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Louis Wonsley
Louis Wonsley

[S1E9] All Those Who Wander UPD


Enterprise is towing Peregrine back home, and the crew is gathered for the funeral of Hemmer, Chia, and Duke. Ortegas gives us a small peek into the special relationship between a starship pilot and engineer. Uhura tells those gathered that Hemmer was a lot like her dad. He challenged her, and guided her. And he fixed what was broken.




[S1E9] All Those Who Wander



"So when we had to shoot that episode, it was pretty hard. It was pretty hard on her. And you know what, they say it's always hardest on those left behind, and yeah. I guess if there's one hope that I have for Hemmer is that it takes them a long time to get over him. Isn't that everyone's hope?"


One of Goldsman's first ideas was to feature the Gorn, a lizard-like alien species introduced in the Original Series episode "Arena", as a recurring adversary for the season. Kurtzman was excited to use modern visual effects and puppetry to make the species feel "vivid and scary" compared to the "guy in a rubber suit" from "Arena".[23] The writers discussed ways to incorporate the Gorn without contradicting the fact that the characters in "Arena", which is set around seven years after the events of this season, have not seen the species before. Perez explained that their goal for the series was to not "undo people's experience with The Original Series, but if we can manage it, perhaps to give us an interesting perspective to consider that lines up with the original stories".[24] Specifically discussing the line "I face the creature the Metrons called a Gorn" spoken by William Shatner's James T. Kirk in "Arena", Perez explained that "maybe Kirk has never seen them, he could even be one of those people who still doubts the stories, or maybe even he has seen them and they don't look the same".[25] Some of the ways that the series attempts to maintain continuity include featuring the Gorn in the backstory of La'an Noonien-Singh, a character who does not appear in The Original Series; not actually showing them in "Memento Mori" when Gorn starships are seen;[24] and only showing baby Gorn in "All Those Who Wander".[25] Perez researched submarine films in an effort to replicate the feeling of the Original Series episode "Balance of Terror" for "Memento Mori",[24] while "All Those Who Wander" is a horror-themed episode inspired by the films Alien (1979), The Thing (1982), Gremlins (1984), and Predator (1987). Perez said Alien was an especial influence on the episode because it was "hard not to draw the comparison when writing a 'horror story in space'", and this is primarily seen in the way that baby Gorn grow inside host bodies and burst out of them like the Xenomorphs from that franchise.[25]


The opening scenes set on Pike's snowy Montana ranch in the first episode were filmed on location north of Toronto. Mount's beard in the sequence took three months to grow.[30] Due to pandemic restrictions, scenes on the Enterprise bridge were the only time that the whole main cast could film together. Mount played music on set those days to help them bond.[62] Goldsman finished filming most of the first episode by early April 2021, only leaving some scenes that required large groups of extras which could not be filmed due to limits on the number of people allowed on set during the pandemic. He hoped to finish those scenes soon after.[60] The showrunners encouraged the other directors to bring a unique look and tone to highlight the series' episodic approach. Myers stated, "sometimes it's funny, sometimes it's horrific, sometimes it's dramatic, and sometimes it's sad".[73] The cinematographers worked with each director to devise a unique lighting approach for their episode that matched the themes in the script.[90] In late April, a guest actor for the season flew from Vancouver to Toronto before testing positive for COVID-19. They had been in contact with a few crewmembers during a costume fitting before the positive test was returned, and those people were quarantined per the studio's protocols. Filming for the season was not impacted by the incident.[92] Discovery and Picard director Maja Vrvilo beginning production on the second episode by April 26.[93] Producing director Chris Fisher said the episode had the most complex virtual set of the season for the inside of the M'hanit comet, for which Pixomondo had to animate changing lights and colors into the digital background.[94] The comet surface was filmed on a green screen stage instead of the virtual production set, due to scheduling and visual effects requirements.[95]


