Star Trek: Discovery (season 3)
The third season of the American television series "" follows the crew of the USS "Discovery" as they travel to the future, more than 900 years after the events of "", and learn that Starfleet has been nearly destroyed by a cataclysmic event called "The Burn" that has left the galaxy disconnected. The season was produced by CBS Television Studios in association with Secret Hideout and Roddenberry Entertainment, with Alex Kurtzman and Michelle Paradise serving as showrunners. Sonequa Martin-Green stars as Michael Burnham, first officer of the "Discovery", along with the returning Doug Jones, Anthony Rapp , Mary Wiseman, and Wilson Cruz. They are joined by David Ajala and Rachael Ancheril. The season was ordered in February 2019, with Paradise promoted to co-showrunner alongside series co-creator Kurtzman. They ended the with the "Discovery" travelling to the future, beyond existing "Star Trek" continuity, which allowed them to explore a new time period for the franchise including new designs and technology from production designer Phillip Barker. The season introduces the first explicitly non-binary and transgender "Star Trek" characters, respectively portrayed by recurring guests Blu del Barrio and Ian Alexander. Filming took place from July 2019 to  February 2020 in Toronto, Canada, and on location in Iceland. "Star Trek: Discovery" was the first visual effects-heavy series to go through post-production during the COVID-19 pandemic, with work on the season's visual effects, as well as editing and music, taking place remotely. The 13-episode season premiered on the streaming service CBS All Access on October 15, 2020, and concluded on January 7, 2021. It was estimated to be the most in-demand All Access series of 2020, and received positive reviews for its new setting which critics felt had freed the series from the franchise 's existing continuity and allowed it to tell the story it was meant to tell. Other praise went to the season's real-world parallels and cast (especially Martin-Green, as well as the introduction of Ajala, del Barrio, and Alexander), while Burnham's character development and the resolution of major issues received mixed responses. It won a Primetime Creative Arts Emmy Award for its visual effects, and received several other awards and nominations. A was announced in October 2020, and the third season also sets-up a to star recurring guest Michelle Yeoh. Episodes. <onlyinclude></onlyinclude> Production. Development . On February 27, 2019, CBS All Access renewed "" for a third season, shortly after the premiered, citing the positive fan response to that premiere as well as increased subscribers. After joining the series as a writer during the second season, Michelle Paradise was promoted to co-showrunner for the third alongside series co-creator Alex Kurtzman. Kurtzman explained that Paradise had been essential to his process during the second season, becoming a partner for him while he oversaw multiple "Star Trek" series in addition to showrunning "Discovery". By the end of the second season he felt that Paradise was already  running "Discovery" with him, so it was an easy transition to her becoming official co-showrunner during the third season. In October, Kurtzman said the season would have 13 episodes, and this was unlikely to be extended as happened for the previous two seasons. Writing. The writers room for the season included Jenny Lumet, Anne Cofell Saunders, Ken Lin, Alan McElroy, Kirsten Beyer, Brandon Schultz, Erika Lippoldt, Bo Yeon Kim, Chris Silvestri, Anthony Maranville, Sean Cochran, and Kalinda Vazquez. They began work at the end of February 2019, at Kurtzman's Secret Hideout offices in Santa Monica. Astrophysicist Erin Macdonald  and biologist Mohamed Noor consulted on the season, after joining the "Star Trek" franchise as general science advisors, as did frequent "Star Trek" linguist Marc Okrand who helped develop the season's alien languages, such as Kelpien. After working in the writers room for the series "Snowfall", author Walter Mosley was hired by Kurtzman for a similar role on the third season of "Discovery". Mosley worked on the series for three weeks before he was notified by CBS of a complaint that had been made against him by another writer for Mosley's use of the word "nigger" while telling  a story. CBS told Mosley this was usually a fireable offence, but said no further action would be taken and asked that he not use the word again outside of a script. Mosley chose to leave the series, quitting without informing Kurtzman and Paradise. He explained his decision in an op-ed for "The New York Times" in September 2019. Mosley did not identify "Discovery" in the op-ed as the series he had quit, but this was confirmed by CBS in their response to it. Paradise revealed at the end of January 2020 that the script for the season  finale had been completed. The second season ended with the USS "Discovery" traveling over 900 years into the future, freeing the series from the continuity of previous "Star Trek" stories and allowing it to explore a new time period for the franchise. Kurtzman compared this decision to that of the film "Star Trek" (2009)—on which he worked as a writer—starting a new timeline to avoid established continuity. Star Sonequa Martin-Green described the new setting as a "blank slate". In October 2020, Kurtzman revealed that the season takes place following a cataclysmic event, the Burn, that separated people and  changed the way that they communicate. He noted that this is "exactly what we are going through right now" with the COVID-19 pandemic, though the season was written and filmed before the pandemic began. Paradise said the season's main theme was the importance of connections. The writers knew that the protagonist, Martin-Green's Michael Burnham, would become captain of "Discovery" eventually and decided that they wanted that to happen at the end of the third season. They wanted to give her the best arc possible by taking the character far away from that end goal. The first episode  focuses on Burnham, alone in the future until she meets new character Cleveland "Book" Booker, with the rest of the "Discovery" crew being the focus of the second episode. They are reunited with Burnham in the third, which is set one year after the events of the first episode for Burnham. Burnham declines to become captain then, deferring to Saru who was the acting captain at the end of the second