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Star Trek: Renegades

Star Trek: Renegades

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Star Trek (Original)

Star Trek (Original)

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The adventures of the USS Enterprise, representing the United Federation of Planets on a five-year mission in outer space to explore new worlds, seek new life and new civilizations, and to boldly go where no man has gone before. The Enterprise is commanded by handsome and brash Captain James T. Kirk. His First Officer and best friend is Mr. Spock from the planet Vulcan, and Kirk’s Medical Officer is Dr. Leonard “Bones” McCoy. With its crew of approximately 430, the Enterprise battles aliens, megalomanical computers, time paradoxes, psychotic murderers, and even Khan!  Written by Marty McKee <mmckee@wkio.com>

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Star Trek: The Next Generation

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Star Trek: Enterprise

Star Trek: Animated Series


Star Trek
Star Trek TOS logo.svg
Also known asStar Trek: The Original Series (retronym)
Created byGene Roddenberry
Theme music composerAlexander Courage
Opening theme"Theme from Star Trek"
Country of originUnited States
Original language(s)English
No. of seasons3
No. of episodes79 (list of episodes)
Executive producer(s)Gene Roddenberry
Running time50 min[1]
Production company(s)
DistributorParamount Television Sales
CBS Television Distribution[2]
Budget$190,000 per episode (season 1) (~$1.4 million 2019 dollars), $185,000 per episode (season 2), $175,000 per episode (season 3)
Original networkNBC [3][4]
Picture format
Audio formatMonaural, Dolby Digital 5.1 (remastered edition), DTS-HD Master Audio 7.1 (Blu-ray)
Original releaseSeptember 8, 1966 (1966-09-08) –
June 3, 1969 (1969-06-03)
Followed byStar Trek: The Animated Series
Related showsStar Trek TV series
External links
Star Trek: The Original Series at StarTrek.com

Star Trek is an American science fiction television series created by Gene Roddenberry that follows the adventures of the starship USS Enterprise (NCC-1701) and its crew. It later acquired the retronym of Star Trek: The Original Series (TOS) to distinguish the show within the media franchise that it began.

The show is set in the Milky Way galaxy, roughly during the 2260s. The ship and crew are led by Captain James T. Kirk (William Shatner), First Officer and Science Officer Spock (Leonard Nimoy), and Chief Medical Officer Leonard McCoy (DeForest Kelley). Shatner's voice-over introduction during each episode's opening credits stated the starship's purpose:

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Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before.

The series was produced from September 1966 to December 1967 by Norway Productions and Desilu Productions, and by Paramount Television from January 1968 to June 1969. Star Trek aired on NBC from September 8, 1966, to June 3, 1969,[5] and was actually seen first on September 6, 1966, on Canada's CTV network.[6]Star Trek's Nielsen ratings while on NBC were low, and the network canceled it after three seasons and 79 episodes. Several years later, the series became a bona fide hit in broadcast syndication, remaining so throughout the 1970s, achieving cult classic status and a developing influence on popular culture. Star Trek eventually spawned a franchise, consisting of six television series, thirteen feature films, numerous books, games, and toys, and is now widely considered one of the most popular and influential television series of all time.[7]

The series contains significant elements of Space Western, as described by Roddenberry and the general audience.[8]


On March 11, 1964, Gene Roddenberry, a long-time fan of science fiction, drafted a short treatment for a science-fiction television series that he called Star Trek.[9] This was to be set on board a large interstellar spaceship named S.S. Yorktown in the 23rd century[10][11] bearing a crew dedicated to exploring the Milky Way Galaxy.

Roddenberry noted a number of influences on his idea, some of which includes A. E. van Vogt's tales of the spaceship Space Beagle, Eric Frank Russell's Marathon series of stories, and the film Forbidden Planet (1956). Some have also drawn parallels with the television series Rocky Jones, Space Ranger (1954), a space opera which included many of the elements that were integral to Star Trek—the organization, crew relationships, missions, part of the bridge layout, and some technology.[7]:24 Roddenberry also drew heavily from C. S. Forester's Horatio Hornblower novels that depict a daring sea captain who exercises broad discretionary authority on distant sea missions of noble purpose. He often humorously referred to Captain Kirk as "Horatio Hornblower in Space".[12]

Roddenberry had extensive experience in writing for series about the Old West that had been popular television fare in the 1950s and 1960s. Armed with this background, the first draft characterized the new show as "Wagon Train to the stars."[9][13] Like the familiar Wagon Train, each episode was to be a self-contained adventure story, set within the structure of a continuing voyage through space. Most future television and movie realizations of the franchise adhered to the "Wagon Train" paradigm of the continuing journey, with the notable exception of the serialized Star Trek: Deep Space Nine, Star Trek: Discovery, and the third season of Star Trek: Enterprise.

In Roddenberry's original concept, the protagonist was Captain Robert April of the starship S.S. Yorktown. This character was developed into Captain Christopher Pike, first portrayed by Jeffrey Hunter. April is listed in the Star Trek Chronology, The Star Trek Encyclopedia and at startrek.com as the Enterprise's first commanding officer, preceding Captain Christopher Pike.[14][15][16] The character's only television/movie appearance is in the Star Trek: The Animated Series episode "The Counter-Clock Incident"[17]


In April 1964, Roddenberry presented the Star Trek draft to Desilu Productions, a leading independent television production company.[18] He met with Herbert F. Solow, Desilu's Director of Production. Solow saw promise in the idea and signed a three-year program-development contract with Roddenberry.[19]Lucille Ball, head of Desilu, was not familiar with the nature of the project, but she was instrumental in getting the pilot produced.[20]

The idea was extensively revised and fleshed out during this time – "The Cage" pilot filmed in late 1964 differs in many respects from the March 1964 treatment. Solow, for example, added the "stardate" concept.[19]

Desilu Productions had a first look deal with CBS.[21] Oscar Katz, Desilu's Vice President of Production, went with Roddenberry to pitch the series to the network.[22] They refused to purchase the show, as they already had a similar show in development, the 1965 Irwin Allen series Lost in Space.[23]

In May 1964, Solow, who previously worked at NBC, met with Grant Tinker, then head of the network's West Coast programming department. Tinker commissioned the first pilot – which became "The Cage".[18][24] NBC turned down the resulting pilot, stating that it was "too cerebral".[25] However, the NBC executives were still impressed with the concept, and they understood that its perceived faults had been partly because of the script that they had selected themselves.[12]

NBC made the unusual decision to pay for a second pilot, using the script called "Where No Man Has Gone Before".[25] Only the character of Spock, played by Leonard Nimoy, was retained from the first pilot, and only two cast members, Majel Barrett and Nimoy, were carried forward into the series. This second pilot proved to be satisfactory to NBC, and the network selected Star Trek to be in its upcoming television schedule for the fall of 1966.

The second pilot introduced most of the other main characters: Captain Kirk (William Shatner), Chief Engineer Lt. Commander Scott (James Doohan) and Lt. Sulu (George Takei), who served as a physicist on the ship in the second pilot but subsequently became a helmsman throughout the rest of the series. Paul Fix played Dr. Mark Piper in the second pilot; ship's doctor Leonard McCoy (DeForest Kelley) joined the cast when filming began for the first season, and he remained for the rest of the series, achieving billing as the third star of the series. Also joining the ship's permanent crew during the first season were the communications officer, Lt. Nyota Uhura (Nichelle Nichols), the first African-American woman to hold such an important role in an American television series;[26] the captain's yeoman, Janice Rand (Grace Lee Whitney), who departed midway through the first season; and Christine Chapel (Majel Barrett), Nurse and assistant to McCoy. Walter Koenig joined the cast as Ensign Pavel Chekov in the series' second season.

In February 1966, Star Trek was nearly canceled by Desilu Productions, before airing the first episode. Desilu had gone from making just one half-hour show (The Lucy Show), to deficit financing a portion of two expensive hour-long shows, Mission: Impossible and Star Trek.[27] Solow was able to convince Lucille Ball that both shows should continue.[21]


The original starship Enterprise

Once the series was picked up by NBC the production moved to what was then Desilu Productions Gower street location. It was previously the main studio complex used by RKO Pictures and is now part of the Paramount Pictures lot. The series used what are now stages 31 and 32.[21] The show's production staff included art director Matt Jefferies. Jefferies designed the starship Enterprise and most of its interiors.[28] His contributions to the series were honored in the name of the "Jefferies tube", an equipment shaft depicted in various Star Trek series. In addition to working with his brother, John Jefferies, to create the hand-held phaser weapons of Star Trek, Jefferies also developed the set design for the bridge of the Enterprise (which was based on an earlier design by Pato Guzman). Jefferies used his practical experience as an airman during World War II and his knowledge of aircraft design to devise a sleek, functional and ergonomic bridge layout.

The costume designer for Star Trek, Bill Theiss, created the striking look of the Starfleet uniforms for the Enterprise, the costumes for female guest stars, and for various aliens, including the Klingons, Vulcans, Romulans, Tellarites, Andorians, and Gideonites among others.

Artist and sculptor Wah Chang, who had worked for Walt Disney Productions, was hired to design and manufacture props: he created the flip-open communicator, often credited as having influenced the configuration of the portable version of the cellular telephone.[29] Chang also designed the portable sensing-recording-computing "tricorder" device, and various fictitious devices for the starship's engineering crew and its sick bay. As the series progressed, he helped to create various memorable aliens, such as the Gorn and the Horta.

Season 1 (1966–1967)

William Shatner as Kirk in action, from the episode "Where No Man Has Gone Before", 1966

NBC ordered 16 episodes of Star Trek, besides "Where No Man Has Gone Before".[25] The first regular episode of Star Trek, "The Man Trap",[30] aired on Thursday, September 8, 1966 from 8:30 to 9:30 as part of an NBC "sneak preview" block. Reviews were mixed; while The Philadelphia Inquirer and San Francisco Chronicle liked the new show, The New York Times and The Boston Globe were less favorable,[31] and Variety predicted that it "won't work", calling it "an incredible and dreary mess of confusion and complexities".[32] Debuting against mostly reruns, Star Trek easily won its time slot with a 40.6 share.[33] The following week against all-new programming, however, the show fell to second (29.4 share) behind CBS. It ranked 33rd (out of 94 programs) over the next two weeks, then the following two episodes ranked 51st in the ratings.[34][35]

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I am an avid fan of Star Trek, and would simply die if it was taken off the air. In my opinion it is the best show on television.

—M.P., Oswego, New York, February 20, 1967[36]

Title used for the first season

Frederik Pohl, editor of Galaxy Science Fiction, wrote in February 1967 of his amazement that Star Trek's "regular shows were just as good" as the early episodes that won an award at Tricon in September. Believing that the show would soon be canceled because of low ratings, he lamented that it "made the mistake of appealing to a comparatively literate group", and urged readers to write letters to help save the show.[37]Star Trek's first-season ratings would in earlier years likely have caused NBC to cancel the show. The network had pioneered research into viewers' demographic profiles in the early 1960s, however, and, by 1967, it and other networks increasingly considered such data when making decisions;[38]:115 for example, CBS temporarily canceled Gunsmoke that year because it had too many older and too few younger viewers.[31] Although Roddenberry later claimed that NBC was unaware of Star Trek's favorable demographics,[39] awareness of Star Trek's "quality" audience is what likely caused the network to retain the show after the first and second seasons.[38]:115 NBC instead decided to order 10 more new episodes for the first season, and order a second season in March 1967.[25][40] The network originally announced that the show would air at 7:30–8:30 pm Tuesday, but it was instead given an 8:30–9:30 pm Friday slot when the 1967–68 NBC schedule was released,[41] making watching it difficult for the young viewers that the show most attracted.[25]

Season 2 (1967–1968)

Spock, Kirk and the Enterprise, 1968.

Star Trek's ratings continued to decline during the second season. Although Shatner expected the show to end after two seasons and began to prepare for other projects,[42] NBC nonetheless may have never seriously considered canceling the show.[43][31] As early as January 1968, the Associated Press reported that Star Trek's chances for renewal for a third season were "excellent". The show had better ratings for NBC than ABC's competing Hondo, and the competing CBS programs (#3 Gomer Pyle, U.S.M.C. and the first half-hour of the #12 CBS Friday Night Movie) were in the top 15 in the Nielsen ratings.[43][44] Again, demographics helped Star Trek survive.[38]:116 Contrary to popular belief among its fans, the show did not have a larger audience of young viewers than its competition while on NBC.[31] The network's research did, however, indicate that Star Trek had a "quality audience" including "upper-income, better-educated males", and other NBC shows had lower overall ratings.[38]:116[43] The show was unusual at the time in its serious discussion of contemporary societal issues in a futuristic context, unlike Lost in Space which was more "campy" in nature.[45]

Look! Look! It doesn't stop! They're lined up all the way down the street!

