Today, we explore every angle
of Star Trek: Strange New Worlds'
incredible Season 2 finale,
and I go on an away mission to discover the secrets
behind some of the terrifying animatronics and puppets
that haunted the crew of the Enterprise this season.
Cobble together a Gorn trap and meet me in The Ready Room
for all this and more.
Hey nerds, I'm Wil Wheaton and this is The Ready Room,
your official, behind-the-scenes hub
for all things Star Trek universe.
In this week's episode, the Gorn are back in a big way,
but if my mentioning the Gorn
only makes you think of that awesome rubber suit from 1967,
I'm going to call for a red alert!
Just like Nurse Chapel giving vaccines to a human colony,
I'm here to inoculate you from spoilers.
So, if you haven't seen the pulse-pounding season finale,
titled "Hegemony," recalibrate your sensors,
stream it and return here for a full mission briefing.
This week's season finale features a whole bunch of Gorn.
Would it be a gaggle of Gorn?
Maybe we could call it a Gorn-field?
The talented artists
at the practical special effects studio, Legacy Effects,
produced the Gorn and several more
of our favorite Star Trek creatures.
I recently went on an away mission
to Legacy Effects' studio
where I visited with co-founder and owner, J. Alan Scott,
and learned about his company's contributions
to Star Trek over the years.
The final episode of Star Trek: Strange New Worlds'
second season is one of the most cinematic, yet.
It is emotional, it is terrifying,
and it ends with a high-stakes cliffhanger
worthy of a Star Trek finale.
Oh, and just in case all of that doesn't land it
in your personal top 10, Scotty, being like maximum Scotty.
Are you kidding me?
Control Room, engage.
[Batel] Are we having issues with comms?
Mine just went out.
Let me check with Cayuga.
Appel to bridge, you read?
Sir, I'm reading a bogie, 9:00.
The finale is a very dark,
very, you know, like driving, action-oriented episode.
Gorn protocols to be distributed
upon an encounter with the hostile species.
Breaking case of Gorn.
Ortegas finally goes to a planet.
I've been asking for this, as Ortegas,
and as Melissa, I'm like "What's about to happen?"
We needed to rationalize this
as a colony on a colony planet.
So, we began to bring in Federation dressing.
We were trying to tech it up a little bit,
but also it was supposed to, you know,
reference, like a simpler time.
And so this colony came down and had chosen this aesthetic.
Then we tore all this to pieces,
covered everything in blood,
had scorched and burnt things.
We drove a vehicle into a shop, set it on fire.
That backlot was dressed for a post-Gorn battle.
Everywhere you turn, you were in the scene.
La'An is very composed this time round,
and when she does go onto the planet
and she kills the first Gorn youngling,
she gains power, I think, over the Gorn.
New phaser settings work?
For M'Benga, it's about making sure he can support Pike,
he can help save Chapel,
help save Batel, and fight the Gorn.
Maybe instead of finding a way to fight them,
we, find some way to reach them, or-
Pike's initial approach
to the Gorn is to assume that there is an intrinsic
set of ethics to any given sentient life form.
This one, however, seems to be the one
he's running into like a brick wall
because they do not adhere to that at all.
They're highly developed, highly intelligent,
and yet, a vicious predatory species
without anything that we would refer to as ethics.
You're not Gorn.
Obviously.
You shouldn't have walked into my Gorn trap, then.
It was clear there was a, I'm gonna say,
an engineer-sized hole right in the middle of the story.
I needed a scientist.
I needed somebody who might have an interesting solution
to this problem with the Gorn.
Where are my manners?
Montgomery Scott at your service.
The thing about bringing Original Series characters back,
we always knew we were gonna get there over time,
but you have to deliver it in a way that's really satisfying
because there's so much expectation
about all these characters.
What I liked about the Gorn was that they were monsters,
but it turns out, they're really hard to do.
[Director] Swing his neck fast,
like, give him some speed when he swivels his head.
