Sir Patrick Stewart is an English actor whose work has included roles on stage and film in a career spanning six decades. He has been nominated for Olivier, Golden Globe, Screen Actors Guild, Saturn Awards throughout his career. Beginning his career with a long run with the Royal Shakespeare Company, Stewart received the 1979 Laurence Olivier Award for Best Actor in a Supporting Role for his performance in Antony and Cleopatra in the West End. Stewart's first major screen roles were in BBC-broadcast television productions during the mid-late 1970s, including Hedda, the I, Claudius miniseries. From the 1980s onward, Stewart began working in American television and film, with prominent leading roles such as Captain Jean-Luc Picard in Star Trek: The Next Generation and its successor films, as Professor Charles Xavier in the X-Men series of superhero films, the lead of the Starz TV series Blunt Talk, voice roles such as CIA Deputy Director Avery Bullock in American Dad! and the narrator in Ted.
Having remained with the Royal Shakespeare Company, in 2008 Stewart played King Claudius in Hamlet in the West End and won a second Olivier Award. In 1993, TV Guide named Stewart the Best Dramatic Television Actor of the 1980s, he received a star on the Hollywood Walk of Fame on 16 December 1996. In 2010, Stewart was knighted by Queen Elizabeth II for services to drama. Patrick Stewart was born on 13 July 1940 in Mirfield, in the West Riding of Yorkshire, England, to Gladys, a weaver and textile worker, Alfred Stewart, a regimental sergeant major in the British Army, he has two older brothers and Trevor. His parents did not give him a middle name, but he used the middle name "Hewes" professionally for a while in the 1980s. Stewart grew up in a poor household with domestic violence from his father, an experience which influenced his political and ideological beliefs, he spent much of his childhood in Jarrow. Stewart's father served with the King's Own Yorkshire Light Infantry and was regimental sergeant major of the 2nd Battalion, Parachute Regiment during the Second World War, having worked as a general labourer and as a postman.
As a result of his wartime experience during the Dunkirk evacuation, his father suffered from what was known as combat fatigue. In a 2008 interview, Stewart said, "My father was a potent individual, a powerful man, who got what he wanted, it was said. It was many years before I realised how my father inserted himself into my work. I've grown a moustache for Macbeth. My father didn't have one, but when I looked in the mirror just before I went on stage I saw my father's face staring straight back at me."Stewart attended Crowlees Church of England Junior and Infants School. He attributes his acting career to his English teacher, Cecil Dormand, who "put a copy of Shakespeare in my hand said,'Now get up on your feet and perform." In 1951, aged 11, having failed the eleven-plus examination, he entered Mirfield Secondary Modern School, where he continued to study drama. Around the same time he met the actor Brian Blessed at a Mytholmroyd drama course, the two have been friends since. At the age of 15, Stewart increased his participation in local theatre.
He gained a job as a newspaper reporter and obituary writer at the Mirfield & District Reporter, but after a year his employer gave him an ultimatum to choose acting or journalism, he left the job. His brother tells the story that Stewart had been attending rehearsals during work time and inventing the stories he reported. Stewart trained as a boxer. Stewart reported. Both Stewart and his friend Blessed received grants to attend the Bristol Old Vic Theatre School. Following a period with Manchester's Library Theatre, he became a member of the Royal Shakespeare Company in 1966, remaining with them until 1982, he was an associate artist of the company in 1968. He appeared with actors such as Ian Richardson. In January 1967, he made his debut TV appearance on Coronation Street as a fire officer. In 1969, he had a brief TV cameo role as Horatio, opposite Ian Richardson's Hamlet, in a performance of the gravedigger scene as part of episode six of Sir Kenneth Clark's Civilisation television series, he made his Broadway debut as Snout in Peter Brook's legendary production of A Midsummer Night's Dream moved to the Royal National Theatre in the early 1980s.