—Norman Lunenfeld, NBC executive, on the mail trucks delivering Star Trek fans' letters[46]

The enthusiasm of Star Trek's viewers surprised NBC.[31] The network had already received 29,000 fan letters for the show during its first season, more than for any other except The Monkees.[25] When rumors spread in late 1967 that Star Trek was at risk of cancellation, Roddenberry secretly began and funded an effort by Bjo Trimble, her husband John and other fans to persuade tens of thousands of viewers to write letters of support to save the program.[46][47]:377–394[48] Using the 4,000 names on a mailing list for a science-fiction convention, the Trimbles asked fans to write to NBC and ask ten others to also do so.[49]:128 NBC received almost 116,000 letters for the show between December 1967 and March 1968, including more than 52,000 in February alone;[50][51][25] according to an NBC executive, the network received more than one million pieces of mail but only disclosed the 116,000 figure.[46] Newspaper columnists encouraged readers to write letters to help save what one called "the best science fiction show on the air".[52] More than 200 Caltech students marched to NBC's Burbank, California studio to support Star Trek in January 1968, carrying signs such as "Draft Spock" and "Vulcan Power".[53]Berkeley and MIT students organized similar protests in San Francisco and New York.[52]

The letters supporting Star Trek, whose authors included New York State Governor Nelson Rockefeller,[54] were different in both quantity and quality from most mail that television networks receive:

The show, according to the 6,000 letters it draws a week (more than any other in television), is watched by scientists, museum curators, psychiatrists, doctors, university professors and other highbrows. The Smithsonian Institution asked for a print of the show for its archives, the only show so honored.[52]

In addition:

Much of the mail came from doctors, scientists, teachers, and other professional people, and was for the most part literate–and written on good stationery. And if there is anything a network wants almost as much as a high Nielsen ratings it is the prestige of a show that appeals to the upper middle class and high brow audiences.[42]

And now an announcement of interest to all viewers of Star Trek. We are pleased to tell you that Star Trek will continue to be seen on NBC Television. We know you will be looking forward to seeing the weekly adventure in space on Star Trek.

—NBC announcer, March 1, 1968[50][54][31]

NBC—which used such anecdotes in much of its publicity for the show—made the unusual decision to announce on television, after the episode "The Omega Glory" on March 1, 1968, that the series had been renewed.[38]:116–117[54] The announcement implied a request to stop writing,[46] but instead caused fans to send letters of thanks in similar numbers.[55]

Season 3 (1968–1969)

"Spock's Brain" was the first episode of the third season.

NBC at first planned to move Star Trek to Mondays for the show's third season, likely in hopes of increasing its audience after the enormous letter campaign that surprised the network.[31] But in March 1968, NBC instead moved the show to 10:00 pm Friday night, an hour undesirable for its younger audience,[48][56] so as not to conflict with the highly successful Rowan & Martin's Laugh-In on Monday evenings,[57] from whose time slot Laugh-In producer George Schlatter had angrily demanded it not be rescheduled. In addition to the undesirable time slot, Star Trek was now being seen on only 181 of NBC's 210 affiliates.[58]

Roddenberry was frustrated, and complained, "If the network wants to kill us, it couldn't make a better move."[48] He attempted to persuade NBC to give Star Trek a better day and hour, but was not successful. As a result of this and his own growing exhaustion, he chose to withdraw from the stress of the daily production of Star Trek, though he remained nominally in charge as its "executive producer".[59] Roddenberry reduced his direct involvement in Star Trek before the start of the 1968–69 television season, and was replaced by Fred Freiberger as the producer of the television series. NBC next reduced Star Trek's budget by a significant amount per episode, as the per-minute commercial price had dropped from $39,000 to $36,000 compared to the Season 2 time slot.[60] This caused what many perceive as a significant decline in quality for the 1968–69 season. William Shatner felt that the main characters became increasingly compromised or exaggerated while being involved in growingly improbable story lines.[61] Leonard Nimoy added that mercenary concerns came to predominate.[62] Associate Producer Bob Justman, who left during the third season, says that the budget cuts caused the crew to become necessarily limited in the type of filming that could be done, such as outdoor work,[63] with only one episode, "The Paradise Syndrome", shot largely outdoors. Nichelle Nichols described the budget cutting during the final year as an intentional effort to kill off Star Trek:

While NBC paid lip service to expanding Star Trek's audience, it [now] slashed our production budget until it was actually ten percent lower than it had been in our first season ... This is why in the third season you saw fewer outdoor location shots, for example. Top writers, top guest stars, top anything you needed was harder to come by. Thus, Star Trek's demise became a self-fulfilling prophecy. And I can assure you, that is exactly as it was meant to be.[64]

The last day of filming for Star Trek was January 9, 1969,[25] and after 79 episodes[65] NBC canceled the show in February despite fans' attempt at another letter-writing campaign.[31] One newspaper columnist advised a protesting viewer:

You Star Trek fans have fought the "good fight," but the show has been canceled and there's nothing to be done now.[66]

In 2011, the decision to cancel Star Trek by NBC was ranked #4 on the TV Guide Network special, 25 Biggest TV Blunders 2.[67]


Surprisingly, one show no longer programmed by a network but syndicated to local television stations (Star Trek) sometimes appeared among the top five favorites in areas where the show is carried.

—"Students rate television", 1971[68]

Although many of the third season's episodes were considered of poor quality, it gave Star Trek enough episodes for television syndication.[69] Most shows require at least four seasons for syndication, because otherwise there are not enough episodes for daily stripping. Kaiser Broadcasting, however, purchased syndication rights for Star Trek during the first season for its stations in several large cities. The company arranged the unusual deal because it saw the show as effective counterprogramming against the Big Three networks' 6 pm evening news programs.[70]:138[25] Paramount began advertising the reruns in trade press in March 1969;[71] as Kaiser's ratings were good, other stations, such as WPIX in New York City and WKBS in Philadelphia, also purchased the episodes[72]:91–92 for similar counterprogramming.[38]:121

Through syndication, Star Trek found a larger audience than it had on NBC, becoming a cult classic.[73][70]:138–139 Airing the show in the late afternoon or early evening attracted many new viewers, often young.[74] By 1970, Paramount's trade advertisements claimed that the show had significantly improved its stations' ratings,[71] and the Los Angeles Times commented on Star Trek's ability to "acquire the most enviable ratings in the syndication field".[38]:121 By 1972, what the Associated Press described as "the show that won't die" aired in more than 100 American cities and 60 other countries, and more than 3,000 fans attended the first Star Trek convention in New York City.[75][74]

Since that dark day in 1969 when NBC brought the programming hammer down on Star Trek, there probably hasn't been a 24-hour period when the original program, one of the original episodes, wasn't being aired somewhere.

Chicago Tribune, 1987[76]

Fans of the show became increasingly organized, gathering at conventions to trade merchandise, meet actors from the show, and watch screenings of old episodes. Such fans came to be known as "trekkies",[73] who were noted (and often ridiculed) for their extreme devotion to the show and their encyclopedic knowledge of every episode.[77] Unlike other syndicated reruns, prices for Star Trek rose, instead of falling, over time,[38]:122 because fans enjoyed rewatching each episode many, often dozens of, times;[78][79][73][80]People in 1977 stated that the show "threatens to rerun until the universe crawls back into its little black hole".[81] By 1986, 17 years after entering syndication, Star Trek was the most popular syndicated series;[82] by 1987, Paramount made $1 million from each episode;[25] and by 1994, the reruns still aired in 94% of the United States.[83]

From September 1 to December 24, 1998, the Sci-Fi Channel broadcast a "Special Edition" of all The Original Series episodes in an expanded 90-minute format hosted by William Shatner. About 3–4 minutes of each episode that had been edited out of the syndicated shows for additional commercial time were restored for the "Special Edition" broadcast. In addition to introductory and post-episode commentary by Shatner, the episodes included interviews with members of the regular production team and cast, writers, guest stars, and critics (titled as "Star Trek Insights"). The episodes were broadcast in the original broadcast sequence, followed by "The Cage," to which a full 105-minute segment was devoted. (For details on each episode's original airdate, see List of Star Trek: The Original Series episodes.) Leonard Nimoy hosted a second run from December 28, 1998 to March 24, 1999, but not all the episodes were broadcast because the show was abruptly canceled before completion.[citation needed][original research?]

Remastered edition

In September 2006, CBS Paramount Domestic Television (now known as CBS Television Distribution, the current rights holders for the Star Trek television franchises) began syndication of an enhanced version of Star Trek: The Original Series in high definition with new CGI visual effects.[84]

Under the direction of Star Trek producer David Rossi, who consulted with Mike and Denise Okuda, the visual and special effects were recreated to give Star Trek: The Original Series a more modern look. Special attention was given to such elements as the Enterprise, alien planets and their images depicted from space, planets seen from orbit, alien spacecraft, and technology such as computer readouts, viewscreen images, and phaser beams.

The restoration and enhancement was performed by CBS Digital. All live-action footage was scanned in high definition from its first-generation 35 mm film elements. While it was possible to retouch and remaster some visual effects, all new exterior ship, space and planet shots were recreated under the supervision of Emmy-nominated visual effects supervisor Niel Wray.

As noted in the "making of" DVD feature, first generation "original camera negatives" were used for all live-action footage but not for external shots of the ship and planets. Notable changes include new space shots with a CGI Enterprise, and other new models (for example, a Gorn ship is shown in "Arena"), redone matte background shots, and other minor touches such as tidying up viewscreens.

A small number of scenes were also recomposed, and sometimes new actors were placed into the background of shots.[85] The opening theme music was also re-recorded in digital stereo.

The first episode to be released to syndication was "Balance of Terror" on the weekend of September 16, 2006. Episodes were released at the rate of about one a week and broadcast in a 4:3 aspect ratio. Despite the HD remastering, CBS chose to deliver the broadcast syndication package in Standard Definition (SD TV). The HD format was made commercially available through Blu-ray, or by download such as iTunes, Netflix, and Xbox Live.[86]

While the CGI shots were mastered in a 16:9 aspect ratio for future applications, they were initially broadcast in the U.S. and Canada – along with the live-action footage – in a 4:3 aspect ratio to respect the show's original composition. If the producers were to choose to reformat the entire show for the 16:9 ratio, live-action footage would be cropped, significantly reducing the height of the original image.

On July 26, 2007, CBS Home Entertainment (with distribution by Paramount Home Entertainment) announced that the remastered episodes of TOS would be released on an HD DVD/DVD hybrid format. Season 1 was released on November 20, 2007. Season 2 had been scheduled for release in the summer of 2008, but it was canceled when Toshiba (which had been helping finance the remastering of the show) pulled out of the HD DVD business.[87] On August 5, 2008, the remastered Season 2 was released on DVD only.[88] For this release, CBS and Paramount used discs without any disc art, making them look like the "Season 1 Remastered" HD DVD/DVD combo discs, despite having content only on one side.[citation needed] Season 3 was released on DVD only on November 18, 2008.[89] On February 17, 2009 – Paramount announced the Season 1 of TOS on Blu-ray Disc for a May release to coincide with the new feature film coming from Paramount.[90] The second season was released in a seven disc set on Blu-ray in the U.S. on September 22, 2009.[91] The third season was released on Blu-ray in the U.S. on December 15.[92] With the release of the "Alternate Realities" box set, remastered Original Series episodes were included in a multi-series compilation for the first time. It was unknown if future compilation releases would exclusively use the remastered episodes or not.[93]

In region 2 and region 4, all three seasons of the remastered Original Series became available on DVD in the slimline edition (in the UK and Germany in steelbook editions) on April 27, 2009 as well as the first season in Blu-ray.[citation needed]


While still casting the roles, Gene Roddenberry did not mandate Bones McCoy and Spock be male. According to Nichelle Nichols, "They gave me a three-page script to read from that had three characters named Bones, Kirk and somebody called Spock, and they asked me if I would read for the role of Spock. When I looked at this great text, I said to myself, 'I'll take any one of these roles,' but I found the Spock character to be very interesting, and I asked them to tell me what she [Spock] was like."[94]

It was intended that Sulu's role be expanded in the second season, but owing to Takei's part in John Wayne's The Green Berets, he appeared in only half the season, his role being filled by Walter Koenig as the relatively young, mop-topped Russian navigator Ensign Pavel Chekov. When Takei returned, the two had to share a dressing room and a single episode script.[95] The two appeared together at the Enterprise helm for the remainder of the series. There may be some truth to the unofficial story that the Soviet Union's newspaper Pravda complained that among the culturally diverse characters there were no Russians, seen as a personal slight to that country since the Soviet Russian Yuri Gagarin had been the first man to make a spaceflight. Gene Roddenberry said in response that "The Chekov thing was a major error on our part, and I'm still embarrassed by the fact we didn't include a Russian right from the beginning."[12] However, documentation from Desilu suggests that the intention was to introduce a character into Star Trek with more sex appeal to teenaged girls.[12] Walter Koenig noted in the 2006 40th anniversary special of Star Trek: The Original Series that he doubted the rumor about Pravda, since Star Trek had never been shown on Soviet television. It has also been claimed that the former member of The Monkees, Davy Jones, was the model for Mr. Chekov.[96]

In addition, the series frequently included characters (usually security personnel wearing red uniforms) who are killed or injured soon after their introduction. So prevalent was this plot device that it inspired the term "redshirt" to denote a stock character whose sole purpose is to die violently to show the danger facing the main characters.


Promotional photo of the cast of Star Trek during the third season (1968–1969). From left to right: James Doohan, Walter Koenig, DeForest Kelley, Majel Barrett, William Shatner, Nichelle Nichols, Leonard Nimoy, and George Takei.

