Star Trek: Discovery
Season 1
Promotional poster
Showrunners	Gretchen J. Berg Aaron Harberts
Starring	Sonequa Martin-Green Doug Jones Shazad Latif Anthony Rapp Mary Wiseman Jason Isaacs
No. of episodes	15
Release
Original network	CBS (premiere) CBS All Access
Original release	September 24, 2017 (2017-09-24) – February 11, 2018 (2018-02-11)
Season chronology
Next → Season 2
List of episodes

The first season of the American television seriesStar Trek: Discovery is set a decade beforeStar Trek: The Original Series in the 23rd century and follows the crew of thestarshipDiscovery during theFederation–Klingon war. The season was produced byCBS Television Studios in association withSecret Hideout,Roddenberry Entertainment, and Living Dead Guy Productions, withGretchen J. Berg andAaron Harberts serving asshowrunners, andAkiva Goldsman providing producing support.

Sonequa Martin-Green stars asMichael Burnham, first officer of the USSShenzhou and later theDiscovery, along withDoug Jones,Shazad Latif,Anthony Rapp,Mary Wiseman, andJason Isaacs. The series was announced in November 2015, andBryan Fuller joined as showrunner the next February. He brought on Berg and Harberts to support him, and they took over as showrunners when Fuller left the series in October 2016 following creative disagreements with CBS. The season's war storyline was intended to represent the divide between different political factions of the modernUnited States, with effort put into redesigning the Klingon species and developing their culture and biology. Filming took place inToronto, Canada, from January to October 2017, with additional filming on location inJordan for the series premiere. The crew, including the visual effects team—led byPixomondo—and composerJeff Russo, aimed for the series' production values to match that of a feature film. The season features several guest stars taking on roles fromThe Original Series.

The first episode was broadcast onCBS and released on the streaming serviceCBS All Access on September 24, 2017. The rest of the 15-episode season was released weekly on All Access in two chapters: the first ended on November 12, and the second was released from January 7 to February 11, 2018. The season led to record subscriptions for All Access, and generally positive reviews from critics who highlighted Martin-Green's performance, the production values, and new additions toStar Trek canon. Some criticized the writing. The season was nominated for twoPrimetime Creative Arts Emmy Awards and received several other awards and nominations. Asecond season was ordered in October 2017.^[1]

In March 2018, a "secret scene" was released depicting an alternative ending to the season finale, in which Mirror Georgiou is approached by an operative ofSection 31. This storyline is further explored in thesecond season.^[4]

On November 2, 2015,CBS announced that a newStar Trek television series would premiere in January 2017, "on the heels" ofStar Trek: The Original Series' 50th anniversary in 2016. The series would be developed specifically for the streaming serviceCBS All Access.^[21]Bryan Fuller was hired to beshowrunner and executive producer in February 2016, as well as co-creator withAlex Kurtzman.^[22] Fuller began his career writing for the seriesStar Trek: Deep Space Nine andStar Trek: Voyager, and had publicly called forStar Trek to return to television for years after the end of the previous series,Star Trek: Enterprise, in 2005.^[23][24] When Fuller first met with CBS about the series, the company did not have a plan for what the show would be.^[25] He proposed ananthology series where each season would be a standalone, serialized show set in a different era, beginning with a prequel to the original series. CBS told Fuller to start with a single serialized show and see how that performs first, and so he began further developing the prequel concept.^[24] In June, Fuller announced that the first season would consist of 13 episodes,^[25] and a month later, atStar Trek's 50th anniversarySan Diego Comic-Con panel, he revealed the series' title to beStar Trek: Discovery.^[26] He also said it would be set in the "Prime Timeline" alongside the previousStar Trek series, rather than in the alternate "Kelvin Timeline" that the concurrentStar Trek film series was set in.^[27]

At the end of July, CBS hiredDavid Semel, a veteran television procedural director who was under an overall deal with the studio, to direct the first episode forDiscovery.^[28][24] Fuller did not approve of this decision, believing that Semel was "wrong for the job"^[24] and wanting a more visionary director to establish the style of the series. Fuller had personally reached out toEdgar Wright to direct the first episode before CBS hired Semel.^[29] As development and pre-production on the series continued, Fuller and Semel "clashed" on the direction of the show. The series was also starting to overrun its per-episode budget. Fuller was attempting to design new sets, costumes, and aliens for the series while heading the series' writers room and also spending considerable time addressing his commitments as showrunner of another new series,American Gods. This caused frustration among CBS executives that were pushing for a January 2017 debut.^[24] By August 2016, Fuller had hiredGretchen J. Berg andAaron Harberts, who he had worked with on his earlier seriesPushing Daisies, to serve as co-showrunners with him onDiscovery.^[5][30] A month later, Fuller and Kurtzman asked CBS to delay the series' release so they could realistically meet the high expectations for the series, and the studio announced that the series premiere had been pushed back to May 2017. The pair said in a statement that "these extra few months will help us achieve a vision we can all be proud of."^[31]

