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These Are The Voyages #1
These Are the Voyages: TOS: Season One
SATURN AWARD WINNING BOOK! Season Two is also available on Amazon.com
"The level of research is astounding...an incredible job!" LEONARD NIMOY
"The single best book ever written on Star Trek!" SCOTT MANTZ, Access Hollywood
"Everything there is to know about TOS Season One. Great read. I guarantee it." - WALTER KOENIG, Chekov
"An exhaustive, episode-by-episode history...this should be the final word on the show." JEFF BOND, Geek Magazine
"Trek fans...get beamed up to heaven." - BILLY HELLER, New York Post
Author Marc Cushman had the great honor of befriending both GENE RODDENBERRY and ROBERT H. JUSTMAN, who cooperated in the development of this three-book series and backed their endorsement with hundreds of never-before-released documents concerning the writing and production of the first Star Trek series.
After decades of research, hundreds of exclusive interviews, and the inclusion of thousands of documents, from story outlines to scripts to interoffice memos between Roddenberry and his staff, correspondences with NBC and Desilu Studios, production schedules, budgets, and even the Nielsen ratings for every episode of the first Star Trek series, These are the Voyages is a time machine, taking the reader back to witness the creation, writing and making of Star Trek.
Decades of folklore is dispelled as the authentic documents are presented, revealing the true production order of the episodes, the truth behind the ratings (Star Trek often won its time slot and was usually NBC's top-rated Thursday night series, and again, Friday night series), the actual cost of each episode, fan letters and trade reviews from the time of the first broadcasts, and much more.
Foreword by TOS producer/writer John D.F. Black.
658 pages, Hardcover
First published August 1, 2013
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Displaying 1 - 30 of 80 reviews
April 25, 2017
Star Trek just turned fifty, and since I’m a fan only a few years younger than it I’ve soaked up enough of its history and trivia over my lifetime to qualify as a bridge officer on the USS Nerdlinger. Yet this book opened my eyes to all kinds of things about the show including debunking several myths I’ve taken as Trek gospel.
It starts off as kind of your standard behind-the-scenes story of how a pilot turned cop turned TV writer/producer named Gene Roddenberry came up with the idea for a sci-fi show, and then it describes the often painful process by which it eventually was brought to life by a dedicated cast and crew. That’s a fascinating story in itself, but by going through the production documents like script drafts, shooting schedules, and memos as well as drawing on personal recollections of those involved Marc Cushman also provides what becomes almost a daily diary of the initial creation and filming of each episode.
So we get a big picture view of things like how the television industry worked at the time so that the executives of Desilu Productions had good cause to think that shows like Star Trek and Mission Impossible might bankrupt the studio, and how Lucille Ball had to repeatedly step in to override her own board to keep them from being scrapped. We also drill down to the level of noting exactly who wrote each draft of a script and what changes were made as well as personal stories for all the guest stars and crew as well as the major figures like Roddenberry, Shatner, and Nimoy.
What emerges from all of the this is an intriguing picture of the controlled chaos that the production of the show frequently was. It also provides a lot of facts that contradict the general wisdom we usually hear about the original series. The story I always heard was that the show was low-rated at the time, cheaply done, and that the broadcast network NBC frowned on it’s progressive social messages and attitudes. In fact, the show had very respectable ratings in its first season against stiff competition from other networks, it was one of the most expensive made at the time, and NBC was actually encouraging things like diverse casting.
So why does nerd lore tell us something else? It was probably a variety of misconceptions and myths that grew up for a variety of reasons. Networks didn’t release ratings back in those days, and in fact might not want the producers of a show to know exactly how popular it was to prevent them from asking for more money. The show often looked cheap and slapped together because the technical demands had them constantly over budget and behind schedule. As for why NBC was often painted as a villain you could probably say that's due to Gene Roddenberry's habit of blaming NBC when he had to make an unpopular decision.
In fact, while Roddenberry certainly deserves a huge share of the credit for creating the show his behavior frequently caused issues that probably hurt it and helped lead to its cancellation after three seasons. His style of dealing with freelance writers and insisting on unpaid revisions which he would then rewrite himself rubbed many the wrong way, and he routinely pissed off NBC. Roddenberry would then spin these disagreements as examples of the network pushing back against his social messages when the reasons might be directly due to his more selfish motives. For example, Majel Barrett was cast as the first officer in the original pilot, and the story I’d always heard was that the network didn’t think a woman should have such an important role and made Roddenberry change it in the second version. In reality NBC balked at Majel Barrett because she was Roddenberry’s mistress at the time so it seemed like bad business, and it’s hard to fault them for thinking that.
At the same time we learn how the show was hiring people like Gene Coon, a veteran writer/producer who stepped in at a critical time and showed an amazingly quick ability to to write his own scripts and revise the problematic work of others. Dorothy Fontana was an aspiring screenwriter who initially took secretarial jobs to get her foot in the door of the industry which she first used to sell scripts to TV westerns as D.C. Fontana. Eventually she became Gene Roddenberry’s secretary, then a freelance writer for him, and finally took on the position of story editor which made her one of the most important Trek creators.