Over the years, Stewart took roles in many major television series without becoming a household name. He appeared as Vladimir Lenin in Fall of Eagles, he took the romantic male lead in the 1975 BBC adaptation of Elizabeth Gaskell's North and South. He took the lead, playing psychiatric consultant Dr Edward Roebuck in BBC's Maybury in 1981. Stewart continued to play minor roles in films, such as King Leondegrance in John Boorman's Excalibur, the character Gurney Halleck in David Lynch's film version of Dune and Dr. Armstrong in Tobe Hooper's Lifeforce. Stewart preferred classical theatre to other genres, asking Doctor Who actress Lalla Ward why she would work in science fiction or on television. In 1987, he nonetheless agreed to work in Hollywood on a revival of an old science-fiction television show, after Robert H. Justman saw him while attending a literary reading at UCLA. Stewart knew nothing about the original show, Star Trek, or its iconic status in Amer
A warp drive is a fictitious superluminal spacecraft propulsion system in many science fiction works, most notably Star Trek and I, Robot by Isaac Asimov. A spacecraft equipped with a warp drive may travel at speeds greater than that of light by many orders of magnitude. In contrast to some other fictitious FTL technologies such as a jump drive, the warp drive does not permit instantaneous travel between two points, but rather involves a measurable passage of time, pertinent to the concept. In contrast to hyperdrive, spacecraft at warp velocity would continue to interact with objects in "normal space." The general concept of "warp drive" was introduced by John W. Campbell in his 1931 novel Islands of Space. Einstein's theory of special relativity states that energy and mass are interchangeable, speed of light travel is impossible for material objects that weigh more than photons; the problem of a material object exceeding light speed is that an infinite amount of kinetic energy would be required to travel at the speed of light.
This can theoretically be solved by warping space to move an object instead of increasing the kinetic energy of the object to do so. Such a solution to the faster than light travel problem leads to two directly opposite approaches to light-speed travel in science fiction: in the first, spaceships themselves are brought to light speed and beyond. Warp drive is one of the fundamental features of the Star Trek franchise; when beginning to explain travel times to the illusion survivors, crewmember Jose stated that "the time barrier's been broken", allowing a group of interstellar travelers to return to Earth far sooner than would have otherwise been possible. In the pilot, when Spock is faced with the only action of escaping, he announces to the crew they have no choice but to leave, stating "Our time warp factor..." before the ship's systems start failing. In the second pilot for the original series, "Where No Man Has Gone Before", time was dropped from the speed setting with Kirk ordering speeds in simple "Ahead Warp Factor One", etc. that became so familiar from on.
The Warp drive velocity in Star Trek is expressed in "warp factor" units, which—according to Star Trek Star Fleet Technical Manual—corresponds to the magnitude of the warp field. Achieving warp factor 1 is equal to breaking the light barrier, while the actual velocity corresponding to higher factors is determined using an ambiguous formula. According to the Star Trek episode writer's guide for The Original Series, warp factors are converted to multiples of the speed of light by multiplication with the cubic function of the warp factor itself. Accordingly, "Warp 1" is equivalent to the speed of light, "Warp 2" is 8 times the speed of light, "Warp 3" is 27 times the speed of light, etc. Several episodes of the original series placed the Enterprise in peril by having it travel at high warp factors. However, the velocity of any given warp factor is the subject of explicit expression, travel times for specific interstellar distances are not consistent through the various series. In the Star Trek: The Next Generation Technical Manual it was written that the real warp speed depends on external factors such as particle density or electromagnetic fields and only corresponds with the calculated speed of current warp factor.
