wikipedia star trek phase 2

Remembering Star Trek: Phase II

Before captain kirk and his crew took to the big screen, they came very close to making a second live-action tv show….

star trek discovery ship

IGN Recommends

Making Phase II

Planet of the titans, the billion year voyage, visions of the future, lost episodes, in thy image, lord bobby’s obsession, the prisoner, to attain the all, starship and set design, enterprise interiors.

Memory Beta, non-canon Star Trek Wiki

A friendly reminder regarding spoilers ! At present the expanded Trek universe is in a period of major upheaval with the continuations of Discovery and Prodigy , the advent of new eras in gaming with the Star Trek Adventures RPG , Star Trek: Infinite and Star Trek Online , as well as other post-57th Anniversary publications such as the ongoing IDW Star Trek comic and spin-off Star Trek: Defiant . Therefore, please be courteous to other users who may not be aware of current developments by using the {{ spoiler }}, {{ spoilers }} OR {{ majorspoiler }} tags when adding new information from sources less than six months old (even if it is minor info). Also, please do not include details in the summary bar when editing pages and do not anticipate making additions relating to sources not yet in release. THANK YOU

Star Trek: Phase II

View history

Star Trek: Phase II was an unproduced TV series developed in the late 1970s . It depicted an alternate version of the events of Captain Kirk 's second five-year mission aboard the refurbished USS Enterprise (NCC-1701) .

2.1 Episodes
2.2 Other stories
2.3 Other references
4 External links

Overview [ ]

In this continuity, the Enterprise was refitted as a Jefferies -class starship , a different configuration than the Enterprise -class seen in TOS movie : The Motion Picture . Warp engines , support pylons, and the interconnecting strut appeared to have the most differences. The primary hull closely resembled its pre-refit design, although there were two turbolifts connected to the bridge . ( The Official Starships Collection Issue Bonus Edition 08: "USS Enterprise NCC-1701 Phase II Concept")

Regarding the crew complement, Most of Kirk’s senior staff from his first five-year mission returned. However, Lieutenant Xon replaced Commander Spock as science officer . Commander Willard Decker served aboard the ship as executive officer . Lieutenant Ilia served as the ship’s navigator . In this version of events, Decker and Ilia survived their encounter with V’Ger in 2273 and continued to serve aboard the ship. ( ST reference : Phase II: The Lost Series )

Uniforms were nearly identical to the Starfleet uniform (2265-2270) . A thin stripe matching the shirt color ran through the middle of the black collar. The insignia was the same as in the Starfleet uniform (early 2270s) . Female security officers wore pants and a shirt with a tight collar. Ilia wore a short-sleeved gold shirt. ( TOS comic : " The Fear ")

The pilot script for Star Trek: Phase II , In Thy Image , was adapted to become the script for TOS movie : The Motion Picture when Paramount chose to produce a major motion picture instead of a TV series. The first half-season of episode scripts had been prepared for the TV series. Complete scripts for " In Thy Image " and " The Child " were published, along with detailed summaries of the other episodes. ( ST reference : Phase II: The Lost Series )

Episodes [ ]

0. " In Thy Image "
1. " Tomorrow and the Stars "
2. " Cassandra "
3. " Kitumba, Part 1 "
4. " Kitumba, Part 2 "
5. " Practice in Waking "
6. " Deadlock "
7. " Savage Syndrome "
8. " Are Unheard Melodies Sweet? "
9. " Devil's Due "
10. " Lord Bobby's Obsession "
11. " To Attain the All "
12. " The War to End All Wars "
13. " The Child "

Other references [ ]

The Official Starships Collection Issue Bonus Edition 08: "USS Enterprise NCC-1701 Phase II Concept" – Provides specifications on the Jefferies -class .
The Official Starships Collection Issue Bonus Edition 19: "USS Enterprise Shuttlecraft Phase II Concept Special Issue" – Provides specifications on the starship's Zhang Sui shuttlecraft .

External links [ ]

Star Trek: Phase II article at Memory Alpha , the wiki for canon Star Trek .
Xon article at Memory Alpha , the wiki for canon Star Trek .
1 Achilles class
2 Ferengi Rules of Acquisition
3 Odyssey class

Star Trek: Phase II

Edit source
View history

Star Trek: Phase II (formerly known as Star Trek: New Voyages ) is a live-action fan film series created by Jack Marshall and James Cawley in April 2003, and funded by James' career as an Elvis tribute artist (voted #1 in the country by Elvis' personal associates in 1996) as well as original producer Jerry Yuen of Jack Marshall's "Cow Creek Films" production company. In addition to Cawley Entertainment Company, a volunteer troupe of fans formed Retro Film Studios, LLC to help continue the project. The series picks up where The Animated Series left off, filming season 5, and putting new actors into the original series roles.

This production has the blessing of Eugene Roddenberry, Jr (Gene Roddenberry's son) and operates under Paramount's radar, as long as they make no money from the production. Several actors who once appeared on the original Star Trek series have appeared in this production including Eddie Paskey and John Winston , who both guested in " Come What May ". In addition, former Star Trek: Communicator editor and current Star Trek Magazine contributor Larry Nemecek has had roles in "Come What May", " To Serve All My Days " and the recently-released "Vignette" episode " No-Win Scenario ".

1.1 Enterprise crew
2.1 Vignettes
3 Rebranding to Phase II
5 External links

Central characters [ ]

The series currently features the central characters of the USS Enterprise as well as several recurring characters. When other stories are added the cast will grow.

Enterprise crew [ ]

The three main characters at the beginning of production (from left): Spock (Jeff Quinn), Kirk (James Cawley) and McCoy (John Kelley).

2014 Promotional photo of the three current mains (from left): Brandon Stacy (Spock), Brian Gross (Kirk) and John Kelley (McCoy).

Captain James T. Kirk
Commander Spock
Doctor Leonard "Bones" McCoy
Lieutenant Nyota Uhura
Lieutenant Commander Montgomery Scott
Lieutenant Commander Hikaru Sulu
Lieutenant Pavel Chekov
Lieutenant Vincent DeSalle
Nurse Christine Chapel
Lieutenant/Yeoman Janice Rand
Ensign Peter Kirk
Lt. Sentell
Lt. Commander Prescott
Lt. Joesph Kyle

Episode listing [ ]

The Enterprise passes through a spatial anomaly. ( World Enough and Time )

Vignettes [ ]

" Center Seat "
" No-Win Scenario "
" 1701 Pennsylvania Avenue "
" Going Boldly "

These vignettes were to be released in a staggered schedule but the remainder have been scrapped. This is, according to producer/"Kirk" actor James Cawley, due to the poor quality of the footage compared to the high definition episodes now being released. It was only due to the efforts of Phase 2 actor/stunt coordinator John Carrigan (with assistance from Graham O'Hare , and Pony R. Horton ) that "No-Win Scenario" was completed and released in 2011, some six years after it was filmed.

1 These episodes are on indefinite hold as a result of the CBS/Paramount Fan-Film Guidelines as of June 2016.

Rebranding to Phase II [ ]

During an appearance at the Farpoint Science Fiction Media Convention in Baltimore, Maryland on 16 February 2008, James Cawley announced a rebranding of New Voyages to become Star Trek: Phase II. The renamed series will continue to follow the remaining two years of James T. Kirk's original five-year mission while bridging the gap between the three seasons of the original Star Trek television series and Star Trek: The Motion Picture .

On 3 May 2004, TrekToday announced that Eugene Roddenberry Jr. had endorsed New Voyages , accepting a position on the production staff as "Consulting Producer". [1] He later provided the voice of the Timepiece Guard in "In Harm's Way". Other guest stars in this episode included Barbara Luna , William Windom and Malachi Throne .
In March 2005, Walter Koenig was signed to reprise his TOS character Pavel Chekov in "To Serve All My Days", written by TOS/TNG writer D.C. Fontana [2] . Koenig introduced the premiere showing of the episode at the Planet Xpo Star Trek: 40th Anniversary Gala Celebration and Conference on 8 September 2006 [3] , and has since previewed it at several other convention appearances. The episode was officially released Thanksgiving Day 2006. This episode also featured Mary-Linda Rapelye as Ambassador Rayna Morgan.
George Takei appeared as his character Hikaru Sulu , captain of the USS Excelsior in the third "production episode" (fourth release), "World Enough and Time", written by Marc Scott Zicree (who also directed the episode) and Michael Reaves [4] . This episode also featured Grace Lee Whitney as communications officer of the Excelsior Janice Rand .
"Blood and Fire" was written by David Gerrold , with the teleplay by Gerrold and Carlos Pedraza (a producer for Star Trek: Hidden Frontier ) [5] .
Former Star Trek stuntwoman Leslie Hoffman served as stunt coordinator on the series up to and including the "Blood and Fire" episodes. John Carrigan (who also plays recurring Klingon character Kargh ) took over as stunt coordinator with "The Child".

an image, when javascript is unavailable

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

Michelle yeoh’s ‘section 31’ is the start of ‘star trek’ phase 2 at paramount+.

Sources say franchise captain Alex Kurtzman wants to do a streaming movie every two years as he boldly steers the ship beyond ‘Discovery’ and ‘Picard.’

By Lesley Goldberg

Lesley Goldberg

Television Editor, West Coast

Share this article on Facebook
Share this article on Twitter
Share this article on Flipboard
Share this article on Email
Show additional share options
Share this article on Linkedin
Share this article on Pinit
Share this article on Reddit
Share this article on Tumblr
Share this article on Whatsapp
Share this article on Print
Share this article on Comment

Michelle Yeoh Star Trek: Discovery and Alex Kurtzman Inset

Set course for Phase 2.

The next chapter of Alex Kurtzman ’s Star Trek franchise at Paramount+ is beginning to come into focus. On Tuesday, the Paramount Global-backed streamer announced that its long-gestating Section 31 series will indeed be a movie that brings newly minted Oscar winner Michelle Yeoh back on board with a feature film rather than what was originally intended to be a spinoff of Discovery, which reignited Star Trek for the conglomerate.

THR Newsletters

More from The Hollywood Reporter

The ‘3 body problem’ scene that’s become a political lightning rod, prime video inks multi-year rights extension with the wnba, ‘the new look’ boss says finale isn’t the end for dior, reveals potential season 2 plans and beyond, 30 years after his death, bbc to air kurt cobain documentary, ricky martin on his return to tv in ‘palm royale’: “i’d be stupid to say no”, ‘tv’s top 5’: caitlin clark is a slam dunk for march madness ratings.

View history

Type-2 hand phaser, 2260s

Starship phasers, 2360s

Phasers were the most common and standard directed energy weapon in the arsenal of Starfleet and several other powers. Most phasers were classified as particle weapons and fire nadion particle beams , ( Star Trek: First Contact ; TNG : " The Mind's Eye "; VOY : " Time and Again ", " Demon ") but some, like the Ferengi hand phaser , were classified as plasma weapons and fired forced plasma beams . ( TNG : " Descent ") Based on the intensity and field of the beam and a variety of adjustments, a wide variety of effects could be achieved.

2 Descriptions and uses
3 Modifications
4 Sidearm settings
5.1 Hand-held phasers
5.2 Planetary or starship-mounted phasers
6.1 See also
6.2 References
6.3.1 Establishing phaser technology
6.3.2 Phaser settings
6.3.3 Other types of starship phasers
6.4 External links

History [ ]

Phaser rifle, 2260s

Phaser technology used by Starfleet was preceded by phase-modulated particle weapons in the mid- 22nd century , including such weapons as the hand-held phase-pistol and ship-mounted phase cannon . Laser weapons , such as the laser pistol , were also used before phasers became the standard-issue weapon in the Starfleet arsenal. ( Star Trek: Enterprise , all; TOS : " The Cage ")

Rose holding a Type 2 phaser in 2257 .

Phaser weaponry was invented during the 23rd century . ( TNG : " A Matter Of Time ") The technology was used by Starfleet as early as 2233 ; the USS Kelvin was equipped with ship-mounted phaser banks . ( Star Trek ) Phaser rifles were used as early as 2265 , although at that time officers were still armed with laser pistols. ( TOS : " Where No Man Has Gone Before ") In 2269 , starship bridges were defended by an automatic bridge defense system programmed to defend the ship from capture. ( TAS : " Beyond the Farthest Star ") On Deneb V , in 2268 , death by phaser was one method of execution for those who were given the death penalty . ( TOS : " I, Mudd ")

Akira -class starship firing from a phaser array and a Defiant -class starship firing with phaser cannons

In the 2270s , phaser power systems of Federation starships were redesigned to channel power directly from the warp core , thereby increasing the power output of phaser banks. If the ship went to warp and experiences antimatter imbalance or gets trapped in a wormhole or a subspace rift phasers will not work until the ship has cleared the distortion and the wormhole effect has dissipated. ( Star Trek: The Motion Picture )

23rd century Starfleet phasers became inoperative from exposure to the radiation eminating from 20th century nuclear fission reactors , even if said reactors were safely shielded for Humans. ( Star Trek IV: The Voyage Home )

The 24th century saw many new advanced forms of phaser weaponry for the Federation, such as the ever more powerful phaser arrays that made use of multiple phaser emitter segments, the rapid-fire phaser cannons and new compression phaser rifles . ( Star Trek: The Next Generation , all; DS9 : " The Search, Part I "; VOY : " Caretaker ") As a historical note, the regenerative phaser was chosen instead of the TR-116 for development. ( DS9 : " Field of Fire ")

In the 29th century , phaser pistols were still used by Starfleet, ( VOY : " Relativity ") but subatomic disruptors were used on timeships , such as the Aeon , as a ship-mounted directed energy weapon. ( VOY : " Future's End ")

Descriptions and uses [ ]

Phaser rifle, 2370s

The phaser beam could stun , heat, kill, or disintegrate living creatures. Phasers could damage shields or other systems or even cut through a hull . Phasers could also be used to cut through walls and burrow through rock. The beam could be focused to a single spot or widened to impact a large area.