season. Burnham spends the first half of the season questioning her place on "Discovery" and trying to reconcile her role on the ship with the year she spent with  Book. She recommits to Starfleet in "Unification III", and the rest of the season builds to her becoming captain. Saru's storyline focuses on his connection to other Kelpiens and his home planet of Kaminar, and he ends the season with Su'Kal on Kaminar. Paradise said this was not necessarily a way to bring Saru's story "full circle", and was more a way to show his natural progression from his brief interactions with other Kelpiens in the previous seasons. Kurtzman explained that to star Michelle Yeoh as Philippa Georgiou was not expected to be made until after the third  season of "Discovery" was completed. Executive producer Heather Kadin said Yeoh's presence in the third season could lead to a direct tie-in with the spin-off. "Discovery" writers Bo Yeon Kim and Erika Lippoldt were expected to showrun the spin-off, and developed Georgiou's character arc in the third season. It ends with her being written out of the series in the two-part episode "". They wanted a "timey-wimey solution" for sending Georgiou to her new destination, and chose the Guardian of Forever from the "" episode "The City on the Edge of Forever". "Discovery" introduces a  new personification of the Guardian called "Carl", named for and inspired by astronomer and author Carl Sagan. "Terra Firma" was given as an example of the season's more episodic approach, with each episode having a central character, villain, or standalone story that is connected to the season-long mystery of what caused the Burn. Other examples include "People of Earth", in which Earth is treated like a planet of the week, and the focus on Vulcan culture in "Unification III". Paradise said this approach allowed some characters to be explored that usually would not be. The Burn being an  accident caused by a child was inspired by the Ursula K. Le Guin short story "The Ones Who Walk Away from Omelas" (1973), while the holographic simulation that Su'Kal lives in was inspired by "The Matrix" (1999). When asked if the series would directly tie-in with "", Kurtzman said it would not but there would be references to previous "Star Trek" series. These include a mention of the Temporal Wars from "", which take place during the 31st century. That was the furthest the franchise had gone into the future until this season, which is set in the 32nd century. The  season reveals that a temporal agent crossed over from the alternate timeline created during the events of the film "Star Trek" (2009), which is the first reference to the film franchise's alternate reality made by a "Star Trek" series. The episode "Unification III" serves as an informal sequel to the two-part "" episode "", which saw Burnham's brother Spock begin to unify the Vulcan and Romulan people; in "Unification III", the planet Vulcan has been renamed Ni'Var and is home to both Vulcans and Romulans, including the Qowat Milat, a sect of Romulan warrior nuns that were introduced in  Picard. Kadin stated before the season's premiere that the "" short "Calypso" was set around the same time as the season, and there was a chance that Aldis Hodge could reprise his role from the short, but Paradise later said "Calypso" is actually set many years after the season. Instead, the season foreshadows "Calypso" by showing the Sphere data from the second season beginning to integrate with "Discovery", becoming the advanced artificial intelligence Zora that was introduced in the short. Casting. The season stars the returning Sonequa Martin-Green as Michael Burnham, Doug Jones as Saru, Anthony Rapp as Paul  Stamets, Mary Wiseman as Sylvia Tilly, and Wilson Cruz as Hugh Culber. They are joined by David Ajala, who was announced as new series regular Cleveland "Book" Booker in July 2019. Book helps introduce the season's new setting, and is also a love interest for Burnham that the writers hoped would bring out new sides to her character in contrast to her tumultuous relationship with Ash Tyler in the previous seasons. Rachael Ancheril is also credited as starring for her appearances in the season, reprising her recurring guest role as Nhan from the second season. She is written out  of the season in the fifth episode. Inside the holographic simulation that the characters enter in "Su'Kal", their appearance is changed to look like different species. Burnham appears as a Trill, Culber as a Bajoran, and Saru as a human. Jones usually wears prosthetics to portray the Kelpien character so this was the first time that he appeared as himself in the series. Despite this, he spent a similar time in the makeup and hair department due to the wig that he wears in the episodes. Jones felt having hair would help make human Saru more "off-putting", but his  own head is shaved for the series to help with the prosthetics. Kurtzman confirmed in January 2019 that Michelle Yeoh would appear in the third season as Philippa Georgiou. Annabelle Wallis reprises her role from "Calypso" as the voice of Zora, the advanced version of "Discovery", while Sonja Sohn reprises her role as Burnham's mother Gabrielle from the second season in "Unification III". That episode also features archive footage of Burnham's brother Spock, including footage of Ethan Peck from "Discovery" second season and of Leonard Nimoy from "The Next Generation"s "Unification" episodes. In "Terra Firma", several actors portray  Mirror Universe versions of their characters, including Hannah Cheesman and Rekha Sharma as their respective characters from earlier seasons, Airiam and Ellen Landry. "Terra Firma" also guest stars Paul Guilfoyle as "Carl", the Guardian of Forever. An archival recording of Bart LaRue, the original voice of the Guardian from "The City on the Edge of Forever", is also used. Kenneth Mitchell, who guest starred as several Klingon characters during the first two seasons, appears as a new human character, scientist Aurellio. The character uses a hover chair due to a genetic condition, a storyline that was written to accommodate Mitchell 's ALS diagnosis in August 2018, for which he began using a wheel chair in October 2019. Kurtzman said the third season would expand on the crew of the "Discovery" outside the main cast after fans responded positively to those characters in the second season. Tig Notaro reprises her role as engineer Jett Reno, with other returning crewmembers including