The reference work. In certain regions, a spaceship can fly at a multiple of the speed that corresponds to the current warp factor. In the original series, warp factor 6 was established as the common speed of the USS Enterprise NCC-1701. In some cases, the starship traveled at Warp 7 or above, but with risk of damaging the ship or the engines. Warp 9 in the original series was the "Never Exceed" speed for the hulls and engines of Constitution-class starships, equivalent to the aircraft VNE V-speed. Warp 6 was the VNO "Normal Operation" maximum safe cruising speed for that vessel class. Only five stories in the original Star Trek series involved the Enterprise traveling beyond Warp 9. In any instance, it was a result of the influence of foreign technology; the Warp 14.1 incident in That Which Survives was the result of runaway engines which brought the hull within seconds of structural failure before power was disengaged. On, a prequel series titled Star Trek: Enterprise describes the warp engine technology as a "Gravimetric Field Displacement Manifold", describes the device as being powered by a matter/anti-matter reaction which powers the two separate nacelles to create a displacement field.
Enterprise, set in 2151 and onwards, follows the voyages of the first human ship capable of traveling at warp factor 5.2, which under the old warp table formula, is about 140 times the speed of light. In the series pilot episode "Broken Bow", Capt. Archer equates Warp 4.5 to "Neptune and back in six minutes". For Star Trek: The Next Generation and the subsequent series, Star Trek artist Michael Okuda drew up a new warp scale and devised a formula based on the original one but with an important difference: In the half-open interval from 9 to 10, the exponent of w increases toward infi
Lieutenant Reginald Endicott "Reg" Barclay III, portrayed by Dwight Schultz, is a fictional character from both Star Trek: The Next Generation and Star Trek: Voyager, in the latter of which he plays a vital role in re-establishing regular contact between the starship and Starfleet. The character appears in the 1996 feature film Star Trek: First Contact; the character is portrayed as coming up with innovative solutions to technical problems, but struggles with holodeck addiction and some social issues. A common plot theme is that others overlook his brilliance because they evaluate his abilities based on his conversational and emotional demeanor. University of Rochester professor Sarah Higley created Reginald Barclay in her script for the Star Trek: The Next Generation episode "Hollow Pursuits". According to Higley, Barclay is a satirical depiction of Trekkies and their excessive obsession with imaginary characters, he has characteristics associated with many negative geek stereotypes. While possessing great technical skill and sincere enthusiasm, Barclay seems anxiety-ridden awkward, self-conscious.
He displays stuttering and dysfluent speech behaviors when nervous or anxious, along with some secondary gestures, such as facial grimaces and small head tics, however on the holdeck many of these issues vanish and he acts confident. He has an obsessive interest in fantasy, which seems to serve as an escape from personal interactions those where he is being mistreated by others. Barclay's anxieties extend to idiosyncratic hypochondriasis; the overcoming of his fears and social anxieties became a running plot point across many seasons in multiple Star Trek series. Barclay was an occasional character in The Next Generation as an engineer being used as comic relief, his addiction to the holodeck is first seen in the episode "Hollow Pursuits", in which he creates holographic reproductions of the ship's bridge officers, who are responsive to Barclay's every whim. Being unlike their ship-board counterparts, they serve to bolster his self-esteem. With encouragement from Chief Engineer Geordi La Forge, Barclay redeems himself and helps to uncover the cause of a critical multi-system failure on the Enterprise in time to avert the ship's destruction.
In the episode "The Nth Degree", Barclay's brain is mutated by an ancient race from the center of the Milky Way galaxy, the Cytherians, radically increasing his intellect. Under this influence, Barclay seizes control of the Enterprise and brings the ship into contact with the Cytherians. Barclay explains to Picard. After the exchange, the Cytherians return the Enterprise to Federation space, restoring Barclay to normal and leaving him with only the memory of his actions and an enhanced ability at chess; this episode sees Barclay try his hand at acting, performing the title role in Dr. Crusher's production of Cyrano de Bergerac. While his unaided performance was poor, his enhanced performance riveted the onlookers and impressed Dr. Crusher. In the episode "Realm of Fear", Barclay deals with his transporter phobia when assigned to an away team. Though he becomes capable of allowing himself to be transported, he believes that he sees large worm-like creatures while in transit; when no evidence of a problem is found, Barclay believes himself to be going mad.
