy forbid the production of all Star Trek fan series and any fan productions that included staff who had worked on or appeared in official Star Trek works. This included much of the staff and cast of New Voyages, including creator James Cawley (who cameos in the 2009 Star Trek film). Production on New Voyages was halted in response, with three episodes in various states of production left unfinished. Following this, the sets for New Voyages were licensed by CBS to serve as the Star Trek: Original Series Set Tour.

Production notes

The pilot episode, “Come What May”, begins with the late-1960s NBC “In Living Color” sequence. It ends, as did the 1960s episodes, with the animated Desilu Productions logo, with no mention of Paramount. Starting with “Enemy: Starfleet”, the series uses the late-60s CBS color opening (reflecting the series’ current ownership by CBS Television Studios) and ends with the logo of Cawley Entertainment Company, Cawley’s production company.

Inspired by the Star Trek: The Next Generation episode “Lower Decks“, James Cawley and Carlos Pedraza had plans in 2007 to develop a series of stories called First Voyages to show “what it’s like to be a ‘grunt’ on a starship”, and with Peter Kirk (Bobby Rice) as the center of these stories focusing on a group of friends from the academy. Another character would be Xon, which had been developed for Star Trek: Phase II around 1977. A pilot episode, “Pomp and Circumstance” would be a New Voyages episode that would spin off into its own series.Though eight episodes were charted, the series didn’t materialize. But some components were incorporated into New Voyages, such as Peter Kirk and Xon in “Blood and Fire” and a CGI-model of a Klingon “Bird of Prey” which was used in “To Serve All My Days”

See Also: Farragut.

Star Trek Continues

As a reminder this is on our “Martian Poop” Roku channel, Free and Ad-Free

Star Trek Continues is an American fan made web TV series set in the Star Trek universe. Produced by the nonprofit Trek Continues, Inc. and Dracogen, and initially co-produced by Far from Home LLC and Farragut Films (who previously produced a fan-made “Starship Farragut” series), Star Trek Continues consists of eleven episodes released between 2013 and 2017. The series is an unofficial direct continuation of Star Trek: The Original Series, and emulates its visual and storytelling features to achieve the same look and feel. The creators of Star Trek Continues intended to finish the original five-year mission of the show, which they do in the final two episodes.

The series was fan-created and all episodes were released on YouTube. As with all such Star Trek fan productions, use of copyrighted and trademarked properties from the original series was allowed so long as the production was not commercial.[2] A portion of the funds was raised by thousands of backers through successful Kickstarter and Indiegogo campaigns.

Star Trek Continues won a Webby Award for “People’s Choice – Long Form Drama” in 2016, a Geekie Award for “Best Web Series” in 2014, and numerous Telly and Accolade awards. The series was very positively received by critics, who praised the quality of the production and stated that the show set a new standard for Star Trek fan films.

