Prometheus or X-303 and later BC-303 is a fictional starship that appears in the military science fiction television series Stargate SG-1. The ship was first introduced during the show's sixth season in the episode titled "Prometheus", and would go on to become a recurring setting over the remainder of the series as well as being depicted in various spin-off media. The ship was first written into the show by Joseph Mallozzi and Paul Mullie, and was designed by production designer Bridget McGuire. As well as McGuire, Mullie and Mallozzi, executive producer Brad Wright and art directors James Robbins and Peter Bodnarus also played a significant role in conceptualising and designing the ship. Modern day naval vessels were the main influence for the ship's design, with McGuire basing much of the interior on submarines, whilst destroyers and aircraft carriers helped inform much of the ship's exterior.
Development and Production
Concept and initial design Prometheus was first introduced in the episode of the same name, which was written by Joseph Mallozzi and Paul Mullie. Work on designing the spaceship began in 2002, with the Prometheus being imagined by the shows writers as Earth's answer to the Goa'uld mothership. Mullie described wanting to create a ship that was "exactly the opposite of the Goa'uld ships, which are basically big empty rooms", explaining that executive producer Brad Wright wanted a set with objects that could be interacted with by the actors, such as screens, buttons, chairs and flashing lights; none of which could be found on the shows Goa'uld sets. The shows production designer Bridget McGuire and her team began their work around five weeks before filming commenced. According to McGuire, the writers wanted a ship "that looked less like a hi-tech alien vessel, and more like one that had been built for the USAF".
McGuire focused in on the idea of having contemporary sea-going military craft inform both the interior and exterior of the ship's design and had Assistant Art Director Noeleen Tobin research a collection of reference images and schematics to help the process. Tobin came back with reference material the designers could use for inspiration. Images of ship bridges, engine rooms and other areas of various United States Aircraft carriers and submarines. McGuire wanted to "incorporate many features we see in military vessels today, and adapt them for space travel", imagining Prometheus as "more or less a destroyer in Space". McGuire specifically wanted to include "confined spaces, low ceilings and plenty of exposed conduits and piping" from submarines and aircraft control towers into the ship's design. In her concept, McGuire knew the ship would focus around a bridge space, engine room and that the ship would also contain a hangar bay to house the smaller X-302 fighter craft, although they would not initially be building that part of the set. After putting together some sketches, McGuire shared her concept with art directors Peter Bodnarus and James Robbins, both of whom then built upon McGuire's ideas, coming up with their own drawings before reconvening to decide upon a more definite, final look for the ship. Robbins was then responsible for developing the exterior schematics and the interior workings of the ship. In his plans for the ship, Robbins purposely chose "function over form", making the ship "utilitarian" in its design, describing it as "not a pretty ship". Furthermore, Robbins reflected the writers desire that the ship "had alien technology in it, but we didn't see that". Robbins created deck plans for the ship, including positioning all of the different components and systems vital to the ship's function. Robbins also imagined the ship's propulsion, armament and crew complement in his specifications. Although ultimately not used, Robbin's conceptualised that Prometheus would have its own unique hyperdrive whereby the ship travelled through hyperspace on rails that projected from the nacelles, as opposed to forming a window like other ships from the series. Meanwhile, Bodnarus was responsible for developing drawings of the set interiors, such as the bridge, corridors, engine room and air lock. Bodnarus began by building a three-dimensional or virtual set on the computer and set about experimenting "with various views and develop a sense of depth" in the interior spaces of the ship. Once completed, Bodnarus was responsible for creating the final blueprints from which the set would be constructed.
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