Emily Coutts as Keyla Detmer, Patrick Kwok-Choon as Gen Rhys, Oyin Oladejo as Joann Owosekun, Ronnie Rowe Jr. as R.A. Bryce, Sara Mitich as Nilsson, Raven Dauda as Tracy Pollard, and David Benjamin Tomlinson as Linus the Saurian. Julianne Grossman  also returns as the voice of "Discovery"s computer. New cast members for the season include Adil Hussain as Aditya Sahil; Jake Weber as the courier Zareh; Oded Fehr as Admiral Charles Vance; David Cronenberg as Dr. Kovich; Mary Wiseman's husband Noah Averbach-Katz as Ryn; Janet Kidder as Osyraa; and Bill Irwin as Su'Kal. Kurtzman originally asked Jones to portray Su'Kal in addition to Saru, but the actor chose not to due to the work required to portray two characters. When Kurtzman suggested Irwin, Jones agreed that the actor could "pull it off". Hannah Spear and Robert Verlaque, who  previously portrayed Saru's sister and father, respectively, appear as Su'Kal's mother Dr. Issa and as a Kelpien elder. Fabio Tassone voices Book's ship computer, and Book's pet cat Grudge is portrayed by two Maine Coons, Leeu and Durban. They are long and weigh . Paradise said they wanted a "really big, fluffy, substantial beast of a cat" to portray Grudge, and having two cats on set allowed the crew to choose which to use depending on their behavior. Casting had begun by June 2019 for the new role of Adira, a non-binary character described as "incredibly  intelligent and self-confident" with the potential to become a recurring guest. Despite the character being portrayed as 16 years old in the season, an actor 18 years or older was being looked for. In September 2020, non-binary newcomer Blu del Barrio was revealed to be portraying Adira, while transgender actor Ian Alexander was announced as cast in the role of Gray, a Trill character. Both characters were said to be the first explicitly non-binary and transgender characters within the "Star Trek" franchise, respectively. The writers knew early on in development that they wanted to include non-binary  and transgender representation to explore new perspectives and stories for "Star Trek". They used Trill mythology for this storyline due to that species being considered an allegory for LGBTQ people by many fans of "Star Trek: The Next Generation" and "". The writers worked with del Barrio, Alexander, and LGBTQ media monitoring organization GLAAD when developing the characters due to there being no non-binary or transgender writers working on the series. Adira is introduced using the pronouns she/her, as del Barrio had not come-out as non-binary to their family when they began work on the series and  wanted Adira's story to reflect their own experience. Once del Barrio came-out to their family, ahead of the announcement of their casting, Adira's coming-out was written into the series and they/them pronouns were used. Design. The series' opening title sequence was updated for the season by Prologue, to feature red dilithium crystals, Burnham's new braided hair, DOT-7 robots, Book's ship, the new 32nd-century Starfleet badges, and the wormhole that brought "Discovery" to the future. The season also features a "streamlined" new logo to reflect its new setting. Kurtzman felt this was especially  important since the series' initial logo reflects the Klingon storyline of the , which the series had moved on from. The opening title sequence for "Terra Firma, Part 2" is inverted from the standard sequence and shown in negative to reflect the episode's Mirror Universe setting. Production designer Tamara Deverell left the series after the first two seasons to work on the film "Nightmare Alley" (2021). She was replaced by Phillip Barker, who was suggested to Kurtzman, despite having no science-fiction experience, because of his experimental art films. Barker was friends with Deverell and studied her work on the  first two seasons, but was able to approach the third as a fresh start due to the new time period. He began by discussing predictions of the future, including potential technology, with scientists and artists, and was drawn to the idea of using nanobots that could react to the thoughts of users to form into different items. Kurtzman described this as "programmable matter", and it became one of the key new technologies for the season. Barker compared it to "open[ing] up a Pandora's box... where everything was not real, everything was a simulation of something else". Kurtzman said there  was a temptation to say "anything is possible and the laws of physics don't apply anymore" when designing future technology, but it was important to have the story drive the technology and remain grounded. This meant creating evolved versions of existing "Star Trek" technology to ground the season in the franchise's previous designs, such as introducing the USS "Voyager"-J, an advanced version of the starship USS "Voyager" from "". Other new Starfleet ships designed for the season include the "Eisenberg"-class USS "Nog" (named in memory of Aron Eisenberg, who portrayed Nog on "Star Trek: Deep Space Nine"), the "Mars"-class  USS "Le Guin" (named for author Ursula K. Le Guin), the "Angelou"-class USS "Maathai" (the class is named after poet and activist Maya Angelou while the ship is named for the Nobel Peace Prize-winning activist Wangari Maathai), the "Courage"-class USS "Jubayr" (named after 13th-century geographer Ibn Jubayr), and the "Saturn"-class USS "Annan" (named for Kofi Annan, former Secretary-General of the United Nations). Costume designer Gersha Phillips was unsure where to begin with the season after the time jump into the far future until she decided to return to an idea she had on the first season. Phillips  had attempted to create costumes with no seams using "No Sew" bonding techniques such as glue and tape, but the first season's producers had rejected this because they wanted to see more details in the costumes. Phillips was able to use this approach for the third season, creating "clean" uniforms for the future Starfleet. The uniforms are mostly gray, with divisions represented by a colored stripe and rank identified by small divots on the communication badges. Phillips was asked to take inspiration from the "Star Wars" character Han Solo when designing Book's costumes, and she created a "space  cowboy" look that was more organic than the "techie" Starfleet designs and showed the character's "freedom and self-expression". Burnham meeting Book is one of the first times that she wears non-Starfleet