The only problem is that sitting down and reading about all these episodes in a row gets a little repetitive. The production of the show fell into a rhythm that the book captures, and that starts to feel monotonous after a while although there’s always plenty of amusing anecdotes like how they got an actor to be in the rubber suit of the lizard-like Gorn creature by calling the guy in at the last minute without telling him what he’d be playing.
So as a straight up reading experience it can get a little tedious after a while although I think any TOS fan would like the initial stories about the show’s creation and find it a great reference when revisiting individual episodes.
It starts off as kind of your standard behind-the-scenes story of how a pilot turned cop turned TV writer/producer named Gene Roddenberry came up with the idea for a sci-fi show, and then it describes the often painful process by which it eventually was brought to life by a dedicated cast and crew. That’s a fascinating story in itself, but by going through the production documents like script drafts, shooting schedules, and memos as well as drawing on personal recollections of those involved Marc Cushman also provides what becomes almost a daily diary of the initial creation and filming of each episode.
So we get a big picture view of things like how the television industry worked at the time so that the executives of Desilu Productions had good cause to think that shows like Star Trek and Mission Impossible might bankrupt the studio, and how Lucille Ball had to repeatedly step in to override her own board to keep them from being scrapped. We also drill down to the level of noting exactly who wrote each draft of a script and what changes were made as well as personal stories for all the guest stars and crew as well as the major figures like Roddenberry, Shatner, and Nimoy.
What emerges from all of the this is an intriguing picture of the controlled chaos that the production of the show frequently was. It also provides a lot of facts that contradict the general wisdom we usually hear about the original series. The story I always heard was that the show was low-rated at the time, cheaply done, and that the broadcast network NBC frowned on it’s progressive social messages and attitudes. In fact, the show had very respectable ratings in its first season against stiff competition from other networks, it was one of the most expensive made at the time, and NBC was actually encouraging things like diverse casting.
So why does nerd lore tell us something else? It was probably a variety of misconceptions and myths that grew up for a variety of reasons. Networks didn’t release ratings back in those days, and in fact might not want the producers of a show to know exactly how popular it was to prevent them from asking for more money. The show often looked cheap and slapped together because the technical demands had them constantly over budget and behind schedule. As for why NBC was often painted as a villain you could probably say that's due to Gene Roddenberry's habit of blaming NBC when he had to make an unpopular decision.
In fact, while Roddenberry certainly deserves a huge share of the credit for creating the show his behavior frequently caused issues that probably hurt it and helped lead to its cancellation after three seasons. His style of dealing with freelance writers and insisting on unpaid revisions which he would then rewrite himself rubbed many the wrong way, and he routinely pissed off NBC. Roddenberry would then spin these disagreements as examples of the network pushing back against his social messages when the reasons might be directly due to his more selfish motives. For example, Majel Barrett was cast as the first officer in the original pilot, and the story I’d always heard was that the network didn’t think a woman should have such an important role and made Roddenberry change it in the second version. In reality NBC balked at Majel Barrett because she was Roddenberry’s mistress at the time so it seemed like bad business, and it’s hard to fault them for thinking that.
At the same time we learn how the show was hiring people like Gene Coon, a veteran writer/producer who stepped in at a critical time and showed an amazingly quick ability to to write his own scripts and revise the problematic work of others. Dorothy Fontana was an aspiring screenwriter who initially took secretarial jobs to get her foot in the door of the industry which she first used to sell scripts to TV westerns as D.C. Fontana. Eventually she became Gene Roddenberry’s secretary, then a freelance writer for him, and finally took on the position of story editor which made her one of the most important Trek creators.
The only problem is that sitting down and reading about all these episodes in a row gets a little repetitive. The production of the show fell into a rhythm that the book captures, and that starts to feel monotonous after a while although there’s always plenty of amusing anecdotes like how they got an actor to be in the rubber suit of the lizard-like Gorn creature by calling the guy in at the last minute without telling him what he’d be playing.
So as a straight up reading experience it can get a little tedious after a while although I think any TOS fan would like the initial stories about the show’s creation and find it a great reference when revisiting individual episodes.
November 3, 2013
After nearly fifty years, I thought there wasn't anything more to be said, or any more books that could possibly be mined, from the original Star Trek. Hasn't that show been talked about, and examined to death, down to every last detail?
You'd think so. But then along came These Are The Voyages: Season One by Marc Cushman and it may be the best book yet about the production of the series and one of the best books ever written about any TV show. It's a shame the book is presented as yet another fan-written curio for the diehard trekker...because it's a must-read for students of television, and aspiring TV writers, regardless of whether they watched, or liked, Star Trek.