Like that, yeah.
We were just in a murderous rage all the time
about the little Gorn.
You know, and we're trying a puppet
and we're replacing it with CG,
and then we're like making it darker,
putting it [indistinct] you know,
you sort of long for the guy in the suit
that Kirk was fighting on the planet.
And then, while we're having a murderous rage,
we start to see the big Gorn and we're like, "Oh, oh yeah.
Now I like the Gorn again."
[Pike] Any idea what that is?
In order to destroy this machine on Purnasses Beta,
Spock has to perform, like a very crazy mission
to the Cayuga in an EV suit, and on the ship is a Gorn.
So, the zero-gravity fight between Spock and Chapel
and the Gorn was hugely collaborative
between stunts, visual effects, our art department,
to create the destroyed bridge of the Cayuga,
and the actual prosthetics team
that provided a practical Gorn in an adult suit.
This thing is like giant.
It is a man in a suit, but it's, of course,
integrated with animatronics
and there's ways to cheat a body
to make it look inhuman, which Legacy Effects
has done in the best way possible.
I think the most challenging stunt work
that we did this season was in 2010
in the finale episode with the Gorn fight in zero-gravity.
For a stunt performer, playing the Gorn,
you need to be strong, for starters,
the suit is massively heavy.
Some estimates are close to 100 pounds
that you're wearing the entire time that you're performing.
Now Warren's very strong and he's big,
he's 6-foot-7-and-a-half, so he's got the frame to carry it,
for the adult Gorn, but yeah,
you need a fair bit of toughness and
just willing to take a few bruises,
even just, you know, just hanging in wires
to do the zero gravity is a real plight.
Part of what we traffic in on this show
is modernizing the classic ideas
that came out of those original Trek shows.
And one of my favorites,
one of the ones that we hadn't got yet to try,
is the two-parter.
The colonists and the landing party
appear to have been beamed up by the Gorn.
Cliffhangers have always been a part of Star Trek
and I'm glad that we get to introduce cliffhangers
at the end of our season.
I remember looking to Rebecca on the day
and being like, "I'm sweating, like Celia is having a very,
like Celia's anxious right now.
Uhura, of course, is anxious, but Celia's having a real,
tricky moment with this."
Sir, do I respond?
Orders, Captain.
Those storytelling ideas still work,
and also, those stories are too big to tell in one episode.
I love a good Ready Room away mission
and today's is spectacular.
I am with J. Alan Scott, at Legacy Effects studio,
the practical effects house that created the Gorn
and tons of other amazing Star Trek effects.
Thank you so much for being here.
Thanks for coming out,
we're really excited to have you guys here.
So far, I've only seen this much of your shop
and I just have to keep picking my jaw up off the floor.
I got kinda close to that adult Gorn back there
and was half expecting it to move.
It's so scary looking.
You have done so much stuff for Star Trek over the years.
Tell me about Legacy Effects
and tell me about some of the things
that we have seen on screen that you've created.
Well, myself and my three partners,
John Rosengrant, Lindsay MacGowan, and Shane Mahan,
co-founded Legacy Effects 15 years ago.
We were all with Stan Winston for 20,
almost 30 years, individually, and recently,
we've started to put our toes more into television.
We didn't do a lot of television.
We did a lot of features, we did a lot of commercial work,
and then just dabbled, but we never had
one of those opportunities to have a show,
like an anchor show where you did the monster of the week.
Well we went up for a set visit last season,
up to the set of Strange New Worlds,
I got to see one of those Gorn heads.
I was so floored
by how legitimately terrifying that piece was.
Where do these nightmares originate?
Well, we have a long list of designers
and character designers,
and every one of us came with,
growing up with monsters of one sort or another.
So, the brain trust really comes from our own desires
to recreate our childhoods,
and then it's a huge creative process,
with the directors and showrunners to hone us in
as to what the franchise wants
or what the world needs.