Star Trek made celebrities of its cast of largely unknown actors. Kelley had appeared in many films and television shows, but mostly in smaller roles that showcased him as a villain. Nimoy also had previous television and film experience but was not well known either. Nimoy had partnered previously with Shatner in a 1964 episode of The Man from U.N.C.L.E., "The Project Strigas Affair," and with Kelley (as a doctor) in a 1963 episode of The Virginian, "Man of Violence," both more than two years before Star Trek first aired. Before Star Trek, Shatner was well known in the trade, having appeared in several notable films, played Cyrano de Bergerac on Broadway, and even turned down the part of Dr. Kildare. However, when roles became sparse he took the regular job after Jeffrey Hunter's contract was not renewed. After the episodes aired, many performers found themselves typecast because of their defining roles in the show. (Star Trek: The Next Generation actor Michael Dorn stated in 1991, however: "If what happened to the first cast is called being typecast, then I want to be typecast. Of course, they didn't get the jobs after Trek. But they are making their sixth movie. Name me someone else in television who has made six movies!")[69]

The three main characters were Kirk, Spock, and McCoy, with writers often playing the different personalities off each other: Kirk was passionate and often aggressive, but with a sly sense of humor; Spock was coolly logical; and McCoy was sardonic, emotional, and illogical, but always compassionate. In many stories the three clashed, with Kirk forced to make a tough decision while Spock advocated the logical but sometimes callous path and McCoy (or "Bones", as Kirk nicknamed him) insisted on doing whatever would cause the least harm. McCoy and Spock had a sparring relationship that masked their true affection and respect for each other, and their constant arguments became popular with viewers.[97]:153–154 The show so emphasized dialogue that writer and director Nicholas Meyer (involved with the Star Trek films) called it a radio drama, showing an episode to a film class without video to prove that the plot was still comprehensible.[69]

The Spock character was at first rejected by network executives, who were apprehensive that his vaguely "Satanic" appearance (with pointed ears and eyebrows) might prove upsetting to some viewers, and (according to Leonard Nimoy) they repeatedly urged Roddenberry to "drop the Martian." Roddenberry was also dismayed to discover that NBC's publicity department deliberately airbrushed out Spock's pointed ears and eyebrows from early publicity stills sent to network affiliates, because they feared that his "demonic" appearance might offend potential buyers in the religiously conservative southern states. Spock, however, went on to become one of the most popular characters on the show, as did McCoy's impassioned country-doctor personality. Spock, in fact, became a sex symbol of sorts[98]—something no one connected with the show had expected. Leonard Nimoy noted that the question of Spock's extraordinary sex appeal emerged "almost any time I talked to someone in the press...I never give it a thought...to try to deal with the question of Mr. Spock as a sex symbol is silly."[99]

Characters' cameo appearances in later series

The sequel to the original series, Star Trek: The Next Generation, which premiered in 1987, was set about 100 years after the events of TOS. As that show and its spin-offs progressed, several TOS actors made appearances reprising their original characters:

  • Leonard "Bones" McCoy, now a crusty 137-year-old admiral and head of Starfleet's Medical Division, inspects the Enterprise-D before her first mission in "Encounter at Farpoint," briefly meeting the android officer Lt. Cdr. Data, telling him, "Well, this is a new ship. But she's got the right name. Now, you remember that, you hear? ... You treat her like a lady, and she'll always bring you home."
  • Scotty, now chronologically 147 years old, but still only physically 72 years old after spending 75 years trapped in a transporter buffer, is rescued by the Enterprise-D crew and resumes his life in "Relics." Working along with Chief Engineer Geordi La Forge, Scotty uses some creative engineering to save the Enterprise. A grateful Captain Picard lends him a shuttlecraft indefinitely.
  • Spock, now a Vulcan ambassador, goes underground in the Romulan Empire in hopes of fostering peaceful coexistence with the Federation and reunification with Vulcan society ("Unification, Parts I and II"). He also appears in the 2009 reboot film where his science vessel originated from the 24th century–era of TNG. He ends up stranded in the 23rd century of the film series, where he settles on new Vulcan; in the sequel film Star Trek Into Darkness, he is contacted by his younger self regarding the villainous Khan Noonien Singh.
  • Sarek, Spock's father, continues to be an ambassador for the next century until his final mission during which he and Captain Picard mind-meld together because Sarek shows signs of Bendii Syndrome ("Sarek"). He later dies suffering from this affliction, but not before giving Captain Picard key information for locating his missing son ("Unification").
  • James Kirk disappears in 2293 during the maiden voyage of the Enterprise-B as seen in the film Star Trek: Generations. However, 78 years later Kirk is recovered from The Nexus, an alternative plane of existence, by Enterprise-D Captain Jean-Luc Picard in the same film. Kirk's time in the 24th century is short however; he is killed while helping to defeat Dr. Tolian Soran.
  • Kang, Koloth, and Kor, the three Klingons featured in "Day of the Dove" (Kang), "The Trouble with Tribbles" (Koloth) and "Errand of Mercy" (Kor), continue to serve the Empire well into the 24th century. They appear in the Star Trek: Deep Space Nine episode "Blood Oath" in which Kang and Koloth are killed. Kor later appears in two more episodes: "The Sword of Kahless" and finally in "Once More Unto the Breach" where, fighting in the Dominion War, he dies honorably in battle. A younger version of Kang, from the era of Star Trek VI: The Undiscovered Country, later appears in the Star Trek: Voyager episode "Flashback."
  • Hikaru Sulu, promoted to captain of the USS Excelsior in Star Trek VI: The Undiscovered Country, reprises his role from that performance in the Star Trek: Voyager episode "Flashback." Janice Rand also appears in that same episode.
  • Arne Darvin, the Klingon disguised as a human in "The Trouble with Tribbles", appears in "Trials and Tribble-ations" with the intent to return to Deep Space Station K7 in 2267 and assassinate Kirk, whom Darvin blamed for his disgrace in the Klingon Empire.

Besides the above examples, there have been numerous non-canon novels and comic books published over the years in which The Original Series era crew are depicted in The Next Generation era, either through time-travel or other means. In addition, many actors who appeared on The Original Series later made guest appearances as different characters in later series, most notably Majel Barrett, who not only provided the voice for most Starfleet computers in episodes of every spin-off series (including a single appearance on Star Trek: Enterprise, where the computers normally did not speak at all), but also had the recurring role of Lwaxana Troi in The Next Generation and Deep Space Nine. Diana Muldaur, a guest star in the episodes "Return to Tomorrow" and "Is There in Truth No Beauty?" of the original Star Trek series, played series regular Dr. Katherine Pulaski in the second season of Star Trek: The Next Generation.

Notable guest appearances

Guest roles on the series have featured actors such as:


SeasonEpisodesOriginally aired
First airedLast aired
129September 8, 1966 (1966-09-08)April 13, 1967 (1967-04-13)
226September 15, 1967 (1967-09-15)March 29, 1968 (1968-03-29)
324September 20, 1968 (1968-09-20)June 3, 1969 (1969-06-03)
Shatner and Julie Newmar (1967)

In its writing, Star Trek is notable as one of the earliest science-fiction TV series to use the services of leading contemporary science fiction writers, such as Robert Bloch, Norman Spinrad, Harlan Ellison, and Theodore Sturgeon, as well as established television writers. Series script editor Dorothy C. Fontana (originally Roddenberry's secretary) played a key role in the success of Star Trek—she edited most of the series' scripts and wrote several episodes. Her credits read D.C. Fontana at the suggestion of Gene Roddenberry, who felt a female science fiction writer might not be taken seriously in the majority-male field.

Roddenberry often used the setting of a space vessel set many years in the future to comment on social issues of 1960s America, including sexism, racism, nationalism, and global war.[48] In November 1968, just a few months after the first televised interracial touch, the episode "Plato's Stepchildren" went incorrectly[101] down in history as the first American television show to feature a scripted interracial kiss between characters (Capt. Kirk and Lt. Uhura), although the kiss was only mimed (obscured by the back of a character's head) and depicted as involuntary.[102] "Let That Be Your Last Battlefield" presented a direct allegory about the irrationality and futility of racism. Anti-war themes appear in episodes such as "The Doomsday Machine", depicting a planet-destroying weapon as an analogy to nuclear weapons deployed under the principle of mutually assured destruction, and "A Taste of Armageddon" about a society which has "civilized" war to the point that they no longer see it as something to avoid.

Episodes such as "The Apple", "Who Mourns for Adonais?", "The Mark of Gideon" and "The Return of the Archons" display subtle anti-religious (owing mainly to Roddenberry's own secular humanism) and anti-establishment themes. "Bread and Circuses" and "The Omega Glory" have themes that are more pro-Christian or patriotic.[original research?]

The show experienced network and/or sponsor interference, up to and including wholesale censorship of scripts and film footage. This was a regular occurrence in the 1960s and Star Trek suffered from its fair share of tampering. Scripts were routinely vetted and censored by the staff of NBC's Broadcast Standards Department, which copiously annotated every script with demands for cuts or changes (e.g. "Page 4: Please delete McCoy's expletive, 'Good Lord'" or "Page 43: Caution on the embrace; avoid open-mouthed kiss").[103]

The series was noted for its sense of humor, such as Spock and McCoy's pointed, yet friendly, bickering. Certain episodes, such as "The Trouble with Tribbles", "I, Mudd" and "A Piece of the Action", were written and staged as comedies with dramatic elements. Most episodes were presented as action/adventure dramas, frequently including space battles or fist fights between the ship's crew and guest antagonists.

Several episodes used the concept of planets developing parallel to Earth, allowing reuse of stock props, costumes and sets. "Bread and Circuses", "Miri" and "The Omega Glory" depict such worlds; "A Piece of the Action", "Patterns of Force" and "Plato's Stepchildren" are based on alien planets that have adopted period Earth cultures (Prohibition-era Chicago, Nazi Germany and ancient Greece, respectively). Two episodes depicting time travel ("Tomorrow Is Yesterday" and "Assignment: Earth") conveniently place Enterprise in orbit above 1960s Earth; a third ("The City on the Edge of Forever") places members of the crew on 1930s Earth.

Notable episodes

Several publications have ranked the ten best episodes of Star Trek:

Rank Entertainment Weekly (1995)[104] IGN (2012)[105] Newsweek (2016)[106] Hollywood.com (2013)[107]
1 "The City on the Edge of Forever" "The City on the Edge of Forever" "The Doomsday Machine" "The City on the Edge of Forever"
2 "Space Seed" "Balance of Terror" "Space Seed" "Arena"
3 "Mirror, Mirror" "Mirror, Mirror" "Mirror, Mirror" "Mirror, Mirror"
4 "The Doomsday Machine" "Space Seed" "The Trouble with Tribbles" "Balance of Terror"
5 "Amok Time" "The Trouble with Tribbles" "The Enterprise Incident" "Space Seed"
6 "The Devil in the Dark" "Where No Man Has Gone Before" "Journey to Babel" "Galileo Seven"
7 "The Trouble with Tribbles" "The Enemy Within" "Balance of Terror" "Amok Time"
8 "This Side of Paradise" "The Naked Time" "Arena" "Journey to Babel"
9 "The Enterprise Incident" "This Side of Paradise" "Amok Time" "The Doomsday Machine"
10 "Journey to Babel" "Arena" "The City on the Edge of Forever" "The Enterprise Incident"

Of the sixteen episodes listed above, ten – "Where No Man Has Gone Before", "The Enemy Within", "The Naked Time", "Balance of Terror", "The Galileo Seven", "Arena", "Space Seed", "This Side of Paradise", "The Devil in the Dark", and "The City on the Edge of Forever" – are from the first season and five – "Amok Time", "The Doomsday Machine", "Mirror, Mirror", "The Trouble with Tribbles", and "Journey to Babel" – are from the second season. Only one – "The Enterprise Incident" – derives from the third season.

Leonard Nimoy: Star Trek Memories

In 1983, Leonard Nimoy hosted a one-hour special as a promotional tie-in with the film Star Trek III: The Search for Spock, in which he recounted his memories of working on the original series and explained the origins of things such as the Vulcan nerve pinch and the Vulcan salute, as well as a re-airing of the TOS episode "Space Seed".[108]

Broadcast history

Season Time slot (ET)
1966–67 Thursday at 8:30 pm
1967–68 Friday at 8:30 pm
1968–69 Friday at 10:00 pm (episodes 1–23)
Tuesday at 7:30 pm (episode 24)


Theme tune

The show's theme tune, immediately recognizable by many, was written by Alexander Courage, and has been featured in several Star Trek spin-off episodes and motion pictures. Gene Roddenberry subsequently wrote a set of accompanying lyrics, even though the lyrics were never used in the series, nor did Roddenberry ever intend them to be; this allowed him to claim co-composer credit and hence 50% of the theme's performance royalties. Courage considered Roddenberry's actions, while entirely legal, to be unethical.[109] Series producer Robert Justman noted in the book Inside Star Trek The Real Story, that work on the film Doctor Dolittle kept Courage from working on more than two episodes of the first season. However, Justman also believed that Courage lost enthusiasm for the series because of the "royalty" issue.[47]:185 Courage did not score any episodes of the second season; however he did conduct a recording session for about 30 minutes of "library cues" for the second season, on June 16, 1967.[110] Courage returned to score two episodes of the third season.

Later episodes used stock recordings from Courage's earlier work. Jazz trumpeter Maynard Ferguson recorded a jazz fusion version of the tune with his big band during the late 1970s, and Nichelle Nichols performed the song live complete with lyrics.