These Are The Voyages is an exhaustively detailed look at the writing and nuts-and-bolts production of every single episode, from the first, failed pilot onward. Everything in the book, like a TV series, starts with the scripts...and Cushman walks us through every draft and every change, whether they were prompted by creative issues, budgetary concerns, production issues, or network notes.
The author relies on extensive interviews with the show's surviving writers, producers, directors, and actors (and archival interviews with those who have passed away) and never-before-released memos, budgets, shooting schedules, and other internal documents. Best of all, Cushman manages to remain, with only a few slips, remarkably objective and scholarly about his subject, leaving the book refreshingly free of the kind of cringe-inducing, fannish drool that usually typifies books about "cult" shows and Star Trek in particular.
These Are the Voyages is a treasure trove of information and a fascinating look at how a TV show is written and produced...and all of the forces that shape it. I'm eagerly looking forward to the next two volumes
You'd think so. But then along came These Are The Voyages: Season One by Marc Cushman and it may be the best book yet about the production of the series and one of the best books ever written about any TV show. It's a shame the book is presented as yet another fan-written curio for the diehard trekker...because it's a must-read for students of television, and aspiring TV writers, regardless of whether they watched, or liked, Star Trek.
These Are The Voyages is an exhaustively detailed look at the writing and nuts-and-bolts production of every single episode, from the first, failed pilot onward. Everything in the book, like a TV series, starts with the scripts...and Cushman walks us through every draft and every change, whether they were prompted by creative issues, budgetary concerns, production issues, or network notes.
The author relies on extensive interviews with the show's surviving writers, producers, directors, and actors (and archival interviews with those who have passed away) and never-before-released memos, budgets, shooting schedules, and other internal documents. Best of all, Cushman manages to remain, with only a few slips, remarkably objective and scholarly about his subject, leaving the book refreshingly free of the kind of cringe-inducing, fannish drool that usually typifies books about "cult" shows and Star Trek in particular.
These Are the Voyages is a treasure trove of information and a fascinating look at how a TV show is written and produced...and all of the forces that shape it. I'm eagerly looking forward to the next two volumes
September 25, 2013
This is certainly a monumental piece of research, the first truly comprehensive history of the original Star Trek since Whitfield's The Making Of Star Trek almost half a century ago, written at a time when those involved had to watch what they say because they were all still working together. Between then and now we've had dozens of memoirs by pretty much everyone involved, from Shatner and Roddenberry down to the second assistant grip (okay, that may be an exaggeration). But these accounts are often contradictory and rely upon decades old memories which have been recast through constant retellings at conventions. Cushman goes back to the source, dredging up memos from both the original production, NBC and even the original Nielsen ratings. The result is an excessively detailed, episode-by-episode account of the first season.
Each episode gets at least a dozen pages, starting with the initial story treatment and going all the way through post-production and initial airing. Along the way we get exerts from memos by various members of the production staff and their network liaison, Stan Robertson. And despite decades of stories about Robertson being a thorn in the side of production, it's clear here that he was a (somewhat frustrated) supporter of the series who often provided sound criticism of scripts and treatments, pointing out when the series was getting too repetitive (What, another episode involving an evil twin/shapeshifter? That's four in one season!) and urging the writers to take the action off the ship more often. The person who did the most to reshape stories turns out instead to be Robert Justman, the production's bean-counter whose reaction to everything was, "Too expensive." Gene Roddenberry also, it turns out, liked to dip his toe into the writing process much more than is normally reported. In fact, his rewriting of scripts by big name sci-fi authors like Bloch and Matheson left his first executive producer, John D.F. Black to leave the show.
Not that the rewriting wasn't necessary. Reading through the chapter about "City on the Edge of Forever," one can't help but realize that whatever the merits of Ellison's original script, it was not right for Star Trek. Ellison's story begins with a drug deal gone bad leading one Enterprise crewman to murder another. After a trial, Kirk takes him down to an alien planet for execution by firing squad. I'm sorry, but that isn't Star Trek. Ellison makes fun of Roddenberry's utopian idealism, but while there's certainly room for criticism there, it is that idealism that makes Trek memorable while Ellison is mainly remembered as that asshole who groped Connie Willis at a convention.
But as impressive as the book is, it's not without flaws. Published by a small press, there are more than a few spelling errors that should not've made it through to the printed book. Worse still, anytime Cushman discusses a subject that's not Star Trek -- and specifically not the original series -- he gets his facts wrong, from claiming that Bill Gates invented the PC, to saying that TNG explained why their Klingons look different by saying the Klingon Empire contains multiple species.
Overall this is a must-have for any Trek fan, but it could've been much better with a competent editor.
