Picked up by the BBC as a summer replacement for Doctor Who, which has just ended its sixth season with the departure of its entire cast, Star Trek begins its run on BBC1 with the episode Where No Man Has Gone Before, the series’ second pilot. Sally Kellerman (M*A*S*H) and Gary Lockwood (2001) guest star. The initial episodes of the series’ UK run are aired in black & white, as BBC1 will not broadcast in color until November 1969.
Picked up in syndication by Kaiser Broadcasting’s station group and other independent TV stations across America – often those with no newscast of their own – Star Trek sees its ratings skyrocket. The Kaiser stations run it directly opposite local and network newscasts at 6:00pm in most markets. Paramount Television runs an ad in Broadcast Magazine, claiming that New York City independent station WPIX has shown a 96% gain in ratings over the previous programming in the same time slot. In Los Angeles, KCOP’s nightly Star Trek reruns boost ratings 77%. It is from this culture – the nightly reruns of the 79 episodes reaching saturation point – that Star Trek fandom truly arises, gradually leading to an outcry for new material that gets Paramount’s attention later in the ’70s. With most of the cast battling typecasting, the conventions prove to be a lucrative draw for the show’s stars (and creator Gene Roddenberry, who becomes a popular speaker at conventions).
More about Star Trek in the LogBook
Hear about it on the Sci-Fi 5 podcast
A three-day event called Star Trek Lives! gets underway at the Statler Hilton in New York City, organized by a group of fans including Joan Winston and future Star Trek Compendium author Allan Asherman. A gathering of fans in the low hundreds is expected, but instead a crowd of thousands turn up to hear presentations by guest speakers such as Gene and Majel Roddenberry, Isaac Asimov, former Desilu executive Oscar Katz, and Star Trek writer and script editor D.C. Fontana, as well as presentations by guests representing NASA. (Roddenberry will later claim that NBC executives were present as well, though he claims they declined to identify themselves to fans since there was a fair amount of anti-NBC sentiment expressed in the wake of Star Trek’s cancellation.) Though science fiction conventions have been held prior to this event, this is the first dedicated Star Trek convention, and indeed the first such gathering devoted to a single property.
After years of denying that Star Trek had ever been a “kids show” like its prime-time rival Lost In Space, Gene Roddenberry agrees to NBC’s offer to restart the science fiction cult classic as an animated series, premiering on the seventh anniversary of the live-action show’s debut with the episode Beyond The Farthest Star. In the end, this series becomes the only iteration of the Star Trek franchise to win an Emmy Award for a non-technical (i.e. music, hairstyling, special effects) category.
The 15th episode of the animated Star Trek series, The Eye Of The Beholder, premieres on NBC.
An agreement is struck between Paramount Pictures’ television division and the Smithsonian Air & Space Museum (currently the Smithsonian Air Museum, which is planning the grand opening of its space-related exhibits for the bicentennial year of 1976) concerning the 18-foot, 275-pound filming model of the Starship Enterprise from Star Trek. Since Paramount foresees no use for the gigantic “miniature”, the studio agrees to donate the model to the Smithsonian as an exhibit – provided the Smithsonian foots the $500 bill for shipping. The model was originally built by Howard Anderson Co. in 1964 for the first Star Trek pilot, The Cage, at a cost running into tens of thousands of dollars. The Smithsonian plans to restore and display the model in its Space and Life exhibit, though years later the Enterprise will be “demoted” to a display near the museum’s gift shop.
The 275-pound, 18-foot filming “miniature” of the starship Enterprise from Star Trek arrives at the Smithsonian, but it’s just as well that its planned display in the National Air & Space Museum won’t open until 1976: having suffered years of mishandling and barely-adequate storage at Paramount, with a final round of damage occurring during shipping, television’s most famous spaceship arrives in need of extensive repairs. Both of the round caps of the Enterprise’s warp engines are missing, and the intricate lighting setup built into the engines has been destroyed as a result, and the “radar dish” at the bottom of the model is missing as well. The Enterprise model will undergo extensive restoration and repainting for three months at the Smithsonian’s Maryland facility.
More about Star Trek in the LogBook
Hear about it on the Sci-Fi 5 podcast
The second season of the animated Star Trek series begins on NBC with the episode The Pirates Of Orion, written by Star Trek fan (and future Trek novelist) Howard Weinstein. The episode airs almost exactly eight years after the television premiere of the live-action Star Trek on NBC.
The third episode of the animated Star Trek‘s second season, The Practical Joker, premieres on NBC.
The fifth episode of the animated Star Trek‘s second season, How Sharper Than A Serpent’s Tooth, premieres on NBC.