clothing in the series, and Phillips was interested to show more of the character's personality in her clothing. These choices also take inspiration from Book's wardrobe, including for a coat that he gives her early on which Phillips sourced from Bulgarian fashion brand Demobaza. Burnham's hair is much longer in the season to depict the passage of time for her. After seeing Martin -Green with braided hair at a red carpet event, Kurtzman insisted that Burnham's longer hair be styled the same way. Martin-Green suggested alternate styles, including more natural curly hair, but she and hair department head Ryan Reed agreed with Kurtzman after reading the season's scripts. The Mirror Universe version of Burnham in "Terra Firma" has a shorter "military cut" hairstyle, and Egyptian-style makeup that makeup department head Shauna Llewellyn wanted to be the opposite look to the Prime Universe's Burnham. Llewellyn attempted to go "extreme with alter egos" for all of the Mirror Universe characters . Glenn Hetrick of Alchemy Studio, who provides special makeup and prosthetics for the series, tweaked the Kelpien prosthetics for Jones in the season, and the on-set team was able to apply them in an hour-and-a-half to two hours time, down from over three hours previously. One of Hetrick's primary focuses for the season was creating the Orion characters, which were made using green, silicon, full-face masks rather than just green makeup like was used in previous "Star Trek" series. Both Hetrick and creature designer Neville Page noted that one of the differences between the  franchise's earlier series and "Discovery" is that the latter is filmed in high-definition, and modern audiences expect higer-quality effects. The Andorian characters have antennae on their heads that could be removed from the prosthetics if more emotion-driven movement was required, to make it easier for digital versions to be added by the visual effects team. The rest of the Andorian prosthetics included more shaping around the head to integrate with the antennae and to try make the characters look more interesting. Hetrick felt this was close enough to the more straight-forward makeup of the previous  Star Trek series that fans would still recognise the characters as Andorians, or at least as a group of Andorians that had not been seen before. Filming. The season began filming in July 2019 with six days on location in Iceland. The country was chosen because the producers wanted to introduce the future of "Star Trek" with a place that looked different to the previous seasons, and because Kurtzman had always wanted to film there. Originally, the first two episodes of the season were to be directed by producing director Olatunde Osunsanmi and frequent "Star Trek" director Jonathan Frakes, respectively , but both episodes required location filming in Iceland. Osunsanmi ultimately directed both, beginning with a combined Iceland shoot, with Frakes then directing the third episode. Glen Keenan returned from the second season as the lead director of photography for the third, including serving as the cinematographer for the first two episodes. Filming locations in Iceland included the Hverfell volcano, Goðafoss waterfall, Lake Kleifarvatn, and the Blue Lagoon. The series took advantage of the Icelandic Film Commission's payback program, which reimburses 25 percent of the production costs spent in the country, receiving around US$421,480. Filming for the rest of  the season began at Pinewood Toronto Studios in Toronto, Canada, on July 18, under the working title "Green Harvest". Each episode took 10 to 12 days to film on average. Frakes said the series' directing style was still "shoot to thrill" like for the previous seasons, but this was toned down for season three. In addition to Keenan, Crescenzo Notarile also served as a cinematographer for the season after working with Osunsanmi on the series "Gotham". Notarile initially did not want to "rock the boat" by changing the established style of the series, which used Arri Alexa SXT cameras and  Cooke Optics' Anamorphic/i Special Flare lenses. The season would often use up to four cameras at once, which made it difficult for the cinematographers to light the scenes, but Notarile felt the result made up for this by being "very visceral". The cameras were primarily on steadicam mounts, a technocrane, or a dolly cart, and often used dutch angles, which created a style of moving and floating that the cinematographers believed would feel "Trekian". Barker's sets were specifically designed to work with the anamorphic lenses' widescreen format. Notarile soon felt confident that he could push the style of  the series further with different in-camera effects, such as adding filters and prisms, using "image shakers" to safely add shaking effects to the camera, and shining a flashlight through different colored glass to distort the image. Some of the filters he used were created specifically for the season by optics company Schneider Kreuznach to give Notarile more control over lens flares. The "Discovery" bridge set was lit with 5000 LEDs that the cinematographers could control, including changing their color for when the ship goes into alert mode. Different lighting techniques were required for the actors wearing prosthetics and makeup : soft light from a low angle was needed for Jones's Saru prosthetics to be able to see his eyes, while Kidder was overexposed to let her green makeup "glow and blow out the imperfections". Jon Dudkowski, one of the series' editors, made his directorial debut with the episode "Unification III". Filming for a mining colony took place at the Stelco steel plant in Hamilton, Ontario, while the planet that the Guardian of Forever appears on was filmed in an Ontario quarry. In December 2019, filming took place at the disused Kingston Penitentiary in Kingston, Ontario, to portray part of  the holographic environment that Su'Kal lives in. Jones pre-recorded Saru's Kelpien singing for those scenes and lip-synced the lines on set. Filming officially wrapped in Toronto on February 24, 2020, 10 days before lockdowns began due to the COVID-19 pandemic. Post-production. Kadin stated in January 2020 that the season should be ready by that May. In late March, post-production work for the season, including editing, visual effects, and scoring, was taking place remotely due to the COVID-19 pandemic. Jon Dudkowski shared editing duties for the season with Scott Gamzon and Andrew