Dramatic underscore

For budgetary reasons, this series made significant use of "tracked" music, or music written for other episodes that was reused in later episodes. Of the 79 episodes that were broadcast, only 31 had complete or partial original dramatic underscores created specifically for them. The remainder of the music in any episode was tracked from other episodes and from cues recorded for the music library. Which episodes would have new music was mostly the decision of Robert H. Justman, the Associate Producer during the first two seasons.

Screen credits for the composers were given based on the amount of music composed for, or composed and reused in, the episode. Some of these final music credits were occasionally incorrect.

Beyond the short works of "source" music (music whose source is seen or acknowledged onscreen) created for specific episodes, eight composers were contracted to create original dramatic underscore during the series run: Alexander Courage, George Duning, Jerry Fielding, Gerald Fried, Sol Kaplan, Samuel Matlovsky, Joseph Mullendore, and Fred Steiner. The composers conducted their own music. Of these composers, Steiner composed the original music for thirteen episodes and it is his instrumental arrangement of Alexander Courage's main theme that is heard over many of the end title credits of the series.

The tracked musical underscores were chosen and edited to the episode by the music editors, principal of whom were Robert Raff (most of Season One), Jim Henrikson (Season One and Two), and Richard Lapham (Season Three).[111]

Some of the original recordings of the music were released in the United States commercially on the GNP Crescendo Record Co. label. Music for a number of the episodes was re-recorded by Fred Steiner and the Royal Philharmonic Orchestra for the Varèse Sarabande label; and by Tony Bremner with the Royal Philharmonic for the Label X label. Finally in December 2012, the complete original recordings were released by La-La Land Records as a 15-CD box set, with liner notes by Jeff Bond.[112]

Episodes with original music

Listed in production order. Episodes that were only partially scored are in italics.[113]

Season 1:

  1. "The Cage" (Alexander Courage)
  2. "Where No Man Has Gone Before" (Alexander Courage)
  3. "The Corbomite Maneuver" (Fred Steiner)
  4. "Mudd's Women" (Fred Steiner)
  5. "The Enemy Within" (Sol Kaplan)
  6. "The Man Trap" (Alexander Courage)
  7. "The Naked Time" (Alexander Courage)
  8. "Charlie X" (Fred Steiner)
  9. "Balance of Terror" (Fred Steiner)
  10. "What Are Little Girls Made Of?" (Fred Steiner)
  11. "The Conscience of the King" (Joseph Mullendore)
  12. "Shore Leave" (Gerald Fried)
  13. "The City on the Edge of Forever" (Fred Steiner)

Season 2:

  1. "Catspaw" (Gerald Fried)
  2. "Metamorphosis" (George Duning)
  3. "Friday's Child" (Gerald Fried)
  4. "Who Mourns for Adonais?" (Fred Steiner)
  5. "Amok Time" (Gerald Fried)
  6. "The Doomsday Machine" (Sol Kaplan)
  7. "Mirror, Mirror" (Fred Steiner)
  8. "I, Mudd" (Samuel Matlovsky)
  9. "The Trouble with Tribbles" (Jerry Fielding)
  10. "By Any Other Name" (Fred Steiner)
  11. "Patterns of Force" (George Duning)
  12. "The Omega Glory" (Fred Steiner)
  13. "Return to Tomorrow" (George Duning)

Season 3:

  1. "Spectre of the Gun" (Jerry Fielding)
  2. "Elaan of Troyius" (Fred Steiner)
  3. "The Paradise Syndrome" (Gerald Fried)
  4. "The Enterprise Incident" (Alexander Courage)
  5. "And the Children Shall Lead" (George Duning)
  6. "Spock's Brain" (Fred Steiner)
  7. "Is There in Truth No Beauty?" (George Duning)
  8. "The Empath" (George Duning)
  9. "Plato's Stepchildren" (Alexander Courage)

Note: Although "The Way to Eden" had no original score, the episode had special musical material by Arthur Heinemann (the episode's writer), guest star Charles Napier and Craig Robertson. "Requiem for Methuselah" contains a Johannes Brahms interpretation by Ivan Ditmars.


Although this series never won any Emmys, Star Trek was nominated for the following Emmy Awards:

  • Outstanding Dramatic Series (Gene Roddenberry and Gene L. Coon), 1967
  • Outstanding Dramatic Series (Gene Roddenberry), 1968
  • Outstanding Supporting Actor (Leonard Nimoy as Mr. Spock), 1967, 1968, 1969
  • Individual Achievement in Art Direction and Allied Crafts (Jim Rugg), 1967
  • Individual Achievement in Cinematography (Darrell Anderson, Linwood G. Dunn, and Joseph Westheimer), 1967
  • Individual Achievement in Film and Sound Editing (Douglas Grindstaff), 1967
  • Outstanding Achievement in Film Editing (Donald R. Rode), 1968
  • Special Classification of Individual Achievement for Photographic Effects (The Westheimer Company), 1968
  • Outstanding Achievement in Art Direction and Scenic Design (John Dwyer and Walter M. Jefferies), 1969
  • Outstanding Achievement in Film Editing (Donald R. Rode), 1969
  • Special Classification Achievements for Photographic Effects (The Howard A. Anderson Company, The Westheimer Company, Van der Veer Photo Effects, Cinema Research), 1969.

Eight of its episodes were nominated for one of science-fiction's top awards, the Hugo Award, in the category "Best Dramatic Presentation". In 1967, the nominated episodes were "The Naked Time", "The Corbomite Maneuver", and "The Menagerie". In 1968, all nominees were Star Trek episodes: "Amok Time", "Mirror, Mirror", "The Doomsday Machine", "The Trouble with Tribbles", and "The City on the Edge of Forever". Star Trek won both years for the episodes "The Menagerie" and "The City on the Edge of Forever", respectively. In 1968, Star Trek (the T.V. show) won a special Hugo Award for Dramatic Presentation. No episode was named. This was the show's 3rd Hugo Award.

In 1967, Star Trek was also one of the first television programs to receive an NAACP Image Award.

In 1968, Star Trek's most critically acclaimed episode, "The City on the Edge of Forever," written by Harlan Ellison, won the prestigious Writers Guild of America Award for Best Original Teleplay, although this was for Ellison's original draft script, and not for the screenplay of the episode as it aired.

In 1997, "The City on the Edge of Forever" was ranked #92 on TV Guide's 100 Greatest Episodes of All Time.[114]

In 2004 and 2007, TV Guide ranked Star Trek as the greatest cult show ever.[115][116]

In 2013, TV Guide ranked Star Trek #12 on their list of the 60 Greatest Shows of All Time.[117]


Home media

Episodes of the Original Series were among the first television series to be released on the VHS and laserdisc formats in North America in the 1980s, with all episodes eventually being released on both formats. With the advent of DVD in the mid-1990s, single DVDs featuring two episodes each in production order were released. In the early 2000s, Paramount Home Video reissued the series to DVD in a series of three deluxe season boxes with added featurettes and documentaries. In February 2009 CBS and Paramount announced that they would release the Original Series on Blu-ray. Season one, two, and three were released on April 28, September 22, and December 15, respectively. The Blu-ray releases let the user choose between "Enhanced Effects" or "Original Effects" via technique called multi-angle.[118]

All 79 episodes of the series have been digitally remastered by CBS Home Entertainment (distributed by Paramount) and have since been released on DVD.

CBS Home Entertainment released season one of The Original Series on Blu-ray on April 28, 2009. The Blu-ray release contains both Original and Remastered episodes by seamless branching.

Blu-ray name Ep # Discs Region 1/A (USA) Region 2/B (UK) Region 4/B (Australia) Blu-ray special features
Season One 29 7 April 28, 2009 April 27, 2009 May 6, 2009 Starfleet Access for "Where No Man Has Gone Before"

Spacelift: Transporting Trek Into the 21st Century

Starfleet Access for "The Menagerie, Parts I and II"

Reflections on Spock

Starfleet Access for "The Balance of Terror"

Life Beyond Trek: William Shatner

To Boldly Go... Season One

The Birth of a Timeless Legacy

Starfleet Access for "Space Seed"

Sci-Fi Visionaries

Interactive Enterprise Inspection

Billy Blackburn's Treasure Chest: Rare Home Movies and Special Memories

Kiss 'n' Tell: Romance in the 23rd Century

Starfleet Access for "Errand of Mercy"

Season Two 26 7 September 22, 2009 October 9, 2009 October 1, 2009 Billy Blackburn's Treasure Chest: Rare Home Movies and Special Memories Part 2

Starfleet Access for "Amok Time"

"Content to Go" featurette via Mobile-Blu: Writing Spock

"Content to Go" featurette via Mobile-Blu: Creating Chekov

"Content to Go" featurette via Mobile-Blu: Listening to the Actors

"More Tribbles, More Troubles" audio commentary by David Gerrold

DS9: "Trials and Tribble-ations"

"Trials and Tribble-ations": Uniting Two Legends

Star Trek: The Original Series on Blu-ray

"Trials and Tribble-ations": An Historic Endeavor

Starfleet Access for "The Trouble with Tribbles"

"Content to Go" featurette via Mobile-Blu: Spock's Mother

To Boldly Go... Season Two

Designing the Final Frontier

Star Trek's Favorite Moments

Writer's Notebook: D.C. Fontana

Life Beyond Trek: Leonard Nimoy

Kirk, Spock & Bones: Star Trek's Great Trio

Star Trek's Divine Diva: Nichelle Nichols

Enhanced Visual Effects Credits

Season Three 24 6 December 15, 2009 March 22, 2010 May 1, 2013 Life Beyond Trek: Walter Koenig

Chief Engineer's Log

Memoir from Mr. Sulu

Captain's Log: Bob Justman

"Where No Man Has Gone Before" (Unaired, alternate version)

David Gerrold Hosts 2009 Convention Coverage

"The Anthropology of Star Trek" Comic-Con Panel 2009

The World of Rod Roddenberry – Comic-Con 2009

Billy Blackburn's Treasure Chest: Rare Home Movies and Special Memories Part 3

To Boldly Go... Season Three

Collectible Trek

Star Trek's Impact

Online distribution

CBS Interactive is presenting all 3 seasons of the series via the tv.com iPhone app. The full-length episodes, without the new CGI but digitally processed to remove the original celluloid artifacts, are available to users in the USA at no charge but with embedded ads. Short clips from the shows are also viewable at their web site.[119] The company has recently presented all 3 seasons of the series via its CBS All Access premium streaming service. It has all full-length episodes, without the new CGI, like the tv.com app, and is available to users in the USA with subscription without ad interruptions.

In January 2007, the first season of Star Trek: The Original Series became available for download from Apple's iTunes Store. Although consumer reviews indicate that some of the episodes on iTunes are the newly "remastered" editions, iTunes editors had not indicated such, and if so, which are which. All first-season episodes that had been remastered and aired were available from iTunes, except "Where No Man Has Gone Before", which remains in its original form. On March 20, 2007, the first season was again added to the iTunes Store, with separate downloads for the original and remastered versions of the show, though according to the customer reviews, the original version contains minor revisions such as special effect enhancements.[citation needed]

Netflix began online streaming of five of the six Star Trek television series on July 1, 2011; Deep Space Nine followed on October 1, 2011.[120]


Star Trek: The Original Series has inspired many commercial products, including toys, comic books, and many other materials. The comics are generally considered non-canon.

Action figures

In the early 1970s the Mego Corporation acquired the license to produce Star Trek action figures, which the company successfully marketed from 1974–1976. During this period, the company produced a line of 8" figures featuring Captain Kirk, Mr. Spock, Leonard McCoy, Mr. Scott, Lt. Uhura, "Aliens" (a Klingon, a Neptunian, the Keeper, a Gorn, a Cheron, a Romulan, a Talosian, an Andorian, and a Mugato), and numerous playsets. (Mego also produced a "life-size" toy tricorder.)

In the mid-2000s, Paul "Dr. Mego" Clarke and Joe Sena founded EMCE Toys (pronounced "MC") to bring Mego toys back to the marketplace. (Mego went out of business in 1983.)[121] Working with Diamond Select Toys, current holders of the Star Trek license, these figures have been selling in comics shops. New characters are currently[when?] being produced that Mego did not originally make, such as Lt. Sulu, Ensign Chekov, and "Space Seed" villain Khan Noonien Singh. The Gorn that Mego produced had a brown Lizard head (identical to the Marvel Comics villain) on a brown body wearing a Klingon outfit. Star Trek fans had frequently wished that Mego had made a "TV-accurate" Gorn; EMCE Toys and DST produced a new green Gorn based on the TV episode "Arena".[citation needed] EMCE Toys hired original Mego packaging artist Harold Schull to illustrate new artwork for Sulu, Chekov, Khan, and the Gorn.[citation needed] EMCE Toys is continuing the Mego revival with the production of more Star Trek figures, including Captain Pike and the Salt Vampire.[citation needed]

Comic books

The first Star Trek comics were published by Gold Key Comics between 1967 and 1978. These comics were highly stylized and diverged wildly from the TV series continuity. Most storylines used in the Gold Key series featured original characters and concepts, although later issues did include sequels to the original series episodes "The City on the Edge of Forever", "Metamorphosis" and "I, Mudd". Writers included George Kashdan, Arnold Drake and Len Wein. Originally they were illustrated by Alberto Giolitti, an Italian artist who had never seen the series and only had publicity photos to use as references. Since Giolitti didn't have a publicity photo of James Doohan, early issues of the series had Mr. Scott drawn differently. The original issues, most of which featured photographic covers showing images from the series, are highly collectable. They are fondly remembered by fans, and a series of reprints ("The Key Collection") of these original titles began to appear in 2004, published by Checker. The Gold Key series had a run of 61 issues. Gold Key lost the Star Trek license to Marvel Comics in 1979 (although Marvel's license from Paramount prohibited them from utilizing concepts introduced in the original series).[122]

From 1969 to 1973, a series of weekly Star Trek comic strips ran in the British comics magazine eventually known as TV Century 21. A total of 258 issues were produced, as well as various annuals and specials. All were original stories. Two more annuals, under the Mighty TV Comic banner, also produced original Star Trek materials. In addition, the weekly TV Comic reprinted serialized versions of the U.S. Gold Key comics.[123]

In 1977–1978, before home video was widely available, Mandala Productions and Bantam Books published FotoNovels of TOS that included direct adaptations of actual color television episode frames (with word balloons) in comics format.