Each episode gets at least a dozen pages, starting with the initial story treatment and going all the way through post-production and initial airing. Along the way we get exerts from memos by various members of the production staff and their network liaison, Stan Robertson. And despite decades of stories about Robertson being a thorn in the side of production, it's clear here that he was a (somewhat frustrated) supporter of the series who often provided sound criticism of scripts and treatments, pointing out when the series was getting too repetitive (What, another episode involving an evil twin/shapeshifter? That's four in one season!) and urging the writers to take the action off the ship more often. The person who did the most to reshape stories turns out instead to be Robert Justman, the production's bean-counter whose reaction to everything was, "Too expensive." Gene Roddenberry also, it turns out, liked to dip his toe into the writing process much more than is normally reported. In fact, his rewriting of scripts by big name sci-fi authors like Bloch and Matheson left his first executive producer, John D.F. Black to leave the show.
Not that the rewriting wasn't necessary. Reading through the chapter about "City on the Edge of Forever," one can't help but realize that whatever the merits of Ellison's original script, it was not right for Star Trek. Ellison's story begins with a drug deal gone bad leading one Enterprise crewman to murder another. After a trial, Kirk takes him down to an alien planet for execution by firing squad. I'm sorry, but that isn't Star Trek. Ellison makes fun of Roddenberry's utopian idealism, but while there's certainly room for criticism there, it is that idealism that makes Trek memorable while Ellison is mainly remembered as that asshole who groped Connie Willis at a convention.
But as impressive as the book is, it's not without flaws. Published by a small press, there are more than a few spelling errors that should not've made it through to the printed book. Worse still, anytime Cushman discusses a subject that's not Star Trek -- and specifically not the original series -- he gets his facts wrong, from claiming that Bill Gates invented the PC, to saying that TNG explained why their Klingons look different by saying the Klingon Empire contains multiple species.
Overall this is a must-have for any Trek fan, but it could've been much better with a competent editor.
April 11, 2014
4.5 Stars. Disclaimer: I am a personal friend of the authors of this book, and have met several of Star Trek principals, like D.C. Fontana and David Gerrold. So of course, I'd like to see the book do well, because they are all nice people and deserve it. HOWEVER, despite being imperfect (like Gene Roddenbery and the show itself), this book stands on its own merits. It's a must-have for Trekkies, and an excellent add to a non-fiction library for those who are NOT rabid Trekkies *raising own hand* but can appreciate the tremendous cultural and scientific impact Star Trek has had on American culture, and on technological development of everything from computers to cellphones.
Where it excels
The exhaustive level of research and detail is tremendous. From the music to the costuming to the lighting to the casting to the special effects, and especially, the role of the studios and network, I came from this book with a much clearer idea of all the countless steps that had to be taken to produce this program. Few, if any, details of the cast, crew, writers, or production staff are left unexamined.
Many secrets of the show are revealed, for example, that the Enterprise bridge was built in twelve sections that could be pulled apart to facilitate filming from different angles.
There's detailed tracking of the scripts, and script analysis on whether the various rewrites improved or damaged the script. No writer enjoys being rewritten, especially the science fiction masters who contributed many of the first scripts. In a novel or short story, it doesn't cost any extra money to blow up a planet or fire twenty phaser bursts, or have crowds of people milling about. In a movie or TV show, those special effects and extras cost actual money. Reality is, if you continually make a product that costs more to make than you can sell it for, whether that's a p0rn flick, an automobile, or a television episode, you can only make so many before there ain't funds to make any more. So yes, wonderful stories were modified: to make them economically feasible to film, to bring the dialogue and actions in line with established characterizations, to create cliffhangers before each commercial break, and so on. And sometimes (in the author's opinion, you'll probably have your own) scripts were disimproved, rather than improved.
There's also an interesting look into the directors of these episodes, who was asked to return, and why (or why not). There's insight into what the actors brought to their roles. The focus is on William Shatner (Kirk) and Leonard Nimoy (Spock), of course, but also looks at Grace Lee Whitney (Yeoman Rand), DeForest Kelley (McCoy), Nichelle Nichols (Uhura), James Doohan (Scottie), George Takei (Sulu), and even the "bit" players who had recurring roles. There's quite a bit of background on each of the guest stars, even those in secondary roles.
Pluses and Minuses:
Photos: While the text would stand alone without any photos at all, there are many, some quite rare, all presented in black and white. Some of them are marvelous, and add a wonderful dimension to the reading experience. Others appear so small or are so busy they become more an annoyance than a bonus, at least when viewed via my old-school (third gen) Kindle, especially the Nielsen ratings charts. Possibly the photos appear better defined in the hardcover and paperback versions. However, using my Kindle Fire HDX, and setting my Accessibility options to allow Screen Magnification, I was able to blow them up beautifully (just double-tap on the picture). You could probably do something similar using the Kindle Reader on a laptop or iPad. So, consider how you will be reading this book before deciding which version to buy if seeing detail on the photos is important to you.