Oh, these things look like little cameras
in and forward projects, it's pretty cool.
But it's a long history of creating really fun characters.
That's what Stan was all about was building characters.
And it's just carried through with everything
'cause when you start thinking about what are you gonna do,
it's not just a makeup effect,
as you start to realize that these are creatures
and civilizations and societies
and there's reasons for this stuff,
it's not just like hey, how do we make them,
you know, interesting and scary, friendly,
comedic, whatever they are.
It's like there's anatomy that goes into it,
there's reasons that things are what they are.
Do you work with the writers on those things
or are you given free rein to,
do you bring it back to the table,
oh, we did some work and figured out
that we think the Gorn society is like this-
It's a little bit of both,
but mostly it comes from the writers.
It was interesting, the first season, it was like,
we just started, you know, being,
we call it the shotgun approach,
like, wouldn't this be cool and pulling stuff from all over.
And then we would do a presentation
and part of that presentation would also be like props
or wardrobe or the art department.
And then we would see what they were bringing to the table,
and it was like, oh, this isn't,
what we did was completely inappropriate.
- Yeah. - That doesn't fit within
the world that they were building for that species.
And so then we would go back.
So, it just became much more important
that we get in tune with, you know,
the design of the ships and the technology
and what do they use and why, you know?
It became the question of why is that.
It doesn't really affect anatomy, but sometimes it does.
Would you talk a bit about
the marriage of these beautiful, practical,
very complex puppets with the CG and, like,
how you blend these things together
to create a seamless creature.
Well it all starts, again, from the design.
And it was interesting with the Gorn
because the very first times that you see them,
they are hatchlings and then the younglings.
And we all had discussions with the creatives.
It's like, well that may be what we're gonna be
for this episode or the season,
and we're just teasing as to where the story's gonna go
with the Gorn, but it was like,
we need everything, we need their lifecycle,
we need how they move from this form to that form,
and then when they become adults is like, again, the why.
It's like they want certain things,
obviously, it's got a pedigree with The Original Series,
and you saw the Gorn there.
And we want to upgrade, but hold on to what that was.
You have to answer all of those things.
So, before we could even start designing the hatchlings
and the younglings, we had to design the adults.
- And work backwards. - And work backwards.
We had to make it all make sense
because you can't just design that and then,
like, oh maybe it's gonna turn into this.
It has to be a conversation, it has to make sense,
it has to flow.
So, you like built an adult
and then reverse engineered the adults to a baby.
This is kind of cool, practical hands-on demonstration
of how these puppets are brought to life.
You're really freaking me out.
Okay, so we have two stages of the Gorn here.
We're gonna start with the terrifying creature
that is closest to me, yeah, you.
I'm so bummed that you don't name your creatures
and I feel like your name should be...
I'm gonna name you Hank, after my friend, Hank Green.
So, I'm just gonna name this puppet Hank.
Talk to me about what is going into
keeping Hank alive right now, what's happening?
This is a glorified hand puppet.
So, my wrist and hand are up inside the head,
giving the neck all free access and motion
and body gross movement.
So it can be high or low, come up from under a table,
hide me under the table, typically,
and I'm holding a handle
and there's no controls inside the head
other than just the gross head movement.
Alan then, has a radio control
which are all servo-driven.
Eye blinks, upper and lower eyelids on both sides,
and then the upper lip and the lower lip
move as well as the jaw.
And then all three together with rubber teeth
so it doesn't hurt anybody.
If you went in and bit, it doesn't hurt.
So, we have here, we have a hatchling and a youngling,
am I right? - That's right.
- Okay. - [Alan] We made several
of the hatchlings. - Yeah.
Various incarnations,
and they have basically all the same functionality
'cause they're so small.
There's just these little rod puppets.
[Wil] Aw, look at 'em nuzzling, it's adorable.
Right before Hank eats it.
And then we made one of the youngling
and we made that full body one
that you see back there. - Yes.