From February 1984 through February 1996, DC Comics held the license to publish comic books based upon the Star Trek franchise, including Star Trek: The Original Series. The main DC Comics Star Trek title was published in two series, comprising 136 issues, 9 annuals, and a number of special issues, plus several mini-series that linked TOS and the subsequent series Star Trek: The Next Generation (TNG).

Marvel Comics again obtained the Star Trek license in 1996. Marvel (under the "Marvel/Paramount comics" imprint) published various one-shots and the quarterly Star Trek Unlimited series, which covered TOS as well as TNG.[124] They also introduced the new series Star Trek: Early Voyages, which dealt with Christopher Pike's adventures as captain of the Enterprise (as depicted in the rejected TOS pilot "The Cage"). Fan acceptance of these comics got off to a shaky start when Marvel's inaugural publication of its new Star Trek line turned out to be a crossover between TOS and Marvel's popular superhero team, the X-Men. However, the series turned out to be relatively popular, registering strong sales.

Beginning in 2006, Tokyopop published two projects based upon the original series. The new comic anthologies, produced by Joshua Ortega, were released annually in September 2006 (Shinsei Shinsei) and 2007 (Kakan ni Shinkou). Five artists and writer teams presented five new stories, per volume, based on the original series.[125]

Cultural influence

Roddenberry was "committed to a liberalism that believed in prosperity, technological progress, and universal humanity" and at odds with the New Left, which "saw the evils of society as the consequence not merely of capitalism but of technology and reason itself."[126]


The Original Series has been parodied many times in other television series. Saturday Night Live produced two famous sketches parodying The Original Series, "The Last Voyage of the Starship Enterprise" in 1976[127] and William Shatner's own "Get a life" sketch in 1986 (which parodied the show's "trekkie" followers). "The Last Voyage of the Starship Enterprise" is a twelve-minute sketch, written by Michael O'Donoghue. It was described by TrekMovie.com as "one of the best Star Trek parody sketches of all time".[127]TVSquad ranked Shatner's "Get a life" sketch alongside "The Last Voyage ..." as one of the most famous parodies of the show.[128]

The Canadian comedy duo Wayne and Shuster parodied Star Trek as Star Schtick in the late 1970s. An entire Finnish parody series Star Wreck was produced starting in 1992, culminating with Star Wreck: In the Pirkinning in 2005, all available as legal downloads on the web.[129]

The series has also been parodied on The Simpsons,[128]Family Guy and notably in the Futurama episode "Where No Fan Has Gone Before", which was described by Wired magazine as a "touchstone" for fans.[130] The 1999 film Galaxy Quest portrays the lives of a once-popular television space-drama crew who are kidnapped by real aliens who have mistaken the fictional series for reality.[131][132] The main characters are parodies of Star Trek characters, and many of the plot elements refer to or parody popular 1960s TV-series customs.[133]

John Scalzi's novel Redshirts, winner of the 2013 Hugo Award for Best Novel, uses the theme of red-shirted Star Fleet officers as cannon fodder.

Fan productions

Star Trek has inspired many fans to produce stories for free Internet distribution. Many of these are set in the time of The Original Series, including Star Trek: Phase II which was nominated for a Hugo Award and received support from actors and writers who were involved with The Original Series.


Rod Serling said of the series that "Star Trek was again a very inconsistent show which at times sparkled with true ingenuity and pure science fiction approaches. At other times it was more carnival-like, and very much more the creature of television than the creature of a legitimate literary form."[134]

Isaac Asimov and Star Trek creator Gene Roddenberry developed a unique relationship during Star Trek's initial run in the late 1960s. Asimov wrote a critical essay on Star Trek's scientific accuracy for TV Guide magazine. Roddenberry retorted respectfully with a personal letter explaining the limitations of accuracy when writing a weekly series. Asimov corrected himself with a follow-up essay to TV Guide claiming despite its inaccuracies, that Star Trek was a fresh and intellectually challenging science fiction television show. The two remained friends to the point where Asimov even served as an adviser on a number of Star Trek projects.[135]


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External links

source: https://en.wikipedia.org/wiki/Star_Trek:_The_Original_Series

Star Trek: The Next Generation

Star Trek: The Next Generation

imdb_logo* Summary text borrowed  (volunteer to craft a summary!)

Set in the 24th century and decades after the adventures of the original crew of the starship Enterprise, this new series is the long-awaited successor to the original Star Trek (1966). Under the command of Captain Jean-Luc Picard, the all new Enterprise NCC 1701-D travels out to distant planets to seek out new life and to boldly go where no one has gone before. Written by Harald Mayr <marvin@bike.augusta.de>

Reviews & Trailers

Related Shows & Movies

Star Trek: The Original Series

Star Trek: Deep Space 9

Star Trek: Voyager

Star Trek: Enterprise


Star Trek: The Next Generation
Star Trek TNG logo.svg
Created byGene Roddenberry
Based onStar Trek
by Gene Roddenberry
Theme music composer
Composer(s)Dennis McCarthy
Jay Chattaway
Ron Jones
Country of originUnited States
Original language(s)English
No. of seasons7
No. of episodes178 (list of episodes)
Executive producer(s)
  • Edward R. Brown (1987–1989)
  • Marvin V. Rush (1989–1992)
  • Jonathan West (1992–1994)
Running time44 minutes
Production company(s)Paramount Domestic Television
DistributorParamount Domestic Television
CBS Television Distribution[1]
Budget$1.3 million per episode
Original networkFirst-run syndication[2][3]
Picture format
Audio format
Original releaseSeptember 28, 1987 (1987-09-28) –
May 23, 1994 (1994-05-23)
Preceded byStar Trek: The Animated Series
Followed byStar Trek: Deep Space Nine
Related showsStar Trek TV series
External links
Star Trek: The Next Generation at StarTrek.com

Star Trek: The Next Generation (TNG and ST:TNG) is an American science fiction television series created by Gene Roddenberry. It originally aired from September 28, 1987 to May 23, 1994 on syndication, spanning 178 episodes over the course of seven seasons. The third series in the Star Trek franchise, it is the second sequel to Star Trek: The Original Series. Set in the 24th century, when Earth is part of a United Federation of Planets, it follows the adventures of a Starfleet starship, the USS Enterprise-D, in its exploration of the Milky Way galaxy.

After the cancellation of The Original Series in 1969, the Star Trek franchise had continued with Star Trek: The Animated Series (1973–74) and a series of films, all featuring the original cast. In the 1980s, franchise creator Roddenberry decided to create a new series, featuring a new crew embarking on their mission a century after that of The Original Series. TNG featured a new crew that starred (for the majority of its seven-year broadcast run) Patrick Stewart as Captain Jean-Luc Picard, Jonathan Frakes as Commander William Riker, Brent Spiner as Lt Commander Data, Michael Dorn as Lieutenant Worf, LeVar Burton as Lt Commander Geordi La Forge, Marina Sirtis as counselor Deanna Troi, Gates McFadden as Dr. Beverly Crusher, and a new Enterprise. An introductory statement featured at the beginning of each episode's title sequence stated the ship's purpose in language similar to the opening statement of the original Star Trek series, but was updated to reflect an ongoing mission and to be gender-neutral:[4]

.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}

Space: the final frontier. These are the voyages of the starship Enterprise. Its continuing mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.

Roddenberry, Maurice Hurley, Rick Berman, Michael Piller, and Jeri Taylor served as executive producers at various times throughout its production. The show was very popular, reaching almost 12 million viewers in its 5th season, with the series finale in 1994 being watched by over 30 million viewers.[5][6]

TNG premiered the week of September 28, 1987, drawing 27 million viewers, with the two-hour pilot "Encounter at Farpoint". In total, 176 episodes were made (including several two-parters), ending with the two-hour finale "All Good Things..." the week of May 23, 1994. The series was broadcast in first-run syndication with dates and times varying among individual television stations. Several Star Trek series followed The Next Generation: Star Trek: Deep Space Nine (1993–1999), Star Trek: Voyager (1995–2001), Star Trek: Enterprise (2001–2005), and Star Trek: Discovery (2017–present). The series formed the basis for the seventh through the tenth of the Star Trek films, and is also the setting of numerous novels, comic books, and video games. In its seventh season, Star Trek: The Next Generation became the first and only syndicated television series to be nominated for a Primetime Emmy Award for Outstanding Drama Series. The series received a number of accolades, including 19 Emmy Awards, two Hugo Awards, five Saturn Awards, and "The Big Goodbye" (S1E12) won a Peabody Award. Some of the highest rated episodes (by Nielsen ratings) were the pilot ("Encounter at Farpoint"), the finale ("All Good Things..."), the two-part "Unification", "Aquiel", "A Matter of Time", and "Relics". Four episodes ("Encounter at Farpoint", "Sarek", "Unification", and "Relics") featured actors DeForest Kelley, Mark Lenard, Leonard Nimoy, and James Doohan from the original Star Trek reprising their original roles.


The Star Trek franchise originated in the late 1960s, with the Star Trek television show which ran from 1966-1969. Star Trek: The Next Generation would mark the return of Star Trek to live-action broadcast television.


As early as 1972, Paramount Pictures started to consider making a Star Trek film because of the show's popularity in syndication. However, with 1977's release of Star Wars, Paramount decided not to compete in the science fiction movie category and shifted their efforts to a new Star Trek television series. The Original Series actors were approached to reprise their roles, sketches, models, sets and props were created for Star Trek: Phase II until Paramount changed its mind again and decided to create feature films starring the Original Series cast.[7][8]

By 1986, 20 years after the original Star Trek's debut on NBC, the franchise's longevity amazed Paramount Pictures executives. Chairman Frank Mancuso Sr. and others described it as the studio's "crown jewel", a "priceless asset" that "must not be squandered". The series was the most popular syndicated television program 17 years after cancellation,[9] and the Harve Bennett-produced, Original Series-era Star Trek films did well at the box office.[10]William Shatner and Leonard Nimoy's salary demands for the film Star Trek IV: The Voyage Home (1986) caused the studio to plan for a new Star Trek television series. Paramount executives worried that a new series could hurt the demand for the films, but decided that it would increase their appeal on videocassette and cable,[9] and that a series with unknown actors would be more profitable than paying the films' actors' large salaries.[11] Roddenberry initially declined to be involved, but came on board as creator after being unhappy with early conceptual work. Star Trek: The Next Generation was announced on October 10, 1986,[4] and its cast in May 1987.[12]

Paramount executive Rick Berman was assigned to the series at Roddenberry's request. Roddenberry hired a number of Star Trek veterans, including Bob Justman, D. C. Fontana, Eddie Milkis and David Gerrold.[13] Early proposals for the series included one in which some of the original series cast might appear as "elder statesmen",[9] and Roddenberry speculated as late as October 1986 that the new series might not even use a spaceship, as "people might travel by some [other] means" 100 years after the USS Enterprise.[14] A more lasting change was his new belief that workplace interpersonal conflict would no longer exist in the future; thus, the new series did not have parallels to the frequent "crusty banter" between Kirk, Spock, and Leonard McCoy.[11] According to series actor Patrick Stewart, Berman was more receptive than Roddenberry to the series addressing political issues.[15]

The series' music theme combined the fanfare from the original series theme by Alexander Courage with Jerry Goldsmith's theme for Star Trek: The Motion Picture (1979). Some early episodes' plots derived from outlines created for Star Trek: Phase II.[4] Additionally, some sets used in the Original Series-era films were redressed for The Next Generation, and in turn used for subsequent Original Series films.[16] Part of the transporter room set in TNG was used in the original Star Trek's transporter set.[16]

Syndication and profitability

Despite Star Trek's proven success, NBC and ABC only offered to consider pilot scripts for the new series, and CBS offered to air a miniseries that could become a series if it did well. That the Big Three television networks treated Paramount's most appealing and valuable property as they would any other series offended the studio. Fox wanted the show to help launch the new network, but wanted it by March 1987, and would only commit to 13 episodes instead of a full season. The unsuccessful negotiations convinced the studio that it could only protect Star Trek with full control.[9][14]

Paramount increased and accelerated the show's profitability by choosing to instead broadcast it in first-run syndication[17][11][18]:123–124 on independent stations (whose numbers had more than tripled since 1980) and Big Three network affiliates.[9] The studio offered the show to local stations for free as barter syndication. The stations sold five minutes of commercial time to local advertisers and Paramount sold the remaining seven minutes to national advertisers. Stations had to commit to purchasing reruns in the future,[17] and only those that aired the new show could purchase the popular reruns of the Original Series.[19]:222[20]