Cast

  • Vic Mignogna, as James T. Kirk, is the captain and commanding officer of the USS Enterprise. Mignogna is best known for his voice-acting work and is a longtime Star Trek fan.
  • Todd Haberkorn, as Spock, is a human/Vulcan hybrid, commander, science officer, and first officer, and one of the captain’s closest friends. Haberkorn is a voice actor and played Kevin the Teenaxian in Star Trek Beyond.
  • Chuck Huber (Larry Nemecek in episodes 1–2) as Leonard H. McCoy, MD, lieutenant commander, and chief medical officer, and also one of the captain’s closest friends. Huber is also a voice actor. Nemecek is a well-recognized Trek expert and author of the Star Trek: The Next Generation Companion.
  • Chris Doohan as Montgomery Scott, lieutenant commander and chief engineer, usually referred to as Scotty. Doohan is the son of actor James Doohan, who portrayed the character in the original series. Doohan was also an extra in Star Trek: The Motion Picture, and portrayed a transporter chief in the 2009 film Star Trek and its sequel, Star Trek Into Darkness. He reprised his father’s role of Scotty in Star Trek Online.
  • Grant Imahara as Hikaru Sulu, lieutenant, helmsman, and third officer. Imahara was best known for his work on Discovery Channel‘s MythBusters, as well as the creator of robot sidekick “Geoff Peterson” for Late Late Show with Craig Ferguson.
  • Kim Stinger as Nyota Uhura, lieutenant and communications officer. (By the way, you can also catch her in one episode of New Voyages, shot at the early James Cawley studio. Hit me up for a link to that episode if it’s not already linked here. )
  • Wyatt Lenhart as Pavel A. Chekov, lieutenant j.g. (formerly ensign) and navigator.
  • Michele Specht as Elise McKennah, psychologist, a lieutenant, and Starfleet’s first full-time ship’s counselor. Specht voiced Specialist Krog (a Na’kuhl agent), Loriss (a Vorta), and Sh’marois (an Andorian Starfleet captain) in Star Trek Online.
  • John de Lancie as Galisti (episode 9). De Lancie played Q in Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Lower Decks, and Star Trek: Picard.
  • Michael Dorn as the ISS Enterprise computer voice (episode 3). Dorn played lieutenant, later lieutenant commander Worf in Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Picard, Star Trek Online, and the four Star Trek feature films featuring the cast of Star Trek: The Next Generation; he also played Worf’s grandfather and namesake Colonel Worf in Star Trek VI: The Undiscovered Country.[6]
  • Michael Forest as Apollo (episode 1). Forest reprises his role from The Original Series episode “Who Mourns for Adonais?” (which had aired 47 years earlier).
  • Marina Sirtis as the computer voice in episodes 1, 4, 7, 10, and 11. Sirtis played Commander Deanna Troi in Star Trek: The Next Generation, Star Trek: Voyager (three episodes), Star Trek: Enterprise (one episode), Star Trek: Picard (seven episodes), Star Trek: Lower Decks (one episode) and four Star Trek feature films
  • .Erin Gray as Commodore Laura Gray, commanding officer of the Corinth IV starbase (episodes 2, 7). (See also Buck Rogers)
  • Lou Ferrigno in the second episode, “Lolani“,(the Hulk from The Incredible Hulk (1978)) appeared as Zaminhon,
  • Kipleigh Brown as Lieutenant j.g. (formerly Yeoman) Barbara Smith (episodes 3–6, 8–11), the Enterprise’s relief conn officer. Brown played Jane Taylor in Star Trek: Enterprise and Kuumaarke in Star Trek Online.
  • Martin Bradford as Lieutenant Joseph “Jabilo” G. M’Benga, MD (episodes 5, 10), relief medical officer.
    Steven Dengler as Lieutenant William C. Drake, chief of security (episodes 1–10). Dengler is also the founder of Dracogen, one of the producers of the series. Reuben Langdon as Lieutenant Kubaro Dickerson, security guard (episodes 2, 3, 6, 10, and 11).
    Cat Roberts as Lieutenant Elizabeth Palmer, relief communications officer (episodes 3–4, 6–11). Dr. Roberts is a practicing physician.
    Liz Wagner as Ensign Lia Burke, registered nurse (episodes 3–5, 9–11). Daniel Logan (Boba Fett from Star Wars: Episode II – Attack of the Clones) appeared as Ensign Tongaroa, Matthew Ewald (Nicholas Bluetooth from Galidor) appeared as Crewman Kenway.


Episodes

The first episode, “Pilgrim of Eternity“, featured Jamie Bamber (Lee “Apollo” Adama from Battlestar Galactica and Matt Devlin from Law and Order UK), as well as original-series guest actor Michael Forest reprising his role as Apollo. Marina Sirtis voiced the computer of the USS Enterprise, an homage to her connection to the original actress, Majel Barrett Roddenberry, who portrayed her character’s mother, Lwaxana Troi, as well as the voice of the computer in the original Star Trek: The Next Generation and Star Trek, respectively. Doug Drexler as Paladin (episode 1). Drexler is probably best known for his work as an award-winning visual-effects artist on Star Trek, as well as Battlestar Galactica and Defiance. He also contributed visual effects for episodes 1–6 of Star Trek Continues.


Episode two: “Lolani” was shot in October 2013, and its costs were covered with money raised through a successful Kickstarter campaign.
Lou Ferrigno as Zaminhon (Ferrigno is best known for his portrayal of the Hulk from the 1978 TV series The Incredible Hulk, as well as the voice of the Hulk in the 2008 Marvel Cinematic Universe movie of the same name)
Fiona Vroom as Lolani. (Note that this Fiona’s name is also known as the phenomenon where someone recalls something that did not actually happen or recalls it differently from the way it actually happened. ) See also her profile on IMDB — https://www.imdb.com/name/nm2922677/
Matthew Ewald as Crewman Matthew Kenway (Ewald is best known for his lead role in FOXKids series Galidor)
Erin Gray as Commodore Gray (better known as Col. Wilma Deering from Buck Rogers in the 25th Century)
Daniel Logan as Ensign Tongaroa (Logan previously played the young Boba Fett from Star Wars: Episode II – Attack of the Clones)