However, he discovers that these are human survivors trapped inside the transporter beam. With Barclay's help, these people are rescued. In "Ship in a Bottle", Barclay unwittingly revives a sentient holo-simulation of Sherlock Holmes' arch-foe, Professor James Moriarty while performing holodeck maintenance; this results in Picard and Barclay unknowingly becoming trapped in a Moriarty-created simulation of the Enterprise, forced to research a method of making holo-simulations "real" outside of the holodeck through Moriarty's manipulations. When the ruse is discovered, Moriarty and a holographic companion are tricked into a simulation within the simulation, stored in a computer where they will continue to exist, believing that they have gained freedom from the holodeck. In "Genesis", Barclay's T-cells have a bizarre reaction to a medicine, creating an airborne virus that causes Barclay to de-evolve into a spider-like ancestral form, causes its other victims to revert to their various evolutionary forms, after multiple dormant introns in his body are accidentally activated.
Upon recovery, the disease is named after him as he was the first to have had contracted it: Barclay's Protomorphosis Syndrome. During First Contact, Barclay remains under Picard's command after the destruction of the Enterprise in the previous film; when the ship travels back in time to 2063, Barclay accomplishes one of his lifelong dreams by shaking hands and speaking with Zefram Cochrane. Barclay appears as a guest character in Voyager, his first appearance is in the third episode of the second season, "Projections", although this is as a holographic character. In this episode, it is claimed that Barclay worked with Dr. Lewis Zimmerman to develop the EMH doctor program, although since Barclay's appearance is caused by a holographic breakdown this may not be the case. Working on Starfleet's "Pathfinder" project, Barclay becomes obsessed with the crew of the lost USS Voyager, stranded in the Delta Quadrant for over five years, he once again creates simulacra on a holodeck, this time of the Voyager crew, but based on facts available to him about their true personalities.
With the help of these holograms and Dean
Star Trek is an American space opera media franchise based on the science fiction television series created by Gene Roddenberry. The first television series called Star Trek and now referred to as "The Original Series", debuted in 1966 and aired for three seasons on NBC, it followed the interstellar adventures of Captain James T. Kirk and his crew aboard the starship USS Enterprise, a space exploration vessel built by the United Federation of Planets in the 23rd century; the Star Trek canon includes The Original Series, an animated series, five spin-off television series, the film franchise, further adaptations in several media. In creating Star Trek, Roddenberry was inspired by the Horatio Hornblower novels, the satirical book Gulliver's Travels, Westerns such as the television series Wagon Train; these adventures continued in the 22-episode Star Trek: The Animated Series and six feature films. Five other television series were produced: Star Trek: The Next Generation follows the crew of a new starship Enterprise, set a century after the original series.
The most recent Star Trek TV series, entitled Star Trek: Discovery, aired on the digital platform CBS All Access. The adventures of The Next Generation crew continued in four additional feature films. In 2009, the film franchise underwent a "reboot" set in an alternate timeline, or "Kelvin Timeline," entitled Star Trek; this film featured a new cast portraying younger versions of the crew from the original show. Its sequel, Star Trek Beyond, was released to coincide with the franchise's 50th anniversary. Star Trek has been a cult phenomenon for decades. Fans of the franchise are called Trekkers; the franchise spans a wide range of spin-offs including games, novels and comics. Star Trek had a themed attraction in Las Vegas that opened in 1998 and closed in September 2008. At least two museum exhibits of props travel the world; the series has Klingon. Several parodies have been made of Star Trek. In addition, viewers have produced several fan productions; as of July 2016, the franchise had generated $10 billion in revenue, making Star Trek one of the highest-grossing media franchises of all time.
