The Trouble With Tribbles
Stardate 4523.3: The Enterprise is summoned to space station K-7 for security duty when the station’s security forces are considered inadequate to guard a shipment of valuable grain by the standards of Federation agriculture administrator Baris. A shipload of Klingons stops off at the station as well, which has all parties concerned even more about the grain consignment. Kirk orders stepped-up security, but that only results in some of the crew – including Scotty and Chekov – instigating a massive bar brawl with the Klingons. All the while, the seemingly harmless huckster Cyrano Jones is trying to peddle furry tribbles off to anyone with a few credits, and Uhura buys one and takes it back to the Enterprise, not knowing that tribbles do only two things: eat and breed.
written by David Gerrold
directed by Joseph Pevney
music by Jerry FieldingCast: William Shatner (Captain James T. Kirk), Leonard Nimoy (Mr. Spock), DeForest Kelley (Dr. Leonard McCoy), James Doohan (Mr. Scott), George Takei (Lt. Sulu), Nichelle Nichols (Lt. Uhura), William Schallert (Nilz Baris), William Campbell (Koloth), Stanley Adams (Cyrano Jones), Whit Bissell (Lurry), Michael Pataki (Korax), Ed Reimers (Admiral Fitzpatrick), Charlie Brill (Arne Darvin), Paul Baxley (Ensign Freeman), David Ross (Guard), Guy Raymond (Trader)
Notes: another side of this episode’s events can be seen in an episode of Star Trek: Deep Space Nine celebrating the original series’ 30th anniversary, Trials And Tribble-ations. Tribbles are also spotted in the bar in Star Trek III: The Search For Spock, but according to the animated series, Kirk and his crew encountered them once more in More Tribbles, More Trouble.
LogBook entry by Earl Green
installments, as well as script-editing the series (and, in interviews for the DVD release of the series, Gerrold says he was responsible for nailing down the series concepts into a coherent writers’ bible, although Allan Foshko and executive producers Sid and Marty Krofft are credited with creating the series). Art director Herman Zimmerman would be later be involved with Star Trek: The Next Generation, Star Trek: Deep Space Nine and virtually all of the Star Trek feature films that were released during those two series’ run. Original series prop and monster-maker Wah Chang created the detailed animated dinosaur models, which were truly impressive for a television show in the early ’70s, and Michael Westmore – credited as “Mike” – handled the series’ creature makeup. Other Trek veterans crop up during the series’ run – see if you can spot them all!
Cast: Spencer Milligan (Rick Marshall), Wesley Eure (Will Marshall), Kathy Coleman (Penny Marshall), David Greenwood (Sleestak), William Laimbeer (Sleestak), John Lambert (Sleestak), Philip Paley (Cha-Ka)
Notes: Actor Ron Masak has appeared in The Twilight Zone, Mission: Impossible, Wonder Woman, and Starman, with movie roles in Ice Station Zebra, Tora! Tora! Tora!, and as the hapless sheriff in the 
Notes: This episode basically loops around to the beginning of the series, implying either a time loop, or at the very least that the Marshalls will experience the same events again before their adventures continue (in the second season, of course).
Notes: Considered by Starlog magazine to be the most promising SF TV series of 1977, Logan’s Run borrows some visual elements from the movie – namely costumes and props, to say nothing several minutes of the movie’s “Carousel” scenes (complete with excerpts of 
Tech Four), Hank Brandt (Gold), Betty Bridges (Fontaine), Wallace Chadwell (White), Kenneth Martinez (Martinez), Jeff Reese (Handley), Jeff Cotler (Binary), Sherril Lynn Katzman (Katie)
This is a syndicated series; airdates seen in this guide are the first day of the “week of” broadcast window, and episodes may have aired on different days in your area.
only a limited interest in Roddenberry himself having a hand in that expansion. The creator of Star Trek was viewed as something of a liability; the first and most expensive Star Trek movie, Star Trek: The Motion Picture, was regarded in hindsight as an extraordinarily expensive example of excess with Roddenberry at the helm. In actuality, however, the expense legendarily associated with The Motion Picture is actually an example of creative accounting, Hollywood style: that movie began life as an attempted TV revival in the 1970s, which followed on from two failed attempts to get an early ’70s Star Trek movie into production. By charging all of the previous unfulfilled projects against The Motion Picture‘s budget, that movie – despite a huge box office take upon its premiere – magically became a money-loser in Paramount’s books, handily accomplishing two things: it gave the spendthrift studio the ammo it needed to relieve Roddenberry of any real decision-making power in the franchise’s future, and by failing to show a profit, kept pesky residual payouts to its key players down to a dull roar. From Star Trek II onward, Gene Roddenberry was reduced to a creative consultant whose advice could be taken on 
board completely or ignored at the whim of the producer behind the increasingly successful movie franchise, Harve Bennett.