Coutts. Their workflow involved  the compiling of footage after each day of filming, working on each episode with its director for four days, and then finalizing the episodes with the showrunners. During post-production, Kurtzman brought film composer and editor John Ottman to the series to oversee the editors and help shape the episodes; Ottman had previously approached Kurtzman about the opportunity to work on "Star Trek" as a big fan of the franchise. In July, Paradise said the crew was "working nonstop" to complete post-production, but it was taking longer than previous seasons due to the pandemic. The editors, mixers, and color  graders carried out work from their houses, with Kurtzman and Paradise supervising via Zoom. Okrand coached the actors via Skype on speaking alien languages for additional dialogue recording. The season was scheduled to premiere in October 2020, after the season finale of "", and Kurtzman explained that the debut was delayed until after "Lower Decks" had been released because of how much longer post-production on "Discovery" took during the pandemic. Late in post-production, the producers added a quote to the end of the season finale from "Star Trek" creator Gene Roddenberry about connections. Paradise said it "felt appropriate to  have something from him" due to the season's themes of connection as well as the effects of the pandemic when the season was being released. Visual effects. "Star Trek: Discovery" was the first visual effects-heavy series to go through post-production during the pandemic. Kurtzman and Paradise reviewed visual effects shots remotely several times a week with visual effects supervisor Jason Zimmerman. Visual effects shots for each episode on "Discovery" typically take eight-to-ten months to complete, and this took longer for the third season during the pandemic. The season had an estimated 3500 to 5000 visual  effects shots. Visual effects vendors included Pixomondo, Ghost VFX, Mackevision, Crafty Apes, DNEG, The Mill, and FX3X, as well as Zimmerman's in-house team at CBS Studios. Since the production was unable to carry out additional photography to film pickup shots with the actors during lockdown, visual effects were used to fill these requirements. Fully computer-generated shots were created with digital doubles of the actors based on existing scans. The actors filmed motion capture performances in their houses that were then used to drive the performances of the doubles. The season required more environmental work and set extensions  than the previous two, including the creation of complex holograms to augment sets. When characters are seen talking via hologram, both actors were usually filmed on set together and then a clean plate of the set without the actors was used to add transparency. Fully digital environments included the futuristic San Fancisco when "Discovery" visits Earth and the forested homeworld of the Trills. On the latter planet, Adira enters a dream-like environment when connecting to their symbiont. This was primarily filmed on green screens, with Mackevision creating the digital environment and animating 3D tendrils into the scene. A digital  double of del Bario is also used for the transition into the environment. When adding visual effects to the environments of the first two episodes, Zimmerman made sure to retain the "true wonder" of the Iceland location shots. The parasitic ice from the second episode was created with a particle simulation by Pixomondo, who created 570 shots for the season. The company had to match their digital ice to the real glacier in Iceland. The effect of the ice forming tentacles around "Discovery" was difficult due to it being done near the end of Pixomondo's prodution schedule when time  constraints limited what could be done. It ultimately required hand animation to complete rather than simulations. Zimmerman described the season's new setting as a "double-edged sword", because they no longer had to work within the confines of established continuity but all of the new effects would still be scrutinized by fans. Discussion began early regarding how the classic "Star Trek" transporter effect should be depicted in this time period, and Crafty Apes created 10 to 15 different versions of what the new effect could look like. The chosen style is much faster than in previous series to show  an advancement in technology. The effect of the Barzan character in "Die Trying", who was in a transporter accident, was created by Ghost VFX. Other new effects include programmable matter and the fact that many chairs and consoles float. Pixomondo worked on the look of programmable matter, and initially were able to simulate it based on the movements of Book's hands on the console of his ship. A new workflow then had to be developed so the effect could be extended to weapons, props, and ships. Zimmerman praised the series' art department for the different starship designs that they  produced for the season, noting that they were very different from what was seen previously. Pizomondo created the sequence where "Discovery" arrives at Starfleet headquarters, where 15 new Starfleet ships are introduced. The headquarters environment is a "bubble forcefield generated by a corkscrew-looking space station" at its center, and Pixomondo had to track where all of the starships were inside the environment so the correct ones would always be visible for each shot. Many of the larger ships are seen moving slowly to help convey their size. Pixomondo also developed some of the non-Starfleet starships, such as Book 's smaller courier ship. The biggest challenge with that ship was the fact that it can break apart and reform, with the visual effects team attempting to create logical ways for this to happen. In the season premiere, Book's ship is pursued through a debris field by another courier ship that Pixomondo also created. Some of the debris used digital models recycled from the previous seasons, but other elements had to be created new for the episode. The model of the "Discovery" was also reused from previous seasons, but it was upgraded to use programmable matter after a few  episodes. Pixomondo developed a new process for the season's viewscreen effects, which were created in the previous seasons with 2D animation. For the upgraded "Discovery" model and future ships such as Book's, full 3D elements were animated and added to the shots. The compositing team spent a lot of time ensuring the correct