Star Trek is noted for its cultural influence beyond works of science fiction. The franchise is noted for its progressive civil rights stances; the Original Series included. Star Trek references may be found throughout popular culture from movies such as the submarine thriller Crimson Tide to the animated series South Park; as early as 1964, Gene Roddenberry drafted a proposal for the science-fiction series that would become Star Trek. Although he publicly marketed it as a Western in outer space—a so-called "Wagon Train to the Stars"—he told friends that he was modeling it on Jonathan Swift's Gulliver's Travels, intending each episode to act on two levels: as a suspenseful adventure story and as a morality tale. Most Star Trek stories depict the adventures of humans and aliens who serve in Starfleet, the space-borne humanitarian and peacekeeping armada of the United Federation of Planets; the protagonists have altruistic values, must apply these ideals to difficult dilemmas. Many of the conflicts and political dimensions of Star Trek represent allegories of contemporary cultural realities.
Star Trek: The Original Series addressed issues of the 1960s, just as spin-offs have reflected issues of their respective decades. Issues depicted in the various series include war and peace, the value of personal loyalty, imperialism, class warfare, racism, human rights, sexism and the role of technology. Roddenberry stated: " a new world with new rules, I could make statements about sex, Vietnam and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and they all got by the network." "If you talked about purple people on a far off planet, they never caught on. They were more concerned about cleavage, they would send a censor down to the set to measure a woman's cleavage to make sure too much of her breast wasn't showing"Roddenberry intended the show to have a progressive political agenda reflective of the emerging counter-culture of the youth movement, though he was not forthcoming to the networks about this. He wanted Star Trek to show what humanity might develop into, if it would learn from the lessons of the past, most by ending violence.
An extreme example is the alien species, the Vulcans, who had a violent past but learned to control their emotions. Roddenberry gave Star Trek an anti-war message and depicted the United Federation of Planets as an ideal, optimistic version of the United Nations, his efforts were opposed by the network because of concerns over marketability, e.g. they opposed Roddenberry's insistence that Enterprise have a racially diverse crew. The central trio of Kirk, McCoy from Star Trek: The Original Series was modeled on classical mythological storytelling. There is a mythological component with science fiction. It's people looking for answers – and science fiction offers to explain the inexplicable, the same as religion tends to do... If we accept the premise that it has a mythological element all the stuff about going out into space and meeting new life – trying to explain it and put a human element to it – it's a hopeful visio
A computing platform or digital platform is the environment in which a piece of software is executed. It may be the hardware or the operating system a web browser and associated application programming interfaces, or other underlying software, as long as the program code is executed with it. Computing platforms have different abstraction levels, including a computer architecture, an OS, or runtime libraries. A computing platform is the stage. A platform can be seen both as a constraint on the software development process, in that different platforms provide different functionality and restrictions. For example, an OS may be a platform that abstracts the underlying differences in hardware and provides a generic command for saving files or accessing the network. Platforms may include: Hardware alone, in the case of small embedded systems. Embedded systems can access hardware directly, without an OS. A browser in the case of web-based software; the browser itself runs on a hardware+OS platform, but this is not relevant to software running within the browser.
An application, such as a spreadsheet or word processor, which hosts software written in an application-specific scripting language, such as an Excel macro. This can be extended to writing fully-fledged applications with the Microsoft Office suite as a platform. Software frameworks. Cloud computing and Platform as a Service. Extending the idea of a software framework, these allow application developers to build software out of components that are hosted not by the developer, but by the provider, with internet communication linking them together; the social networking sites Twitter and Facebook are considered development platforms. A virtual machine such as the Java virtual machine or. NET CLR. Applications are compiled into a format similar to machine code, known as bytecode, executed by the VM. A virtualized version of a complete system, including virtualized hardware, OS, storage; these allow, for instance, a typical Windows program to run on. Some architectures have multiple layers, with each layer acting as a platform to the one above it.