The studio's strategy succeeded. Most of the 150 stations airing reruns of the original Star Trek wanted to prevent a competitor from airing the new show; ultimately, 210 stations covering 90% of the United States became part of Paramount's informal nationwide network for TNG.[17][21] In early October 1987, more than 50 network affiliates pre-empted their own shows for the series pilot, "Encounter at Farpoint". One station predicted that "Star Trek promises to be one of the most successful programs of the season, network or syndicated".[21]

The new show indeed performed well; the pilot's ratings were higher than those of many network programs,[21] and ratings remained comparable to network shows by the end of the first season, despite the handicap of each station airing the show on a different day and time, often outside prime time. By the end of the first season, Paramount reportedly received $1 million for advertising per episode, more than the roughly $800,000 fee that networks typically paid for a one-hour show;[17] by 1992, when the budget for each episode had risen to almost $2 million,[22] the studio earned $90 million from advertising annually from first-run episodes, with each 30-second commercial selling for $115,000 to $150,000.[23][24] The show had a 40% return on investment for Paramount, with $30 to $60 million in annual upfront net profit for first-run episodes and another $70 million for stripping rights for each of the about 100 episodes then available, so did not need overseas sales to be successful.[23]


SeasonEpisodesOriginally aired
First airedLast aired
126September 28, 1987 (1987-09-28)May 16, 1988 (1988-05-16)
222November 21, 1988 (1988-11-21)July 17, 1989 (1989-07-17)
326September 25, 1989 (1989-09-25)June 18, 1990 (1990-06-18)
426September 24, 1990 (1990-09-24)June 17, 1991 (1991-06-17)
526September 23, 1991 (1991-09-23)June 15, 1992 (1992-06-15)
626September 21, 1992 (1992-09-21)June 21, 1993 (1993-06-21)
726September 20, 1993 (1993-09-20)May 23, 1994 (1994-05-23)

Star Trek: The Next Generation ran for seven seasons, from the fall of 1987 annually to the spring of 1994. At the end of that season the cast switched over to production of the Star Trek film Generations which was released before the end of 1994.

Season 1 (1987–1988)

Denise and Gates were in Season 1 as Tasha Yar and Doctor Crusher, respectively, but were removed for Season 2.

The Next Generation was shot on 35mm film,[25] and the budget for each episode was $1.3 million, among the largest for a one-hour television drama.[17] While the staff enjoyed the creative freedom gained by independence from a broadcast network's Standards and Practices department,[19]:222 the first season was marked by a "revolving door" of writers, with Gerrold, Fontana, and others quitting after disputes with Roddenberry.[26] Roddenberry "virtually rewrote" the first 15 episodes because of his "dogmatic" intention to depict human interaction "without drawing on the baser motives of greed, lust, and power". Writers found the show's "bible" constricting and ridiculous and could not deal with Roddenberry's ego and treatment of them. It stated, for example, that "regular characters all share a feeling of being part of a band of brothers and sisters. As in the original Star Trek, we invite the audience to share the same feeling of affection for our characters."[11]

Mark Bourne of The DVD Journal wrote of season one: "A typical episode relied on trite plot points, clumsy allegories, dry and stilted dialogue, or characterization that was taking too long to feel relaxed and natural."[27] Other targets of criticism included poor special effects and plots being resolved by the deus ex machina of Wesley Crusher saving the ship.[28][29] However, Patrick Stewart's acting skills won praise, and critics noted that characters were given greater potential for development than those of the original series.[27][28] Both actors and producers were unsure whether Trekkies loyal to the original show would accept the new one,[30][31] but one critic stated as early as October 1987 that The Next Generation, not the movies or the original show, "is the real Star Trek now".[32]

While the events of most episodes of season one were self-contained, many developments important to the show as a whole occurred during the season. The recurring nemesis Q was introduced in the pilot, the alien Ferengi had their sentinel showing in "The Last Outpost", the holodeck was introduced, and the romantic backstory between William Riker and Deanna Troi was investigated. "The Naked Now", one of the few episodes that depicted Roddenberry's fascination (as seen in the show's bible) with sex in the future, became a cast favorite.[11]

Later episodes in the season set the stage for serial plots. The episode "Datalore" introduced Data's evil twin brother Lore, who made several more appearances in episodes in subsequent seasons. "Coming of Age" dealt with Wesley Crusher's efforts to get into Starfleet Academy while also hinting at the threat to Starfleet later faced in "Conspiracy". "Heart of Glory" explored Worf's character, Klingon culture, and the uneasy truce between the Federation and the Klingon Empire, three themes that played major roles in later episodes. Tasha Yar left the show in "Skin of Evil", becoming the first regular Star Trek character to die permanently (although the character was seen again in two later episodes) in either series or film. The season finale, "The Neutral Zone", established the presence of two of TNG' most enduring villains: the Romulans, making their first appearance since the Original Series, and, through foreshadowing, the Borg.

The premiere became the first television episode to be nominated for a Hugo Award since 1972. Six of the season's episodes were each nominated for an Emmy Award. "11001001" won for Outstanding Sound Editing for a Series, "The Big Goodbye" won for Outstanding Costume Design for a Series, and "Conspiracy" won for Outstanding Achievement in Makeup for a Series.[4] "The Big Goodbye" also won a Peabody Award, the first syndicated program[17] and only Star Trek episode to do so.

The top two episodes for Nielsen ratings were "Encounter at Farpoint" with 15.7, and "Justice" with 12.7.[33] The season ran from 1987 to 1988.

Season 2 (1988–1989)

LeVar Burton starred as Geordi La Forge in all seven seasons and four TNG movies between 1994 and 2002. In the second season the character became the Chief Engineer aboard the Enterprise D

The series underwent significant changes during its second season. Beverly Crusher was replaced as Chief Medical Officer by Katherine Pulaski, played by Diana Muldaur, who had been a guest star in "Return to Tomorrow" and "Is There in Truth No Beauty?", two episodes from the original Star Trek series. The ship's recreational area, Ten-Forward, and its mysterious bartender/advisor, Guinan, played by Whoopi Goldberg, appeared for the first time. Owing to the 1988 Writers Guild of America strike, the number of episodes produced was cut from 26 to 22, and the start of the season was delayed. Because of the strike, the opening episode, "The Child", was based on a script originally written for Star Trek: Phase II, while the season finale, "Shades of Gray", was a clip show.

Nevertheless, season two as a whole was widely regarded as significantly better than season one.[34] Benefiting from Paramount's commitment to a multiyear run and free from network interference due to syndication, Roddenberry found writers who could work within his guidelines and create drama from the cast's interaction with the rest of the universe.[11] The plots became more sophisticated and began to mix drama with comic relief. Its focus on character development received special praise.[34] Co-executive producer Maurice Hurley has stated that his primary goal for the season was to plan and execute season-long story arcs and character arcs.[35] Hurley wrote the acclaimed episode "Q Who", which featured the first on-screen appearance of the Borg. Season two focused on developing the character Data, and two episodes from the season, "Elementary, Dear Data" and "The Measure of a Man", featured him prominently.[36]Miles O'Brien also became a more prominent character during the second season, while Geordi La Forge took the position of Chief Engineer. Klingon issues continued to be explored in episodes such as "A Matter of Honor" and "The Emissary", which introduced Worf's former lover K'Ehleyr.[37] Five second-season episodes were nominated for six Emmy Awards, and "Q Who" won for Outstanding Sound Editing for a Series and Outstanding Sound Mixing for a Drama Series.[4] The season ran from 1988 to 1989.

Season 2 marked the addition of the "Ten Forward" set at Paramount, located at Stage 8 at the studios.[38] The set was designed by Herman Zimmerman, and in the show was a place for the crew to relax, hangout together, and eat or have drinks.[39] The featured a bar looking out on large windows, and outside it featured a star field, or with use of green-screen special effects, other scenes.[40]

Season 3 (1989–1990)

Before the production of the third season in the summer of 1989, some personnel changes were made. Head writer Maurice Hurley was let go and Michael Piller took over for the rest of the series. Creator and executive producer Gene Roddenberry took less of an active role due to his declining health. Roddenberry gave Piller and Berman the executive producer jobs, and they remained in that position for the rest of the series' run, with Berman overseeing the production as a whole and Piller being in charge of the creative direction of the show and the writing room. Doctor Crusher returned from her off-screen tenure at Starfleet Medical to replace Doctor Pulaski, who had remained a guest star throughout the second season. An additional change was the inclusion of the fanfare that was added to the opening credits of the second season, to the end of the closing credits. Ronald D. Moore joined the show after submitting a spec script that became "The Bonding". He became the franchise's "Klingon guru",[4] meaning that he wrote most TNG episodes dealing with the Klingon Empire (though he wrote some Romulan stories, as well, such as "The Defector"). Writer/producer Ira Steven Behr also joined the show in its third season. Though his tenure with TNG lasted only one year, he later went on to be a writer and showrunner of spin-off series Star Trek: Deep Space Nine.[41] Six third-season episodes were nominated for eight Emmys. "Yesterday's Enterprise" won for Outstanding Sound Editing for a Series and "Sins of the Father" won for Best Art Direction for a Series.[4] After a chiropractor warned that the cast members risked permanent skeletal injury, new two-piece wool uniforms replaced the first two seasons' extremely tight spandex uniforms.[42] The season finale, the critically acclaimed episode "The Best of Both Worlds", was the first season-ending cliffhanger, a tradition that continued throughout the remainder of the series. The season ran from 1989 to 1990.

The Season 3 finale and bridge to Season 4, Best of Both worlds went on to be one the most acclaimed Star Trek episodes noted by TV Guide's "100 Most Memorable Moments in TV History", ranking 70th out 100 in March 2001.[43] It has routinely been ranked among the top of all Star Trek franchise episodes.[44][45]

Season 4 (1990–1991)

Brannon Braga and Jeri Taylor joined the show in its fourth season. The fourth season surpassed the Original Series in series length with the production of "The Best of Both Worlds, Part II". A new alien race, the Cardassians, made their first appearance in "The Wounded". They later were featured in Star Trek: Deep Space Nine. The season finale, "Redemption", was the 100th episode, and the cast and crew (including creator Gene Roddenberry) celebrated the historic milestone on the bridge set. Footage of this was seen in the Star Trek 25th-anniversary special hosted by William Shatner and Leonard Nimoy which aired later in the year. Seven fourth-season episodes were nominated for eight Emmys. "The Best of Both Worlds, Part II" won for both Outstanding Sound Editing in a Series and Outstanding Sound Mixing for a Series.[4] Character Wesley Crusher left the series in season four to go to Starfleet Academy. "Family" was the only Star Trek episode not to have a bridge scene during the entire episode and is the only TNG episode where Data does not appear on-screen. The season ran from 1990 to 1991.

Season 5 (1991–1992)

The fifth season's seventh episode, "Unification", opened with a dedication to Star Trek creator Gene Roddenberry (though the prior episode, "The Game", aired four days after his death). Roddenberry, though he had recently died, continued to be credited as executive producer for the rest of the season. The cast and crew learned of his death during the production of "Hero Worship", a later season-five episode. Seven fifth-season episodes were nominated for eight Emmys. "Cost of Living" won for Outstanding Individual Achievement in Costume Design for a Series and Outstanding Individual Achievement in Makeup for a Series, and "A Matter of Time" and "Conundrum" tied for Outstanding Individual Achievement in Special Visual Effects. In addition, "The Inner Light" became the first television episode since the 1968 original series Star Trek episode "The City on the Edge of Forever" to win a Hugo Award for Best Dramatic Presentation.[4] Season five had the introduction of a jacket for Picard, worn periodically throughout the rest of the show's run. The observation lounge set was altered with the removal of the gold model starships across the interior wall and the addition of lighting beneath the windows. Recurring character Ensign Ro Laren was introduced in the fifth season. The season ran from 1991 to 1992.

Season 6 (1992–1993)

NASA Astronaut Mae Jemison, shown here on a Space Shuttle mission is featured in "Second Chances" (S6E24) as a Lieutenant on the Enterprise-D

With the creation of Star Trek: Deep Space Nine, Rick Berman and Michael Piller's time was split between The Next Generation and the new show. Three sixth-season episodes were nominated for Emmys. "Time's Arrow, Part II" won for both Outstanding Individual Achievement in Costume Design for a Series and Outstanding Individual Achievement in Hairstyling for a Series, and "A Fistful of Datas" won for Outstanding Individual Achievement in Sound Mixing for a Drama Series.[4] The highest Nielsen-rated episode of Season 6 was "Relics", with a rating of 13.9.[46] The episode featured Original Series character Scotty played by James Doohan. Additionally, NASA astronaut Mae Jemison played Lt. Palmer in "Second Chances".[47][48] The season 6 finale cliffhanger includes a cameo by Stephen Hawking (Part I of "Descent"). The season ran from 1992 to 1993.