reflections appeared on the sets around the viewscreens. The season had more digital creature work than previous seasons, including the trance worm from the premiere episode, nicknamed "Molly", which was designed by Neville Page. Ghost VFX created the worm, which was added to footage from  the Iceland shoot. Ghost was also the lead vendor on "Su'Kal", contributing 130 effects shots to the episode and almost 500 for the season. "Su'Kal" required a digital environment for the holographic simulation that the title character lives in, as well as digital creature-work for the wraith-like monster that stalks him. There had been a physical version of the creature on set that was always going to be augmented with visual effects, but the team experimented with different approaches that ranged from small adjustments to completely replacing the actor with a digital version. The producers chose a solution  where they would attempt to retain the on set performance but replace the actor with the "coolest and most complex" digital design. This gave them the freedom to develop the creature and the different shots as needed. The design of the creature needed to be scary, but it was also required to emote for certain story moments. The underlying muscle and skeleton system was driven by motion capture, with particle and cloth simulations layered on top that were intended to look like the creature was underwater. For a scene where the creature's mood changes from angry to calm, the  turbulence setting of the simulation was increased to make the cloth and particles "flutter", before toning it down when the creature is calm to make the cloth appear weightless as if it is in calm water. Performance capture was used for the creature's facial expressions, which were then perfected by the visual effects artists, and Zimmerman said it was rare for the series to feature that level of nuanced, visual effects-driven creature work. Crafty Apes and DNEG also contributed to "Su'Kal", with the latter creating the Verubin Nebula digital environment. Music. By the end of January 2020, composer  Jeff Russo had written some pre-recorded music for the season for use in the scene where Gray plays the cello for Adira. This music is heard throughout the season. Russo had not yet seen any of the completed episodes when he composed the cello music. He was "full speed ahead" composing music for the first five episodes in April 2020, working remotely due to the COVID-19 pandemic. His intention was to record the scores with an orchestra later, once it was safe to do so. A month later, Russo had begun remotely recording individual musicians from their homes. Recording  engineer Michael Perfitt combined the different recordings to make them sound like the musicians were recorded together at a scoring stage, and Russo felt the final result would not be of a lower quality compared to his scores for the previous seasons. Russo said his approach to the season's music was not affected by the time-jump between seasons, stating that it still sounded like "Discovery" despite the new motifs he wrote for new characters (including the cat Grudge) and locations. He did state that the season would make less references to Alexander Courage's original "Star Trek" music  and would instead make more references to Russo's own music for the first two seasons of "Discovery". For example, Russo brought back his Mirror Universe music from the first season for Georgiou's storyline. Courage's theme does get played over the season finale's end credits, which Paradise said was a way of "honoring what gave birth to all of this", while Russo also referenced Jerry Goldsmith's main theme from "Star Trek: Voyager" when the USS "Voyager"-J appears. The "Andorian Opera" that is played by Aurellio near the end of the season was sung by Ayana Haviv . A soundtrack album for the season was released digitally by Lakeshore Records on April 16, 2021. All music composed by Jeff Russo: Marketing. The series was promoted at San Diego Comic-Con 2019 in a ""Star Trek" Universe" panel alongside other series from the franchise. The panel featured Kurtzman, Paradise, and Martin-Green, and introduced Ajala. Comic-Con also had an "immersive transporter experience" that allowed fans to "step aboard the USS "Discovery" and travel to strange and distant lands". The cast and executive producers promoted the series at further "Star Trek" Universe panels at New York Comic Con and  PaleyFest New York in October, with a trailer for the season revealed at the New York Comic Con panel. Several commentators questioned whether Starfleet still existed in the universe based on dialogue in the trailer. In late February 2020, key art for the season was released on Twitter by a purported CBS account. The images were shortly taken down due to a copyright claim from CBS, with the original account believed to be a fake. A short teaser featuring Martin-Green and using the same visual style as the leaked art was released following the season finale of "Star Trek : Picard". The series' cast and executive producers promoted "Discovery" in a virtual "Star Trek" Universe panel for the 2020 Comic-Con@Home convention, where the cast of the second season's finale participated in a table read of the first act of that episode before teasing the third season of the series. The live stream of the event was interrupted for around 20 minutes when CBS's content protection system blocked it as a copyright infringement. The season's premiere date was announced shortly after the event, and was accompanied by a brief teaser depicting Burnham planting the Federation flag on  a new planet. This was shortly followed by a new trailer celebrating "23 weeks of New Trek" and featuring footage from both the third season of "Discovery" and the of "Lower Decks"; the 23 weeks include both series, with "Lower Decks" premiering on August 6 and running for 10 weeks, followed the next week by the premiere of "Discovery" which then ran for 13 weeks. On September 8, CBS All Access streamed a free 24-hour event to celebrate the 54th anniversary of the "Original Series" premiere. The event included a marathon of episodes from across the "Star Trek" franchise , with a break during the day for a series of panels about different series. These included a panel for "Discovery" featuring Martin-Green, Ajala, Kurtzman, and Paradise, during which they debuted a full trailer for the season. It revealed that the season was about bringing