The cultural callbacks. There's a section for each episode on what was going on in American culture: what songs were on the charts, what was going on in Vietnam, with the drug culture, with politics, etc. These are fascinating and add depth and color to the narrative, BUT, they are misplaced, IMO. They are targeted to what was happening at the time each episode was filmed. To use a birth/baby analogy, what would be more interesting would be either: 1) what was happening pop culture at the time the episode was written & edited (the effect of the culture on the baby), or, 2) what was going on in pop culture at the time the episode aired (the baby was born), which would reflect the mutual effect of the episode (baby) and the broader pop culture on each other. What was going on in the world during filming on those 12-hour days probably had LESS effect on the actors, directors, and crew than at any other time, so those nuggets, interesting as they are, felt like they were hanging out there in space.
Where it falls short:
There are "unnecessary quotation marks" here and there, and sometimes typos. The end note markers are BIZARRE, both in size and in numbering system (17; 101a; 160-1, RJ5-7) compared to other non-fiction books I have read, and I've read quite a few. And they aren't actually tied to specific sources in the extensive bibliography.
The beginning and other sections on Nielsen ratings rambled on and on. I get it - Nielsen ratings = advertising dollars = dollars necessary to continue making a show. So bad or mediocre ratings can (and have) cancel some excellent shows that simply hadn't caught on yet. The point - that contrary to popular legend, Star Trek did well in the ratings - is made, belabored, and beaten like a dead horse.
There's too much detail included even on people who didn't actually end up working on Star Trek, like the acting careers of women who auditioned (and didn't get) a part in Mudd's Women.
What I did that was especially fun
At the risk of sounding like a Kindle HDX commercial, I would read a chapter about an episode, then use it to stream the episode. This gave much more depth to watching the show, which in turn gave more richness in reading the next chapter. I would notice the lighting effects that had been written about, or look for the occasional continuity oopsies. It made my personal Trek slower but much more satisfying.
There are thousands of mini-stories within the stories of each episode; which writer's nose got bent out of shape and why, the effect of the casting couch, internal staff memos, fan letters, TV Guide features, guest stars interviews, and much more. So for any serious Trekkie, or even someone interested in what is television and fandom history, this book and the two scheduled to follow it, are a treasure trove of Trek trivia.
Where it excels
The exhaustive level of research and detail is tremendous. From the music to the costuming to the lighting to the casting to the special effects, and especially, the role of the studios and network, I came from this book with a much clearer idea of all the countless steps that had to be taken to produce this program. Few, if any, details of the cast, crew, writers, or production staff are left unexamined.
Many secrets of the show are revealed, for example, that the Enterprise bridge was built in twelve sections that could be pulled apart to facilitate filming from different angles.
There's detailed tracking of the scripts, and script analysis on whether the various rewrites improved or damaged the script. No writer enjoys being rewritten, especially the science fiction masters who contributed many of the first scripts. In a novel or short story, it doesn't cost any extra money to blow up a planet or fire twenty phaser bursts, or have crowds of people milling about. In a movie or TV show, those special effects and extras cost actual money. Reality is, if you continually make a product that costs more to make than you can sell it for, whether that's a p0rn flick, an automobile, or a television episode, you can only make so many before there ain't funds to make any more. So yes, wonderful stories were modified: to make them economically feasible to film, to bring the dialogue and actions in line with established characterizations, to create cliffhangers before each commercial break, and so on. And sometimes (in the author's opinion, you'll probably have your own) scripts were disimproved, rather than improved.
There's also an interesting look into the directors of these episodes, who was asked to return, and why (or why not). There's insight into what the actors brought to their roles. The focus is on William Shatner (Kirk) and Leonard Nimoy (Spock), of course, but also looks at Grace Lee Whitney (Yeoman Rand), DeForest Kelley (McCoy), Nichelle Nichols (Uhura), James Doohan (Scottie), George Takei (Sulu), and even the "bit" players who had recurring roles. There's quite a bit of background on each of the guest stars, even those in secondary roles.
Pluses and Minuses:
Photos: While the text would stand alone without any photos at all, there are many, some quite rare, all presented in black and white. Some of them are marvelous, and add a wonderful dimension to the reading experience. Others appear so small or are so busy they become more an annoyance than a bonus, at least when viewed via my old-school (third gen) Kindle, especially the Nielsen ratings charts. Possibly the photos appear better defined in the hardcover and paperback versions. However, using my Kindle Fire HDX, and setting my Accessibility options to allow Screen Magnification, I was able to blow them up beautifully (just double-tap on the picture). You could probably do something similar using the Kindle Reader on a laptop or iPad. So, consider how you will be reading this book before deciding which version to buy if seeing detail on the photos is important to you.
The cultural callbacks. There's a section for each episode on what was going on in American culture: what songs were on the charts, what was going on in Vietnam, with the drug culture, with politics, etc. These are fascinating and add depth and color to the narrative, BUT, they are misplaced, IMO. They are targeted to what was happening at the time each episode was filmed. To use a birth/baby analogy, what would be more interesting would be either: 1) what was happening pop culture at the time the episode was written & edited (the effect of the culture on the baby), or, 2) what was going on in pop culture at the time the episode aired (the baby was born), which would reflect the mutual effect of the episode (baby) and the broader pop culture on each other. What was going on in the world during filming on those 12-hour days probably had LESS effect on the actors, directors, and crew than at any other time, so those nuggets, interesting as they are, felt like they were hanging out there in space.