That's a full puppet for when we had full body shots
of it creeping around corners and being on the ceiling.
And we made it modular
so that its front legs come off of there
and can be attached to this one
so that we can see as much of the character as possible.
But most of our work was gonna be for insert shots
'cause all of 'em, they're running
and jumping across boxes and ceilings
and all over the place. - Yeah.
So, ours were the quieter moments
where it would creep around a little bit more,
the spooky stuff.
One of the things that really grabbed my attention,
when I first saw the puppet for the adult Gorn,
up in Toronto, were the eyes.
[Rick] The Gorn, his eyes are not spherical,
which is a typical animal life form eye shape.
They're egg shaped. - Okay.
Which doesn't allow them to rotate in both axis
on the same point because the longer axis, then,
would move up and bump into the eyelids
and it just doesn't work that way.
So the adult Gorn's eyes are
an eyeball inside of an eyeball.
It's a spherical eyeball in the middle
and that has a very deep concave lens,
like you're referring to, which allows, when it moves,
the light travels through the angles of the resin
and you really pick up that it's deep.
It's not a surface coat eye,
which looks very doll-like and artificial.
It has a very deep, lifelike, organic look to it.
And that spherical eye does the left right movements
and then that is housed inside of an egg shaped longer eye,
like the adolescent here,
and that rotates vertically, up and down.
So, the two separate eyes work together
to give the up, down, left, right,
just like a normal organism would.
Let's talk about the hatchling over here,
which is like, just so cute-
[Alan] Well on the day that we would actually have
one or two more people operating this puppet-
- No kidding? - Yeah.
'Cause it's, Chris would ideally be doing the body,
if you drop that arm,
and then you can be using the body
and move against it, push against it,
and then another performer would grab the,
would do the legs.
I'll just do the front ones, you do the back ones.
[Wil] It's kind of like magic watching you guys
just take this, grab these different pieces
and make it all go together.
What I always say is that every gag
gives itself away eventually,
so it's really a matter of frames within the shot
before you realize, like, oh that's a puppet,
or that's a CG shot.
So, that's why the mix is great
of trying to come up with-
The mix of technology is what we embrace and, you know,
you just go as long as you can.
I feel like Hank really wants to bite me
and we should probably just let that happen.
Yeah, okay go ahead, go ahead.
Oh God, oh I'm dying, I'm full of Gorn eggs!
Thank you.
On my notes, I have all the things that go into
making a Gorn believable on screen.
Tell me if I'm right.
Puppetry, animatronics,
the internal workings, the radio controllers,
and the puppeteer who is running all of those,
and then going into an adult Gorn,
this titanic outfit that, just from a production standpoint,
we have to think about re-usability,
like how is that gonna break down
over the course of production?
Is there anything that I missed
in putting one of these things together
to bring it to the screen?
Rehearsals and practice.
Let's talk about that 'cause no one ever talks about
getting the timing out
and walking through and working with the crew,
like, before the actors come in and all of that.
We always rehearse and rehearse and rehearse,
as we're building, you know,
like we start with like, the big picture first.
It's like how do we make sure that it's gonna work?
We do a proof of concept. - Okay.
Stan used to call them "garbage bag tests."
In order to build the alien queen,
they needed to prove that the concept works.
So, they just threw together a character
based on garbage bags
and that became our code word for, like,
"Oh let's just, you know, proof of concept,
is this the idea gonna work."
In my head, I'm redoing Ripley going,
"Get away from her, you garbage bag."
So, the first thing is like,
make sure what we think we're gonna do is gonna work
and it's gotta satisfy them.
So we do really simplistic tests
and then we share that immediately with productions.
Like, this is what we're thinking,
this is where the actor is gonna be.
This is where the puppeteers are gonna be,
and then we film 'em and then make more advances
and then we film them again
and we just keep sharing back and forth
so that everyone understands
what we're gonna bring to the table.