In general, a component only has to be adapted to the layer beneath it. For instance, a Java program has to be written to use the Java virtual machine and associated libraries as a platform but does not have to be adapted to run for the Windows, Linux or Macintosh OS platforms. However, the JVM, the layer beneath the application, does have to be built separately for each OS. AmigaOS, AmigaOS 4 FreeBSD, NetBSD, OpenBSD IBM i Linux Microsoft Windows OpenVMS Classic Mac OS macOS OS/2 Solaris Tru64 UNIX VM QNX z/OS Android Bada BlackBerry OS Firefox OS iOS Embedded Linux Palm OS Symbian Tizen WebOS LuneOS Windows Mobile Windows Phone Binary Runtime Environment for Wireless Cocoa Cocoa Touch Common Language Infrastructure Mono. NET Framework Silverlight Flash AIR GNU Java platform Java ME Java SE Java EE JavaFX JavaFX Mobile LiveCode Microsoft XNA Mozilla Prism, XUL and XULRunner Open Web Platform Oracle Database Qt SAP NetWeaver Shockwave Smartface Universal Windows Platform Windows Runtime Vexi Ordered from more common types to less common types: Commodity computing platforms Wintel, that is, Intel x86 or compatible personal computer hardware with Windows operating system Macintosh, custom Apple Inc. hardware and Classic Mac OS and macOS operating systems 68k-based PowerPC-based, now migrated to x86 ARM architecture based mobile devices iPhone smartphones and iPad tablet computers devices running iOS from Apple Gumstix or Raspberry Pi full function miniature computers with Linux Newton devices running the Newton OS from Apple x86 with Unix-like systems such as Linux or BSD variants CP/M computers based on the S-100 bus, maybe the earliest microcomputer platform Video game consoles, any variety 3DO Interactive Multiplayer, licensed to manufacturers Apple Pippin, a multimedia player platform for video game console development RISC processor based machines running Unix variants SPARC architecture computers running Solaris or illumos operating systems DEC Alpha cluster running OpenVMS or Tru64 UNIX Midrange computers with their custom operating systems, such as IBM OS/400 Mainframe computers with their custom operating systems, such as IBM z/OS Supercomputer architectures Cross-platform Platform virtualization Third platform Ryan Sarver: What is a platform
Star Trek: Nemesis
Star Trek: Nemesis is a 2002 American science fiction film directed by Stuart Baird and based on the franchise of the same name created by Gene Roddenberry. It is the tenth film in the Star Trek film series, as well as the fourth and last to star the cast of Star Trek: The Next Generation, it was written by John Logan from a story developed by Logan, Brent Spiner, producer Rick Berman. In the film, the crew of the USS Enterprise-E are forced to deal with a threat to the United Federation of Planets from a Reman clone of Captain Picard named Shinzon, who has taken control of the Romulan Star Empire in a coup d'état. Principal photography for the film took place from November 2001 to March 2002. Jerry Goldsmith composed the film's score; the film was released in North America on December 13, 2002, by Paramount Pictures, received mixed reviews, with publications criticizing it for being the least successful in the Star Trek franchise. The film went on to earn $67 million worldwide. Following the failure of the film and the cancellation of Star Trek: Enterprise and Erik Jendresen began development on the unproduced Star Trek: The Beginning.
Four years Viacom split from CBS Corporation, Paramount rebooted the film series in 2009 with Star Trek, directed by J. J. Abrams. On Romulus, members of the Romulan Imperial Senate debate whether to accept the terms of peace and alliance with the Reman rebel leader Shinzon; the Remans are a slave race of the Romulan Empire, used as cannon fodder. A faction of the military is in support of Shinzon, but the Praetor and Senate are opposed to an alliance. After rejecting the motion, the Praetor and remaining senators are disintegrated by a device left in the room by a military-aligned senator. Meanwhile, the crew of the USS Enterprise prepare to bid farewell to first officer Commander William Riker and Counselor Deanna Troi, who are being married on Betazed. En route, they discover a positronic energy reading on a planet in the Kolaran system near the Romulan Neutral Zone. Captain Jean-Luc Picard, Lieutenant Commander Worf, Lieutenant Commander Data land on Kolarus III and discover the remnants of an android resembling Data.