Where it falls short:
There are "unnecessary quotation marks" here and there, and sometimes typos. The end note markers are BIZARRE, both in size and in numbering system (17; 101a; 160-1, RJ5-7) compared to other non-fiction books I have read, and I've read quite a few. And they aren't actually tied to specific sources in the extensive bibliography.
The beginning and other sections on Nielsen ratings rambled on and on. I get it - Nielsen ratings = advertising dollars = dollars necessary to continue making a show. So bad or mediocre ratings can (and have) cancel some excellent shows that simply hadn't caught on yet. The point - that contrary to popular legend, Star Trek did well in the ratings - is made, belabored, and beaten like a dead horse.
There's too much detail included even on people who didn't actually end up working on Star Trek, like the acting careers of women who auditioned (and didn't get) a part in Mudd's Women.
What I did that was especially fun
At the risk of sounding like a Kindle HDX commercial, I would read a chapter about an episode, then use it to stream the episode. This gave much more depth to watching the show, which in turn gave more richness in reading the next chapter. I would notice the lighting effects that had been written about, or look for the occasional continuity oopsies. It made my personal Trek slower but much more satisfying.
There are thousands of mini-stories within the stories of each episode; which writer's nose got bent out of shape and why, the effect of the casting couch, internal staff memos, fan letters, TV Guide features, guest stars interviews, and much more. So for any serious Trekkie, or even someone interested in what is television and fandom history, this book and the two scheduled to follow it, are a treasure trove of Trek trivia.
January 21, 2023
I loved it. The definitive book on the first year of Star Trek.
August 28, 2013
Meticulously researched and lovingly presented, the amount of work put into this book is apparent on nearly every page. To a serious fan of Star Trek, These Are The Voyages: TOS, Season One will serve not only as an interesting reference, but as a time capsule of sorts. This is the sort of supplementary material that will not simply sit on one's shelf for years; rather, many people will find themselves consulting it often to learn more about their favorite (or not-so-favorite) episodes. This appears to be the definitive account of the first season of Star Trek, and I for one cannot wait to get my hands on volumes two and three.
Full review: http://treklit.blogspot.com/2013/08/t...
Full review: http://treklit.blogspot.com/2013/08/t...
March 21, 2023
This is less of a book and more of a heavily documented account of the creation of "Star Trek" and the production of the first season. Marc Cushman was given access to various production documents, scripts, memos and notes which allowed him to collate an incredibly detailed history of the show.
It's quite overwhelming the amount of detail he goes into, not just in terms of various drafts of the scripts and the copious amounts of notes from producers, writers and the network but also down to the filming of each episode. Every day is accounted for so we know exactly when and where each scene was filmed. It's less a book and more a legal document at times.
I learned a lot, possibly more than I ever wanted to know, but I can see why diehard Trekkies who have seen every episode countless times might be interested to learn every detail about the production of each episode. I particularly liked Cushman correcting some misconceptions or misremembered stories that didn't line up with the various memos.
The audiobook made it easier to divide it into chunks and was well read, each player given a different voice actor, shout out to whoever voiced Robert Justman, he managed to sound less like someone reading a memo and more like a guy just voicing how he feels at any given time.
It's quite overwhelming the amount of detail he goes into, not just in terms of various drafts of the scripts and the copious amounts of notes from producers, writers and the network but also down to the filming of each episode. Every day is accounted for so we know exactly when and where each scene was filmed. It's less a book and more a legal document at times.
I learned a lot, possibly more than I ever wanted to know, but I can see why diehard Trekkies who have seen every episode countless times might be interested to learn every detail about the production of each episode. I particularly liked Cushman correcting some misconceptions or misremembered stories that didn't line up with the various memos.
The audiobook made it easier to divide it into chunks and was well read, each player given a different voice actor, shout out to whoever voiced Robert Justman, he managed to sound less like someone reading a memo and more like a guy just voicing how he feels at any given time.
January 7, 2014
Words fail me ... but I'll do my humble best. What you have here is the undeniable masterful result of years of interviews and research, along with unfettered access to the memos of the producers, writers and creators of STAR TREK during the three years of production. And it is an addictive read that will make you instantly want to re-watch Trek's first season.
Yes, that's right. This is only Volume One of Three. Over 2,000 pages or more will be on display at the close of the project (where upon Seasons Two and Three are examined).
As a young adult, I treasured books such as THE MAKING OF STAR TREK and THE WORLD OF STAR TREK, but I have to say ... this one has both of them beat.
And Robert "Bob" Justman, one of Trek's producers, should have a collection of nothing but his smart-ass memos collected. He's laugh out loud funny as he offers up suggestions, critiques, and worries regarding production costs of each and every Trek episode. I enjoyed his voice tremendously!