- Right. - And things change,
but we practice and rehearse
and our team that is building it,
as they do the animatronics, or do the skins,
they start to realize what the limitations are,
what the strengths are, it's like we need more stretch here,
or we need more bend here,
and so we're constantly finessing as we build.
We're at Rick's work station.
This is the Gorn that scared the crap out of you,
this week, in this episode.
Tell me what is goin' on here
and just talk to me about these connections
and how it all works.
Well, what you're seeing here
is the internal mechanical structure of the Gorn,
which is normally covered by skin or the flight suit,
and so it's all aluminum framing
that's built around some motors,
these electronic motors that are very strong and quiet,
and much faster and stronger than they were in the past.
So, we've made some leaps and bounds with that technology.
And inside the head itself are standard hobby service
for remote airplanes and cars
that runs the eyes and the jaw, things like that.
And, so, we have radio controls
that we use for model airplanes or boats, cars,
whatever you want, and we use it to run these things.
So, I'm controlling the neck and head base movements.
Al is controlling the eye features
and Chris if off camera controlling the jaw,
and there are other lip functions and eyebrows
and things that aren't plugged in at the moment,
but that's basically what it is.
So we have batteries that power this
that go through voltage regulators,
through a circuit board that communicates for us,
but it's the end result of a ton of work from a great team
because we've got great sculptures,
digital artists, mechanics, engineers,
electronics guys who program software,
painters, people who make the skins, the core, everything.
So, it's a really,
there's a lot of people involved in making this.
Will you three work together
to sort of breath some life into our friend here?
Yeah.
When I went up to set visit and saw this for the first time,
I think you handed me this to sort of move it,
and I did a terrible job
and I was already impressed with what you did,
but I was really blown away
at the natural, biological movement of all of this
and how believable it all is.
Show me some of the earlier steps of this.
So, we start with a sculpture,
either it's made the traditional way out of clay
or it's a digital sculpture,
and either way, we'll scan the clay version
or we'll have the digital original version,
and then it'll be brought in for me,
I prefer Zbrush, which is this program up here,
and then we bring the model in here,
I take a copy of the skin, we shrink it down slightly,
subtract that from the original skin, leaving a thin layer,
which is what the rubber skin ends up being.
Okay.
The inner surface is now gonna be the skull, essentially,
or what we call the core. - Okay.
And then we take that, make a copy,
shrink it slightly, subtract that, all digital,
now you have a thin shell of that skull,
which is now empty for me to put my motors inside.
I feel like we are in the middle of kind of a ramping up
toward our paradigm shift
in how we do this sort of stuff,
with 3-D printing and modeling
and the materials that you have available to you.
Am I right?
Absolutely, yeah, you are.
Yeah, we're already, we're deep into that already.
Like with the eyeballs, it's like,
well we could never have manufactured an eyeball
the way that- - Let's grab those
and look at 'em closely, 'cause they're so incredible.
So this oval eye, as Rick was describing earlier,
it can pivot this way, easily,
but it's like, it's gonna, it's an egg,
so it's gonna wobble out and wobble this way,
and that doesn't really work.
So we started looking at, if this was the movement,
you know, you got this going up and down
and this one moves side to side,
and now you've got both axis and you also get this weird,
just interesting shape in there
that could be a membrane or it's like a deeper-
[Rick] And these were all printed.
So I made several versions of the sclera,
some that are kind of an inverted goat eye,
you got this weird star pattern.
[Wil] Oh yeah, look at that.
This was a cad model, very precise on how it keyed in.
Then I took it in Zbrush and I abused it
and made it all wobbly and organic
and then we had people paint 'em and-
Yeah, so we just like what looks the most-
And we could pop a different one in as we needed to
to try out new ones. - [Alan] Yeah it's like,
should the eye be that way, should it be moving in there?
And we could get this really tight to it, you know.
I hope that there are fan film makers
at home watching this and taking notes and like,
"Oh, I'm gonna steal that, I'm gonna do that,
this is so-" - I wanna see those.
