The actual shooting of it, weirdly, was not as hard as you’d think, but only because it has months and months of work to lead up to it.
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We had someone to teach them how to dance. We had someone to teach the people to sing. And then everyone else jumped in and actually did it. These have to have moments, they have to be about real character things.” They’ll come in thinking it’s going to be funny. This should be an episode that breaks your heart and makes you want to cry.” That’s what people won’t expect from this. The only middle of the night thing I remember having about this was waking up and thinking, “This shouldn’t be a funny episode. I was mostly just trying to coordinate to make sure it was happening, because I was also worried about the next episode, which I was going to write. Myers: There were so many other people who ended up having to work extremely hard on this thing - much harder than me.
What was the most important thing for you to get right? So we knew what the characters had to go through in the episode and that was connected to where they had come from and where they were going. We are episodic, fundamentally, in terms of plot, but serialized in terms of character arc. We break the season first, so we know what our 10 episodes are - in terms of character development, really. Goldsman: We don’t break them episodically. How did you build this episode’s the story around them? There are so many threads in this episode that originated much earlier in the season: Spock and Chapel’s break-up, La’an’s feelings for Kirk, Uhura’s feelings of isolation. So it was really good fortune how much everybody liked doing it. It was as if they all secretly had been coveting the idea of a musical their entire lives. We ended up with an absurdly good cast on “Strange New Worlds.” Like, it makes no sense whatsoever. It was built around story and theme, and it was tailored to the vocal ranges of the particular actors. Goldsman: We were lucky enough to suddenly have a cohort that knew how to do all these things, and they were collaborative. I started making calls probably about six months before production. I remember, Bill, one of our writers had a crazy idea, and we were like, ‘Well, that’s interesting, let’s try that!’ I did a bunch of musicals on “The Magicians,” and I did one on “Ugly Betty.” And so I just knew what a giant pain it would be - I mean, how difficult it was. Myers: The idea for it came when were pitching what Season 2 should be. So how did it finally happen for “Strange New Worlds”?
And so what a fucking delight! I mean, I had no idea what we were biting off. And then it turns out my partner Henry has done this before, and well.
I love musicals, but know nothing about them. Uhura (Celia Rose Gooding) suggests using scanning the phenomenon with music to test its properties, the signal instead causes a tear in space-time that plunges the crew into an alternate reality in which everyone starts singing out their most intense - and intensely private - feelings.
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Since premiering in 2022, “Star Trek: Strange New Worlds” has already embraced body-swapping comedy, storybook fantasy and a crossover episode with the animated series “Star Trek: Lower Decks.” So perhaps it’s not surprising that for the penultimate episode for Season 2 of “Strange New Worlds,” executive producers Henry Alonso Myers and Akiva Goldsman would mount the first-ever full-on musical episode in “Trek” history.Įntitled “Subspace Rhapsody,” the episode opens with the crew of the Enterprise investigating one of those deliciously nerdy “Trek” inventions: a naturally occurring fold in subspace. SPOILER ALERT: This story discusses plot - and musical! - developments in Season 2, Episode 9 of “ Star Trek: Strange New Worlds,” currently streaming on Paramount+.
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