NOTE: Be sure to pick up the SECOND PRINTING which is expanded by at least 100 more pages, and corrects various typos and errors that slipped through in the first edition.
Yes, that's right. This is only Volume One of Three. Over 2,000 pages or more will be on display at the close of the project (where upon Seasons Two and Three are examined).
As a young adult, I treasured books such as THE MAKING OF STAR TREK and THE WORLD OF STAR TREK, but I have to say ... this one has both of them beat.
And Robert "Bob" Justman, one of Trek's producers, should have a collection of nothing but his smart-ass memos collected. He's laugh out loud funny as he offers up suggestions, critiques, and worries regarding production costs of each and every Trek episode. I enjoyed his voice tremendously!
NOTE: Be sure to pick up the SECOND PRINTING which is expanded by at least 100 more pages, and corrects various typos and errors that slipped through in the first edition.
September 30, 2016
Marc Cushman has written the book I wish I had written. He was granted access to the master files, so he could read the drafts, the memos. notes, and correspondence so you have a true sense of how Star Trek went from 1964 premise to 29 first season episodes.
Carefully, he explains who is who from directors like Marc Daniels and Joseph Pevney, to Steve Carbatsos, and even the production, music, and editing teams. You gain a true sense of how many people worked tirelessly to get the show on the air week after week.
For anyone interested in the behind-the-scenes making of the series, and how television itself was produced in the 1960s, this is a treasure trove of insights and information.
Carefully, he explains who is who from directors like Marc Daniels and Joseph Pevney, to Steve Carbatsos, and even the production, music, and editing teams. You gain a true sense of how many people worked tirelessly to get the show on the air week after week.
For anyone interested in the behind-the-scenes making of the series, and how television itself was produced in the 1960s, this is a treasure trove of insights and information.
March 16, 2015
I began this book, the first of a trilogy, which follows the production of Star Trek The Original Series from its germination though its final production about a month ago. The anthology is organized by episode in the order they were produced, which varies from the order in which they were aired. As I read each entry, I watched each episode, courtesy of Netflix. Watching the episodes, especially the first season in the order whey were produced is an eye opener as you can watch each actor begin to make their character their own, watch the Star Trek world evolve, and gain a deeper appreciation for the efforts of the behind the scenes folks (writers, producers, cinematographer, etc)to make this one of the most ground breaking shows of its era. If you are a Star Trek: TOS fan you need to own this trilogy!
Started Book II (Season II) immediately!
Started Book II (Season II) immediately!
May 5, 2015
Nietzsche has said that the gravest insult you can give anyone is to picture their ideal. This is the Robert Caro approach to Star Trek. It is obsessive and took twenty years and is full of insane and beautiful detail. Have you ever been really, really interested in why Steve Carabatsos did not "fit in" with the Star Trek writing staff? Have you ever wondered about the exact layout of Desilu Stage 9 and 10? I am not feeling too great right now and this book is essentially like concentrating a season of Star Trek into pill format and swallowing it. Highly recommended to the sorrowful. I intend to read all of them.
May 7, 2022
In the 1980s, Gene Roddenberry gave writer Marc Cushman access to the Star Trek files. The result, after 30 years, additional interviews (both by the author and pulled from publications) is a comprehensive three-volume production diary called These Are the Voyages. The nature of the Trek archives puts the focus on the writing of episodes, with the people involved well represented by internal memos going back and forth. We get a real sense of who the people are, especially producer Robert Justman, the penny pincher with the acidic sense of humor, and Roddenberry himself, both the hero and the villain of the story, but many others, including the network man, the broadcast standards censor, and the show's many writers. Not to say there aren't stories from the set or editing bay, but the real gold is in the first section devoted to each episode (and of course, the ramp-up to getting a series together). I love deep dives into my favorite shows, and while Doctor Who has a LOT of publications that do just that, Trek guides are often shallower and "authorized". Almost makes you wish Cushman could have continued into TAS, TNG, etc., not that it seems doable in a single life time. But Cushman also doesn't have a great handle on later Trek, as one particularly goofy mistake in Vol.1 shows - he mentions a Ramata Klan soldier from Deep Space Nine, Ramata'Klan being the name of a particular Jem'Hadar soldier. So full disclosure, there are weird mistakes like that when discussing things OTHER than TOS, the book is not immune to typos even in its Revised Edition, and because Cushman also wrote books about Lost in Space and I Spy, he mentions them an awful lot. Still, as I finished this 600-page brick, I slipped my bookmark directly into Vol.2. That says something.
February 20, 2024
In terms of STAR TREK scholarship, NOBODY is going to beat Marc Cushman. This is a rich, vast, encyclopedic, and deeply impressive submergence into the original series. And this is just the first season! We learn so much about the insane production demands, the temperaments of the cast and crew (Leonard Nimoy as deeply supportive of actors and fighting for Spock's dignity, Marc Daniels as a dependable slavedriver, Bob Justman as a man doing his damnedest to keep things under budget, Gene Roddenberry shamelessly rewriting great writers when he didn't have their talent, Dorothy Fontana as master diplomat, et al.). Bless Marc Cushman for conducting so many interviews while the cast and crew were still alive and for performing one of the most Ahabian guides to television that I've ever read. These books are a must-own for Trekkers.