Academy” idea on the small screen… unless, of course, the creator of the original series could come up with something better.
bible) and might, at most, feature a descendant of an original Enterprise crew member, though eventually even that idea fell by the wayside.
new Star Trek as a syndicated show that would never run on a specific network, instead offering the first right of refusal to the stations already carrying the ’60s show. Though there were skeptics aplenty in the broadcast industry, in fandom and in the press, most of those stations who already had Star Trek signed on for the new show.
overseeing things from the safety of the Enterprise. The chief medical officer would be Doctor Beverly Crusher, who would have her bright daughter Leslie in tow, while the security of the Enterprise would be overseen by Lt. “Macha” Hernandez, a tough-as-nails security officer inspired by Roddenberry’s recent viewing of the 1986 hit movie Aliens and its gun-toting Lt. Vasquez.
Sturgeon, George Clayton Johnson and Harlan Ellison. If anything was proving elusive, it was the shape of the future itself: how far would technology have advanced in the 24th century, when in 1986 the standard medium of data storage was a floppy disk strikingly similar in shape and size to the “computer tapes” in use aboard the Enterprise as filmed in 1966? Numerous avenues were considered and abandoned, such as having a transporter pad on the bridge itself (nixed in favor of having a relatively long elevator ride and walk to the transporter, during which conversations could take place between characters), and having the new Enterprise almost completely computer controlled, with the crew only seen to operate manual controls during the most extraordinary situations. Also to be considered was the technology of the original Star Trek: how woud it have evolved in almost a century? The idea of miniaturizing the cell-phone-like communicators of the ’60s series down into something 
that would fit within a touch-operated uniform insignia was already on the table. What of phasers and tricorders?
Riker and Troi inherited the slightly-cooled-down relationship originally devised for Decker and Lt. Ilia in the series bible for the aborted ’70s Star Trek revival, while Data inherited some of the character DNA developed for the never-made show’s Vulcan science officer, Xon. A blind crewmember, Geordi La Forge, would pilot the Enterprise, while another allusion to the calming of relations with the Soviet Union was added in the person of another security officer, Lt. Worf – the first Klingon to wear a Starfleet uniform, originally suggested by Bob Justman as a “Klingon marine” who would be a recurring character rather than a regular. The lineage of the Enterprise was both nailed down and left tantalizingly open by designating Picard’s ship as NCC-1701-D: what had happened to the “B” and “C” models of the Enterprise? And since NCC-1701-A had only 
come about as a result of the original Enterprise’s destruction, what had become of Kirk’s brand new ship in the interim?
rectangular monitors peeking through circular openings in the set, especially when the graphics on those monitors made no sense in a circular format), got him a call to work on the new show full-time. Andrew Probert and Rick Sternback, both veterans of the last Enterprise redesign in Star Trek: The Motion Picture, were on hand to design the Enterprise’s newest descendant. A young executive from Paramount’s longform entertainment division, Rick Berman, was recruited by Roddenberry to help run the show. Younger than Justman (who was already expressing a desire to return to the retirement he had left to help launch TNG) and Milkis (who would be returning to retirement as soon as TNG’s 
pilot was completed), Berman would be Roddenberry’s right-hand man, with a keen eye for detail and quality control, taking over Milkis’ role after the filming of the pilot. Overeeing the creative side of the show was producer Herbert J. Wright, a veteran producer of such shows as Rod Serling’s Night Gallery, The Six Million Dollar Man, Hunter and Stingray.
disagreements with Roddenberry over an AIDS-themed script, Blood & Fire. Gerrold and several other writers were also at odds with Roddenberry over unauthorized rewrites and script editing being carried out by Leonard Maizlish, Roddenberry’s attorney. Though there were some impressive episodes in the first two seasons, the evolving continuity of the Star Trek universe led to some inconsistencies. Denise Crosby was dissatisfied with what she saw as a lack of development for her character, Tasha Yar, and asked to be released from her contract; the character was killed off.