hope back to the Federation in an uncertain future, and introduced the series' new logo. It was accompanied by the official release of the season's key art poster. Another virtual "Star Trek" Universe panel was held for the 2020 New York Comic Con a week before the season's premiere. The cast and crew  discussed the season and revealed the opening scene of the premiere. In November, ViacomCBS announced that it would donate all proceeds from a new line of "Discovery"-themed merchandise to GLAAD, to support the organization's "culture changing work to accelerate acceptance for LGBTQ people". Release. Streaming and broadcast. The season premiered on CBS All Access in the United States on October 15, 2020, and was released weekly for 13 episodes until January 7, 2021. Bell Media broadcast the season in Canada on CTV Sci-Fi Channel (English) and Z (French) on the same day as the U.S., before streaming episodes  on Crave. Netflix released each episode for streaming in another 188 countries within 24 hours of its U.S. debut. In September 2020, ViacomCBS announced that CBS All Access would be expanded and rebranded as Paramount+ in March 2021. Existing episodes of the season remained on Paramount+ along with future seasons of the series. Home media. The season was released on DVD, Blu-Ray, and Limited Edition Steelbook formats in the U.S. on July 20, 2021. The release includes over two hours of bonus features, including deleted scenes, a gag reel, and featurettes on the making of the season, filming in  Iceland, the stunts, the bridge crew, the development of Michael Burnham's character, and Kenneth Mitchell's ALS diagnosis and role in the season. On November 2, 2021, a home media box set collecting the first three seasons of "Discovery" was released, with more than eight hours of special features including behind-the-scenes featurettes, deleted and extended scenes, audio commentaries, and gag reels. Reception. Viewership. Audience demand analytics company Parrot Analytics estimates streaming viewership based on global "demand expressions", with the "desire, engagement, and viewership weighted by importance". A month after the season premiered, the company said the demand  for the series had "surged" to being 36.1 times more in-demand than the average United States series. Travis Clark of "Business Insider" said "Star Trek: Discovery" was certainly the most popular original series on CBS All Access, and Parrot's data placed it in third place on their weekly list of most in-demand streaming series for the week beginning November 9. The series remained in Parrot's top nine most in-demand streaming series list for each week until the one beginning December 21, and it returned to the list two weeks later (the week beginning January 4 , 2021) when the season finale was released, at which point Parrot calculated the series to be 33.4 times more in-demand than the average U.S. series. In the company's list of the top 20 most in-demand streaming series of 2020, "Discovery" was ranked 12th and listed as 25.7 times more in-demand than the average U.S. series. It was the highest ranked CBS All Access series for the year, with the only other All Access series on the list being the of "Star Trek: Picard" (ranked 14th). Critical response. The review aggregator website Rotten Tomatoes reported a 91 % approval rating for the third season, with an average rating of 7.7/10 based on 33 reviews. The website's critical consensus reads, "With less canonical baggage and a welcome dose of character development, "Discovery" continues to forge its own path and is narratively all the better for it." Metacritic, which uses a weighted average, assigned a score of 75 out of 100 based on reviews from 8 critics, indicating "generally favorable reviews". Monita Mohan, looking back on the season for "Collider", said a time jump within a series can be controversial, but worked in "Discovery" favor; the change in setting  received praise from many critics. Scott Collura at "IGN" described it as a reboot and felt it was likely where the first season of the series should have begun, creating a "mission statement" that he felt the series had always been missing. Alexis Gunderson of "Paste" agreed that the series had "finally found the story it was meant to tell", with the time jump setting up the season to be the best of the series so far with a focus on the "purest ideals of the Federation" such as the importance of connection, diplomacy, and hope. Daniel Schroeder at "Slate  said the season's separation from franchise staples was like watching "Star Trek: Voyager 2.0" and was "satisfyingly "Trek"", while Richard Edwards of "GamesRadar+" felt the season was an even bolder departure from the franchise than "Voyager", leaving behind so many recognizable "Star Trek" elements that it actually feels like a fresh start. James Whitbrook of "Gizmodo" found it ironic that it took moving so far into the future for the series to feel more like "The Original Series", something that Jamie Lovett of "ComicBook.com" agreed with, saying the setting was a return to the "roots" of "The Original Series , and made the Star Trek" galaxy feel bigger and more dangerous than it had before. He said this was the most confident season in terms of storytelling, with a clear purpose and mission for the characters. Kayti Burt of "Den of Geek" praised the move for giving the series a "much-needed narrative reset" while keeping the characters from the previous seasons, and "TV Insider" Matt Roush felt the new setting had enlivened the entire franchise. Devon Maloney at "Vulture" said the season would now succeed or fail on its own merits. Craig Elvy of "Screen Rant" felt it made  the most of the new setting by "revel[ing] in the freedom of a fresh timeline, able to introduce planets, characters and storylines without worrying whether it'll contradict something Spock said in the 1960s". Writing for "The Verge", Joshua Rivera said the season's reset would appeal to fans of the series as well as new viewers. Alex Zalben of "Decider" said the characters shine and hold the season together, with the whole ensemble "hit[ting] its grove". "The Daily Dot" Gavia Baker-Whitelaw felt the series had one of the best casts in the franchise, and Katie Cox at "Ars  Technica" said the cast sold the season's story. Lacy Baugher of "Den of Geek" felt the main cast "gelled" during the season in a way that they did not before, attributing this to their shared experiences moving