Cosplayers and, you know, home hobbyists,
it's like we learn from them all the time
because that's one thing I've said for years
is like, you can't compete with that kind of passion.
- Right? - And it's like,
and they don't have all the tools that we have.
They don't have this facility,
they don't have the budgets- - And they get creative,
and you're like, that's a really good idea.
Either that's the direct idea or oh,
that made me think of this and we've got this printer,
we could use that for, to figure out something new.
So I think the last piece we have over here
that we can look at is the helmet from the EV suit?
Is that right? Yeah,
that's the helmet from the EV suit.
May I touch it? - Yeah.
[Rick] It's very expensive, be careful.
I believe you.
I didn't expect it to be soft.
And this comes over this guy's head.
This mounts over his head and we've removed pieces
from this now that would bolt onto this.
- All right. - That would bolt up into here
and then this would be covered by this,
kind of trident shaped covering
that goes over the top of the glass.
Yep.
Well this is amazing and I'm gonna steal it.
Wait, can I really try it on?
- I can actually put it on? - I don't know if it'll fit.
Well, you can try.
It's only supposed to go to here
and this is where Warren's head was.
- There we go. - But-
Do you think that I'm a Gorn now?
[Rick] It's pretty convincing.
Yeah.
Would you take us all, metaphorically, to the set.
You've built your puppets, you've done your rehearsals,
you're ready to go, you're on the set,
would you talk us through
how you collaborate as a puppeteer and as a designer,
with the director and the actors on the set.
When it's working in the best way possible,
everyone just reacts to the puppet or the character
and then we're on the outside.
You know, it's like that old saying is like,
if you've done your job right, nobody knows that you did it.
Yeah. And that's our goal
is like we are outside, the director directs the,
like in this case, the director directs Warren
and is like, and we're there listening,
we're right on the outsides making sure
'cause part of our job is to take of him the whole time too,
but part of that is like, when he hears direction
or the next action or the next rigging,
the stunts or the directors,
we're there listening offering solutions and whatever,
but most of the time, for performance stuff,
they talk to Warren.
When he's inside the suit, can he see out at all?
- Yeah. - Okay.
Yeah, we made great efforts
to make sure that he had vision
because you just can't have a Gorn bumbling around
and bumping into things.
My friend wrote for the Muppets,
so I got to go to a taping of The Muppet Show,
and the Muppeteers,
they keep their characters alive between scenes,
and they talk to each other and it's hilarious, right?
It's just people, like goofing off.
Do you do that, do you keep your characters alive,
you do, right? - All the time.
Yeah, we try and save them
because you never know when something's gonna go.
We're always, you know,
it's not like these have been engineered.
They're built in like eight, 10 weeks.
So you never know if you're stressing something out
to the point where it's got a lifespan.
And then you'll be like, "Oh crap,
I was playing with it too much
and now when the scene comes up-"
[Wil] "We were having such great banter."
I told you before, never talk to me at work.
I'm busy.
But once you start to get a confidence of it,
you start to play with it
because you need to know what it is.
So it was like I would always be moving the head
and Rick would always be
moving the mouth and eyes of the Gorn
because like, it's rehearsal. - [Wil] Yeah.
So, we're rehearsing in between
and so, while the director's giving Warren direction,
we'd be moving he head and nodding and looking over
and it's like, well you make it as much conversational
and as, you know, natural as possible,
just like the other actors are.
It's like when they're talking amongst themselves,
you just do what you would normally do
and that gives you more time,
we call it like more time on the sticks
where it's like it's just practice.
So, 'cause you don't get that much
and the more that you play with it,
it also makes the actors more, you know,
familiar with what the creature is too.
Have you had that experience
of an actor like forgetting that is a,
and just like talking to it like it's there?
Yes.
And poor Warren is like all day long,
he's in that thing and then at the end of the day,
he comes out, he's been interacting with actors all the time
so he knows them, but it's like, they've never seen him.