In the nadion particle beam phasers, plasma was passed to a phaser emitter resulting in a discharge of nadion particles . Residual particles could be found in places where a battle had recently taken place. The disruptive effects of nadion discharges were moderated to produce varying effects (discussed below), ranging from benign to extremely destructive. ( VOY : " Phage ", " Memorial ", " Endgame ")

Using phaser drills

The Starfleet-issue personnel phasers came in three types: The phaser type-1 ( hand phaser ) was small and could be concealed easily. The type 2 phaser was larger and hand-held. It had a longer hand grip or a pistol grip, depending on the model. The phaser type-3 was also known as the phaser rifle. It had a longer barrel , a stock, and some models had a second grip. Over the centuries of use, there have been several models of these weapon types. ( TOS : " The Devil in the Dark "; TNG : " The Mind's Eye ")

Beyond these types, phasers were usually mounted devices, such as the type 4 phaser emitters , which were sometimes used on Starfleet shuttlecraft , all the way up to the large phaser banks and phaser arrays of starships and space stations . Various types of banks, arrays, and emitters existed, such as the more powerful phaser type-8 and the phaser cannon . ( TNG : " The Outcast ", " Preemptive Strike "; VOY : " Live Fast and Prosper ")

A phaser being used to heat rocks

Hand-held phasers were also used by Starfleet personnel as tools and not just weapons. The phaser could be used to heat rocks and stones for warmth. ( TOS : " The Enemy Within ", " A Private Little War ", " Spock's Brain "; TNG : " Final Mission "; VOY : " Parturition "; DS9 : " Rocks and Shoals ") While there were specialized tools like phaser bores and phaser drills , ( TAS : " Once Upon a Planet "; VOY : " Once Upon a Time ") Worf once used his type-2 phaser to open a tunnel on the Cardassian planet Celtris III . ( TNG : " Chain Of Command, Part I ") A phaser, when fired together with another in tandem or set to a high setting could create an opening in a solid rock wall. ( VOY : " Caretaker "; DS9 : " Rapture "; Star Trek: Insurrection ) Hand phasers were used to clean carbon filters by scraping off the build up of carbon , ( LD : " Moist Vessel ") and with the right setting could even do something as mundane as removing graffiti off a bulkhead . ( LD : " Temporal Edict ")

Different models of phasers made different sounds when fired, depending on the model and setting. Federation phaser fire typically made a high-pitched "whistling" or "tearing" sound, for example. A knowledgeable person could use the sound to differentiate between types and power settings. ( TOS : " Errand of Mercy "; TNG : " Too Short A Season "; DS9 : " Sacrifice of Angels ")

The alternate Enterprise firing all phasers

In the alternate reality created by Nero 's temporal incursion, hand phasers of the late 2250s emitted concentrated bolts of phaser energy rather than the steady streams generated by phasers of the prime reality.

An alternate reality phaser pistol

In addition, these phasers had a rotating nozzle which flipped when set from stun to kill or vice versa. The ship-mounted phaser banks aboard the USS Enterprise were also used to fire bolts resembling proximity blasts. ( Star Trek )

The advanced phaser weaponry of the USS Vengeance included emitters capable of firing powerful arcing phaser blasts. ( Star Trek Into Darkness )

Soran firing his phaser

Bajoran phaser rifles were used by the Bajoran Militia , based on the design of their own hand phasers . ( DS9 : " The Way of the Warrior ") Regalian phaser rifles were less powerful than their Starfleet counterparts. ( TNG : " The Vengeance Factor ") The phaser used by Tolian Soran in 2371 fired concentrated bolts of phaser energy. ( Star Trek Generations )

While phasers were powerful weapons, they also had limitations. Phasers had no effect on neutronium alloys or the dikironium cloud creature . ( TOS : " The Doomsday Machine ", " Obsession ") The creature known as Armus even seemed to be able to feed off of phaser blasts. ( TNG : " Skin Of Evil ") In 2369 , two type-2 hand phasers at maximum level were unable to penetrate the toranium inlays of Cardassian doors. Major Kira Nerys recommended a bipolar torch to be used to cut through the door. ( DS9 : " The Forsaken ")

Hand phasers could be made to overload, either deliberately or by sabotage. Phasers in the process of overloading emitted a distinctive high-pitched whine. The weapon released all of its energy in an explosion capable of doing considerable damage to its surroundings. In 2266 , Lenore Karidian attempted to murder James T. Kirk by hiding an overloading phaser in his cabin. ( TOS : " The Conscience of the King ") In 2269 , Kirk, McCoy , and Sulu were almost killed while on the Kalandan outpost planet, when its defensive computer fused the controls on Kirk's phaser, causing it to overload. ( TOS : " That Which Survives ")

Modifications [ ]

Personnel phasers were normally set to fire a single steady stream of nadion particles. This beam could be widened to perform a phaser sweep . Most types of phasers could be set to alternatively fire a concentrated bolt of phaser energy. In addition a personnel phaser could be set to fire a spread of multiple beams at once, a field burst of a specific frequency, a luvetric pulse , or an expanding energy pulse . ( TOS : " The Enemy Within "; TNG : " Time's Arrow, Part II ", " Descent "; DS9 : " The Way of the Warrior ", " The Adversary ")

Phasers had an adjustable resonance frequency . When modified, the color of the beam changed. Borg systems were vulnerable to a frequency spread in the high narrow band, but compensated for the weakness after Locutus was assimilated in 2366 . ( TNG : " The Best of Both Worlds ") In 2367 , the phaser adapter was designed, a chip that automatically retuned the phaser to a random setting after each discharge. Using the adapter, phasers were set on a rotating modulation to allow at most twelve shots to penetrate Borg shielding before they adapted. ( TNG : " The Best of Both Worlds, Part II "; Star Trek: First Contact ; VOY : " Scorpion ")

Phasers could be reconfigured to fire a low-intensity burst which would not cause damage to a spacecraft 's hull and would also not affect a hull resiliency evaluation's test procedure. ( TNG : " Lower Decks ")

Hand phasers also had an adjustable dispersion frequency measured in gigahertz and they could be set for specific phase variances . These allowed the phaser beam impact targets that were phased or interphased . ( VOY : " Distant Origin ", " Scientific Method ") A phaser's setting could be modified to disrupt a hologram 's holo- matrix . ( VOY : " Renaissance Man ")

Like the transporters and sensors , hand-held and starship-mounted phasers were also inoperative in areas with high levels of hyperonic radiation , because the phaser beams were randomized by the radiation. To compensate, it was possible to modify a phaser with a servo circuit that continuously recollimated the output. Neural subprocessors of Soong-type androids could be utilized as these servos. ( TNG : " The Ensigns of Command ")

A phaser pistol set to fire a spread of multiple beams

Starship-mounted phasers were normally set to fire steady streams. They could also be set to fire concentrated bolts of phaser energy that detonated at a specific point in space known as proximity blasts . In addition to the powerful settings, the ship's phasers also had a stun setting that could be used to render lifeforms unconscious when fired at a planetary surface from orbit. ( TOS : " Balance of Terror ", " The Trouble with Tribbles ", " A Piece of the Action ")

It was possible to configure starship phasers to also fire energy beams for power transfer, antimatter spreads , laser pulse beams , photon pulses , pulse compression waves , modulating phaser pulses , and covariant phaser pulses . ( TNG : " Encounter at Farpoint ", " Sub Rosa ", " Peak Performance ", " The Best of Both Worlds, Part II ", " The Outcast "; DS9 : " Emissary "; VOY : " Dark Frontier ", " Parturition ")

Sidearm settings [ ]

The 23rd and 24th century personnel phasers included several settings.

Setting number one is also called the base cycle stunning force. ( TOS : " The Enemy Within ") This minimal setting caused only a stun effect to the average humanoid lifeform. A hit would leave the target dazed and unable to stand or think straight for a short time. ( TOS : " The Man Trap ") When used at close range, a phaser set on stun was still capable of inducing sufficient trauma to kill a Human if fired at a vital organ such as the brain . ( Star Trek VI: The Undiscovered Country ) However, even several hits on stun had very little effect on an Augment , though only by hitting the torso, while a shot to the head would be enough to knock them out for less than a minute. ( Star Trek Into Darkness ) Two phasers set on setting one fired simultaneously could break large objects into pieces, such as the urns of the second planet of the Taurean system . ( TAS : " The Lorelei Signal ")
Setting 3.1 was enough to cause a Changeling to experience the stun effect. Setting 3.4 or 3.5 was determined to be a stun setting that would effectively stun and force any Changeling to revert back into the gelatinous state. ( DS9 : " Homefront ") A wide-field stun setting was used when large groups needed to be stunned with a single shot. ( TOS : " The Return of the Archons ") Some stun settings could also cause unconsciousness. Although mostly harmless when used at these low settings, multiple phaser stuns like this could result in injury and death. ( TNG : " Samaritan Snare ") There was a heavy stun force setting and a maximum stun setting also known as full stun charge. ( TOS : " Tomorrow is Yesterday "; TNG : " Legacy "; TAS : " The Eye of the Beholder ") The highest stun setting was strong enough to immobilize a Soong-type android . ( TNG : " A Matter Of Time ")

Damage caused by setting 6 or 7

A phaser could be used as a heat beam , to heat up a variety of substances, such as rocks or even coffee . ( TOS : " The Enemy Within ", " The Corbomite Maneuver ", " Spock's Brain ") Phasers could be set to inflict non-lethal second degree burns. ( VOY : " Worst Case Scenario ") Settings 6 and 7 caused severe burns in the flesh of humanoids. ( TNG : " Night Terrors ") Setting 7 was also powerful enough to vaporize noranium carbide . ( TNG : " The Vengeance Factor ") Phasers could be used to melt certain ores from solid to liquid. ( TNG : " The Enemy ") They could also be used to quickly boil through tens of meters of ice. ( TAS : " The Slaver Weapon ")
One-quarter, force 3 and level 10 were different names for the kill setting on a hand phaser. ( TOS : " The Man Trap ", " Operation -- Annihilate! "; TNG : " Aquiel ") The kill setting on hand phasers used by the Mordanites had a distinct sound from the stun setting. ( TNG : " Too Short A Season ") To a humanoid infected by a parasitic being , the kill setting only caused unconsciousness, due to the high levels of adrenaline in the target's body. However, extended exposure to a body part such as the head of a humanoid would cause it to explosively vaporize. Two phasers set to kill could also disintegrate smaller lifeforms such as the neural parasite mother creature with extended exposure. ( TNG : " Conspiracy ") The kill setting was also non-lethal to the flying parasites that invaded Deneva in 2267 . Because each parasite was part of a huge organism, and drew strength from that organism, it could largely resist force 3. Parasites exposed for five to ten seconds reacted as if mildly stunned; they fell from the surface to which they were attached, and did not react to external stimuli for about a minute . ( TOS : " Operation -- Annihilate! ") Firing a phaser on kill at point blank range against an Andorian can cause phase pulse infection and at higher frequencies it can also kill them. ( ENT :" Babel One ")

Phaser used to cut through a corridor wall ( TOS : " The Naked Time ")

Cutting settings could be used to slice off segments of a steelplast wall, ( TNG : " Too Short A Season ") a standard Starfleet corridor wall, ( TOS : " The Naked Time ", " The Way to Eden ") or even to slice off body parts. ( Star Trek VI: The Undiscovered Country )
The normal maximum setting on a hand phaser would vaporize a humanoid lifeform or a Human-size android with a single hit. ( TOS : " What Are Little Girls Made Of? "; TOS : " Mirror, Mirror "; TNG : " The Vengeance Factor "; Star Trek: First Contact ) This was also called disintegration. ( ENT : " In a Mirror, Darkly, Part II ") When used as a means of suicide , the phaser would also disintegrate along with the person shooting at himself. ( TOS : " Elaan of Troyius ") There was also a maximum setting that could set parts of clothing or humanoids on fire. ( TNG : " Datalore ", " The Wounded ") Against a Horta , even when set specifically for silicon , the maximum setting would only hurt the creature. ( TOS : " The Devil in the Dark ") Disruptor-B was another maximum setting for the type 2 phaser . It was also called the disruptor effect setting. This setting was assessed to be the most effective against gaseous dikironium . ( TOS : " Obsession ") According to Valeris , and demonstrated to Mr. Chekov , a phaser fired on a setting of vaporize aboard a starship releases so much energy that it will trigger a security alarm. ( Star Trek VI: The Undiscovered Country )
The standard level 16 setting on a type 2 phaser could be used to vaporize tunnels through rock large enough to crawl through. ( TNG : " Chain Of Command, Part I ") The level 16 wide-field setting could easily destroy half of a large building with a single shot. ( TNG : " Frame of Mind ") However there were materials phasers couldn't cut through even at this maximum level, such as toranium ( DS9 : " The Forsaken ") and the unknown material used to create the Hotel Royale on Theta VIII . ( TNG : " The Royale ")

Types of phaser weapons [ ]

The diagram of the ship-mounted phaser bank on Constitution -class starships

Constitution -class forward phaser bank in a schematic

Apollo's temple under attack, remastered

Enterprise phaser banks disintegrating a building

There were several numbered types of phasers of increasing size and capability: types 1, 2, and 3 were personnel phasers, and types 4 and above were ship-mounted weapons. The phasers mounted aboard starships were considerably more powerful than those used by Starfleet personnel, owing to the increased power reserves available. Early phasers, such as the MK IX/01 type found on the USS Enterprise , were mounted in banks of one or two emitters.