A few weeks after the delay was announced, Fuller met withSonequa Martin-Green about portraying the series' lead,^[24] a character that had been surprisingly difficult for the production to cast.^[30] Fuller felt he had "found the crucial piece of the puzzle", but the actress would not be released from her contract atAMC until her character's death onThe Walking Dead was publicly revealed. This episode was not set to air until April 2017, meaningDiscovery would have to be delayed again if Martin-Green was cast in the series. At the end of October, CBS asked Fuller to step down as showrunner.^[24] They announced that the production was being restructured to keep Fuller actively involved with the series, but not on a day-to-day production level as he shifted his focus fully toAmerican Gods: Berg and Harberts were made sole showrunners ofDiscovery, working off a broad story arc and overall mythology established by Fuller; Kurtzman and Fuller would continue as executive producers, with Fuller still helping the writers break stories; andAkiva Goldsman would join the series as a supporting producer—similar to the role he held onFringe alongside Kurtzman—to help the showrunners and other producers "juggle the demands of the series". In a statement, CBS reiterated that they were "extremely happy with [Fuller's] creative direction" for the series, and were committed to "seeing this vision through".^[30] However, some elements of the series that came directly from Fuller were soon dropped, including some "more heavily allegorical and complex story" points and some of his design plans.^[24] Fuller later confirmed that he was no longer involved in the series at all, which he said was "bittersweet ... I can only give them the material I've given them and hope that it is helpful for them."^[32] By the end of the year, Martin-Green had indeed been cast as the series' lead,^[33] and in May 2017, the episode order was expanded to 15.^[34][35] That June, CBS announced a new premiere date of September 24.^[2] The season was divided into two chapters, with an airing break after the ninth episode to allow time for post-production on episodes in the second half of the season to be completed.^[2][36]

Fuller wanted to differentiate the series from the previous 700+ episodes ofStar Trek by taking advantage of the streaming format of All Access and telling a single story arc across the entire first season. He and the writers had completely planned this arc by the end of June 2016.^[25] Fuller said the original series episode "Balance of Terror", one of his favorites, would be a "touchstone" for the season's story direction.^[38] In August, Fuller teased that the story arc revolved around "an event inStar Trek history that's been talked about but never been explored", 10 years before the events of the original series.^[39] This was later revealed to be the Federation-Klingon cold war.^[40] Goldsman explained that this story would be told over the course of the first season and end with the creation of theNeutral Zone, allowing a new story to be told in potential future seasons. He described the events explored by the season as "sufficiently inexact [in previousStar Trek stories] that we can now fill in how we got there." He acknowledged that this time period has been widely covered by previousStar Trek novels, and explained that the series' writers considered these novels to be non-canon.^[41]

The writers felt that a traditional series might have begun with the series' protagonist, Michael Burnham, boarding the USSDiscovery and then revealed her backstory through flashbacks. ForStar Trek: Discovery, they wanted to take a different approach and begin with a prologue that explored Burnham's initial actions and her relationship to Captain Philippa Georgiou. Feeling that at least "two hours" were needed to convey this, the first two episodes of the season (released as a two-part premiere) cover this prologue, with the season's main story beginning with the third episode. The third episode was considered to be the series' equivalent of a pilot episode,^[42] and begins six months after the second. This time jump was inspired by film sequels that begin with significant events having transpired since the previous instalment such asTerminator 2: Judgment Day (1991).^[43] The third episode reveals that the season's story involves the development of a new form of space travel that could win the war for the Federation. When it was noted that this form of travel is not known in the previousStar Trek series (set later in the timeline), actorJason Isaacs stated that the writers were aware of this, and were "very clear, in not a cop-out way, to both incorporate this stuff which is exciting and very visual, to make sure that it didn't rankle canon."^[44] The season's story is split into two "micro-arcs", covering the first nine episodes and then the rest of the season, with a break in airing between the two.^[36] It finishes with the end of the war, which comes down to an agreement between two characters.^[45] These negotiations are made entirely by female characters, which was an intentional choice that Kurtzman felt was justified by theMe Too movement.^[46] The writers felt this was true to the spirit ofStar Trek, and allowed them to move beyond the war storyline that Fuller had established for the show. The second season is then set-up with the appearance of theUSSEnterprise from previousStar Trek media. Harberts explained that the writers knew they would have to acknowledge the existence of theEnterprise at some point due to the series' place in the timeline, and after Fuller left they decided to just "tell this story now" with the second season.^[45]