When the android is reassembled it introduces itself as B-4. The crew deduce it to be a less advanced, early version of Data. Vice Admiral Kathryn Janeway contacts Picard and orders the Enterprise on a diplomatic mission to nearby Romulus. Janeway explains that the Romulan Empire has been taken over in a military coup by Shinzon, who says he wants peace with the Federation and to bring freedom to Remus. On arrival, they learn Shinzon is a clone of Picard, secretly created by the Romulans to plant a high-ranking spy into the Federation; the project was abandoned when Shinzon was still a child and he was left on Remus to die as a slave. After many years, Shinzon became a leader of the Remans, constructed his armed flagship, the Scimitar. Diplomatic efforts go well, but the Enterprise crew discover that the Scimitar is producing low levels of thalaron radiation, what had been used to kill the Imperial Senate and is deadly to nearly all life forms. There are unexpected attempts to communicate with the Enterprise computers, Shinzon himself violates Troi's mind through the telepathy of his Reman viceroy.
Dr. Crusher discovers that Shinzon is aging because of the process used to clone him, the only possible means to stop it is a transfusion of Picard's blood. Shinzon kidnaps Picard from the Enterprise, as well as B-4, having planted the android on the nearby planet to lure Picard to the Border. However, Data reveals he has swapped places with B-4, rescues Picard, returns with Picard to the Enterprise, they have now seen enough of the Scimitar to know that Shinzon plans to use the warship to invade the Federation using its thalaron-radiation generator as a weapon, with the eradication of all life on Earth being his priority. The Enterprise races back to Federation space but is ambushed by the Scimitar in the Bassen Rift, a region that prevents any subspace communications. Two Romulan Warbirds come to the aid of the Enterprise, not wanting to be complicit in Shinzon's plans, but Shinzon destroys one and disables the other. Recognizing the need to stop the Scimitar at all costs, Picard orders the Enterprise to ram it.
The collision leaves both ships damaged and destroys most of the Scimitar's primary weapons. Shinzon orders the Scimitar to back away activates the thalaron weapon. Picard boards the Scimitar to face Shinzon alone, kills him by impaling him on a metal strut. Data jumps the distance between the two ships with a personal transporter to get Picard back to the Enterprise and sacrifices himself when he fires his phaser at the thalaron generator, destroying the Scimitar; the crew mourn Data, the surviving Romulan commander offers them her gratitude for saving the Empire. On the Enterprise, now back at Earth drydock for extensive repairs, Picard bids farewell to the newly promoted Captain Riker, leaving to command the USS Titan and begin a possible peace negotiation mission with the Romulans. Picard meets with B-4, discovers that Data had downloaded the engrams of his neural net into B-4's positronic matrix before he boarded the Scimitar. Picard leaves B4's quarters walking down a corridor smiling, knowing that one day, Data will return.
Patrick Stewart as Captain Jean-Luc Picard Jonathan Frakes as Commander / Captain William T. Riker Brent Spiner as Lieutenant Commander Data / B-4 LeVar Burton as Lieutenant Commander Geordi La Forge Michael Dorn as Lieutenant Commander Worf Gates McFadden as Doctor Beverly Crusher Marina Sirtis as Counselor Deanna Troi-Riker. According to Sirtis, she was "ecstatic" about the role Troi plays in the m
J. G. Hertzler
John Garman Hertzler Jr. is an American actor, author and activist best known for his role on Star Trek: Deep Space Nine as the Klingon General Martok, whom he portrayed from 1995 until the series' end in 1999. Hertzler began his acting career in the 1970s, doing stage acting and appearing in some films, he guest starred in a few episodes for different television shows before landing the part of Alcalde Ignacio De Soto in the early 1990s show Zorro. In addition to Deep Space Nine, Hertzler has appeared on several other Star Trek shows, written two Star Trek novels, has made appearances at Star Trek and science fiction conventions. Hertzler lives in the Finger Lakes region of New York where he was a lecturer at Cornell's theater department, has been active in the area's regional politics, as well as writing a screenplay. Hertzler was born in Georgia, his parents were from Port Royal and his family is descended from German-speaking Amish families. His father John G. Hertzler served in the U. S. Air Force, his mother Eleanor Frances Beaver Hertzler was a Latin and French teacher.