Hand-held phasers [ ]

A type 1 phaser was a small, concealable sidearm weapon
A type 2 phaser was a larger sidearm weapon, which evolved from a pistol-styled design
A type 3 phaser was a rifle -sized weapon

These main types and technologies were further classified to distinguish the many variations.

Ferengi phaser
Phaser bazooka (possibly fictional)
Bajoran phaser
Cardassian phaser
Klingon phaser
Kzinti phaser
Vulcan phaser
Bajoran phaser rifle
Compression phaser rifle
Regalian phaser rifle
Plasma phaser – a proposed anti- Borg weapon
Regenerative phaser

Planetary or starship-mounted phasers [ ]

Class 3 defensive – used on Miranda -class supply ships
Particle phaser – used on transport ships from Boreal III
Phaser array
Phaser battery
Phaser cannon – used on Defiant -class starships
Type 4 phaser emitter – used on Type 6 shuttlecraft
Phaser type-8 – used on Excelsior -class starships
Galor -class phaser bank

Appendices [ ]

References [ ]

" The Cage "
" Where No Man Has Gone Before "
" The Man Trap "
" The Conscience of the King "
" The Devil in the Dark "
" A Piece of the Action "
" Obsession "
" That Which Survives "
Star Trek V: The Final Frontier
Star Trek VI: The Undiscovered Country
" Encounter at Farpoint "
" Samaritan Snare "
" The Outcast "
" Chain Of Command, Part II "
" Sanctuary "
" Second Skin "
" Starship Down "
" Extreme Measures "
" Field of Fire "
" Broken Bow "

Background information [ ]

Gene Roddenberry had some problems with the look of hand-held phasers. " He didn't want the phasers to look like guns, " explained Production Designer Herman Zimmerman , " with handles and trigger guards and triggers [....] But he didn't do that on the classic series and they didn't do it in the features , which Gene had very little to do with; they used pistol grips and rifles, and Gene was never happy with any of that. " ( Star Trek: The Magazine Volume 2, Issue 12 , p. 24)

According to Ben Burtt , for the Original Series , " the steady blast of the phaser was derived from the hovering sound of the Martian war machines made for the 1953 version of Paramount 's War of the Worlds . The original was made with tape feedback of an electric guitar and a harp. " For Star Trek , Burtt said, " the steady sound just wasn't the right way to go because the visuals are so different, so I made something that recalls it, but features a Doppler effect and is shorter and sharper. My sounds were added to those that had already been supplied by Mark P. Stoeckinger and Alan Rankin ". Stoeckinger stated that " Harry Cohen made tonal sounds with a concussive element that served what the phaser was doing along with adding a version of that neo classical space phone-like element that Ben Burtt provided to give the phaser roots in the franchise along with adapting it for the current film. " [12] [13]

Establishing phaser technology [ ]

According to the unauthorized 2013 reference book These Are the Voyages: TOS Season One , (p. 40) the term phaser was originally invented as a mash-up of the words ph oton and m aser .

During The Original Series , the mechanics of phasers were never explained on screen. However, as early as the release of The Making of Star Trek in 1968 , the technology behind phasers was explained. Phasers are, according to the book, basically lasers , but they have the beam set on a pulsating frequency that can be specifically set to interfere and interact with the wave pattern of any molecular form. This is called " phasing " the beam frequency, hence the name phaser .

According to Gene Roddenberry in The Making of Star Trek , two days into filming of the second pilot, they realized that three years later, people were going to say, " Oh, come on, lasers can't do that. " The term was consequently substituted, based on the idea of the phasing principle of physics, which is a way of increasing power. Apparently, Roddenberry was talking of using higher phase velocities (aka frequencies) of light that, in turn, consist of higher energy photons. These accounts suggest that the laser weapons seen in " The Cage " and phasers of the rest of the show were possibly just two different terms for the same thing.

Released in 1979 , the Spaceflight Chronology (p. 173) offers an alternative explanation of the technology. It states that phaser weapons were in fact developed by Starfleet to combine the benefits of two previously used weapon technologies: particle-beam cannons and laser banks. While particle weapons delivered a big punch, they had trouble penetrating shields, whereas lasers penetrated shielding easily, but had very little impact force to do damage. Two years after the events of "The Cage", when the problem with frequency aligning the two systems to work simultaneously in ship-mounted phasers was solved, the development of hand phasers began. This timeline for phaser development would, however, not be compatible with canonical accounts, as we saw ship-mounted phasers used by the USS Kelvin in the 2009 film Star Trek , over twenty years before the events of "The Cage".

According to the 1990 Star Trek: The Next Generation Writers' Technical Manual (Fourth season edition, p. 14), the term "phaser" is short for " phase d array emitte r ".

The 1991 reference book Star Trek: The Next Generation Technical Manual (pp. 123-125) explain the inner mechanisms of a phaser in more elaborate detail. "Phaser" is, according to the book, an acronym for " phas ed e nergy r ectification" – named for the process of turning stored energy into an energy beam without an intermediate transformation. Energetic plasma is pumped to a prefire chamber made out of a superconducting lithium-copper. There, it undergoes a rapid nadion effect in which strong nuclear forces are liberated. A protonic charge forms and is released in pulses to the emitter made out of the same superconductive crystal. A beam of electromagnetic energy is released from it, at the speed of light. On starships, energy for phasers originates from the EPS, while on hand units, the charge of energetic plasma is stored into sarium-krellide. This material is used because it can't accidentally release the charge of plasma.

Dialogue in the 1991 episode TNG : " The Mind's Eye " concerning the internal mechanics of a type 3 phaser rifle confirm, canonically, all the elements as they were established in the Manual . However, in Star Trek , phasers have been regularly used while starships travel at warp speeds, so the beam must also be traveling at faster-than-light velocities. Beginning with the 1993 episode TNG : " Inheritance ", instead of being labeled as EM weapons, as the reference works have stated, phasers have been consistently referred to as particle beam weapons on screen. This information was also included in the 1994 Star Trek: Voyager Technical Manual – Writer's Guide, and has been corroborated in Star Trek: First Contact and such episodes as " Time and Again ", " Memorial ", and " Endgame ".

Even though the phaser beam was canonically established as not a beam of pure EM energy but a particle beam of nadions, the 1998 reference book Star Trek: Deep Space Nine Technical Manual still goes on to describe the phaser beam as an EM energy beam. According to page 84 of the Manual , a phaser beam can be delivered at warp speeds due to an annular confinement beam jacket and other advances in subspace technology. These are stated to be new inventions in the late-24th century. However, considering that first on-screen uses of phasers at warp occurred as early as the first season of The Original Series , this timeline for the invention would be inconsistent with canon. Furthermore, according to page 92 of the Manual , when phasers are fired by a ship with deflector shields active, the beam is frequency locked to the second-order harmonics of the shield emissions. This prevents the beam impacting on the shields and overloading them, or rebounding back at the firing ship.

It is not known what class of Federation starships was the first to use phaser array strips instead of banks, but " Yesterday's Enterprise " establishes the Ambassador -class to be the earliest known ship design to employ them in the 2340s .

Recalling how the phasers in Star Trek: Discovery were designed, Aaron Harberts described them as "super-important [...] key props" that "nobody wanted to really change." [14]

Phaser settings [ ]

A type 2 phaser at settings one through sixteen

Skin vaporization and internal organ explosion

Remains of Commander Remmick

The Star Trek: The Next Generation Technical Manual (pages 135 – 137) and The Star Trek Book ( citation needed • edit ) list various settings for type 1, type 2, and type 3 phasers, some of which have not been mentioned on screen and some which have been given a different effect. Type 1 phasers had the first eight settings; type 2 and 3 phasers had all sixteen settings.

Light Stun – causes central nervous system impairment on humanoids, unconsciousness for up to five minutes. Long exposure by several shots causes reversible neural damage.
Medium Stun – causes unconsciousness from five to fifteen minutes. Long exposure causes irreversible neural damage, along with damage to epithelial tissue.
Heavy Stun – causes unconsciousness from fifteen to sixty minutes depending on the level of biological resistance. Significantly heats up metals.
Thermal Effects – causes extensive neural damage to humanoids and skin burns limited to the outer layers. Causes metals to retain heat when applied for over five seconds.
Thermal Effects – causes severe outer layer skin burns. Can penetrate simple personal force fields after five seconds of application.
Disruption Effects – penetrates organic and structural materials. The thermal damage level decreases from this level onward.
Disruption Effects – due to widespread disruption effects, kills humanoids.
Disruption Effects – causes a cascade disruption that vaporizes humanoid organisms. Any unprotected material can be penetrated.
Disruption Effects – causes medium alloys and structural materials, over a meter thick, to exhibit energy rebound prior to vaporization.
Disruption Effects – causes heavy alloys and structural materials to absorb or rebound energy. There is a 0.55 second delay before the material vaporizes.
Explosive/Disruption Effects – causes ultra-dense alloys and structural materials to absorb or rebound energy before vaporization. There is a 0.2 second delay before the material vaporizes. Approximately ten cubic meters of rock are disintegrated per shot.
Explosive/Disruption Effects – causes ultra-dense alloys and structural materials to absorb or rebound energy before vaporization. There is a 0.1 second delay before the material vaporizes. Approximately fifty cubic meters of rock are disintegrated per shot.
Explosive/Disruption Effects – causes shielded matter to exhibit minor vibrational heating effects. Approximately 90 cubic meters of rock are disintegrated per shot.
Explosive/Disruption Effects – causes shielded matter to exhibit medium vibrational heating effects. Approximately 160 cubic meters of rock are disintegrated per shot.
Explosive/Disruption Effects – causes shielded matter to exhibit major vibrational heating effects. Approximately 370 cubic meters of rock are disintegrated per shot.
Explosive/Disruption Effects – causes shielded matter to exhibit light mechanical fracturing damage. Approximately 650 cubic meters of rock are disintegrated per shot.

The Star Fleet Technical Manual gives the effective ranges for different settings. On the type 1 phaser they were: stun – thirty meters, heat – two meters, disrupt – twenty meters, dematerialization – ten meters. On the type 2 phaser the ranges were: stun – ninety meters, heat – six meters, disrupt – sixty meters, dematerialization – thirty meters. Setting dials on the hand phasers indicated nine settings on the type 1 phaser and fifteen on the type 2 phaser, of which all above ten were labeled by the letters A through E. The letters might be a reference to the disruptor-B setting mentioned in "Obsession", which would make it setting 10B. According to Mr. Scott's Guide to the Enterprise , the hand phasers used during the first four movies had only three preset levels: stun, disrupt, and dematerialize.

Commenting on phaser firepower, Ronald D. Moore said: " The weapons are way too powerful to present them in any realistic kind of way. Given the real power of a hand phaser, we shouldn't be able to show ANY firefights on camera where the opponents are even in sight of each other, much less around the corner! It's annoying, but just one of those things that we tend to slide by in order to concentrate on telling a dramatic and interesting story. " ( AOL chat , 1997 )

The relative power of phasers was also referenced on screen in TOS : " Bread and Circuses ", when Proconsul Claudius Marcus of the planet 892-IV stated that it was his understanding that one hundred men armed with phasers could probably defeat the combined armies of his entire empire. The natives on 892-IV were at the time armed with machine guns and early 20th century level technology.