Because of the season's focus on Klingons and their culture, the producers decided that members of the species would speaktheir own language with subtitles throughout the show. Berg said this was "very important for us ... They have their own pride. They have their own interests and talent."^[13] Klingons historically represented theSoviet Union, and were portrayed as becoming friendlier with the protagonists ofStar Trek as the realCold War ended. ForDiscovery, the Klingons and Starfleet are intended to represent different factions within the modern United States, with Harberts explaining that the writers wanted to introduce two different points of view and explore their differences. He said the season is ultimately about "finding a way to come together".^[47] Berg added that one of the main themes being explored for the season was the "universal" lesson of "you think you know 'the other,' but you really don't".^[47] The showrunners stated that where previousStar Trek series revolved around the relationships between central male characters,Discovery focuses more on female characters. They described a "friendship structure" that goes from Captain Georgiou to First Officer Burnham to Cadet Tilly. They also explained that the two main Starfleet captains in the series, Georgiou and Lorca, are "metaphors for how people and institutions act in times of conflict", with Georgiou responding to war as would be expected of a traditional Starfleet officer, but Lorca representing a more "complicated version of a Starfleet captain who can almost only exist during a time of war".^[48]

In addition to Martin-Green as protagonist Michael Burnham, the season's main cast includesDoug Jones asSaru, an alien lieutenant commander;^[6]Shazad Latif as Ash Tyler, a former prisoner of war;^[14][49]Anthony Rapp as Paul Stamets, an astromycologist;^[6][8]Mary Wiseman as Sylvia Tilly, a cadet;^[50][9] and Jason Isaacs as Gabriel Lorca, captain of the USSDiscovery.^[10] Isaacs was just cast for one season.^[51] Not all of the show's characters are introduced in the first episode as would be done in a traditional television series, with the writers taking advantage of the serialized format to take their time introducing each character over several episodes.^[52] Tyler is eventually revealed to actually be the Klingon Voq disguised as a human. Voq was initially credited as being portrayed by the actor "Javid Iqbal", who was invented for the ruse to hide the fact that Latif was portraying both Voq and Tyler. The name Javid Iqbal comes from Latif's father.^[7]

In November 2016, series' writer and consulting producerNicholas Meyer mentioned thatMichelle Yeoh had been cast inDiscovery,^[53] and she was soon confirmed to be portraying Captain Georgiou of the USSShenzhou.^[54][6] A month later,Mary Chieffo was cast as the Klingon L'Rell.^[12] In April 2017,Kenneth Mitchell was cast as Kol, who Latif was originally cast as before he was recast as Voq.^[14] That July, Rapp revealed thatWilson Cruz, whom Rapp had previously worked with on the musicalRent, would portray Stamets' love interest Hugh Culber.^[16]Jayne Brook also has a recurring role in the season, as Admiral Katrina Cornwell.^[15] Additionally appearing throughout the season in "co-starring" roles areEmily Coutts as Keyla Detmer,^[55] Ali Momen as Kamran Gant,^[55] Chris Violette as Britch Weeton,^[55] Romain Waite as Troy Januzzi,^[55] Sara Mitich as Airiam,^[56] Oyin Oladejo as Joann Owosekun,^[56] Ronnie Rowe Jr. as R.A. Bryce,^[57]Conrad Coates as Terral,^[58] andPatrick Kwok-Choon as Rhys.^[58]Tasia Valenza and Julianne Grossman provided the computer voices for theShenzhou and theDiscovery, respectively.^[55][56]

Fuller said in August 2016 that the series would eventually include characters from previousStar Trek media, but he wanted to establish its own characters in the first season. He did express interest in including the characterAmanda Grayson fromThe Original Series, saying, "there's much to be told about that".^[39] She was later confirmed to be appearing in the season due to Burnham having been adopted by Grayson and her husbandSarek inDiscovery's backstory.^[43]James Frain was cast as Sarek by January 2017.^[59]Rainn Wilson was cast as another original series character,Harry Mudd, that March.^[18] In September, Harberts revealed thatMia Kirshner had been cast as Grayson.^[17]Katherine Barrell portrays Mudd's wife Stella.^[19]Clint Howard, who appeared in several previousStar Trek series, has a role in the season finale as anOrion drug dealer. The role was written specifically for Howard, who is friends with Goldsman.^[20]

Mark Worthington and Todd Cherniawsky served as initial production designers for the series,^[60] with Tamara Deverell taking over around the sixth episode. She was the first female production designer for theStar Trek franchise. After CBS told the writers to add an excursion to a planet for an upcoming episode, which became the visit to Pahvo, Deverell had 10 minutes to pitch a design for the new sets. She came up with the idea of ayurt consisting of membranes, based on a mathematical structure, which was added to a forest using visual effects. For the second half of the season, Deverell had to redesign theMirror Universe, a classic location from previous series. Deverell said the previous depictions had "just slapped a logo on the wall" to represent the Mirror Universe's Terran Empire, but for this series her team created a multi-dimensional version of the Terran Empire logo and then augmented sets with new mirrors to further distance them from the Prime Universe sets. For the flagship spaceship of the Terran Empire, the ISSCharon, Deverell used a "monolithic, Brutalist, concrete form" for her designs.^[61]

