Star Trek is one of the biggest science fiction franchises in history. It has spanned hundreds of hours of television, over 10 feature films, and that’s only in the film format. In 2009, Paramount wanted to reinvigorate the Star Trek franchise. They wanted a reboot, specifically, and looked no further than the visionary director JJ Abrams to helm the project. The gamble paid off in large. Paramount asked Abrams to make a movie based on the original Trek. What better way to excite retro fans of the corny classics as well as action-movie fans than with Abrams? Abrams hired fellow LOST co-creator and writer Damon Lindelof to write the story. He came up with a story that is a combination prequel/alternate-universe sequel to the original Star Trek story. There is even a direct connection to Next Generation and Captain Picard (as revealed in supplemental movie resources). In the story, the evil Nero is thrown back in time after his home planet Romulus is destroyed. He blames Spock and sets out to destroy Vulcan, which he accomplishes. Nero’s actions create an alternate timeline to the original. This allows for Paramount to set an indefinite number of new adventures in this classic universe and general time with a new cast and ideas. In this universe, Spock is captain of the Enterprise before Kirk. Spock from the original series (actually played by Leonard Nimoy) convinces Kirk that he should be the captain. Some of the roles have been changed. Uhura is still a symbol for women’s rights, however, Checkov is now almost solely used as a comedy figure, and Sulu is actually good at sword fighting, unlike… In addition to this, JJ Abrams brought on Michael Giacchino, veteran LOST composer and Academy Award-winning composer of Pixar’s Up, to score the film. In the special features, he reveals that he took the original Trek themes and based new compositions on them. From these he again made alternate scores. In this way, the sound was fresh but eerily familiar. To add to this, Giacchino added some classic sound effects to the music. At the very end of the film, the various pieces all come together before the credits and the original show theme is played.
- Adaptive Organism: John W. Campbell’s “Who Goes There?”, Howard Hawks’ “The Thing from Another World” and John Carpenter’s “The Thing”
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