Other types of starship phasers [ ]

Type V phaser was used on auxiliary craft. In Star Trek: The Next Generation Technical Manual it was stated that Type 7 shuttlecrafts and type 9A cargo shuttles used phaser emitters of this type during special operations. According to Star Trek: Starship Spotter the Chaffee shuttlepod and the Delta Flyer also used this phaser type.
Type VI phaser was used on auxiliary craft and runabouts. According to the Star Trek: Starship Spotter , the Aeroshuttle and Danube -class starships phaser arrays were of this type.
Type VII phaser was used on starships. According to the Star Trek: Deep Space Nine Technical Manual and Star Trek: Starship Spotter , the twin phaser banks on Miranda -class starships were of this type.
Type IX phaser is used on starships. According to the Star Trek: Deep Space Nine Technical Manual , the Ambassador -class , Centaur -type , Curry -type , and one type of Excelsior -class variant used them. The phaser emitters in the rotary weapon arrays of the weapon sail towers of Deep Space 9 were of this type.
Type X phaser was used on starships. According to Star Trek: The Next Generation Technical Manual , this was the type name of the phaser arrays used on the Galaxy -class starships. According to the Star Trek: Deep Space Nine Technical Manual the Akira -class , Norway -class , Nebula -class , Saber -class , Soyuz -class , and one type of Constitution -class variant also used them. The fixed phaser emitters in the weapon sail towers of Deep Space 9 were of this type. According to Star Trek: Starship Spotter , the Intrepid -class and Nova -class also used them.
Type X+ phaser was used for planetary defense. According to Star Trek: The Next Generation Technical Manual , this was the designation of some large dedicated planetary phaser defense emitters.
Type XI phaser was normally used for planetary defense. According to the Star Trek: Deep Space Nine Technical Manual', the emitters were designed to minimize atmospheric blooming of the beam. The phaser emitters in the carriages, embedded into the habitat ring of Deep Space 9, were of this type, modified for use in space.
Type XII phaser was used on starships. According to Star Trek: Starship Spotter this is the type designation of the phaser cannons of the Defiant -class starships and the standard beam phaser arrays of the Prometheus -class and Sovereign -class starships.

None of these type designations have been mentioned on screen.

External links [ ]

Phaser at Memory Beta , the wiki for licensed Star Trek works
Phasers.net
2 USS Enterprise (NCC-1701-G)
3 Star Trek: The Next Generation

Cast & crew

Origins: The Protracted Man

George Takei, James Cawley, and John M. Kelley in Star Trek Phase II (2004)

In the beginning there was James T.Kirk, still a cadet on a Starfleet Academy at that time.This is how all of his future adventures have actually started: back in his early days at the Acade... Read all In the beginning there was James T.Kirk, still a cadet on a Starfleet Academy at that time.This is how all of his future adventures have actually started: back in his early days at the Academy. In the beginning there was James T.Kirk, still a cadet on a Starfleet Academy at that time.This is how all of his future adventures have actually started: back in his early days at the Academy.

David Gerrold
Dave Galanter
James Cawley
Brandon Stacy
John M. Kelley

(as John Kelley)

Captain Pike

George Kirk

Garth of Izar
Admiral Withrow
(as Clayton Sayre)
Gary Mitchell

All cast & crew
Production, box office & more at IMDbPro

Did you know

Trivia James Cawley as capt. James T. Kirk was already replaced by a younger actor Brian Gross back in 2011.
United States
Cawley Entertainment Company
Cow Creek Productions
Retro Studios
See more company credits at IMDbPro

Technical specs

Runtime 45 minutes

More to explore

Crew and production design

Cancellation, star trek: the next generation, star trek: voyager, external links.

Both PTS and the Star Trek revival were announced in early June 1977, with PTS to debut as one evening of programming each Saturday night and to gradually expand to other nights; a strategy successfully employed by the Fox Broadcasting Company a decade later. Star Trek: Phase II was to be the flagship show, and be broadcast at 8pm EST , followed by a movie of the week starting at 9pm. The initial order was for a two-hour pilot, followed by 13 hour-long episodes.

With the exception of Leonard Nimoy as Mr. Spock , who had ongoing disputes with Roddenberry and Paramount, the entire regular and recurring cast of The Original Series were contracted to return, notably William Shatner as Captain Kirk . Three new and younger regular characters were created, science officer Lt. Xon, navigator Lt. Ilia, and ship's executive officer Willard Decker. Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation , and two of the scripts written for Phase II would be re-developed for use in that series.

Behind the cameras, Roddenberry recruited Trek-novices Harold Livingston and Robert Goodwin as producers . Veterans of The Original Series were few, and included costume designer William Ware Theiss and illustrator Mike Minor. Art director Matt Jefferies was otherwise employed and brought in as a "technical advisor" and to update the design of the starship USS Enterprise . Special effects (on set) were to be by Jim Rugg. Science fiction novelist Alan Dean Foster received the assignment to write the story outline for the two-hour pilot, but, with a looming production deadline and unable to find a suitable writer to develop this story into a teleplay, Harold Livingston took on the writing job himself. Of the remaining 12 script assignments handed out, about half were to veterans of The Original Series .

Pre-production began in earnest, with the emphasis on what would be the standing sets of the Enterprise, which differed radically in layout, design and detailing from those for The Original Series . Many costumes and props, too, were designed. Ultimately, Paramount's plans for its network and Star Trek 's TV return faltered, as the low anticipated advertising revenues for the Paramount Television Service indicated that it was not viable, and the Paramount Pictures parent company Gulf and Western 's chairman, Charles Bluhdorn , refused to back the plan, resulting in the eventual exit of Paramount chief executive officer Barry Diller . In August 1977 Paramount president Michael Eisner announced—internally—that the two-hour pilot script was to be the long sought-after feature film story. However, In order to prevent negative publicity, the "cancellation" of the series and network was not immediately disclosed and development of the series and its scripts continued for a further five months, during which time tests were filmed on the incomplete Enterprise sets in widescreen format - a clear indication that whatever Star Trek would be, it would not be a TV movie .

On March 28, 1978, any illusions that Star Trek would be returning to television were ended when Paramount announced that instead of a series it would be producing what became the big budget film titled Star Trek: The Motion Picture (1979), which was itself a massive reworking of the "In Thy Image" two-hour pilot script.

Preproduction work on the series did not entirely go to waste. The standing Enterprise sets would be extensively reworked for the film (and its eventual sequels), and an unfinished admiral's office set's walls became part of the Enterprise cargo deck. However, the visual effects people hired for the feature film decided that the miniatures under construction were not up to the standards of a post- Star Wars feature, and all were scrapped. Director Robert Collins, who had been hired to direct the pilot, and promised he was to direct the feature, was replaced by Robert Wise .

The concept of a "Paramount Network" led by a flagship Star Trek series finally came to fruition in January 1995 when Paramount launched the United Paramount Network (UPN) and the Star Trek: Voyager series.

Star Trek: The Original Series was cancelled in 1969, following three seasons on NBC . Afterward, it saw success in broadcast syndication , resulting in science fiction conventions being held for the fans of the show. Influenced by this success, Paramount Pictures soon sought to create a new film from the series. Series creator Gene Roddenberry told the Associated Press in March 1972 that NBC wanted a Star Trek television film as pilot for a new series. [1] [2] Barry Diller , the chief executive officer of Paramount Pictures between 1974 and 1984, later explained that Arthur Barron, the chief financial officer at the time, was pushing for renewing Star Trek as a low-budget film, and that any suggestions that Paramount's owner Charles Bluhdorn had some involvement were untrue. [3]

In May 1975, Roddenberry signed a contract with Paramount for Star Trek: The God Thing , with a budget of $5 million. [4] However, his contract was terminated in August of the same year after inviting several writers to pitch story ideas for the film. [4] [5] Paramount instead placed Jerry Isenberg in charge of the project as executive producer in July 1976. Chris Bryant and Allan Scott were hired to write a script, which they entitled Star Trek: Planet of the Titans . [6] Bryant and Scott turned in their script on March 1, 1977, [7] which was rejected by Paramount. The duo left the project, citing conflicts in the film's scope between Roddenberry and director Philip Kaufman . [7] [8] [9] Shortly before the scheduled release of Star Wars on May 25, the Star Trek film was cancelled on May 9. Kaufman claimed that Paramount attributed this to the idea that science fiction fans would not go see two films released so close together. [7] [10]

The Paramount Television Service was announced on June 10, 1977. [11] Seven days later, Roddenberry announced that Star Trek would be returning to television on the new service, [12] saying that "Hopefully it will be even superior" to The Original Series and that casting would include "as many of the old faces as possible, as well as an infusion of new ones". [12] At the time, The Original Series was being broadcast on 137 stations in the United States in syndication, and it was expected that the new television service would provide a single evening package that could be broadcast by these independent stations as well as Paramount's recently acquired Hughes Television Network . [12] It was hoped that this station could become the fourth national network in the United States; [13] Diller and his assistant Michael Eisner had hired Jeffrey Katzenberg to manage Star Trek into production, with a television film due to launch the new series at a cost of $3.2 million – which some claimed would have made it the most expensive television movie ever made to date. [14]

Roddenberry said that the show would continue to cover modern themes in a science fiction way as had the first series, saying that these could include hijacking , nationalism , and radicalization of both individuals and groups. He also wanted to show 23rd-century Earth for the first time, and said that this had been the answer to Paramount executives asking him if there had been anything he wanted to do on The Original Series but could not. A further change was to be the number of female cast members, as NBC had a requirement of a maximum of one-third, and Roddenberry wanted to have them appear in authority positions. [13]

The expectation was that the two-hour pilot film would be broadcast in February 1978, with weekly episodes following, broadcast in an 8 pm EST timeslot on Saturday nights. [15] [16] Gary Nardino , who was placed in charge of the new network, said that " Star Trek was absolutely the lead horse of the new network. Because the advertisers recognized the strength of Star Trek in the syndicated market." [17] Prior to commencing production on the new series, Roddenberry took a two-week vacation in order to rid himself of negative feelings about the way that production on the feature film had gone. He described his concerns saying that he did not want to "drag a corpse of anger, defeats and double-crossing behind me" onto the new show. [13] Robert Goodwin was placed in charge of developing the feature films that would follow each week's episode of Star Trek , and the movie-length pilot as well. Roddenberry wanted to meet him, and despite Goodwin's lack of Star Trek background, he was convinced to be a producer on the series instead. [18] Roddenberry described him as the "producer producer", in that Goodwin would deal with all the technical aspects of the production. For the screenwriting aspect of the production, Harold Livingston was recruited, who recalled that the technical/screenwriting split of the executive producer role was innovative for the time. Like Goodwin, Livingston had not previously worked on Star Trek , but had worked on Mission: Impossible , a different Desilu Productions television series. [19]

Roddenberry was given complete creative control over the new television project by Paramount, which had promised him that it would be able to make the project a "first-class effort" with the budget to suit. [13] Matt Jefferies , who had worked on The Original Series , was recruited as a technical advisor. He had designed the original USS Enterprise alongside Pato Guzman , but was unwilling to give up a position on the television series Little House on the Prairie for a 13-episode order on a new Star Trek series. Roddenberry was adamant that Jefferies was the right person to update the Enterprise , and agreed a position that the designer could advise the new show, but would have to choose between it and his main duties on Little House on the Prairie if the Star Trek work started to interfere. This occurred quite quickly, after Jefferies conducted design work on the new version of the Enterprise at a hotel in Tucson, Arizona , while on a location shoot for Little House on the Prairie , and could not attend meetings with Roddenberry and the producers in Los Angeles. He recommended Joseph R. Jennings as the main art director on the series; Jennings had worked for Jefferies during the second and third seasons of The Original Series . [19] Jefferies' re-design of the Enterprise was based on the principle that the technology was updated over time, but the general silhouette remained the same. He highlighted that the engines would specifically be designed to be replaced, so the external design of them was completely changed. Brick Price Movie Miniatures was hired to produce the physical models of the vessel in two sizes, an 18-inch (46 cm) version for long shots, and a larger 5-foot (1.5 m) model built by Don Loos cast in moulds of fiberglass . [20] Other models were built specifically for the pilot film included an open frame orbital drydock, tetrahedron shaped models for a space office complex and space taxi, and the golden head and neck of the impossibly long "Vejur" space entity. [21]

Only a few former Star Trek crew members were recruited. Costume designer William Ware Theiss began working on new designs for the Starfleet uniforms, some based on his creations for The Original Series , others being a radical departure. Michael Minor—who had created set decorations and props for The Original Series ' third season—was brought in as a production illustrator, working with Lee Cole in the Art Department under Jennings.