The design of the USSDiscovery is based on an unusedRalph McQuarrie design for the USSEnterprise from the unproduced filmStar Trek: Planet of the Titans.^[27] The USSShenzhou was designed to look older than theDiscovery,^[62][63] and was compared more to a submarine fromThe Hunt for Red October (1990) than previousStar Trek spaceships.^[64] TheShenzhou is aWalker-class starship, a new designation created for the series that is named for test pilotJoe Walker.^[65] Sets for theShenzhou and theDiscovery's interiors were built for the series,^[62] described as a "tangle of corridors and rooms".^[66] Because the bridge of theShenzhou is on the bottom of that ship, the set for that room was built 12 feet (3.7 m) off the ground and upside down, and became a challenge for the crew to work in.^[63][67] In some cases, such as the transporter rooms and corridors, the same sets were used for both ships. These were dressed differently, with alternate lighting, graphics, and paint.^[63] The "turn over" process from depicting on ship to another within a set took up to a week.^[64]

Fabric for the Starfleet uniforms seen in the series were custom-dyed inSwitzerland; the costumes were cut and assembled in Toronto by costume designer Gersha Phillips and her department. For officers in combat situations or hazardous away missions, jumpsuit-versions of the main uniform were paired with armored vests. Also designed for the series was a Starfleet long haul space suit, which was built in the United Kingdom from sections of high-density foam that were then covered in fiberglass.^[68] Phillips designed traditional Vulcan robes for Sarek which were meant to reflect his devotion to logic and "serious intellectual pursuits". Vulcan pendants celebrating "Infinite Diversity in Infinite Combinations" were 3D printed and hand painted. For Harry Mudd's costume, primarily made of leather, Phillips was inspired byAdam Ant.^[68][69]

Fuller had "really, really wanted" to redesign the Klingons, which he felt had inconsistent designs throughout the franchise's history. He wanted to portray the race as "sexy and vital and different" rather than "the thugs of the universe", and spent months working with prosthetics designer Neville Page and production designer Mark Worthington on the new look.^[40][70][71] Page was aware that changing the look of the Klingons would be controversial withStar Trek fans.^[72] The idea was to bring a fresh take to the Klingon race by creating a "high level of sophisticated detail—for a race that had long been perceived as brutal, one-minded, and simplistic".^[63]

Page first designed a generic, "realistic" Klingon skull,^[72][73] inspired by real biology,^[71] and then developed the different Klingons from that base in anevolution-based approach.^[73] The skull design includes spaces for "extra sensory receptors" running from the top of the head to the back, as Page wanted to show the Klingons to be apex predators with heightened senses. To not cover these receptors, the Klingons are depicted as being bald in the series, which is a design decision that was mandated by Fuller.^[72] It was important to the producers to show diversity within the Klingons, so the series depicts both light and dark skinned members of the species,^[71] and features different clothing, weapon, and armor designs for each of the 24 Klingon houses.^[40][74] Glenn Hetrick, co-founder of Alchemy Studios with Page, explained that the Klingon Empire covers many planets beyond the homeworld ofQo'noS and so different subsets of the species would have evolved on those different planets, each with different environments and cultures.^[72]

Hetrick and Page created armor and weapons with 3D printing and aluminum casts made from hand carved moulds. Some props, such as helmets, were designed to be augmented with visual effects. Weapons like Klingon ceremonial blades and gun-like disruptors were reimagined versions of previous props from franchise, especiallyStar Trek: The Next Generation. The overall design for Klingon weapons, helmets, and armor was based on the culture notes created for the species in the original series, which included influences fromMiddle Eastern,Mongolian, andByzantine culture.^[75] Several motifs recur throughout the designs for the Klingons' weapons and armor, including their skulls and vertebrae, images of Klingons "poised to thrust themselves into the honor of battle", and images of Klingons sacrificing themselves in battle. The latter is similar to the emblem of the Klingon Empire.^[72]