So, like when I transition to the face,
just- - I gotta let go of your hand.
Just be as light as possible
just so I can kinda- - Yeah.
I'll be trying to like, I'll hold you to me,
but as I'm trying to get rid of your hand,
and then when the tail goes up,
I'll take all my tension off.
Oh, that's perfect, yeah, and then I'll do that.
- Yeah. - Awesome.
- This is adult Gorn. - Yeah.
In its body armor. - Yes, this is its EV suit.
- Its EV suit. - Extra vehicular suit.
- Okay. - This is its spacesuit.
Talk to me about this remarkable piece of art.
So this was a design over Warren,
our suit performer in Canada.
We had him scanned up there.
And we really wanted it to follow the shape
of some of what's going on inside there
without revealing it.
Part of the whole appeal of what we've been doing
from Season 1 to Season 2
is just slowly, you know, hinting at
and not fully revealing the Gorn.
And this, all of it, is about 100 pounds?
- What- - The head
is about 100 pounds.
The head is, yeah.
Warren wears this fiberglass chest
that supports the head and neck
and then his head is hidden inside here.
This is actually where he sees out of.
Like we talked about before,
you have to give him as much vision as possible
'cause he's maneuvering around this bombed out ship
and being hung upside down
and all this wire work that he's gotta do.
He needs to be able to see.
Wire work in this.
Yeah.
That's gonna be a pass for me.
Wire work's bad enough, wire work in this, oh my God.
It's heavy and then you add on to it
that you start to get compressed
when you start getting lifted because it's antigravity,
the whole sequence is antigravity.
He's on wires the entire time.
- That's bonkers. - Yeah,
'cause you just always needed that zero-G movement.
Yeah.
We were setting up the shot
and I was admiring the gloves and you pulled one off.
- Do I get to try one on? - Yeah.
So part of what we did, again,
some of this is necessity that becomes canon,
and since this is an alien EV suit,
we took some liberties with like,
well, that's armored and covered in a way,
but it's like it didn't make any sense just to have it there
so we started repeating that,
repeating it here in the abdomen,
it's in the shoulders, the elbows,
all these areas that required more movement,
that would be like their tactical stuff
that's still environmentally safe, but it's not armored.
So, that was the language of that
and we put in the legs and we put in the gloves.
- But Warren wore these- - Cool.
And there's, they're light and flexible.
[Wil] Yeah, they actually, they are.
Oh, this is soft.
Yeah, yeah, 'cause he's gotta grab stuff
and this actually goes underneath here.
All right.
So, there's no thumb,
so I'll just pull these over one at a time.
- There you go. - Got it, okay.
- Okay. - A little too tight
on the back of your hand, but- - All right.
And now these are made for Warren
and then this would snap over the top.
And this is the last thing that we would do for Warren
because, and one of the first things that we would take off,
but that's basically it.
- And- - Whoa!
Armored finger extensions that just look threatening
and much larger than your hand
so that when it comes up on Spock, you know,
it's like it could crush him.
I am barely moving my fingers at all to make that happen.
Oh my God, you guys, yeah.
This feels like a great place to end this segment.
Can you do the Vulcan one?
I can almost.
Yeah, live long and prosper, nerds.
It has been an absolute pleasure
and such a privilege to dive into Strange New Worlds
with you this season.
Thank you to J. Alan Scott
and our friends at Legacy Effects
for a very fun peak behind the curtain
and from the bottom of my heart,
an enormous thank you to everyone from the cast
who made time for us and you in between seasons
to share their insights and experiences behind the scenes.
They do not have to come here and do this,
and I think it's important you know
that they choose to be here.
And I am so grateful.
We're gonna close our hailing frequencies for a little bit,
take some well-deserved shore leave,
we will be back in the Ready Room later this year
for Star Trek: Lower Decks and I cannot wait.
You have no idea.
'Til then, I'm Will Wheaton.
Live long and prosper.