Other creations that were updated included the phaser , which were built to the same design as in the previous series, but were built out of aluminium instead of the fiberglass resin props used before. The battery packs were detachable, and contained actual batteries that activated strobe lighting on the main body of the prop. [22] Technical advisers were recruited, such as Marvin Minsky , of Massachusetts Institute of Technology , and his wife Gloria Rudisch. [23]

By August 16, Livingston had held pitch meetings with more than 30 writers who were interested in scripting episodes of Phase II . [25] Some of these, such as Theodore Sturgeon , David Gerrold and Norman Spinrad , [25] [26] had previously written episodes of The Original Series . Also pitching to write an episode was Star Trek actor Walter Koenig . [25] In order to have the scripts delivered in an efficient manner, Roddenberry decided that he wanted all the scripts for the first batch of episodes completed prior to filming began on the pilot. He was confident that because of The Original Series , that the writers would not have difficulty in writing new scenes with already established characters. [27] However, Livingston and the writers did not know how the new characters would relate to the original ones. [28] Despite this, Roddenberry claimed at the time that the relationships between the characters would take time to be built over the course of several episodes, and that fan reaction to certain characters and events would define how frequently they would appear. [13]

By September, it had become apparent that they needed to hire a story editor . Roddenberry's assistant, Jon Povill , had already been conducting these duties on a script entitled " The Child ", and so Livingston suggested that Povill should be recruited in that role permanently. Roddenberry disagreed, but Livingston threatened to quit unless Povill was hired. Povill was subsequently recruited as story editor, but Livingston said that this action was the one that caused a breakdown in the relationship between Roddenberry and himself. [28]

The two-hour pilot film was to be based on a story outline Roddenberry had written for the aborted series follow-up to his 1973 Genesis II TV movie. That story, titled "Robot's Return" featured a gigantic alien craft coming to Earth searching for its origin. Alan Dean Foster , who had previously adapted episodes of Star Trek: The Animated Series in a series of short stories published in the Star Trek Log s series of books, [29] was hired to adapt this story idea for Star Trek and in the process introduce the newly redesigned and refitted USS Enterprise and its crew, both old and new, as they confront a gigantic, aggressive, seemingly omnipotent alien intruder bound for Earth. With a looming production deadline and unable to find a suitable experienced TV writer to develop this story into a teleplay, Harold Livingston took on the writing job himself.

By August 1977, discussions had been held with the main cast from The Original Series , as well as some of the actors who had played recurring characters. While none had been signed at the time, Roddenberry expressed confidence that they could do so with the exception of Leonard Nimoy, who had stated that he would not return to television. [13] However, Nimoy said separately that the first offer he received from Roddenberry for Phase II was only for the pilot and then guaranteed appearances in two out of every 11 episodes that followed, [30] which he rejected. [31] Nimoy and Roddenberry were not on good terms, following a legal suit launched by the actor against Paramount over merchandising rights featuring his likeness; Roddenberry had refused to support Nimoy in the case. [32] There was also a problem with the return of William Shatner : owing to the pay he was to receive for the pilot and the first thirteen episodes, the studio wanted a contingency plan to replace him afterwards. Shatner was aware at the time that the plan was either to reduce his appearances after the initial episodes and reduce his ongoing fees, or—he believed—to kill off the character permanently if he refused the pay cut. [31] [33] Negotiations began with Shatner on June 10, but it was not until September 12 that his return was announced. [34]

The problems with Nimoy and Shatner necessitated the creation of two new characters. [31] In Goodwin's first draft show bible , he included descriptions for a new "Ship's commander" character, and a "Young Vulcan". The latter character was specifically attributed as being a second-cousin of Spock, and also a half-human/half-Vulcan. He also added a new Yeoman character, but Roddenberry was concerned at the time about the character, writing to Livingston "Simply adding a 'flunky' female to the bridge may not satisfy our needs for gender equality." [37] This discussion began the process that resulted in the creation of Ilia, a new female character who was not intended to replace one of the previous cast members. [29] In charge of casting these new members of the crew was Robert Collins, who had been hired to direct the pilot. [38] Xon would later be changed to a full-blooded Vulcan. [39]

David Gautreaux was cast as Xon on September 26, [40] after approaching the casting director himself, having no agent. [41] He had heard about the part, as he was dating the employee of an agent at the time. [42] The final audition for the role had eight actors, including Gautreaux, of various ages and sizes. Gautreaux later said that the one thing they all had in common was a slightly alien appearance. He was hired to a $15,000 fee for the pilot, a guaranteed payment for the 13 episodes whether or not they were filmed, and a six-year option on his contract. Despite this, he was required to return for a further audition within a couple of weeks. Majel Barrett was due to return as Christine Chapel , this time as a doctor, and the actress was concerned that the romantic chemistry she shared with Nimoy might not work with a younger actor. She instead wanted an older British actor to play the role. Gautreaux, now with an agent, [41] secured a further $2,500 fee to return and audition again, since it would cause him to miss out on a guest appearance for the same fee on the television series Fantasy Island . [43] He retained the part, saying that the other actor was "absolutely abominable". It was only after this further audition that he was told what few others knew at the time: that Phase II had already been cancelled, and they were instead going to make a feature film. [41]

Following announcements of Gautreaux's Xon replacing Nimoy's Spock, Gautreaux began to receive threatening fan-mail suggesting that he was going to be poisoned or dosed with LSD . [39] He began to prepare for the role by purchasing a television set and watching old episodes of Star Trek , in order to portray the most accurate Vulcan he could. He fasted over the course of ten days and grew his hair long. Gautreaux sought out potential coaches who had worked on The Original Series , and later highlighted the help provided by Jeff Corey who had appeared in " The Cloud Minders ". Despite not being a Star Trek fan previously, he said he had begun looking forward to portraying Xon by that point. [39]

The casting for first officer Willard Decker had been delayed, both because of a slight delay in the production but also because the writers were no longer sure that the character was needed at all. [41] This was despite auditions being conducted at the same time that Gautreaux was cast as Xon, [45] during which, in his second audition with Barrett, he also read lines against ten actors competing for the role of Decker. [43]

One further change to the cast was to have been the return of Grace Lee Whitney as Janice Rand . In 1977, having read the back cover of Susan Sackett 's Letters to Star Trek book and discovering that one of the frequently asked questions sent into the production team was "Whatever happened to Grace Lee Whitney?", Whitney herself got in touch with Sackett and was invited along to meet with Roddenberry at his office in Paramount Studios. He was excited and happy to see her, and immediately offered to bring back the character for Phase II , describing the removal of Rand from The Original Series as his greatest mistake and blaming it on NBC executives. He said that "when Captain Kirk came back from having affairs with all these other women on all these other planets – he'd have to deal with [Rand]. What a great plot-thickener that would have been!". [46]

A key premise of the "In Thy Image" story was to see Earth itself threatened for the first time in Star Trek . [47] Producer Goodwin proposed that this story should be the two-hours pilot of the series at a meeting with Eisner on August 3. He would later recall that this specific meeting changed the direction of the franchise, as Eisner declared that Foster's story was the one that he had been looking for to make a feature, not a television, film. At the same time, Paramount had come to realize that the expected advertising revenues for the Paramount Television Service could not support a fourth network, and so there was no possibility of creating the series. By this point, costs for the series had already reached $500,000, and the studio was looking to recoup those expenses in some manner. The initial concept was to continue with the pilot, and then attempt to sell the series to NBC, CBS , or ABC . But the Paramount executives were concerned about losing control of a potential franchise, and by moving the pilot into a feature film, it gave them the ability to keep it in-house. [48]

However, because of the number of times that a Star Trek film was announced in the 1970s, the Paramount executives decided that they could not lose face once more by making an announcement, only to potentially reverse the decision in several months time. Because of this, production continued on Phase II for a further five months after the decision was made that it would not go into production. [49] By November, Livingston and Roddenberry were no longer working well together. They had each re-drafted "In Thy Image" themselves, and presented these versions to Eisner. The Paramount executive's response was that Roddenberry's version was suited for television, and Livingston's was better for a motion picture – and better overall. Collins was assigned to combine certain elements of Roddenberry's version into Livingston's and to complete that draft by the end of the month. [50]

The first public announcement of the cancellation of the Paramount Television Service and Phase II came at the hands of the gossip columnist Rona Barrett at the start of December. In response, Paramount released a statement that said the new network had been pushed back to the fall of 1978, and that Phase II had its episode order increased from 13 to between 15 and 22. [51] Despite this, behind the scenes, production continued on Star Trek as a film, not as a series. One of the changes around the same time as Barrett's reports was the realization that all the model work completed thus far had to be restarted from scratch, as it was not detailed enough to be blown up on a motion picture-sized screen. [52] Two further changes took place in December: Collins was dropped as director, for Paramount wanted a motion picture director and not one with experience only in television; and Livingston allowed his contract to run out and left the production, owing to the poor relationship he had with Roddenberry. [53] By January, Paramount no longer pretended that Star Trek was to be anything other than a feature film. [54] Livingston was brought back, but only in a writing capacity, and Robert Wise was hired as director on the film to replace Collins. [55]

After production was underway on The Motion Picture , and Nimoy signed up for the film, Gautreaux requested that Xon be eliminated from the script entirely instead of being shown in a reduced capacity. Gautreaux would go on to portray Commander Branch in the film instead, in his only appearance in the franchise. [39] At the time of the production on the film, the idea was to keep Xon in reserve for a future film or television series. [68] Gautreaux was subsequently called in for an interview with Nimoy during the early work on Star Trek III: The Search for Spock . The pair started talking about the impact that Nimoy's return to Star Trek had made on Gautreaux, with the latter telling Nimoy that he had treated it as a play that had been cancelled on the first night of the performance, which had not made a major impact on his career. [39]

The Phase II sets were located on stage 9 of the Paramount lot. The main layout and structures remained when those sets were overhauled to appear in The Motion Picture and various following films within the franchise. The sets were re-worked and converted prior to the start of Star Trek: The Next Generation to appear on television for the first time, and when Star Trek: Voyager aired, they were used once more. It was only with the start of Star Trek: Enterprise that the setup of the Star Trek sets at Paramount were completely changed and the Phase II foundations no longer remained. [69]

The idea of a young male Vulcan scientist was once again proposed early in the work on Star Trek II: The Wrath of Khan , which was attributed by later reviewers to the influence of Xon from Phase II . The gender of this character was subsequently changed to female, and called Saavik . She was played by Kirstie Alley in that film, [70] and later by Robin Curtis in The Search for Spock and Star Trek IV: The Voyage Home . [71]

Several minutes of test footage, including a view of the redesigned Engineering Room, costume tests with crew, screen test footage of Gautreaux as Xon and costume test footage of Khambatta as Ilia, were included in a featurette on the DVD release of the Director's Edition of Star Trek: The Motion Picture . [72] The presence of a second five-year mission, as would have been shown in Phase II , was included in the Star Trek timeline in the Star Trek Chronology book by Michael and Denise Okuda in 1993. This would have taken place after the events of The Motion Picture . [73]

A book based on the production of the series, Star Trek Phase II: The Lost Series was published in 1997 by Pocket Books . It was written by Judith and Garfield Reeves-Stevens , and went into detail about the conception of the planned and later aborted series, looking at several aspects of production, with behind-the-series information, color artwork, storyboards, blueprints, technical information and photos. It also contained two full scripts from the planned series. [74]

James Cawley purchased the costumes that would have been used in Phase II , and later repurposed them for his fan series Star Trek: New Voyages . He felt that they represented the step between those seen in The Original Series and the uniforms in The Motion Picture . The series also made other references to Phase II , as Xon was added in the episode " Blood and Fire ", which was based on an unused script for Star Trek: The Next Generation . In New Voyages , Xon was played by Patrick Bell. [75] In February 2008, Cawley announced that New Voyages would be re-titled Phase II in reference to the abandoned 1970s series. [76] The change was reverted following an announcement by Cawley on June 9, 2015. [77]

Phase II would prove influential on The Next Generation , whose creation began just over seven years later. [49] The characters of Xon, Decker and Ilia were used as the basis for the creation of Data , William Riker and Deanna Troi . [31] However, the series was allowed to be different in tone from the planned Phase II , for the feature films that had come before it had changed the audience expectations of what Star Trek was. [78] It was originally proposed in Gerrold's The Worlds of Star Trek to have the second-in-command leading the away team , and it was anticipated that this would be included in Phase II – it was instead first introduced in The Next Generation . [79]

Owing to the 1988 Writers Guild of America strike , work on the second season of The Next Generation was delayed. The producers sought scripts that could be put into production as quickly as possible once the strike was lifted, and so "The Child" from Phase II was picked as one that could be used in the new series with Ilia's place in the script swapped out in favor of Troi. [80] A further Phase II script was adapted later in the series, when "Devil's Due" was converted for The Next Generation in the fourth season . [81]

Certain elements of Klingon culture, such as the Emperor, and a general influence of Japanese culture with honor at the forefront, were first explored with the script for the two-part "Kitumba". Writer John Meredyth Lucas said that "I wanted something that we had never seen before on the series, and that's a penetration deep into enemy space. I started to think of how the Klingons lived. Obviously for the Romulans we had Romans , and we've had different cultures modeled on those of ancient Earth, but I tried to think of what the Klingon society would be like. The Japanese came to mind, so basically that's what it was, with the Sacred Emperor , the Warlord and so on." While the episode itself was later filmed for the fan production Star Trek: New Voyages , [82] Star Trek first visited the Klingon homeworld in The Next Generation episode " Sins of the Father ", and the themes would be revisited through the series. [83]

Judith and Garfield Reeves-Stevens described Voyager as the "conceptual cousin" of Phase II , in that it was used to launch the United Paramount Network (UPN) in January 1995. This was the fifth network, as Diller had moved to the Fox Entertainment Group in the years between Phase II and Voyager , where he launched the fourth network, the Fox Broadcasting Company . [84] They hypothesised that Phase II would have seen a similar decline in ratings as seen by Voyager during the course of the first season, except this decline would have resulted in the cancellation of Phase II at the time of first broadcast in 1970s. While they felt this would not have been the end of the franchise, they suggest it would have resulted in a more immediate reboot with the entire crew re-cast. [78]

↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 12.
↑ Masters 2000 , p. 65.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 16.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 17.
↑ Gross & Altman 1993 , p. 84.
1 2 3 Reeves-Stevens & Reeves-Stevens 1997 , p. 19.
↑ Hughes 2008 , pp. 21–26.
↑ Dillard 1994 , p. 64.
↑ Gross & Altman 1993 , p. 85.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 21.
1 2 3 " 'Star Trek' will be new TV Series" . The Free Lance-Star . AP . June 18, 1977. p. 13 . Retrieved 25 May 2012 . [ permanent dead link ]
1 2 3 4 5 6 Sackett, Susan (March 1978). "A Conversation with Gene Roddenberry" . Starlog (12): 25–29 . Retrieved December 12, 2014 .
↑ Masters 2000 , pp. 80–81.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 22.
↑ Shatner & Kreski 1993 , p. 44.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 23.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 25.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 26.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 27.
↑ Reeves-Stevens, Judith. (1997). Star Trek, phase II : the lost series . Reeves-Stevens, Garfield, 1953-. New York: Pocket Books. ISBN 0-671-56839-6 . OCLC 36358128 .
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 29.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 36.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 37.
1 2 3 Reeves-Stevens & Reeves-Stevens 1997 , p. 39.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 46.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 44.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 45.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 31.
↑ Nimoy 1995 , p. 151.
1 2 3 4 Reeves-Stevens & Reeves-Stevens 1997 , p. 28.
↑ Shatner & Kreski 1993 , p. 47.
↑ Shatner & Kreski 1993 , p. 46.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 43.
↑ Nichols 1994 , p. 215.
↑ Alexander 1995 , pp. 481–428.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 30.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 40.
1 2 3 4 5 Gross, Edward (February 1989). "Casualty of the Lost Generation" . Starlog (139): 12–14.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , pp. 48–49.
1 2 3 4 5 Reeves-Stevens & Reeves-Stevens 1997 , p. 54.
↑ Shatner & Kreski 1993 , p. 49.
1 2 Shatner & Kreski 1993 , p. 54.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 56.
↑ Shatner & Kreski 1993 , p. 50.
↑ Whitney & Denney 1998 , pp. 130–131.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 33.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 34.
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 35.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 60.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 67.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 69.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 73.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 75.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 76–77.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 236–239.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 240–243.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 303–349.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 244–253.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 254–257.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 258–263.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 264–269.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 270–279.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 280–283.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 284–288.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 289–294.
↑ Reeves-Stevens & Reeves-Stevens 1997 , pp. 295–302.
↑ Sackett, Susan (September 1978). "Star Trek Report" . Starlog (16): 20–21.
↑ Höhne Sparborth, Christian (April 8, 2001). "Rick Sternbach On Voyager Sets" . TrekNation . Retrieved August 3, 2016 .
↑ Carter, Alex (January 26, 2015). "Looking back at Star Trek II: The Wrath Of Khan" . Den of Geek . Retrieved July 24, 2016 .
↑ "Robin Curtis Looks Back At Saavik & TNG, Part 1" . StarTrek.com. January 4, 2012 . Retrieved July 24, 2016 .
↑ Rahner, Mark (November 13, 2001). "You may want to pass on this 'Golden' opportunity" . The Seattle Times . Archived from the original on November 21, 2018 . Retrieved July 24, 2016 – via HighBeam Research .
↑ Okuda & Okuda 1993 , pp. 70–71.
↑ Ward, Dayton (November 20, 2014). "Ten For Ward: 10 Favorite Star Trek "Behind the Scenes" Books" . StarTrek.com . Retrieved July 24, 2016 .
↑ Pascale, Anthony (September 5, 2007). "New Voyages Latest Episode Back Online – Team Planning New Episodes [ UPDATED ] " . TrekMovie.com . Retrieved July 24, 2016 .
↑ Pascale, Anthony (February 18, 2008). "New Voyages Heads To Phase II" . TrekMovie.com . Retrieved July 24, 2016 .
↑ "Return to the original "New Voyages" name on June 9, 2015" . Star Trek: New Voyages International. Archived from the original on April 4, 2016 . Retrieved July 24, 2016 .
1 2 Reeves-Stevens & Reeves-Stevens 1997 , p. 352.
↑ Nemecek 2003 , p. 4.
↑ Nemecek 2003 , p. 66.
↑ Nemecek 2003 , p. 154.
↑ Gross, Edward (April 7, 2016). "Star Trek: 10 Unfilmed Episodes" . Empire . Retrieved July 24, 2016 .
↑ Nemecek 2003 , p. 120.
↑ Reeves-Stevens & Reeves-Stevens 1997 , p. 350.

Star Trek: Phase II

Sequel television series
Edit source
View history

Template:Good article

Template:Infobox television Star Trek: Phase II , also known as Star Trek II , is an unproduced American science fiction television series created by Gene Roddenberry as a sequel to Star Trek , which had run from 1966 to 1969. The plans for the series were first developed after the failure to create a feature film based on the earlier series during the 1970s, coupled with the proposal for Paramount Television Service as a fourth television network in the United States. Phase II would have been the lead program for the network, being broadcast at 8pm EST on Saturday nights. Following the announcement that Star Trek was returning as a series on June 17, 1977, Roddenberry began recruiting new crewmembers, including Harold Livingston and Robert Goodwin as executive producers . Other staff returning from The Original Series included William Ware Theiss , while Matt Jefferies was hired as a technical advisor and designed an updated version of the USS Enterprise . The initial order was for a two-hour pilot episode, followed by 13 episodes.

Leonard Nimoy turned down the offer by Roddenberry to return as Spock as a recurring character, which necessitated the creation of a new Vulcan character named Xon. David Gautreaux successfully auditioned for the part, but ultimately never portrayed him in the franchise. There were concerns that William Shatner was too expensive to retain permanently and so the role of Willard Decker was created as an eventual replacement; although auditions were held, no one was cast during the work on Phase II . Persis Khambatta was cast as Ilia, a new character who was not intended as a replacement for a former character; she eventually portrayed the same part in Star Trek: The Motion Picture . With the exception of Nimoy, the other main cast from The Original Series were each signed up to contracts which allowed for them to be paid even if the series was never completed, including Grace Lee Whitney , who was due to return as Janice Rand .

Phase II quickly faltered, as in August 1977, Barry Diller , the Chief Executive Officer of Paramount Pictures, decided that "In Thy Image" by Alan Dean Foster (the planned pilot) would be better as a feature film. Furthermore, the anticipated advertising revenues for the Paramount Television Service meant that it was no longer viable. But in order to prevent any negative publicity of the "cancellation" of the series and the network, production continued for a further five months. It was only by the end of 1977 that work started properly to convert the series into The Motion Picture . The existing models were scrapped, and Robert Collins, who had been hired to direct the pilot, was replaced by Robert Wise for the film. Despite this, the characters of Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation , and two of the scripts written for Phase II would be re-developed for use in that series. In January 1995, Paramount launched its own network, the United Paramount Network (UPN); it was launched by Star Trek: Voyager .

1 Background
2.1 Conception
2.2 Crew and production design
2.4 Cancellation
4.1 Star Trek: The Next Generation
4.2 Star Trek: Voyager
6 References
7 External links

Background [ ]

Star Trek: The Original Series was cancelled in 1969 following three seasons on NBC . Afterward it saw success in broadcast syndication , resulting in conventions being held for the fans of the show. Influenced by this success, Paramount Pictures soon sought to create a new film from the series. By March 1972, series creator Gene Roddenberry hinted that there was interest in a Star Trek feature film, and that the series could return to air, back on NBC. Template:Sfn Barry Diller , the Chief Executive Officer of Paramount Pictures between 1974 and 1984, later explained that Arthur Barron, the Chief Financial Officer at the time, was pushing for renewing Star Trek as a low budget film and that any suggestions that Paramount's owner, Charles Bluhdorn had some involvement were untrue. Template:Sfn

In May 1975, Roddenberry signed a contract with Paramount for Star Trek: The God Thing , with a budget of $5 million. Template:Sfn But Roddenberry's contract was terminated in August of the same year after inviting several writers to pitch story ideas for the film. Template:Sfn Template:Sfn Paramount instead placed Jerry Isenberg in charge of the project as executive producer in July 1976. Chris Bryant and Allan Scott were hired to write a script, which they entitled Star Trek: Planet of the Titans . Template:Sfn Bryant and Scott turned in their script on March 1, 1977, Template:Sfn which was rejected by Paramount. The duo left the project citing conflicts in the film's scope between Roddenberry and director Philip Kaufman . Template:Sfn Template:Sfn Template:Sfn Shortly before the scheduled release of Star Wars on May 25, the Star Trek film was cancelled on May 9. Kaufman claimed that Paramount attributed this to the idea that science fiction fans would not go see two films released so close together. Template:Sfn Template:Sfn

Production [ ]

Conception [ ].

The Paramount Television Service was announced on June 10, 1977. Template:Sfn Seven days later, Roddenberry announced that Star Trek would be returning to television. [1] He stated that he had a verbal agreement with Paramount to have it incorporated into the new channel. He said that "Hopefully it will be even superior" to The Original Series and that casting would include "as many of the old faces as possible, as well as an infusion of new ones". [1] At the time, The Original Series was being broadcast on 137 stations in the United States in syndication, and it was expected that the new television service would provide a single evening package which could be broadcast by these independent stations as well as Paramount's recently acquired Hughes Television Network . [1] It was hoped that this station could become the fourth national network in the United States; [2] Diller and his assistant Michael Eisner had hired Jeffrey Katzenberg to manage Star Trek into production with a television film due to launch the new series at a cost of $3.2 million – which would have been the most expensive television movie ever made. Template:Sfn

Roddenberry said that the show would continue to cover modern themes in a science fiction way as had the first series, saying that these could include hijacking , nationalism and radicalization of both individuals and groups. He also wanted to show 23rd century Earth for the first time, and said that this had been the answer to Paramount executives asking him if there had been anything he wanted to do on The Original Series but could not. A further change was to be the number of female cast members, as NBC had a requirement of a maximum of one-third, and Roddenberry wanted to have them appear in authority positions. [2]

Crew and production design [ ]

The expectation was that the movie would be broadcast in February 1978, with weekly episodes following, broadcast in an 8pm EST timeslot on Saturday nights. Template:Sfn Template:Sfn Gary Nardino , who was placed in charge of the new network, said that " Star Trek was absolutely the lead horse of the new network. Because the advertisers recognised the strength of Star Trek in the syndicated market." Template:Sfn Prior to commencing production on the new series, Roddenberry took a two-week vacation in order to rid himself of negative feelings about the way that production on the feature film had gone. He described his concerns saying that he did not want to "drag a corpse of anger, defeats and double-crossing behind me" onto the new show. [2] Robert Goodwin was placed in charge of developing the feature films that would follow each week's episode of Star Trek , and the movie-length pilot as well. Roddenberry wanted to meet him, and despite Goodwin's lack of Star Trek background, he was convinced to be a producer on the series instead. Template:Sfn Roddenberry described him as the "producer producer", in that Goodwin would deal with all the technical aspects of the production. For the screenwriting aspect of the production, Harold Livingston was recruited, who recalled that the technical/screenwriting split of the executive producer role was innovative for the time. Like Goodwin, Livingston had not previously worked on Star Trek , but had worked on Mission: Impossible , a different Desilu Productions television series. Template:Sfn

Roddenberry was given complete creative control over the new television project by Paramount, and had been promised by Paramount that it would be able to make it a "first-class effort" with the budget to suit. [2] Matt Jefferies , who had worked on The Original Series , was recruited as a technical advisor. He had designed the original USS Enterprise alongside Pato Guzman , but was unwilling to give up a position on the television series Little House on the Prairie for a 13 episode order on a new Star Trek series. Roddenberry was adamant that Jefferies was the right person to update the Enterprise , and agreed a position that the designer could advise the new show, but would have to choose between it and his main duties on Little House on the Prairie if the Star Trek work started to interfere. This occurred quite quickly, as after Jefferies conducted design work on the new version of the Enterprise at a hotel in Tucson, Arizona , while on a location shoot for Little House on the Prairie and could not attend meetings with Roddenberry and the producers in Los Angeles. He recommended Joseph R. Jennings as the main art director on the series; Jennings had worked to Jefferies during the second and third seasons of The Original Series . Template:Sfn Jefferies re-design of the Enterprise was based on the principle that the technology was updated over time, but the general hull remained the same. He highlighted that the engines would specifically be designed to be replaced, so the external design of them was changed. Don Loos of Brick Price Movie Miniatures was hired to produce the physical model of the vessel, which was cast in moulds from fiberglass . Two models were built, a Template:Convert version and a Template:Convert version. Template:Sfn