Phillips andSuttirat Anne Larlarb created the clothing worn by the Klingon T'Kuvma and his followers, inspired more by "ancient Klingon ways" than the costumes seen previously inStar Trek. T'Kuvma wears a tunic created from three different types of leather and a chest plate made with 3D printed beads, decorated withSwarovski crystals. Costumes for his followers were created with individually stained, painted, modelled, and hand-pressed pieces of leather. Each suit took ten costumers 110 hours to complete. Different colored leather was used to differentiate males and females.^[75][69] A notable set of armor created for the season is the Torchbearer armor, which is worn in a ritual to unite the Klingon houses. It was made from 100 individually 3D printed pieces.^[69] When first describing the Torchbearer armor, Fuller referred tobaroque andsamurai styles.^[72] Kol, a member of the house ofKor that appeared in the original series, wears more leather and a different set of armor that is closer to those worn previously by Klingons in the franchise.^[74] US$3 million was spent on a "massive" ship set for T'Kuvma's house,^[66][40] known as the "Klingon sarcophagus ship",^[63] which was designed to look like an alien cathedral.^[40] The outside of the ship is covered in coffins ranging from days old to hundreds of years old.^[76] The set was 40 feet (12 m) tall, 100 feet (30 m) long, and 50 feet (15 m) wide, and included multiple levels,mezzanines, andcantilevers. The set also included Klingon text and glyphs inspired by the novelThe Final Reflection, which helped develop Klingon culture and language. Other details that were taken from the novel include the strategy game Klin zha andKlingon bloodwine cups.^[63] Research was done on how written languages evolve to accurately depict the ancient form of Klingon written on the ship. Instead of physical displays like Starfleet's ships, the sarcophagus ship uses holographic displays created with visual effects.^[67]

The Klingon homeworld of Qo'noS is visited in the season finale, though the town depicted is an Orion outpost. The production team attempted to reuse existing sets given any new sets would potentially not be reused. The graveyard chamber from the sarcophagus ship set was turned into an Orion sex cabaret, with other sets including a Klingon drinking tent and street stalls. The Orion elements were inspired by Indian architecture, with fabrics from Morocco and other "far east" countries, as these were the inspirations for the original Orion designs in previousStar Trek series. Deverell described the sets as "lush like a bordello in the 1800s. We were allowed to go crazy."^[61]

Filming for the season began atPinewood Toronto Studios on January 24, 2017,^[77][60] with cinematographers includingGuillermo Navarro, working on the pilot, and Colin Hoult.^[60][78] Set construction had initially been set to begin within a month of June 2016, for a filming period of that September to around March 2017,^[25] but by that September, production was not expected to begin until November.^[31] After Fuller stepped down as showrunner, set construction was expected to be completed by the end of 2016, with filming to begin "shortly thereafter".^[79] By mid-May 2017, filming for scenes set on an unidentified planet had taken place on location inJordan.^[11] Some of the series' sets took over six weeks to create,^[62] and new sets were being built up until the end of production on the season.^[64] Some episodes for the season were restricted to a few existing sets, making thembottle episodes, though Harberts said the series would not do anything "as bottle-y as 'everyone is stuck in the mess hall!'"^[64] Additional location shooting took place aroundOntario, Canada, including at theAga Khan Museum in Toronto which stood in for the Vulcan Science Academy,^[80] and in theHilton Falls andKelso Conservation Areas for the forest planet Pahvo.^[81] Filming for the season concluded on October 11, 2017.^[82]

For the visual scope of the series, Kurtzman felt that the show had to "justify being on a premium cable service".^[70] The showrunners were particularly inspired byStar Trek: The Motion Picture and its "wider scope", with Harberts explaining that the first season was shot in a2:1 aspect ratio which "just lends itself to a very lyrical way of telling the story." He added that some of the series' visuals were influenced by the modernStar Trek films fromJ. J. Abrams.^[83] Some of these influences, per Goldsman, are "the ability to be creative cinematically...the intimate discourse, the humanistic storytelling with the giant canvas that isStar Trek. A more kinetic camera, a more dynamic way of existing".^[84] The producers worked closely with pilot director David Semel to make the series look as cinematic as possible, including filming the bridge of Starfleet's ships in such a way as "not to shoot in a sort ofproscenium box...to be able to get the camera into spaces where, you know, to shoot it in interesting ways, which is a combination of choreographing a scene to motivate the camera moving, and also lighting."^[78] The cinematographers wanted to emphasize on-set sourcing, with lighting built in wherever it would naturally appear to help create a more realistic feel, and distance the series from the "stage" feel ofThe Original Series.^[64]

Robyn Stewart, an expert in the Klingon language, and linguist Rea Nolan worked closely with the Klingon actors to ensure they could both speak and understand their lines in the language, having the actors practice while their makeup and prosthetics were being applied, which took three hours each day.^[74][73] They would first rehearse their lines in English, and worked to "inhabit [the lines] emotionally".^[85] Chieffo felt that "it makes sense that when we are speaking to each other we are speaking in our native tongue and really adding a fluidity and nuance", while Mitchell said, "It's an incredibly complex language ... it feels alien. Because it is incredibly difficult and I don't speak the language it takes a lot of muscle memory to memorize each separate syllable over and over and over."^[74] For a sequence where L'Rell and Tyler are shown having sex, Chieffo required full-body prosthetics which took four hours to apply. Though these are only seen for around 30 seconds in the episode, Chieffo felt strongly that she film the scene rather than a body double.^[86]