The final episode of the animated Star Trek‘s second season, The Counter-Clock Incident, premieres on NBC. This is the only Star Trek television episode to mention Captain Robert April, the name originally envisioned by Gene Roddenberry for the captain of the Enterprise.
After spending a month writing drafts of the same basic story, Star Trek creator Gene Roddenberry completes the final draft of a live-action script simply titled Star Trek II, though later publications will refer to this script as The God Thing. The script shares many basic structural similarities with the later Star Trek: The Motion Picture, including sweeping upgrades to the Enterprise, Kirk’s promotion out of the captain’s chair, Spock’s return to Vulcan to pursue a purge of his human emotions, and an alien force of unknown power approaching Earth. There, however, the similarities end, as the story depicts an alien entity taking over the minds of Starfleet officers, who begin reciting prayers and exhibiting dangerous degrees of religious zealotry. Kirk and his senior officers, of course, remain unaffected, and disobey the orders of their possessed superiors to save Earth, only to discover that the “God” entity is an alien being which has been influencing human development for thousands of years, having last appeared in a guise which inspired the Judeo-Christian belief system. Likely out of fear of offending its potential audience, The God Thing is swiftly rejected by Paramount, though Bantam Books expresses interest in Roddenberry novelizing his own unused script. Work on that novelization comes to a halt in 1977 as Roddenberry begins work on a prospective Star Trek TV revival, and though other authors will attempt to adapt Roddenberry’s script – including Walter Koenig, Susan Sackett and Fred Bronson, and frequent Trek novelist Michael Jan Friedman – The God Thing remains unpublished. Many elements of the story resurface in Star Trek: The Motion Picture and Star Trek V: The Final Frontier.
Having tried to find a suitable script for a big-screen relaunch of Star Trek virtually since the cancellation of the television series, Paramount – riding the coattails of the much-publicized unveiling of the Space Shuttle Enterprise – issues a press release announcing that the first Trek movie is finally underway – in this case, a still-in-development script called Star Trek: Planet Of Titans, featuring a radically redesigned Enterprise concept by illustrator Ralph McQuarrie, whose other recent genre work – designs for the yet-to-be-released Star Wars – has yet to make him a household name.
After spending months in development, the much-publicized big-screen relaunch of Star Trek is cancelled by Paramount. Unable to find a satisfactory script, and having great difficulty negotiating with the stars of the TV series, Star Trek: Planet Of The Titans is dumped by the studio, with no other plans to revive Star Trek in the works. Mere weeks later, a record-breaking movie not originating from Paramount convinces the studio to get back into the big-budget science fiction space race.
No sooner has Paramount’s movie arm axed Star Trek‘s big screen comeback than the studio’s television division announces the unthinkable: Paramount will form its own network, to premiere in February 1978, taking on ABC, CBS, and NBC in prime time. Leading off the new network’s first night will be a two-hour, made-for-TV Star Trek movie starring William Shatner and most of the original cast (with Leonard Nimoy notable by his absence), who will then go on to star in a weekly series chronicling the further adventure of the Enterprise. Gene Roddenberry will return as the creator of the new series. But within just a few weeks, it becomes apparent that the “big three” networks are ready to play hardball to keep Paramount’s network off the air, from leaning on their advertisers to avoid buying ad time on the new network, to quietly threatening to stop picking up Paramount-produced series for their own fall schedules.
At a meeting at Paramount, studio head Michael Eisner formally cancels plans for a Star Trek television series reuniting the original cast (a decision made easier by the other networks strong-arming potential advertisers into freezing out Paramount’s network startup attempt) and sets the wheels in motion to revamp the pilot script, Alan Dean Foster’s In Thy Image, into a feature film. Contracts for the series are renegotiated (or in some cases cancelled) for the movie, but scriptwriters and designers continue to work on Trek TV scripts just in case the movie leads to a small-screen resurgence. The impetus for finally getting the long-stalled Star Trek movie underway? 20th Century Fox’s runaway success with Star Wars.
After a tortured development history dating back to aborted early 1970s attempts to relaunch Star Trek on the big screen, Paramount premieres the much-anticipated (and much hyped) Star Trek: The Motion Picture in theaters. At over two hours, and boasting one of Jerry Goldsmith’s best movie scores, the movie bewilders viewers as much as it thrills them. Paramount claims not to make a profit on the movie at all – primarily by including all of the development costs of years of early movie attempts and the never-made Star Trek Phase II television series as part of the movie’s price tag – but, despite its assertion that the movie lost money, the studio begins making plans for a sequel.