Other former Star Trek crew members were recruited, such as costume designer William Ware Theiss . He began working on new designs for the Starfleet uniforms based on his creations for The Original Series . Other creations which were updated included the phaser , which were built to the same design as in the previous series, but were built out of aluminium instead of the wooden props used before. The battery packs were detachable, and contained actual batteries which activated strobe lighting on the main body of the prop. Template:Sfn Writers began to be recruited, with Livingston given the first approval to write a script, entitled "In Thy Image". Alan Dean Foster was hired to write a story based on Roddenberry's Genesis II pilot, "Robot's Return". He had previously adapted episodes of Star Trek: The Animated Series in a series of short stories published in the Star Trek Log s series of books. Template:Sfn Further technical advisers were recruited, such as Marvin Minsky , of Massachusetts Institute of Technology , and his wife Gloria Rudisch. Template:Sfn

Set production was underway by the start of August, with stage 8 on the Paramount lot designated as the "planet set", while stage 9 was where the Enterprise sets were located. By August 9, the foundations of the bridge set was built, with a plaster mould used to produce fibreglass "skins" for the various prop consoles and walls. Template:Sfn By August 16, Livingston had held pitch meetings with more than 30 writers who were interested in scripting episodes of Phase II . Template:Sfn Some of these, such as Theodore Sturgeon , David Gerrold and Norman Spinrad , Template:Sfn Template:Sfn had previously written episodes of The Original Series . Also pitching to write an episode was Star Trek actor, Walter Koenig . Template:Sfn In order to have the scripts delivered in an efficient manner, Roddenberry decided that he wanted all the scripts for the first batch of episodes completed prior to filming began on the pilot. He was confident that because of The Original Series , that the writers would not have difficulty in writing new scenes with already established characters. Template:Sfn However, Livingston and the writers did not know how the new characters would relate to the original ones. Template:Sfn Despite this, at the time, Roddenberry claimed that the relationships between the characters would take time to be built over the course of several episodes and that fan reaction to certain characters and events would define how frequently they would appear. [2]

By September, it had become apparent that they needed to hire a story editor . Roddenberry's assistant, Jon Povill , had already been conducting these duties on a script entitled " The Child " and so Livingston suggested that Povill should be recruited in that role permanently. Roddenberry disagreed, but Livingston threatened to quit unless Povil was hired. Povil was subsequently recruited as story editor, but Livingston said that this action was the one which caused a breakdown in the relationship between Roddenberry and himself. Template:Sfn

Phase II screen-test photo of David Gautreaux as Xon

By August 1977, discussions had been held with the main cast from The Original Series , as well as some of the actors who had played recurring characters. While none had been signed at the time, Roddenberry expressed confidence that they could do so with the exception of Leonard Nimoy who had stated that he would not return to television. [2] However, Nimoy said separately that the first offer he received from Roddenberry for Phase II was only for the pilot and then guaranteed appearances in two out of every 11 episodes that followed, Template:Sfn which he rejected. Template:Sfn Nimoy and Roddenberry were not on good terms following a legal suit launched by the actor against Paramount over merchandising rights featuring his likeness – Roddenberry had refused to support Nimoy in the case. Template:Sfn There was also a problem with the return of William Shatner : due to the pay he was to receive for the pilot and the first thirteen episodes, the network wanted a contingency plan to replace him afterwards. Shatner was aware at the time that the plan was either to reduce his appearances after the initial episodes and reduce his ongoing fees, or to kill off the character permanently if he refused the pay cut. Template:Sfn Template:Sfn Negotiations began with Shatner on June 10, but it was not until September 12 that his return was announced. Template:Sfn

Each of the returning former cast members was signed to contracts stipulating that they would be paid for the pilot and the 13 episodes regardless of whether the series went into production. Template:Sfn They were also given substantial pay increases over what they had received on The Original Series . For example, Nichelle Nichols ' pay was increased from $600 per episode to $8,000; and DeForest Kelley was paid $17,500 for the first four weeks, then $7,500 per episode for the rest of the first season. Template:Sfn The problems with Nimoy and Shatner necessitated the creation of two new characters. Template:Sfn In Goodwin's first draft show bible , he included descriptions for a new "Ship's commander" character, and a "Young Vulcan". The latter character was specifically attributed as being a second-cousin of Spock, and also a half-human/half-Vulcan. He also added a new Yeoman character, but Roddenberry was concerned at the time about the character, writing to Livingston "Simply adding a 'flunky' female to the bridge may not satisfy our needs for gender equality." Template:Sfn This discussion began the process that resulted in the creation of Ilia, a new female character who was not intended to replace one of the previous cast members. Template:Sfn In charge of casting these new members of the crew was Robert Collins, who had been hired to direct the pilot. Template:Sfn Xon would later be changed to a full-blooded Vulcan. [3]

David Gautreaux was cast as Xon on September 26, Template:Sfn after approaching the casting director himself, having no agent. Template:Sfn He had heard about the part, as he was dating the employee of an agent at the time. Template:Sfn The final audition for the role had eight actors, including Gautreaux, of various ages and sizes. Gautreaux later said that the one thing they all had in common was a slightly alien appearance. He was hired to a $15,000 fee for the pilot, a guaranteed payment for the 13 episodes whether or not they were filmed, and a six-year option on his contract. Despite this, he was required to return for a further audition within a couple of weeks. Majel Barrett was due to return as Christine Chapel , this time as a doctor, and the actress was concerned that the romantic chemistry she shared with Nimoy might not work with a younger actor. She instead wanted an older British actor to play the role. Gautreaux, now with an agent, Template:Sfn secured a further $2,500 fee to return and audition again, since it would cause him to miss out on a guest appearance for the same fee on the television series Fantasy Island . Template:Sfn He retained the part, saying that the other actor was "absolutely abominable". Template:Clarification needed It was only after this further audition that he was told what few others knew at the time: that Phase II had already been cancelled, and they were instead going to make a feature film. Template:Sfn

Following announcements of Gautreaux's Xon replacing Nimoy's Spock, Gautreaux began to receive threatening fan-mail suggesting that he was going to be poisoned or dosed with LSD . [3] He began to prepare for the role by purchasing a television set and watching old episodes of Star Trek in order to portray the most accurate Vulcan he could. He fasted over the course of ten days and grew his hair long. Gautreaux sought out potential coaches who had worked on The Original Series , and later highlighted the help provided by Jeff Corey who had appeared in " The Cloud Minders ". Despite not being a Star Trek fan previously, he said he had begun looking forward to portraying Xon by that point. [3]

Phase II screen-test photo of Persis Khambatta as Ilia

On October 28, Persis Khambatta was hired to portray Ilia. She had been required to wear a bald cap for her screen test, although at this point the character also wore elaborate headgear in some footage. Template:Sfn Roddenberry was insistent on this as a character attribute, but others such as Eisner, hated the idea of a bald female character. Template:Sfn His notes said that while a bald female character would be an interesting addition, it may prevent the audience from feeling at ease with Ilia and so the style may need to be given to a different character entirely. Template:Sfn The auditions by this time were not held under the pretence that they were to play a part in a television series, but were openly talking about Star Trek becoming a feature film. The casting for Willard Decker had been delayed, both because of a slight delay in the production but also because the writers were no longer sure that the character was needed at all. Template:Sfn This was despite auditions being conducted at the same time Gautreaux was cast as Xon, Template:Sfn during which, in his second audition with Barrett, he also read lines against ten actors competing for the role of Decker. Template:Sfn

One further change to the cast was to have been the return of Grace Lee Whitney as Janice Rand . In 1977, having read the back cover of Susan Sackett 's Letters to Star Trek and discovering that one of the frequently asked questions sent into the production team was "Whatever happened to Grace Lee Whitney?", Whitney herself got in touch with Sackett and was invited along to meet with Roddenberry at his office in Paramount Studios. He was excited and happy to see her, and immediately offered to bring back the character for Phase II , describing the removal of Rand from The Original Series as his greatest mistake and blaming it on NBC executives. He said that "when Captain Kirk came back from having affairs with all these other women on all these other planets – he'd have to deal with [Rand]. What a great plot-thickener that would have been!". Template:Sfn

Cancellation [ ]

Foster created a premise entitled "In Thy Image", the basis of which was to see Earth threatened for the first time in Star Trek . Template:Sfn Goodwin proposed that this story should be the pilot of Phase II at a meeting with Eisner on August 3. He would later recall that this specific meeting changed the direction of the franchise, as Eisner declared that Foster's story was the one that had been looking for to make a feature, not a television, film. At the same time, Paramount had come to realise that the expected advertising revenues for the Paramount Television Service could not support a fourth network, and so there was no possibility of creating Phase II . By this point, the series had already spent $500,000, and the studio was looking to recoup those expenses in some manner. The initial idea was to continue with the pilot, and then attempt to sell the series to NBC, CBS or ABC . But the Paramount executives were concerned about losing control of a potential franchise, and by moving the pilot into a feature film, it gave them the ability to keep it in-house. Template:Sfn

However, because of the number of times that a Star Trek film was announced in the 1970s, the Paramount executives decided that they could not lose face once more by making an announcement, only to potentially reverse the decision in several months time. Because of this, production continued on Phase II for a further five months after the decision was made that it would not go into production. Template:Sfn By November, Livingston and Roddenberry were no longer working well together. They had each re-drafted "In Thy Image" themselves, and presented these versions to Eisner. The Paramount executive's response was that Roddenberry's version was suited for television, and Livingston was better for a motion picture – and better overall. Collins was assigned to combine certain elements of Roddenberry's version into Livingston's and complete that draft by the end of the month. Template:Sfn

The first public announcement of the cancellation of the Paramount Television Service and Phase II came at the hands of the gossip columnist Rona Barrett at the start of December. In response, Paramount released a statement that said the new network had been pushed back to the fall of 1978, and that Phase II had its episode order increased from 13 to between 15 and 22. Template:Sfn Despite this, behind the scenes, production continued on Star Trek as a film, not as a series. One of the changes around the same time as Barrett's reports was the realization that all the model work completed thus far had to be restarted from scratch as it was not detailed enough to be blown up on a motion picture sized screen. Template:Sfn Two further changes took place in December; Collins was dropped as director, since Paramount wanted a motion picture director and not one with experience only in television, and Livingston allowed his contract to run out and left the production due to the poor relationship he had with Roddenberry. Template:Sfn By January, Paramount no longer pretended that Star Trek was to be anything other than a feature film. Template:Sfn Livingston was brought back, but only in a writing capacity, and Robert Wise was hired as director on the film to replace Collins. Template:Sfn

Episodes [ ]

Template:Episode table

After production was underway on The Motion Picture , and Nimoy signed up for the film, Gautreaux requested that Xon be eliminated from the script entirely instead of being shown in a reduced capacity. Gautreaux would go on to portray Commander Branch in the film instead, in his only appearance in the franchise. [3] At the time of the production on the film, the idea was to keep Xon in reserve for a future film or television series. [4] Gautreaux was subsequently called in for an interview with Nimoy during the early work on Star Trek III: The Search for Spock . The pair started talking about the impact that Nimoy's return to Star Trek had made on Gautreaux, with the latter actor telling Nimoy that he had treated it as a play which had been cancelled on the first night of the performance, which had not made a major impact on his career. [3]

The Phase II sets were located on stage 9 of the Paramount lot. The main layout and support features remained when those sets were overhauled to appear in The Motion Picture . Certain sets were re-designed over time to appear in various films within the franchise, but the main support structures stayed the same as designed for Phase II . The sets were re-worked and converted prior to the start of Star Trek: The Next Generation to appear on television for the first time, and when Star Trek: Voyager aired, they were used once more. It was only with the start of Star Trek: Enterprise that the setup of the Star Trek sets at Paramount were completely changed and the Phase II foundations no longer remained. [5]

The idea of a young male Vulcan scientist was once again proposed early in the work on Star Trek II: The Wrath of Khan , which was attributed by later reviewers to the influence of Xon from Phase II . The gender of this character was subsequently changed to female, and called Saavik . She was played by Kirstie Alley in that film, [6] and later by Robin Curtis in The Search for Spock and Star Trek IV: The Voyage Home . [7]

Several minutes of test footage, including a view of a redesigned Engineering Room, costume tests with crew, screen test footage of Gautreaux as Xon and costume test footage of Khambatta as Ilia, were included in a featurette on the DVD release of the Directors Edition of Star Trek: The Motion Picture . [8] The presence of a second five-year mission as would have been shown in Phase II was included in the Star Trek timeline in the Star Trek Chronology by Michael and Denise Okuda in 1993. This would have taken place after the events of The Motion Picture . Template:Sfn

James Cawley purchased the costumes that would have been used in Phase II , and later repurposed them for his fan series Star Trek: New Voyages . He felt that they represented the step between those seen in The Original Series and the uniforms in The Motion Picture . The series also made other references to Phase II , as Xon was added in the episode " Blood and Fire ", which was based on an unused script for Star Trek: The Next Generation . In New Voyages , Xon was played by Patrick Bell. [9] In February 2008, Cawley announced that New Voyages would be re-titled Phase II in reference to the abandoned 1970s series. [10] The change was reverted following an announcement by Cawley on June 9, 2015. [11]

A book based on the production of the series, Star Trek Phase II: The Lost Series was published in 1997 by Pocket Books . It was written by Judith and Garfield Reeves-Stevens and went into detail about the conception of the planned, and later aborted, series, which looked at several aspects of production, from behind-the-series information, color artwork, storyboards, blueprints, technical information and photos. It also contained two full scripts from the planned series. [12]