The season has 5000 visual effects shots, which visual effects supervisor Jason Zimmerman said was similar to one feature-length film. He said the department was aiming for "high-end" effects, similar to those seen in films, and the number of visual effects in each episode was always driven by the story.^[87]Pixomondo was the primary visual effects vendor,^[88] with Spin VFX andCrafty Apes also working on the show.^[89][90] The shot that went through the most iterations during the season was a simple composite of computer screen graphics onto an on-set monitor, with 146 different iterations of the graphics tried before the final design was chosen.^[87]

ComposerJeff Russo wrote several themes for the series, in addition to the main title theme, but not necessarily for the different characters in the show as would often be done.^[91] Instead, Russo wanted to focus on the emotions of the characters over the story beats, for instance, "Even when you are shooting, you're still feeling, so why not play that as opposed to 'Oh my god, he's got a gun'".^[92][91] Like the rest of the series' departments, Russo's aim was to make the score feel as cinematic as possible.^[91]

For the Kasseelian Opera that Stamets talks about later in the season, Russo did not want to attempt to make a "futuristic opera", believing instead that "opera is opera" and that it should have the same style as what is heard during the present day. For the seventh episode, source music fromWyclef Jean is used which Russo compared to people in the current day listening to the music ofJohann Sebastian Bach.^[92] Singer Ayana Haviv recordedarias for the opera, and in a "moment of inspiration" Russo asked her to sing the vocal section of theoriginalStar Trek theme. Russo and Kurtzman responded positively to her rendition, and Russo arranged the theme for the series' 74-piece orchestra to play over the end credits of the season finale after the USSEnterprise appears. Haviv altered her voice for the final recording to match the original 1960s style of the theme.^[93]

A soundtrack album for the first chapter of the season was released digitally on December 15, 2017, byLakeshore Records.^[94] Another, for the second chapter, was released digitally on April 6, 2018.^[95] CD versions of both albums were set for release in 2018,^[94][95] along with a vinyl release combining selections from both chapters and titled"Intergalactic Starburst" Vinyl.^[96] All music composed by Jeff Russo:^[94][95]

With the announcement of the series' title in July 2016 came a promotional video giving a first look at the USSDiscovery. The video did not feature final designs, as the producers had put it together in three weeks to show the concepts for the series to fans.^[97] In January 2017, aYouTube video presented byAlcatel was released, using360° technology to showcase digital models of previousStar Trek ships.^[98] The first full trailer for the series was released in May 2017.^[99] Chris Harnick ofE! News said the trailer was gorgeous and cinematic, and added, because of the appearances of both Sarek and the Klingons, that "this is theStar Trek you know and love."^[100] Aja Romano atVox called the trailer's visuals "sumptuous [and] modern, but still very much in keeping with the aesthetic of previousTrek series". She did note that the series' plot was not conveyed in the trailer.^[101]

In July 2017,Discovery had an extensive presence at San Diego Comic-Con, including a panel featuring Martin-Green, Isaacs, Jones, Latif, Wiseman, Rapp, Frain, Kurtzman, Berg, Kadin, Harberts, and Goldsman, and moderated by Wilson.^[102] Footage from the series was screened at the panel, with a new trailer released online soon afterwards.^[13] CBS also created an immersive art experience at the Michael J. Wolf Fine Arts Gallery, featuring the USSDiscovery's captain's chair and other props, costumes, and sketches from the series, as well as limited edition posters and a shop selling Comic-Con-exclusive items.Pedicabs inspired by the series gave free rides through theGaslamp District, while a "#TrekDiscovery Challenge" competition saw fans have to take pictures with "authentically costumedTrek ambassadors", one each representing the crews of the five previousStar Trek series, as well as the captain's chair at the art gallery, and post them online with the hashtag #TrekDiscovery to be eligible to win aRoku streaming stick and a subscription to CBS All Access.^[102] At the convention, Gentle Giant Studios revealed that they had gained the license to create mini-busts and statues based on the series, and planned to particularly focus on the series' Klingons.^[103] At the beginning of August, an afternoon of four panels at theStar Trek Las Vegas event was dedicated to the series, featuring producers and writers, actors who were not present at Comic-Con, creature designers, and writers involved with related books and comics.^[73]