Melumad reprised Gerald Fried's original fighting music from "Amok Time" during Spock's dream sequence in "Spock Amok",[99] and Fred Steiner's theme for the Romulans from "Balance of Terror" in the finale.[122] Jeff Russo, who composed the series' main theme, provided reference material from The Original Series.[121] Melumad had been recording her music for several months at the Eastwood Scoring Stage at Warner Bros. Studios in California by February 2022.[120][123] A 36 or 37 person orchestra, similar to the one used for The Next Generation but smaller than those from Discovery and Picard,[119][120] was recorded together under COVID-19 safety protocols.[120]


At Triad Industries, Ryan Clarke asks the clerk for information about Seylah Chelon. The man is unable to provide anything as the system throws errors, citing that Seylah never worked for Triad. Clarke hands the man a photograph where Seylah is wearing the logo, and asks to check the paper archives. The clerk initially refuses, telling Clarke that access to the archives requires an access code that only those with the highest security clearance know, nevertheless, Clarke provides the access code and the clerk shows him the files. He reads Seylah's files, and is confused as to how she could be in Mystic Falls the previous day if she had been absorbed years earlier.


Individually, each of them falls asleep and is haunted by the hooded figure from Pedro's earlier nightmare. Rafael is affected the most, when he dreams of kissing Hope, but is jolted to a different nightmare by the sound of Kurt's buckle. The hooded figure questions where "it" (the glowing urn) is, however Rafael is perplexed and unaware of the situation unfolding before him. When he jolts awake, however, he is left with an imprint of the buckle on his arm, showing that what happens in the dream also happens in reality. When Rafael explains his nightmare to Alaric and the others, he deems that the monster they're currently facing is a night hag. He explains this to the school in a second emergency meeting, telling those who are not evacuating to do whatever they can to stay awake. Landon asks Hope if the two can talk, however she brushes him off, not wanting to reveal anything about Seylah to him.


Bernard taking the elevator to Ford's office, looks around it. A short while later Ford enters Cold Storage, making his way through the decommissioned hosts to the autopsy lab. where Bernard has arranged to meet him, wanting to talk. Ford, noting the odd setting for the conversation, 'among the dead'. Bernard suggesting that 'dead' isn't quite the right word for it, more like 'hobbled' he says, showing Ford his own host diagnostic schematic. Ford, almost amused, remarks that Bernard broke into his office. Bernard retorts that Ford broke into his mind. Ford points out that he built his mind, and has every right to wander through every part of it, change it or destroy it as he sees fit. Bernard challenges him on that, saying that's not exactly true. That he's looked at his code, and the 'most elegant' parts of it weren't written by Ford. "Arnold built us, didn't he?"


As he lies there prone, footsteps approach, a booted foot stopping near him, High heeled. "Have you ever considered golf?" Charlotte Hale asks him, suggesting it might be easier on his back as she looks down at him. Telling her he doesn't like interruptions, she knows that, she replies that she doesn't like hiking through the Park in civvies, but there's a 'delicate matter' to discuss. Telling him that Theresa Cullen has died, as he cuts himself free. That she slipped down a crevasse attempting to secure 'their' information. Ruled an accident. The MiB rolls his eyes, pulling off his noose, asserting "There are no accidents. Not in here." Charlotte tries to convince him that not everything is a part of this game, but he counters that in that case she doesn't see the whole game. "Or perhaps you can no longer see beyond it," she replies. She admits that Ford's stories are engaging, for *some* downright addictive, but for all his shades of light and dark and intricacies, she maintains that all the guests really want is a 'warm body to shoot or to fuck' and feels they would be perfectly happy with something less, Baroque. And so would the Board. The MiB finally getting why she's there, she wants his vote to push Ford out. She admits she likes things to be unanimous. After all he was the one who kept Ford in business all those years ago. The MiB replies that that the Narratives he's interested in aren't Fords. If she wants to push him out that's fine with him. But no more interruptions, he tells her. He knows where he's going now and he doesn't want to be disturbed. Wishing her luck he picks up his gun and walks away. 041b061a72


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