Star Trek: The Next Generation [ ]

Phase II would prove influential on The Next Generation , whose creation began just over seven years later. Template:Sfn The characters of Xon, Decker and Ilia, were used as the basis for the creation of Data , William Riker and Deanna Troi . Template:Sfn However, the series was allowed to be different in tone to the planned Phase II since the feature films which had come before it had changed the audience expectations of what Star Trek was. Template:Sfn It was originally proposed in Gerrold's The Worlds of Star Trek to have the second-in-command leading the away team , and it was anticipated that this would be included in Phase II – it was instead first introduced in The Next Generation . Template:Sfn

Due the 1988 Writers Guild of America strike , the work on the second season of The Next Generation was delayed. The producers sought scripts that could be put into production as quickly as possible once the strike was lifted, and so "The Child" from Phase II was picked as one which could be used in the new series with Ilia's place in the script swapped out in favor of Troi. Template:Sfn A further Phase II script was adapted later in the series, when "Devil's Due" was converted for The Next Generation in the fourth season . Template:Sfn

Certain elements of Klingon culture, such as the Emperor, and a general influence of Japanese culture with honor at the forefront were first explored with the script for the two-part "Kitumba". Writer John Meredith Lucas said that "I wanted something that we had never seen before on the series, and that's a penetration deep into enemy space. I started to think of how the Klingons lived. Obviously for the Romulans we had Romans , and we've had different cultures modeled on those of ancient Earth, but I tried to think of what the Klingon society would be like. The Japanese came to mind, so basically that's what it was, with the Sacred Emperor , the Warlord and so on." While the episode itself was later filmed for the fan production Star Trek: New Voyages , [13] Star Trek first visited the Klingon homeworld in The Next Generation episode " Sins of the Father ", and the themes would be revisited through the series. Template:Sfn

Star Trek: Voyager [ ]

Judith and Garfield Reeves-Stevens described Voyager as the "conceptual cousin" of Phase II , in that it was used to launch the United Paramount Network (UPN) in January 1995. This was the fifth network, as Diller had moved to the Fox Entertainment Group in the years between Phase II and Voyager , where he launched the fourth network, the Fox Broadcasting Company . Template:Sfn They hypothesised that Phase II would have seen a similar decline in ratings as seen by Voyager during the course of the first season, except this decline would have resulted in the cancellation of Phase II at the time of first broadcast in 1970s. While they felt this would not have been the end of the franchise, they suggest it would have resulted in a more immediate reboot with the entire crew re-cast. Template:Sfn

↑ 1.0 1.1 1.2 Script error: No such module "citation/CS1".
↑ 2.0 2.1 2.2 2.3 2.4 2.5 Template:Cite journal
↑ 3.0 3.1 3.2 3.3 3.4 Template:Cite journal
↑ Template:Cite journal
↑ Höhne Sparborth, Christian (April 8, 2001). "Rick Sternbach On Voyager Sets" . TrekNation . http://www.trektoday.com/news/080401_02.shtml . Retrieved August 3, 2016 .
↑ Carter, Alex (January 26, 2015). "Looking back at Star Trek II: The Wrath Of Khan" . Den of Geek . http://www.denofgeek.com/movies/star-trek-ii/33813/looking-back-at-star-trek-ii-the-wrath-of-khan . Retrieved July 24, 2016 .
↑ "Robin Curtis Looks Back At Saavik & TNG, Part 1" . StarTrek.com. January 4, 2012 . http://www.startrek.com/article/robin-curtis-looks-back-at-saavik-tng-part-1 . Retrieved July 24, 2016 .
↑ Script error: No such module "citation/CS1".
↑ Pascale, Anthony (September 5, 2007). "New Voyages Latest Episode Back Online – Team Planning New Episodes [UPDATED "]. TrekMovie.com . http://trekmovie.com/2007/09/05/new-voyages-latest-episode-back-online-team-planning-new-episodes/ . Retrieved July 24, 2016 .
↑ Pascale, Anthony (February 18, 2008). "New Voyages Heads To Phase II" . TrekMovie.com . http://trekmovie.com/2008/02/18/new-voyages-heads-to-phase-ii/ . Retrieved July 24, 2016 .
↑ "Return to the original "New Voyages" name on June 9, 2015" . Star Trek: New Voyages International . http://www.startrekphase2.de/en/phase_ii.php . Retrieved July 24, 2016 .
↑ Ward, Dayton (November 20, 2014). "Ten For Ward: 10 Favorite Star Trek "Behind the Scenes" Books" . StarTrek.com . http://www.startrek.com/article/ten-for-ward-10-favorite-star-trek-behind-the-scenes-books . Retrieved July 24, 2016 .

References [ ]

Template:Refbegin

Script error: No such module "citation/CS1".

Template:Refend

External links [ ]

Template:Memory Alpha

Template:Star Trek navbox

IMAGES

Star Trek: Phase II
Star Trek Phase II (2004)
Star Trek Phase II USS Enterprise NCC-1701
ArtStation
Star Trek Phase II (2004)
Star Trek: Phase II

VIDEO

Fixing the Nimitz Class
Star Trek: Strange New Worlds Season 2 Release Date Revealed
Star Trek: Phase II

COMMENTS

Star Trek: Phase II
Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969.The plans for the series were first developed after several failed attempts to create a feature film based on the ...
Star Trek: Phase II
Star Trek: Phase II, also known by its official title Star Trek II (not to be confused with the earlier 1975-1976 revitalization attempts bearing the same title), was planned to be the first live-action spin-off television series of Star Trek: The Original Series. While ultimately not realized, it did serve, in more ways than one, as the starting point for its immediate successor Star Trek ...
The Making of Star Trek: Phase II
After several attempts to bring Star Trek to the silver screen, Paramount decided in 1977 to produce a second television series, called Phase II.. Barry Diller, Paramount's president, had been concerned about the direction in which Chris Bryant and Allan Scott were taking the franchise with their script for the proposed movie Planet of the Titans.He turned to Gene Roddenberry and suggested ...
Star Trek Phase II (TV Series 2004-2016)
Star Trek Phase II: Created by Gene Roddenberry. With Charles Root, John M. Kelley, James Cawley, Jeff Mailhotte. These are the new voyages of the starship Enterprise. Picking up from where the original 5-year mission left-off, a new cast continues the adventures of this legendary crew: to boldly go where no human has ever gone before & to search for new life forms.
Star Trek
Star Trek is an American science fiction media franchise created by Gene Roddenberry, which began with the eponymous 1960s television series and became a worldwide pop-culture phenomenon.Since its creation, the franchise has expanded into various films, television series, video games, novels, and comic books, and it has become one of the most recognizable and highest-grossing media franchises ...
Star Trek: Phase II
Star Trek: Phase II was a planned television series based on the characters of Gene Roddenberry's Star Trek, which had run from 1966 to 1969.It was set to air in early 1978 on a proposed Paramount Television Service (a precursor/forerunner to UPN).The series was to follow the adventures of the Enterprise crew on a second five-year mission, and be a continuation of the Star Trek franchise.
Remembering Star Trek: Phase II
The premise of Star Trek: Phase II was simple: A returning Captain Kirk (William Shatner) was to merely start on another five-year mission onboard a newly retrofit Enterprise (designed by Star ...
Star Trek II: The Wrath of Khan
Star Trek II: The Wrath of Khan is a 1982 American science fiction film directed by Nicholas Meyer and based on the television series Star Trek.It is the second film in the Star Trek film series following Star Trek: The Motion Picture (1979), and is a sequel to the original series episode "Space Seed" (1967).The plot features Admiral James T. Kirk (William Shatner) and the crew of the starship ...
Phase II
Star Trek: Phase II concept art and history. TOS; Phase II; Films. The Motion Picture; The Wrath of Khan; Other Movies; TNG; DS9; VOY; Fandom; Phase II. Production. Making Phase II; Planet of the Titans; The Billion Year Voyage; Visions of the Future; Lost Episodes. In Thy Image; Lord Bobby's Obsession; The Prisoner; To Attain the All;
Star Trek: Phase II
Star Trek: Phase II was an unproduced TV series developed in the late 1970s. It depicted an alternate version of the events of Captain Kirk's second five-year mission aboard the refurbished USS Enterprise (NCC-1701). In this continuity, the Enterprise was refitted as a Jefferies-class starship, a different configuration than the Enterprise-class seen in TOS movie: The Motion Picture. Warp ...
Star Trek: Phase II
Star Trek: Phase II was a planned television series based on the characters of Gene Roddenberry's Star Trek, which had run from 1966 to 1969. It was set to air in early 1978 on a proposed Paramount Television Service . The series was to follow the adventures of the Enterprise crew on a second five-year mission, and be a continuation of the Star Trek franchise.
Star Trek: Phase II
Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to the original Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after several failed attempts to create a feature film based on the property, coupled with ...
Star Trek: Phase II
Star Trek: Phase II (formerly known as Star Trek: New Voyages) is a live-action fan film series created by Jack Marshall and James Cawley in April 2003, and funded by James' career as an Elvis tribute artist (voted #1 in the country by Elvis' personal associates in 1996) as well as original producer Jerry Yuen of Jack Marshall's "Cow Creek Films" production company. In addition to Cawley ...
Star Trek Phase II: The Lost Series
Star Trek Phase II: The Lost Series is a reference book which gives a detailed analysis of the development and early days of the abortive spin-off, Star Trek: Phase II, featuring concept art, set photos, and two complete scripts from the series, "In Thy Image" and "The Child". From the book jacket Dateline - Paramount Pictures announces the formation of its own television network, saying ...
Michelle Yeoh Section 31 Movie Will Launch Star Trek: Phase 2
Set course for Phase 2. The next chapter of Alex Kurtzman 's Star Trek franchise at Paramount+ is beginning to come into focus. On Tuesday, the Paramount Global-backed streamer announced that ...
Phaser
Phaser rifle, 2260s. Phaser technology used by Starfleet was preceded by phase-modulated particle weapons in the mid-22nd century, including such weapons as the hand-held phase-pistol and ship-mounted phase cannon. Laser weapons, such as the laser pistol, were also used before phasers became the standard-issue weapon in the Starfleet arsenal.(Star Trek: Enterprise, all; TOS: "The Cage")
"Star Trek Phase II" Origins: The Protracted Man (TV Episode)
Origins: The Protracted Man: Directed by David Gerrold. With James Cawley, Brandon Stacy, John M. Kelley, Charles Root. In the beginning there was James T.Kirk, still a cadet on a Starfleet Academy at that time.This is how all of his future adventures have actually started: back in his early days at the Academy.
Star Trek: Phase II
Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969. The plans for the serie
Star Trek: Phase II
Star Trek: Phase II (originally called Star Trek: New Voyages but renamed in early 2008) is a fan-created webcast series created by James Cawley that is supposed to serve as a bridge between Star Trek: The Original Series and Star Trek: The Motion Picture.. James Cawley plays the role of Captain James Kirk in what's supposed to be the fourth year of the Enterprise's original five-year mission.
Phase 2/New Voyages/Continues : r/startrek
Thanks! Star Trek Continues is eleven episodes, was created by and stars Vic Mignogna, and ran from 2013 to 2017; Star Trek: New Voyages was originally called Star Trek: Phase II, but changed the name at Paramount's request. There are ten episodes, the series was created by and originally starred James Cawley, and it ran from 2004 to 2016.
Star Trek: Phase II
Template:Good article For the fanfilm series, see Star Trek: New Voyages. Template:Infobox television Star Trek: Phase II, also known as Star Trek II, is an unproduced American science fiction television series created by Gene Roddenberry as a sequel to Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after the failure to create a feature film based on ...

Remembering Star Trek: Phase II

star trek discovery ship

In This Article

IGN Recommends

Making Phase II

Memory Beta, non-canon Star Trek Wiki

Star Trek: Phase II

Overview [ ]

Episodes [ ]

Other stories [ ]

Other references [ ]

External links [ ]

Star Trek: Phase II

Central characters [ ]

Enterprise crew [ ]

Episode listing [ ]

Vignettes [ ]

Rebranding to Phase II [ ]

External links [ ]

The Definitive Voice of Entertainment News

site categories

Lesley Goldberg

Related Stories

THR Newsletters

More from The Hollywood Reporter

History [ ]

Descriptions and uses [ ]

Modifications [ ]

Sidearm settings [ ]

Types of phaser weapons [ ]

Hand-held phasers [ ]

Planetary or starship-mounted phasers [ ]

Appendices [ ]

References [ ]

Background information [ ]

Establishing phaser technology [ ]

Phaser settings [ ]

Other types of starship phasers [ ]

External links [ ]

Origins: The Protracted Man

Did you know

Technical specs

Related news

More to explore

Recently viewed

Crew and production design

Related Research Articles

Star Trek: Phase II

Background [ ]

Production [ ]

Crew and production design [ ]

Cancellation [ ]

Episodes [ ]

Star Trek: The Next Generation [ ]

Star Trek: Voyager [ ]

References [ ]

External links [ ]

IMAGES

VIDEO

COMMENTS