By the beginning of September, promotion was taking place around the world: Isaacs was involved in theBlackpool Illuminations festival in the UK; cast and crew promoted the series at theFan Expo Canada; a USSShenzhou-themed photobooth, that took pictures of fans as Klingons, was in operation at theIFA consumer electronics trade show inBerlin; and an outdoor campaign of posters and billboards was underway, including a large billboard on the roof of anLAX Airport building.^[104] The night before the premiere, a model of the USSDiscovery was flown above theHudson River onManhattan's west side. Created by Remarkable Media, the 50 feet (15 m) skeleton rig was covered inLEDs and suspended from aBlack Hawk helicopter.^[105] On October 7, panels for the series were held at both thePaleyFest television festival and atNew York Comic Con.^[106]

Star Trek: Discovery premiered at theArcLight Hollywood on September 19, 2017.^[107] The first episode aired in a "preview broadcast" on CBS in the United States on September 24,^[2] and was made available for free on CBS All Access along with the second episode (which required an All Access subscription).^[2][108] Subsequent first-run episodes, making up the first chapter of the season, were streamed weekly on All Access through November 5. The second chapter streamed from January 7 to February 11, 2018.^[2][3]

CBS Studios International licensed the series toBell Media for broadcast in Canada, and toNetflix for another 188 countries. In Canada, the premiere was broadcast on September 24, 2017, on both theCTV Television Network and on the specialty channelsSpace (English) andZ (French) before being streamed onCraveTV, with subsequent episodes just broadcast on Space and Z before streaming on CraveTV. In the other countries, Netflix released each episode of the series for streaming within 24 hours of its U.S. debut. This agreement with CBS also saw Bell and Netflix acquire all previousStar Trek series to stream in their entirety.^[23]

In August 2020, CBS announced that it would be broadcasting the full first season ofDiscovery beginning on September 24, 2020, alongside other older or acquired series, due to the lack of television content available to the network due to theCOVID-19 pandemic.^[109] Also in September,ViacomCBS announced that CBS All Access would be expanded and rebranded as Paramount+ in March 2021.^[110] Existing episodes of the season remained on Paramount+ along with future seasons of the series.^[111] In November 2021, ViacomCBS announced that it had bought back the international streaming rights toDiscovery from Netflix effective immediately.^[112] In August 2023,Star Trek content was removed from Crave and the season began streaming on Paramount+ in Canada. It would continue to be broadcast on CTV Sci-Fi and be available on CTV.ca and the CTV app.^[113][114]

After reviewing the episode "Choose Your Pain", Space chose to air it uncensored despite its use of the word "fuck" and depictions of violence. TheCanadian Broadcast Standards Council received an official complaint about this given the channel aired the episode before 9 pm, since series intended for adult audiences should be shown after that time according to theCanadian Association of Broadcasters'Code of Ethics and Violence Code. The complainant, the council, and Space itself acknowledged that the use of the word was unexpected given the franchise's "51 year track record of being fairly clean with regards to its content." The Council found Space to have breached the regulations in not censoring the episode or scheduling it post-watershed, and required the channel to air an announcement stating as such twice during the week following April 19, 2018. At the time, Bell Media accepted the decision and agreed to comply with the ruling, but did not indicate any intention to change their approach to broadcasting future seasons of the series.^[115]

The season was released on DVD and Blu-Ray formats in the U.S. on November 13, 2018. The release included two hours of bonus features, including deleted and extended scenes, and behind-the-scenes featurettes.^[116] On November 2, 2021, a home media box set collecting the first three seasons ofDiscovery was released, with more than eight hours of special features including behind-the-scenes featurettes, deleted and extended scenes, audio commentaries, and gag reels.^[117]

According toNielsen Media Research, the CBS broadcast of the first episode was watched by a "decent" audience of 9.5 million viewers.^[118][119] The premiere of the series led to record subscriptions for All Access, with the service attributing its biggest day, week, and month of signups to the debut ofStar Trek: Discovery.^[120] According to "app analytics specialist" App Annie, the premiere of the series caused the number of downloads of the All Access mobile app to more than double. Following a 7-day trial period for new subscribers, revenue from the app for CBS doubled on October 1 compared to the average in-app revenue during the previous 30 days.^[108]

Star Trek: Discovery (season 1): Critical reception by episode

This graph was using thelegacy Graph extension, which is no longer supported. It needs to be converted to thenew Chart extension. Season 1 (2017–2018): Percentage of positive critics' reviews tracked by the websiteRotten Tomatoes[121]

Thereview aggregator websiteRotten Tomatoes reported an 83% approval rating for the first season, with an average rating of 7.05/10 based on 374 reviews. The website's critical consensus reads, "Although it takes an episode to achieve liftoff,Star Trek: Discovery delivers a solid franchise instalment for the next generation—boldly led by the charismatic Sonequa Martin-Green." The average rating for each of the season's individual episodes is 89%.^[121]Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on reviews from 20 critics, indicating "generally favorable" reviews.^[122]