to the future, while Elvy said spending more time with the bridge crew made them more interesting. He also praised the new cast members, with the introductions of Ajala, del Barrio, and Alexander in particular being praised by many critics. Samantha Nelson of "Polygon" felt Adira and Gray became accessories to the relationship between Stamets and Culber, but said there was potential  for a more meaningful story with the pair in the next season, while Maloney felt Adira and Gray's storyline was the highlight of the season, saying, "If any storyline calls for "Discovery" signature Feelings™ treatment, it's the one about lost, lonely ghost kids finding a family". Zalben and Cox both praised Saru's role, with Cox specifically calling out Jones's ability to portray Saru through the prosthetics. Martin-Green received praise from many critics for her performance, but Zack Handlen at "The A.V. Club" criticized the fact that the series continued to revolve around Burnham, and  both Nelson and Maloney felt Saru was sidelined by the season to allow for Burnham's character development. Baugher said there was a sense of inevitability regarding Burnham becoming captain of the "Discovery", and Edwards said the whole series had been building to that moment. He criticized the fact that Burnham effectively becomes a superhero to save the day almost on her own, with help from a deus ex machina ending. Maloney said he wanted to celebrate Burnham's promotion to captain, but felt it happened without her growing as a character or learning from her mistakes. In contrast, Elvy  said Burnham had developed into a better protagonist by the end of the season, retaining her rebellious side while becoming more vulnerable and accessible to the audience. Christian Blauvelt of "IndieWire" and Burt both said the season was the best looking of the series, especially praising the work of Osunsanmi and the Iceland locations for the first two episodes, and Blauvelt felt it could be the best looking of the franchise as a whole. Matthew Carey Salyer, writing for "Forbes", compared the new production design to "Blade Runner", while several reviewers drew comparisons to "Star Wars". Sam Thielman at "The  Guardian" was positive about this, highlighting the fun that is added by the "Star Wars"-esque "double-crosses, shootouts and ramshackle spaceships" in the season. Several critics compared Book to the "Star Wars" character Han Solo, while Edwards felt the alien characters looked more like "Star Wars" aliens than "Star Trek" ones. Cox was more critical, describing the setting as a "network-safe" version of the "Mad Max" franchise. Baker-Whitelaw did not think the design was advanced enough to realistically be 900 years beyond the setting of the first two seasons. She felt the initial depiction of a "generic cyberpunk  city with neon holograms and black leather costumes" would fit within "Star Trek: Picard". Collura criticized the Emerald Chain as uninteresting villains for the season. Elvy agreed that they would not go down as classic characters, but felt they allowed the season to explore more episodic stories than if it had a more imposing villain. Critics discussed the season's parallels with the real world, something that Lovett said was done by all the best "Star Trek" series. He compared the lack of dilithium to the dwindling supply of fossil fuels in the modern world. Collura said it was a  thinly veiled analog for our own state of being, while Salyer said the season was a "striking reflection of our common social isolation over the past year". Burt said "Star Trek" gives hope that real-world problems can be solved and this was especially welcome during the COVID-19 pandemic and the 2020 United States presidential election. Maloney agreed, stating, "Not to be dramatic, but the world really needs "Star Trek" to be great right now." Thielman said the season was the most thoughtful of the series so far, and Melanie McFarland from "Salon" felt it showed how to carry on  from adversity which was appropriate following the 2016 United States presidential election. Collura said the secret behind the Burn being the grief of a child was a great concept, as did Edwards who thought it was a "classic "Trek" twist". Authors and commentators Tom Fitzgerald and Lorenzo Marquez felt the series understood what "Star Trek" was about more than some of its detractors gave it credit for, but criticized its continued focus on emotional characters over science, diplomacy, and problem-solving. Handlen also criticized the series' reliance on emotional moments and felt the season was "pretty much the same show  we left behind in season two, for better and worse". Several critics felt the season's conflicts were given too-easy solutions. Both Pat Brown at "Slant Magazine" and Cox criticized it as taking the "safe" options, and Brown said it would be more in the spirit of "Star Trek" to move on from the Federation than try to restore it. Baker-Whitelaw was critical of the "one-note political issues" and their representation as a "tiresome season-wide arc about saving the galaxy", while Collura questioned what the season actually revealed about the loss of hope and stated, "Right  now things seem worse than ever in the real world, while all "Discovery" problems were solved in 13 episodes flat". Nelson said the writers had introduced complex storylines and ideas and then wrapped them up with "feel-good simplicity", undermining the exploration of key ideas such as resource scarcity, colonialism, trauma, the burdens of leadership, and gender identity. In contrast, Whitbrook said the theme of hope was a "bright, consistent core" throughout the season, something that the first two seasons were missing in his opinion, and he praised how the characters were rewarded at the end of the season for  having hope. He said this proved that modern incarnations of "Star Trek" could still have the "simple, optimistic core" of early franchise iterations. Baugher also felt the season affirmed its central messages by the end. Accolades. The season is one of 117 television series that received the ReFrame Stamp for the years 2020 to 2021. The stamp is awarded by the gender equity coalition ReFrame as a "mark of distinction" for film and television projects that are proven to have gender-balanced hiring, with stamps being awarded to projects that hire female-identifying people, especially women of color, in four  out of eight critical areas of their production.