Produced and co-written by Harve Bennett (The Six Million Dollar Man, The Invisible Man) and directed by Nicholas Meyer, Star Trek II: The Wrath Of Khan debuts in theaters. The story follows up on the first season TV episode Space Seed, bringing back Ricardo Montalban (who is now a star thanks to his stint on ABC’s Fantasy Island) as Khan and introducing Kirstie Alley as a new member of the Enterprise crew. With faster pacing, increased action, and a more contemporary military sci-fi feel, the sequel is a hit that guarantees future sequels, as well as gradually increasing interest on Paramount’s part to return the franchise to television years later.
With producer Harve Bennett now firmly in creative control of the movie franchise, Star Trek III: The Search For Spock premieres in theaters, directed by Leonard Nimoy (who, since his character is being searched for, plays only a small role as an actor in the film). The movie is a direct sequel to the events of the previous film, and sets up story developments for the fourth Star Trek movie, effectively serving as the middle chapter of a trilogy. The movie’s success confirms Nimoy’s graduation from actor to director.
Four days after a party at Paramount Pictures to celebrate the 20th anniversary of the original Star Trek, the studio sends Trek creator Gene Roddenberry a memo detailing its plans to restart Star Trek on television with a new cast. The studio is aware that a new Trek series has an even chance of succeeding or failing, and challenges Roddenberry to come up with a better idea than the studio’s in-house concept of putting the movie Enterprise in the hands of a team of Starfleet cadets (a concept Roddenberry greatly dislikes). Roddenberry pitches a different concept back to the studio, involving the crew of a starship Enterprise set further in the future than Captain Kirk’s era. With the pitch approved and a new contract in hand, Roddenberry begins recruiting fellow behind-the-scenes veterans of the original series to refine his ideas.
Paramount’s television division makes an announcement that sparks geek wars for years to come: Star Trek is coming back to television, but with a new cast and set in a different century, as Star Trek: The Next Generation. With Gene Roddenberry at the wheel once more, the new show – which will circumvent the network system completely by being sold directly to stations in syndication – will be set further in the future than the original series, with a new Enterprise and a budget of over one million dollars per episode. Paramount has decided on the risky syndication route after overtures to the three major networks provoke little enthusiasm; the new Fox network is more interested, but is unwilling to risk money on an order of more than a dozen episodes.
Directed by Leonard Nimoy, who also has a hand in development of the story, Star Trek IV: The Voyage Home premieres in theaters. Directly following up on events in the prior two movies, Star Trek IV closes out a trilogy, and by bringing the action to 20th century Earth, complete with fish-out-of-water comedy, becomes a solid hit with an embedded ecological message. The movie’s success caps off a year-long celebration of Star Trek’s 20th anniversary.
The national syndication window opens for the two-hour premiere of Star Trek: The Next Generation, Encounter At Farpoint. Written by Trek creator Gene Roddenberry and original series story editor D.C. Fontana, this episode introduces the fan favorite nemesis Q, as played by John de Lancie. Though it’s not tied to any network, some of the stations carrying TNG in syndication – including major-market stations – air TNG in prime-time in place of their usual network programming.
More about Star Trek: The Next Generation in the LogBook and theLogBook.com Store
Star Trek: The Next Generation now streaming on Paramount Plus
The week-long national syndication window opens for the second episode of Star Trek: The Next Generation. This episode becomes an immediate lightning rod of criticism since it almost duplicates a popular episode of the original Star Trek (and even points this out in the course of its story). Data also shows Lt. Yar that he is fully functional.
More about Star Trek: The Next Generation in the LogBook and theLogBook.com Store
Star Trek: The Next Generation now streaming on Paramount Plus
The week-long national syndication window opens for the third episode of Star Trek: The Next Generation. This is the only episode of any of the Star Trek spinoffs whose soundtrack was composed by a veteran of the original series’ music department (in this case, composer Fred Steiner).
More about Star Trek: The Next Generation in the LogBook and theLogBook.com Store
Star Trek: The Next Generation now streaming on Paramount Plus
The week-long national syndication window opens for the fourth episode of Star Trek: The Next Generation. This is the first episode featuring a new alien race devised by Gene Roddenberry, the scheming, money-hungry Ferengi.
More about Star Trek: The Next Generation in the LogBook and theLogBook.com Store
Star Trek: The Next Generation now streaming on Paramount Plus
The week-long national syndication window opens for the fifth episode of Star Trek: The Next Generation, Where No One Has Gone Before. This is the first episode featuring the Traveler, as well as Wesley Crusher’s ascension to acting ensign.
More about Star Trek: The Next Generation in the LogBook and theLogBook.com Store
Star Trek: The Next Generation now streaming on Paramount Plus
The 16th episode of the animated 
The second episode of the animated 
The fourth episode of the animated