The third episode, “Fairest of Them All“, featured guest support from Asia DeMarcos as Marlena Moreau (played in the original series by BarBara Luna), Bobby Clark as Council Leader Tharn, Bobby Quinn Rice as transporter technician, Michael Dorn as the computer of the ISS Enterprise, and the first appearance of Kipleigh Brown as Barbara Smith (played in the original series by Andrea Dromm). Recurring cast member Cat Roberts (Lieutenant Palmer, played in the original series by Elizabeth Rogers), joined the series as of this episode.

The fourth episode, “The White Iris“, featured the return of Sirtis as the Enterprise computer, as well as guest stars Colin Baker (Doctor Who), Nakia Burrise (Power Rangers), Adrienne Wilkinson (Xena: Warrior Princess), Tiffany Brouwer (Femme Fatales), and Gabriela Fresquez, with cameos by Chris Gore and Robert J. Sawyer.

Episode five, Divided We Stand, featured the Doctor (Chuck Huber) and Kirk (Vic) re-inacting a civil war battle, the Battle of Antietam. The extras and atmosphere cast is huge. (see also the IMDB page, https://www.imdb.com/title/tt4698774/ )

Episode six, “Come Not Between the Dragons”, guest-starred Gigi Edgley of Farscape fame. Rod Roddenberry, son of Star Trek creator Gene Roddenberry, had a cameo appearance as a bridge officer in the episode.

Episode seven, “Embracing the Winds“, featured Clare Kramer (Buffy the Vampire Slayer) and Beau Billingslea (Cowboy Bebop), as well as the return of Erin Gray’s flag officer character (Commodore Gray from the second episode) and Marina Sirtis as the computer voice. Beau Billingslea as Vice Admiral Stomm (episode 7), an operations-division flag officer from Earth Spacedock. Billingslea played Captain Abbott in Star Trek Into Darkness.

Episode eight, “Still Treads the Shadow”, featured Rekha Sharma (Battlestar Galactica and Star Trek: Discovery). Rekha Sharma as Avi Samara (episode 8). Sharma played Commander Ellen Landry in Star Trek: Discovery and Star Trek Online.

Episode nine, “What Ships are For”, featured John de Lancie (three Star Trek series) and Anne Lockhart (the original Battlestar Galactica series). Mark Rolston as Admiral McGuinness (episode 9), head of Starfleet Medical. Rolston played various roles in Star Trek: The Next Generation and Star Trek: Enterprise.

Episodes 10 and 11, “To Boldly Go: Part I” and “To Boldly Go: Part II” written by Sawyer, featured Nicola Bryant (Doctor Who), Cas Anvar (The Expanse), Amy Rydell (reprising her mother Joanne Linville‘s role from the original series), and Mark Meer (Mass Effect). Part I features April Hebert in the role of Rear Admiral Thesp, who was the longest-tenured cast member of Star Trek: The Experience at the time of its closing. Jason Isaacs (Captain Gabriel Lorca from Star Trek: Discovery) also provides a vocal cameo in Part II, although credited under the pseudonym Jason Lorca.[7] Jason Isaacs (credited as “Jason Lorca”) is an ESPer voice (episode 11). Isaacs played Captain Gabriel Lorca in Star Trek: Discovery and Star Trek Online.

Production
The cast of Star Trek Continues at Supanova 2014: From left to right: Vic Mignogna, Kim Stinger, Christopher Doohan, Chuck Huber, Michele Specht, and Grant Imahara

After directing an episode of Starship Farragut for Farragut Films, Mignogna proposed to the companies involved in its production to form a partnership to support the development of a new web series, aimed at continuing the episodes of TOS.[8]

A facility of 9,600 ft2 (891 m2) was acquired in Kingsland, Georgia, to host the sets of the Enterprise,[9][10] which were built from the original soundstage blueprints.[8] See notes on the new location in Sandusky Ohio, aka The Neutral Zone studios.