His family lived in cities around the world including: Missouri. He grew up in the Washington, D. C. area, attended Bucknell University, playing linebacker on their football squad. While there, he got into acting when the drama department recruited him for a production of Marat/Sade as they were looking for a big guy for one of the roles. After graduating in political science in 1972, he got his master's in set design at the University of Maryland, attended law school for a year at American University. While he was in the DC area, he worked in the federal government, including with the Nixon Administration for the National Environmental Policy Act, took an assortment of jobs to practice theatre including a waiter at a dinner theater, a bartender, a cab driver. Hertzler worked in the Washington area on theatre projects. On the movie screen, he portrayed Lucas in the horror film The Redeemer: Son of Satan, released in 1978. Hertzler had a role in the feature film And Justice for All which starred Al Pacino, released in 1979.
He worked in New York City on the Broadway production The Bacchae as King Pentheus. In 1981, he moved to San Francisco to join the American Conservatory Theater where he acted and directed in a number of productions including The Admirable Crichton, Richard II, Dial M for Murder, a number of Shakespeare productions, he was an instructor with ACT, had worked with other theater productions such as Medea with the Cincinnati Playhouse. He continued theatre work there, his first notable guest role on television was in 1990 on the Quantum Leap episode "The Sea Bride – June 3, 1954". His first major television role was in the 1990s series Zorro as Alcalde Ignacio De Soto, the antagonist character who replaces Ramone as the Alcalde of Los Angeles in the third and fourth seasons; the show was filmed in a studio lot outside of Madrid and was broadcast on The Family Channel. He was involved in a television movie called Treasure Island: The Adventure Begins where he played a pirate called Black Dog. Treasure Island was broadcast to go along with a promotion for the casino resort in Las Vegas.
Hertzler's first involvement in Star Trek: Deep Space Nine was in the series' pilot episode "Emissary" as the Vulcan captain of the Federation starship Saratoga. In an interview with Startrek.com, Hertzler said he had worked with Patrick Stewart at the Paramount Studios lot where Stewart ran some Shakespeare workshops. He would audition for DS9 multiple times, but did not receive any roles, he was at the Paramount Studios auditioning for another series when DS9 casting director Ron Surma had him read for Klingon General Martok. At first, Hertzler portrayed Martok as a mild-mannered Klingon, but when he was asked to make him angrier, he picked up a chair and threw it into a wall; the chair's leg stuck and he said he had inadvertently ripped his thumbnail causing it to bleed, but it had impressed the auditors and he landed the part. Martok debuted in the season 4 premiere "The Way of the Warrior" followed by the season 5 premiere "Apocalypse Rising", his character was killed off, but Hertzler said the writers thought that making the Klingon Gowron to be a clone was "too pat or too easy", so they revealed that the Martok, killed was just a changeling Dominion impostor.
The writers brought in the real Martok as a recurring character starting in season 5, during which he portrayed a one-eyed Klingon. He would play Martok for three seasons including the finale where the fate of his character was left open. Hertzler describes the part as an actor's dream because of its range; the character has been involved in many aspects of Deep Space Nine including interacting with Worf. Hertzler played other characters in DS9, including a changeling named Laas, in the episode "Chimera", who interacts with main character Odo. In an interview with Little Review, Hertzler said that he was concerned he would be recognized as Martok despite the makeup and character change, but it worked out okay. Credited as Garman Hertzler for the episode, he said that he got a chance to interact with some of the lead characters that Martok would not encounter the ones played by Nana Visitor and René Auberjonois. In portraying Laas, Hertzler said he with a higher pitch. Another guest character he did was Roy Ritterhouse, a painter/sketcher in the season 6 episode "Far Beyond the Stars".
Following the end of DS9, Hertzl