Season 7 (1993–1994)

The seventh season was The Next Generation's last, running from 1993 to 1994. The penultimate episode, "Preemptive Strike", concluded the plot line for the recurring character Ensign Ro Laren and introduced themes that continued in Star Trek: Deep Space Nine and Star Trek: Voyager. The Next Generation series finale, "All Good Things...", was a double-length episode (separated into two parts for reruns) that aired the week of May 19, 1994, revisiting the events of the pilot and providing a bookend to the series. Toronto's SkyDome played host to a massive event for the series finale. Thousands of people packed the stadium to watch the final episode on the stadium's JumboTron. Five seventh-season episodes were nominated for nine Emmys, and the series as a whole was the first syndicated television series nominated for Outstanding Drama Series. To this day, The Next Generation is the only syndicated drama to be nominated in this category. "All Good Things..." won for Outstanding Individual Achievement in Special Visual Effects, and "Genesis" won for Outstanding Individual Achievement in Sound Mixing for a Drama Series. "All Good Things..." also won the second of the series' two Hugo Awards.[4] "All Good Things..." also achieved the highest Nielson rating for all of Season 7, with a rating of 17.4.[49]


Some of the cast of The Next Generation. From left to right: LeVar Burton, Michael Dorn, Marina Sirtis, Brent Spiner, and Wil Wheaton) in 2012

Although the cast members were contracted for eight seasons,[50]Paramount ended The Next Generation after seven, which disappointed and puzzled some of the actors, and was an unusual decision for a successful television show. Paramount then made films using the cast, which it believed would be less successful if the show were still on television.[51] An eighth season also would likely have reduced the show's profitability due to higher cast salaries and a lower price per episode when sold as strip programming.[50]

The show's strong ratings continued to the end; the 1994 series finale was ranked number two among all shows that week, between hits Home Improvement and Seinfeld,[50] and was watched by over 30 million viewers.[5]TNG was the most-watched Star Trek show, with a peak audience of 11.5 million during its fifth season prior to the launch of DS9. Between 1988 and 1992 it picked up half a million to a million additional viewers per year.[6]

Adjusted Nielsen Ratings for Star Trek TV shows:[6]

  • Fall 1987 – Spring 1988: 8.55 Million TNG S1
  • Fall 1988 – Spring 1989: 9.14 Million TNG S2
  • Fall 1989 – Spring 1990: 9.77 Million TNG S3
  • Fall 1990 – Spring 1991: 10.58 Million TNG S4
  • Fall 1991 – Spring 1992: 11.50 Million TNG S5
  • Fall 1992 – Spring 1993: 10.83 Million TNG S6 (DS9 S1 Debuted in Spring 1993)
  • Fall 1993 – Spring 1994: 9.78 Million TNG S7 + DS9 S2
  • Fall 1994 – Spring 1995: 7.05 Million DS9 S3 + VOY S1
  • Fall 1995 – Spring 1996: 6.42 Million DS9 S4 + VOY S2
  • Fall 1996 – Spring 1997: 5.03 Million DS9 S5 + VOY S3
  • Fall 1997 – Spring 1998: 4.53 Million DS9 S6+ VOY S4
  • Fall 1998 – Spring 1999: 4.00 Million DS9 S7 + VOY S5 (Voyager ended after two more seasons)

Science Fiction authors noted how Star Trek: The Next Generation influenced their careers.[52]


Star Trek: The Next Generation aired for 7 seasons beginning on September 28, 1987 and ending on May 23, 1994.

The series begins with the crew of the Enterprise-D put on trial by an omnipotent being known as Q, who became a recurring character. The god-like entity threatens the extinction of humanity for being a race of savages, forcing them to solve a mystery at nearby Farpoint Station to prove their worthiness to be spared. After successfully solving the mystery and avoiding disaster, the crew departs on its mission to explore strange new worlds.

Subsequent stories focus on the discovery of new life and sociological and political relationships with alien cultures, as well as exploring the human condition. Several new species are introduced as recurring antagonists, including the Ferengi, the Cardassians, and the Borg. Throughout their adventures, Picard and his crew are often forced to face and live with the consequences of difficult choices.

The series ended in its seventh season with a two-part episode "All Good Things...", which brought the events of the series full circle to the original confrontation with Q. An interstellar anomaly that threatens all life in the universe forces Picard to leap from his present, past, and future to combat the threat. Picard was successfully able to show to Q that humanity could think outside of the confines of perception and theorize on new possibilities while still being prepared to sacrifice themselves for the sake of the greater good. The series ended with the crew of the Enterprise portrayed as feeling more like a family and paved the way for four consecutive motion pictures that continued the theme and mission of the series.

Episodes by season (1-4)
Season 1 Season 2 Season 3 Season 4
  1. "Encounter at Farpoint" (Two-part episode)
Episodes by season (5-7)
Season 5 Season 6 Season 7
  1. "Descent" (Part 2)
  2. "Liaisons"
  3. "Interface"
  4. "Gambit" (Two-part episode)

High-definition and Blu-ray project

In the 2010s, Star Trek: The Next Generation was re-produced in high-definition (1080p) with a format of 4:3 (1.33:1).[53]TNG was shot on 35 mm film, which meant the film could be re-scanned to a higher resolution, however, many of the special effects had to be re-produced.[54] Also a 7.1 DTS-HD Master Audio sound option was created.[54]

Season 1 sold 95,000 units in its launch week in 2012.[55] In addition to the Blu-ray releases, the HD format was sold to many online streaming TV providers such as Netflix.[56] The Netflix version included some additional special effect changes.[56] The Blu-ray sets include many special features and videos, such as a 1988 episode of Reading Rainbow where Levar Burton (who plays Chief Engineer Geordi La Forge on TNG) documents the making of a Star Trek: The Next Generation episode.[54]

In June 2016 a 41-disc set was released with over 8,000 minutes of TNG-content, including the entire show in 1080p (4:3).[57]


Patrick Stewart plays Captain Picard
Jonathan Frakes plays First Officer Will Riker
Whoopi Goldberg portrays Guinan
Actor John de Lancie plays the role of the mysterious but powerful alien known as Q


  • Patrick Stewart as Captain Jean-Luc Picard is the commanding officer of the USS Enterprise-D. Stewart also played the character in the pilot episode of Deep Space Nine and all four TNG theater films.
  • Jonathan Frakes as Commander William Riker is the ship's first officer. The Riker character was influenced by concepts for first officer Willard Decker in the Star Trek: Phase II television series.[4] Decker's romantic history with helmsman Ilia was mirrored in The Next Generation in the relationship between Riker and Deanna Troi.[4] Riker also appears in an episode each of Star Trek: Voyager and Star Trek: Enterprise. In addition to William Riker, Frakes played William's transporter-created double, Thomas, in one episode each of The Next Generation and Star Trek: Deep Space Nine.
  • LeVar Burton as Geordi La Forge was initially the ship's helmsman, but the character became chief engineer beginning in the second season. Burton also played the character in an episode of Voyager.
  • Denise Crosby as Tasha Yar is the chief of security and tactical officer. Crosby left the series at the end of the first season, and the Yar character was killed. Yar returns in alternate timelines in the award-winning episode "Yesterday's Enterprise" and the series finale, "All Good Things...". Crosby also played Commander Sela, Yar's half-Romulan daughter.
  • Michael Dorn as Worf is a Klingon. Worf initially appears as a junior officer fulfilling several roles on the bridge. When Denise Crosby left at the end of the first season, the Worf character succeeded Lieutenant Yar as the ship's chief of security and tactical officer. Dorn reprised the role as a regular in seasons four through seven of Star Trek: Deep Space Nine and also played another Klingon, also named Worf, in Star Trek VI: The Undiscovered Country; with 282 on screen appearances, Dorn has the most appearances of any actor in the Star Trek franchise.[58]
  • Gates McFadden as Doctor Beverly Crusher (Season 1, Seasons 3–7) is the Enterprise's chief medical officer. As a fully certified bridge officer, Dr. Crusher had the ability to command the Enterprise if circumstances required her to do so. She also, on occasion, commanded night-watch shifts on the ship's main bridge to stay on top of starship operations. McFadden was fired after the first season, but was rehired for the third season[59] and remained for the remainder of the series.
  • Diana Muldaur as Doctor Katherine Pulaski (Season 2) was created to replace Dr. Crusher for the show's second season. Muldaur, who previously appeared in two episodes of the original Star Trek, never received billing in the opening credits; instead, she was listed as a special guest star during the first act.
  • Marina Sirtis as Lieutenant Commander Deanna Troi is the half-human, half-Betazoid ship's counselor. Starting in the season seven episode "Thine Own Self", Counselor Troi, having taken and completed the bridge-officer's test, is later promoted to the rank of commander, which allowed her to take command of the ship, and also perform bridge duties other than those of a ship's counselor. The character's relationship with first officer Riker was a carry-over from character ideas developed for Phase II.[4] Troi also appeared in later episodes of Voyager and in the finale of Enterprise.
  • Brent Spiner as Lieutenant Commander Data is an android who serves as second officer and operations officer. Data's "outsider's" perspective on humanity served a similar narrative purpose as Spock's in the original Star Trek.[4] Spiner also played his "brother", Lore, and his creator, Noonien Soong. In Enterprise, Spiner played Noonien's ancestor, Arik, and contributed a brief voiceover (heard over the Enterprise-D's intercom) in the Enterprise finale.
  • Wil Wheaton as Beverly Crusher's son Wesley becomes an acting ensign, and later receives a field commission to ensign, before attending Starfleet Academy. After being a regular for the first four seasons, Wheaton appeared sporadically as Wesley Crusher for the remainder of the series.


For a more complete list, see List of Star Trek: The Next Generation cast members#Appearances

Enterprise-D Characters Season 1–7 (examples)
Character Season 1 Season 2 Season 3 Season 4 Season 5 Season 6 Season 7
Captain Picard Yes Yes Yes Yes Yes Yes Yes
William T Riker Yes Yes Yes Yes Yes Yes Yes
Data Yes Yes Yes Yes Yes Yes Yes
Worf Yes Yes Yes Yes Yes Yes Yes
Deanna Troi Yes Yes Yes Yes Yes Yes Yes
Geordi La Forge Yes Yes Yes Yes Yes Yes Yes
Beverly Crusher Yes No Yes Yes Yes Yes Yes
Katherine Pulaski No Yes No No No No No
Wesley Crusher Yes Yes Yes Yes 2 ep. No 2 ep.
Tasha Yar Yes No 1 ep. No No No 1 ep.
Guinan No Yes Yes Yes Yes Yes No

Story arcs and themes

Brent Spiner left, stars as the android Data on the show and all four movies, and also plays Data's "father" (e.g. manufacturer) and "brother".

Star Trek had a number of story arcs within the larger story, and oftentimes different episodes contributed to two or more different story or character arcs. Some are epitomized by the aliens the characters interact with, for example, TNG introduced the Borg and the Cardassians. The Klingons and Romulans had been introduced in the original series (1966–69); however, the Klingons were somewhat rebooted with a "turtle-head" look, although a retcon was given to explain this in an Enterprise episode. Other story arcs are epitomized by the appearances of a certain character such as Q or Ro Laren or by technology like the holodeck.

Certain episodes go deeper into the Klingon alien saga, which are famous for having an actual Klingon language made for them in the Star Trek universe. The Klingon stories usually involve Worf, but not all Worf-centric shows are focused on Klingons. The famous Duras sisters, a Klingon duo Lursa and B'Etor, were introduced on TNG in 1991 in the episode "Redemption" and they later appeared in the film Generations.

One of the science fiction technologies featured in Star Trek: The Next Generation, was an artificial reality machine called the "Holodeck", and several award winning episodes featured plots centering on the peculiarities of this device.[60] Some episodes focused on malfunctions in the holodeck, and in one case how a crew member became addicted to the environment created by the technology.[61] The dangers of technology that allows illusion is one of ongoing themes of Star Trek going back to the 1st pilot, "The Cage" where aliens' power of illusion to create an artificial reality is explored.[62] One of the plots is whether a character will confront a reality or retreat to a world of fantasy.[63]


Exhibit in Los Angeles featuring the crew quarters of Captain Picard (uniform shown)

The Next Generation's average of 20 million viewers often exceeded both existing syndication successes such as Wheel of Fortune and network hits including Cheers and L.A. Law. Benefiting in part from many stations' decision to air each new episode twice in a week, it consistently ranked in the top ten among hour-long dramas, and networks could not prevent affiliates from preempting their shows with The Next Generation or other dramas that imitated its syndication strategy.[22][18]:124 Star Trek: The Next Generation received 18 Emmy Awards and, in its seventh season, became the first and only syndicated television show to be nominated for the Emmy for Best Dramatic Series. It was nominated for three Hugo Awards and won two. The first-season episode "The Big Goodbye" also won the Peabody Award for excellence in television programming.

In 1997, the episode "The Best of Both Worlds, Part I" was ranked No. 70 on TV Guide's 100 Greatest Episodes of All Time.[64] In 2002, Star Trek: The Next Generation was ranked #46 on TV Guide's 50 Greatest TV Shows of All Time list,[65] and in 2008, was ranked No. 37 on Empire's list of the 50 greatest television shows.[66]

On October 7, 2006, one of the three original filming models of the USS Enterprise-D used on the show sold at a Christie's auction for US$576,000, making it the highest-selling item at the event.[67] The buyer of the piece was Microsoft co-founder Paul Allen, owner of the Museum of Pop Culture in Seattle. The piece is on display within the Science Fiction Museum.