On March 23, 2012, Farragut Films announced the official cast of the series that, among other professionals, included Chris Doohan (son of James Doohan) and MythBusters’ Grant Imahara.[11][12]

Mignogna and the production team recreated the style of the original series in its sets, cinematography, costumes, acting, and storytelling style. They duplicated the four-act structure used in the original because of the need for commercial breaks. They primarily used the original series’ incidental music, as well as the original theme song and credit typography. Starting with the fifth episode, original music by composer Andy Farber was included.

(Note that you may watch the STC vignette about how Vic spotted the music on the show. It’s on our Roku app called Martian Poop, and there’s an Audio section, so that you may listen to the STC music too.)

They shot the episodes in 4:3 aspect ratio to duplicate the original series’ TV format.[2][13]

The first episode, “Pilgrim of Eternity“, premiered at Phoenix Comicon on May 24, 2013, and was released to the public the same day.[14] “Lolani”, the second episode, finished shooting in November 2013[15] with guest stars Lou Ferrigno and Erin Gray. The episode was released online in February 2014 after premiering at Dallas Sci-Fi Expo in Dallas, Texas. Episode three, “Fairest of Them All”, began principal photography that month,[15] with a premiere at Supanova 2014 in Sydney, Australia in June 2014.[16] Pre-production on the fourth episode of the series, “The White Iris”, began in November 2014,[17] with a release on May 29, 2015, at Phoenix Comicon. The fifth episode premiered on September 25, 2015, at Salt Lake Comic Con followed by a public release on the following day.[18]

According to the ending credits of “Fairest of Them All”, a scene of the episode was shot on location at NASA’s Space Center Houston, home of the restored life-sized prop of the original Star Trek Galileo shuttlecraft.

In early 2015, Star Trek Continues announced the acquisition of the remainder of the Kingsland facility, totaling 18,500 ft2, under exclusive ownership of Trek Continues Inc. The studio was rebranded as “Stage 9”, a homage to the original series’ soundstage at Desilu. (See notes about the new owner, Ray T and his relocation of the studio in 2025 to Sandusky, Ohio.)

Vignettes (watch them free and ad-free on our Martian Poop Roku channel.

  • V1 “Turnabout Intruder” Jack Marshall Arthur H. Singer (original 1969 teleplay), Vic Mignogna (new material) July 31, 2012. After a temporary swap of bodies occurred between Kirk and Dr. Janice Lester, the captain and the crew resume their duties. This sequence was filmed shot for shot from the original series.
  • V2 “You’ve Got the Conn” Vic Mignogna Vic Mignogna & Jack Marshall September 30, 2012. Uhura, Chekov and Sulu have a bit of fun with the captain’s chair during a night shift but are caught in the act by an unexpected Captain Kirk.
  • V3 “Happy Birthday, Scotty” Vic Mignogna Vic Mignogna November 30, 2012. Though Scotty welcomes the arrival of an improved hand phaser, McCoy is not particularly happy about being told to practice with it.

Reactions by the public

On December 16, 2013, about a month after the ending of the Kickstarter campaign, Kevin Pollak’s Chat Show published a video interview with Tom Hanks in which the actor highly praises a Star Trek fan production and its “people that recreate with incredibly, startlingly great production values unseen Star Trek episodes”, adding that “it looks exactly like the starship Enterprise“. Although he could not put a name to the series, he described it citing information compatible with the identity of Star Trek Continues, which motivated the producers and a few sources to assume and claim that the actor was referring to them.[5]

On July 31, 2014, Rod Roddenberry attended an official screening of “Fairest of Them All” in Las Vegas and endorsed the project, stating: “I do have to say, and I said this after ‘Lolani’, I’m pretty damn sure my dad would consider this canon. The fact that you do stories that mean something, that have depth, that make us all think a little bit, I really think he would applaud you guys, and I applaud you guys, and as far as I am concerned, it is canon. So thank you.”

The publication Wired has dedicated to Star Trek Continues five videos of its video series Obsessed, that aims to highlight “what happens when people live out their obsessions to the fullest.”[27] Obsessed shows Mignogna and other people of the staff explaining to what extent they have paid attention to detail to recreate the Enterprise set and the visual style of the original series.

See also

The Neutral Zone. (Click the “tag”) and you’ll find our NZ page, which is always being updated as we get more and more info from NZ on Facebook, and also from Ray and the Ohio studio construction crew.

  • Star Trek New Voyages: James Cawley’s fan made series modeled on the original Star Trek, made at his NY studio-come-official Trek Tour.