Matt Zoller Seitz ofVulture praised the series' premiere, feeling it "stands tall alongside the best-regarded incarnations of theTrek franchise... with an almost entirely new slate of characters... and casts them with actors you can't help but like".^[123] Writing forVox, Emily VanDerWerff noted "the best thing aboutDiscovery is that Michael Burnham, played beautifully by Martin-Green, does stuff. She gets in trouble. She breaks rules. She violates Starfleet protocol. She has emotions that get the best of her, even as she knows they shouldn't. She is, in other words, very human". Overall, she declared that "Star Trek is best when it's hopeful, but hope shines brightest amid horror. On some level,Discovery knows both of those things".^[124] Writing forTVLine, Dave Nemetz graded the premiere episode a B+, saying, "The nail-bitingly tense premiere delivered a cracking good action story, eye-popping special effects and a number of gasp-worthy twists" that was worth the wait.^[125] Maureen Ryan ofVariety, after watching the first two episodes, said the series "has yet to prove itself a worthy successor toThe Next Generation orDeep Space Nine. But there are reasons to hope thatDiscovery will be a promising addition to theTrek canon".^[126]

Chaim Gartenberg forThe Verge criticized the "extended prologue" approach, but called the two-part premiere "surprisingly satisfying". He praised Burnham as a "far more rounded, human character than any of the previous captains, with some serious trauma from a Klingon attack in her youth that's left her predisposed to hate the warrior race. And whileStar Trek has plumbed the 'main character has demons' well in the past—most notably withSisko inDeep Space Nine, andPicard in the later films, when it comes to the Borg—Burnham feels far more compelling for not being a flawless human being in other respects, as her series-protagonist predecessors were."^[127] Writing forEntertainment Weekly, Darren Franich gave the two-part premiere a B grade, praising Martin-Green's performance as the lead and the production design as well as commenting on the "undeniable appeal" of the "introduction of a new ship, the revelation that we're watching that ship's final voyage, the cliffhanger possibility that our new hero is a fallen angel." However, he felt that the series' third episode retroactively made the two episode prologue "feel even more overextended".^[128] Patrick Cooley ofcleveland.com criticized the dialogue and "wooden, bewilderingly stupid" characters in the first two episodes.^[129] Brian Lowry fromCNN called the first three episodes "Star Trek Lite", criticizing the bridge crew and lore, and describing the series as an "unspectacular addition" to the franchise that was mostly designed "to entice new subscribers to CBS All Access."^[130]

Discussing the season as a whole, Seitz praised it as the strongest first season of anyStar Trek series since the original and defended it against fan criticisms, believing that most complaints about the series could be applied to allStar Trek series or were about intentional differences from those prior series that Seitz saw as "honorable attempts" to modernize the franchise "while still keeping the whole thing recognizablyTrek." Seitz in particularly praised the more serialized storytelling, visual effects, original characters like Burnham and Saru, existing characters like Frain's Sarek and Wilson's Harry Mudd, and the themes of science vs. war that the series explored. On the latter, Seitz feltDiscovery improved on the efforts of theJ. J. AbramsStar Trek films.^[131] Discussing the "hits" and "misses" of the season, Witney Seibold ofIGN praised the characters, effects, and design as "hits", but criticized as "misses" the tone and storytelling for respectively being too busy and having too many subplots.^[132] Gartenberg criticized the writers for over-using science fictiontropes, repeating plot elements, inconsistently portraying characters' attitudes, and for being unsubtle with the values of Starfleet in the finale. He was optimistic for further seasons though, feeling that the end of the season left "the entire slate of the show ... wiped clean for whatever comes next."^[133] AtMashable, Chris Taylor felt the Klingons' prosthetics made it difficult to see the actors' emotions, the development of the characters Tyler and Lorca was wasted, the rest of the bridge characters were not explored enough, and the ending of the Klingon war storyline was rushed in the season finale before theEnterprise reveal "left us on the oldest, safest, most recognizable piece ofTrek fan service ever."^[134]

Matt Zoller Seitz remarked thatStar Trek: Discovery "was first met with a mix of generosity and skepticism" from audiences and that the latter came to predominate as audiences got further into the first season.^[135]

Netflix listedStar Trek: Discovery fourth in its list of series most watched together by families in 2017.^[136] Martin-Green was namedTVLine's Performer of the Week for her performance in "The Wolf Inside", in which Burnham is "put through the emotional wringer with a barrage of jaw-dropping twists, giving Martin-Green an opportunity to deliver her finest performance of the season."^[137] In January 2019,Comic Book Resources ratedDiscovery's first season as the ninth best season of allStar Trek series so far, comparing its high production values to a feature film and calling Michael Burnham "the most interesting characterTrek has provided us in generations".^[138]

• Star Trek: Discovery season 1 atIMDb
• Star Trek: Discovery season 1 atMemory Alpha

• 2017 American television seasons
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• Star Trek: Discovery seasons
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