In 2012, Entertainment Weekly listed the show at No. 7 in the "25 Best Cult TV Shows from the Past 25 Years", saying, "The original Star Trek was cult TV before cult TV was even a thing, but its younger, sleeker offspring brought, yes, a new generation into the Trekker fold, and reignited the promise of sci-fi on television."[68] Although TNG did develop a cult following, it was noted for its prime-time general audience viewership also.[6]

The flute from "Inner Light" was valued at only a few hundred to perhaps 1000 USD when it went to auction, but was sold for over 40,000; in this case the auctioneers admitted they had underestimated the appeal of the prop.[69][70][70] In the days leading up to the auction, Denise Okuda, former Star Trek scenic artist and video supervisor, as well as co-writer of the auction catalog, said: "That's the item people say they really have to have, because it's so iconic to a much-beloved episode."[71]

DS9's "The Emissary", which came out half-way through season 6 of TNG achieved a Nielsen rating of 18.8.[72]Star Trek's ratings went into a steady decline starting with Season 6 of TNG, and the second to last episode of DS9 achieved a Nielsen rating of 3.9.[73]

Video games

Video games based on The Next Generation TV series, movies, and characters include:

The Enterprise and its setting is also in other Trekiverse games like Star Trek: Armada (2000). For example, in Star Trek: Armada voice actors from The Next Generation returned to their characters in the game including Patrick Stewart reprising the roles of Jean-Luc Picard and Locutus, Michael Dorn voiced Worf, Denise Crosby reprised Sela, and J. G. Hertzler[76] voiced Chancellor Martok. Several other voice actors who had been previously unaffiliated with Star Trek also voiced characters in the game, among them was Richard Penn.[77]

Star Trek: Armada II was set in the Star Trek: The Next Generation era of the Star Trek universe.[75]

Star Trek: Hidden Evil (1999) included voice acting by Brent Spiner as Data and Patrick Stewart as Picard,[78] and was a follow-up to the ninth Star Trek film Star Trek: Insurrection.[78]


Michael Dorn also had a scene as an ancestor of Worf in Star Trek VI: The Undiscovered Country. The Worf character would also continue for another 4 seasons on the DS9 spin-off TV show and was in all four TNG films.

Four films feature the characters of the series: Star Trek Generations (1994), Star Trek: First Contact (1996), Star Trek: Insurrection (1998), and Star Trek: Nemesis (2002).

An ancestor of Worf, also played by Dorn, also appeared in Star Trek VI: The Undiscovered Country.[79]

I think it was kind of an honor they had my character be sort of the link between the two series. It was wonderful to be working with the other cast (from the original Star Trek series). It was kind of a fantasy because who would have thought when I was watching the original show that I'd be working in the movie? Beyond that, it's like professionalism takes over and you just kind of do the best you can and not make yourself look bad.

— Dorn on his role in Undiscovered Country[79]

Home media

Star Trek harnessed the emergence of home video technologies that rose to prominence in the 1980s as new revenue and promotion avenue.[80] Star Trek: The Next Generation had release in part or in full on VHS, Betamax, LaserDisc, DVD, and Blu-Ray mediums.[81]


All episodes of Star Trek: The Next Generation were made available on VHS cassettes, starting in 1991. The entire series was gradually released on VHS over the next few years during the remainder of the show's run and after the show had ended.

The VHS for TNG were available on mail-order usually two episodes per VHS cassette.


Some episodes had releases on the tape videocassette format Betamax.[82] Releases of all Betamax publications including those of the Star Trek: The Next Generation was halted in early 1990s.[83]


Paramount published all episodes on the LaserDisc format from October 1991 using an extended release schedule that concluded in May 1999. Each disc featured two episodes with Closed Captions, Digital Audio, and CX encoding. Also published were four themed "collections", or boxed sets, of related episodes. These included The Borg Collective, The Q Continuum, Worf: Return to Grace, and The Captains Collection.[84]

There was a production error with episode 166, "Sub Rosa", where a faulty master tape was used that was missing 4½ minutes of footage. Though a new master copy of the episode was obtained, no corrected pressing of this disc was issued.[84]

Star Trek: The Next Generation was also released on LaserDisc in the non-US markets Japan and Europe. In Japan, all episodes were released in a series of 14 boxed sets (two boxed sets per season), and as with the US releases were in the NTSC format and ordered by production code. The European laserdiscs were released in the PAL format and included the ten two-part telemovies as well as a disc featuring the episodes Yesterday's Enterprise and Cause And Effect. The pilot episode, Encounter At Farpoint, was also included in a boxed set called Star Trek: The Pilots featuring the pilot episodes from Star Trek: The Original Series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager.


The first season of the series was released on DVD in March 2002. Throughout the year the next six seasons were released at various times on DVD, with the seventh season being released in December 2002. To commemorate the 20th anniversary of the series, CBS Home Entertainment and Paramount Home Entertainment released Star Trek: The Next Generation – The Complete Series on October 2, 2007. The DVD box set contains 49 discs. Between March 2006 and September 2008, "Fan Collective" editions were released containing select episodes of The Next Generation (and The Original Series, Deep Space Nine, and Voyager) based on various themes. The individual episodes were chosen by fans voting on StarTrek.com. In total, six "Fan Collectives" were produced, along with a boxed set containing the first five collectives. In April 2013 all seven seasons of Star Trek: The Next Generation were re-released in new packaging featuring a silhouette of a different cast member on each box. However, the discs contained the identical content that was previously released in 2002.


The original show was shot on high-quality 35 mm film, but had to be downscaled before editing and postprocessing to standard '80s and '90s TV resolution (video quality) for broadcast. The show's final visual effects (e.g. all exterior shots of the starship Enterprise, phaser fire or beaming fade-ins and -outs) were also composed only in standard resolution video. All previous home video and DVD releases used this severely downscaled version. To include such footage on Blu-ray, using only upscaling, would have resulted in a larger but blurred image, so CBS decided to use a more detailed approach to bring the show to high definition. They also opted to adhere to the show's original 4:3 aspect ratio.

A news release on the official website announced on September 28, 2011, in celebration of the series' twenty-fifth anniversary, that Star Trek: The Next Generation would be completely re-mastered in 1080p and 4k high definition from the original 35 mm film negatives (consisting of almost 25,000 reels of original film stock). All the visual effects for each episode would be digitally recomposed from original large-format negatives and newly created CGI shots. The release would be accompanied by 7.1 DTS Master Audio.

An initial disc featuring the episodes "Encounter at Farpoint", "Sins of the Father", and "The Inner Light" was released on January 31, 2012 under the label "The Next Level". The six-disc first season set was released on July 24, 2012.[85] The remaining seasons were released periodically thereafter, culminating in the release of the seventh season on December 2, 2014.

The entire re-mastered series is available on Blu-ray as individual seasons, and as a 41-disc box set titled The Full Journey. Eventually, all remastered episodes will also be available for television syndication and digital distribution.[86]Mike Okuda believes this is the largest film restoration project ever attempted.[87]

Season Release date[88] Special features
Season One July 24, 2012 Documentaries "Energized!" (about the VFX remastering) and "Stardate Revisited" (Origin)
Season Two December 4, 2012 Extended version of "The Measure of a Man", Reunification: reunion interview with entire TNG cast.
Season Three April 30, 2013 Inside the Writer's Room, Resistance is Futile: Assimilating TNG, A Tribute to Michael Piller
Season Four July 30, 2013 In Conversation: The Star Trek Art Department, Relativity: The Family Saga of Star Trek TNG, Deleted scenes
Season Five November 19, 2013 In Conversation: The Music of TNG, Requiem: A Remembrance of TNG, Deleted scenes
Season Six June 24, 2014 Beyond the Five Year Mission- The Evolution of Star Trek: The Next Generation, Deleted scenes
Season Seven December 2, 2014 The Sky's the Limit – The Eclipse of Star Trek: The Next Generation, In Conversation: Lensing Star Trek: The Next Generation, deleted scenes

Standalone episodes

When TNG was re-made into 1080p, several episodes were released as stand-alone single show Blu-ray products.[89] Of the most famous episode pairs “The Best of Both Worlds” is split between two seasons, whereas the standalone product includes parts 1 and 2.[90] The Best of Both Worlds single was released in April 2013 coinciding with the release of Season 3.[91] Other singles of TNG HD include the two part shows "Redemption", "Unification", "Chain of Command", and "All Good Things…".[92]

"The Measure of a Man" HD extended cut

"The Measure of a Man" was released in HD in 2012 with an extended cut.[93] The extended version includes an extra 13 minutes of footage as well as recreated special effects.[94] It was released as part of the Season 2 collection set.


In the 2010s Star Trek: The Next Generation is known to be offered on various streaming video services in this period including, Hulu, Amazon Prime Video, Netflix, Apple iTunes, and CBS All Access, under various qualities and terms.[95][96] One service stated that by 2017 the most re-watched episodes of Star Trek:The Next Generation among the most re-watched Star Trek franchise shows in their offerings, were "Best of Both Worlds, Part I", "Best of Both Worlds, Part II", "Q Who", and "Clues".[97] Streaming offerings were noted for binge watching, including Star Trek: The Next Generation 178 episodes among the overall 726 episode and 12 movies that had been released prior to Star Trek: Discovery in late 2017.[98]

Spin-offs and the franchise

Re-creation of the TNG starship bridge for Star Trek: The Exhibition

Star Trek: The Next Generation spawned different media set in its universe, which was primarily the 2370s but set in the same universe as first Star Trek TV shows of the 1960s. This included the aforementioned films, computer games, board games, theme parks, etc. In the 2010s there were rumors of a Captain Worf spin-off, the bridge officer that debuted on TNG and was also featured in the TNG spin-off show Deep Space Nine.[99]

Star Trek TNG-era novels (examples):

"These Are The Voyages..." (2005)

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Jonathan Frakes and Marina Sirtis returned to their The Next Generation roles for the series finale of Enterprise.

In 2005, the last episode of "Enteprise" called "These Are the Voyages..." (S4E22) featured a holodeck simulation on the USS Enterprise (NCC-1701-D) from Star Trek: The Next Generation during the events of the episode "The Pegasus" and the return of Commander William Riker (Jonathan Frakes) and Counselor Deanna Troi (Marina Sirtis).[100] It was written by Berman and Braga, who noted "... this was a very cool episode because it has a great concept driving it".[101]

Star Trek: Enterprise was the TV show launched following the conclusion of Star Trek: Voyager and was set 100 years before TOS and 200 years before TNG, in addition to including some soft reboot elements with an all new cast. Some episodes connected to TNG directly including guest stars by Brent Spiner and connections to the events in TNG's fictional universe. The three-episode story arc consisting of "Borderland", "Cold Station 12", and "The Augments", with a Soong ancestor portrayed by The Next Generation regular Brent Spiner provides some backstory to Data's origins. Also, the Enterprise episode "Affliction" also helps explain the smooth-headed Klingons that sometimes appeared, a retcon that helped explain this varying presentation between TOS, TNG, and the films.

Star Trek would not return to television as a show for over 12 years, until the debut of Star Trek: Discovery on CBS, but thereafter exclusively available on the internet service CBS All Access (Netflix internationally) at that time. The film franchise was rebooted in 2009, essentially a grafted on fork off of the timeline known in Star Trek The Next Generation. That movie contains an event from the TNG timeline, which is the destruction of Romulus and the flight of Spock's special shift to the time fork. In the Star Trek franchise, witnessing the events of time shenanigans is a common plot device.

The return of Picard

On August 4, 2018, Patrick Stewart stated on social media that he would return to the role of Jean-Luc Picard in a project with CBS All Access.[102]

Stewart wrote, "I will always be very proud to have been a part of Star Trek: The Next Generation, but when we wrapped that final movie in the spring of 2002, I truly felt my time with Star Trek had run its natural course. It is, therefore, an unexpected but delightful surprise to find myself excited and invigorated to be returning to Jean-Luc Picard and to explore new dimensions within him. Seeking out new life for him, when I thought that life was over.

"During these past years, it has been humbling to hear stories about how The Next Generation brought people comfort, saw them through difficult periods in their lives or how the example of Jean-Luc inspired so many to follow in his footsteps, pursuing science, exploration and leadership. I feel I'm ready to return to him for the same reason – to research and experience what comforting and reforming light he might shine on these often very dark times. I look forward to working with our brilliant creative team as we endeavor to bring a fresh, unexpected and pertinent story to life once more."

It is believed that the new project will be a continuation of the story after Star Trek: Nemesis, and will not be a reboot of the series' storyline as was done with the J.J. Abrams Star Trek films.

In January 2019, the producer said that Picard series will answer questions about what happened to Captain Picard in the 20 years after.[103]


This infographic shows the first-run production timeline of various Star Trek franchise shows and films, including Star Trek: The Next Generation

Star Trek: VoyagerStar Trek: Deep Space NineStar Trek NemesisStar Trek: InsurrectionStar Trek: First ContactStar Trek GenerationsStar Trek: The Next GenerationStar Trek BeyondStar Trek Into DarknessStar Trek (film)Star Trek GenerationsStar Trek VI: The Undiscovered CountryStar Trek V: The Final FrontierStar Trek IV: The Voyage HomeStar Trek III: The Search for SpockStar Trek II: The Wrath of KhanStar Trek: The Motion PictureStar Trek: The Animated SeriesStar Trek: The Original SeriesThe Cage (Star Trek: The Original Series)Star Trek: DiscoveryStar Trek: Enterprise


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External links

source: https://en.wikipedia.org/wiki/Star_Trek:_The_Next_Generation

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