The first season ended with two mild cliffhangers, though the lack of the words “to be continued” may have led the audience to believe otherwise. The dark, violent episode Conspiracy introduced an alien threat that had gained a foothold within Starfleet Command, trying to erode the fabric of the United Federation of Planets from inside. The story ended with an obvious hint of a rematch that, in seven years of TNG and many years of its descendants, never happened. The season closer, The Neutral Zone, introduced the idea of entire colonies and outposts vanishing without a trace, the first calling card of a powerful new enemy for the Federation. The Romulans also showed their hand, appearing in a massive new Andrew Probert-designed starship. It was Herbert Wright’s intention that the unseen enemy attacking Federation and Romulan colonies would be a relentless insect race with an all-controlling hive mind, 
to be revealed early in the second season. Toward the end of the season, the show’s producers decided to drop Gates McFadden from the cast as Dr. Crusher, reportedly unhappy with both the actress and the development of the character. Diana Muldaur replaced McFadden for the second season as Dr. Katherine Pulaski, a curmudgeonly doctor cast from the mold of the original series’ Dr. McCoy.
own: Fox’s Cops and America’s Most Wanted became hits during the gap in scripted shows. With the end of the writers’ strike, the opener for the second season of TNG was The Child, a hastily-revised script left over from Roddenberry’s 1970s attempt to relaunch Star Trek on TV.
Tired of the grind after the first two seasons, Wright left TNG after headhunting his own replacement, writer Michael Piller. Having served as a journalist, a network Standards & Practices censor and a writer on such series as Simon & Simon, Piller brought a new focus on TNG’s characters to the third season, making it clear to prospective writers of the show that their scripts not only had to be about something, but about someone in show’s regular cast of characters. It was a frequent folly of ’70s and ’80s TV to bring in a guest star as a one-shot character who was more memorable than the rest of the show’s cast; Piller wanted to ensure that the same fate didn’t befall the Enterprise crew. Piller also drew from TNG’s unique-in-Hollywood open script submission policy: any unagented writer, even those who had never written a television script before, could submit a full-length script to Star Ttrek: The Next Generation after signing legal paperwork that protected Paramount from legal action in the event that a similar script went into production. This led to the discovery of writer Ronald D. Moore, who was soon 
hired as a full-time staff writer for TNG and heavily publicized as the show’s Cinderella story, encouraging thousands of other would-be Star Trek scriptwriters (the author of this essay included) to send in their own stories; having gone from obscurity to a full-time career as a TV writer, Moore later gained nearly universal acclaim as the architect of the Sci-Fi Channel’s renowned 21st century revival of Battlestar Galactica. The third season even brought back Denise Crosby as a one-off Tasha Yar from an alternate timeline, and concluded with the return of Herb Wright’s Borg in a cliffhanger that achieved the impossible: it generated enough word-of-mouth and speculation that TNG was on the edge of breaking into mainstream viewing, despite being a syndicated show that aired on a different day and time in nearly every major city in the country.
writer after a promising collaboration with Ronald D. Moore early in the season. Season five saw the brief return of Herbert Wright as a co-producer, but the contrast between his style and the stability that Michael Piller had brought to the show’s writing staff was striking. After rallying for the show’s scripts to include more “weird shit” and science fiction concepts, Wright was gone again halfway through the season, finding that the kinder, gentler writing staff at TNG was too kind and gentle for his tastes. An example Wright often cited later was that Worf was truly alien in the first two seasons, whereas the fifth season Worf was “dealing with the problems of a single father.” Season five also saw the appearance of Leonard Nimoy as the 100+ year old Spock in a heavily-promoted guest shot during the all-important November ratings sweep. The story, and Nimoy’s appearance, tied directly into the upcoming movie Star Trek VI: The Undiscovered Country, which revolved around the beginnings of peace with the Klingons as seen in the TNG timeline, and featured a cameo appearance by Michael Dorn as an ancestor of Worf. Another sign of TNG’s position of prime importance in the Star Trek franchise, Trek VI was conciously designed to be the 
swan song for the original Star Trek cast. This unprecedented mingling of old Trek and new came as a sad footnote to the death of Star Trek creator Gene Roddenberry in October 1991.
the cast and characters of Star Trek: The Next Generation would launch themselves again on the big screen; prior to that, another Star Trek spinoff would premiere on TV, carrying the franchise forward on television.
beginning, with Paramount rolling the dice on reviving a franchise that was widely seen as a TV failure and an unlikely movie success story. When NCC-1701-D made its final flight, however, Star Trek was Paramount’s biggest success story, and a cornerstone of the studio’s next major venture, the United Paramount Network.