September 4, 2019
Originally published online at BORG.com.
Literally hundreds of books and journal articles have been written on the three seasons of Gene Roddenberry’s Star Trek. What more can be said about the making of this series? After all, there is a well-maintained website chronicling seemingly all you would want to know about “the original series” called Memory Alpha. Plus, nearly every major player involved with the creation of Star Trek has written a book on it, from Herb Solow and Robert Justman’s Inside Star Trek to William Shatner’s Star Trek Memories, Gross and Altman’s Captains’ Logs, to Stephen Whitfield’s The Making of Star Trek, Allan Asherman’s The Star Trek Compendium to the more recent entry Block and Erdmann’s Star Trek: The Original Series 365. But what writer/researcher Marc Cushman’s new These Are the Voyages – TOS: Season One does is pull information from all these sources plus resources like Starlog, Daily Variety, and TV Guide articles as well as delve into an archive of production work papers from the UCLA Performing Arts Special Collections never before tapped for such an exhaustive work on the series. These Are the Voyages is a treatise on Trek, a comprehensive history of a crowning achievement in science fiction, but also a history of television itself in the 1960s.
These are the Voyages delves into each episode in a level of detail that has not been reached before. For each episode the author gives a brief picture of where the U.S. stood via pop songs on the radio and national events. Cushman then introduces a plot summary and nicely extracts the critical theme of each episode—separating Star Trek from frivolous weekly episodes of competing series with each episode’s focus on some weighty issue for mankind. Pulling margin notes, memos, and script drafts together with interviews, both old and new, Cushman recreates the making of each episode from a production standpoint and–even more illuminating—he recreates the development of each story into the final script. Who was responsible for the romance between Edith Keener and Captain Kirk in City on the Edge of Forever? (Not Harlan Ellison). When did Gene Roddenberry’s rewrites contribute to or take away from the story writers’ original vision? What would NBC let the production get away with (like William Ware Theiss’s many actress costumes) and what did they censor (such as how brutally red-shirts could be offed)? Why did Romulans wear helmets in Balance of Terror? How much of those famous introductory words to each episode were actually penned by Gene Roddenberry, and how many takes did William Shatner need to get it right?
Cushman also records here for the first time in context the puzzling Nielsen’s ratings that supposedly ultimately prompted NBC to drop Star Trek altogether. Here we see another story emerge: Did NBC simply disregard Star Trek’s significant margin share, hidden from the public back in the late 1960s? Could they just not get past the idea that a genre TV series could survive?
We also get to see something we never get to see—the actual salaries and per-episode pay given to each major Star Trek actor. We get to see the time and sweat poured into getting each story as perfect as the deadlines would allow, the aggravation and toll on cast and crew of long days and work schedules. Where past works on Star Trek give a single perspective on decisions, These Are the Voyages presents many views of the most controversial and lets the reader decide. Why was Grace Lee Whitney really cut from Season One so quickly? Why were the episodes created in one order, only to be presented differently, with many episodes not re-broadcast in syndication for several years? Which episodes were the most costly? How did the producers swing building a prop shuttlecraft Galileo for no out-of-pocket cash?
These Are the Voyages intersperses in its narrative a treasure trove of black and white behind-the-scenes images, most never before published. Here you’ll find clapperboards galore, views of sets all the way to their off-camera boundaries, on-location images, producers and other creators with series stars, guest stars in their many futuristic costumes preparing for filming, and much more cut footage.
Professors of the history of technology or the history of television will find here material that will amplify their teaching and studies of this period, all anchored by the weight and influence of none other than Lucille Ball and Desilu Studios. Everyone’s favorite classic comedienne was even onsite late hours pressuring the production to meet its schedule. Readers will also encounter hundreds of other television shows in this first volume as Star Trek relied in great part on the creative talents behind so many classic series, but also movie creators, too. What key role did the cinematographer of Gone With the Wind play in establishing the lasting look of the universe of Star Trek? What actors would appear in the original series and come back in later Star Trek series?
Challenges for the next two volumes covering Season Two and Season Three are many. So much content in Season One revolves around the trials of getting the production off the ground. What similar challenges will we find facing the production in Season Two? With a Season Three that is full of episodes hardly as compelling as those of the first two seasons, how will Cushman hold our interest through the end of the series? As much as you can pack into such an immense work, fans will always want more. William Ware Theiss and Wah Chang created costumes and props for the series, and Cushman includes a few comments by these creators, including that fact that Theiss felt forthright enough to comment on the substance of scripts to Roddenberry himself, but readers will want even more from these creators in future volumes–if more is available (we’re a greedy bunch).
Co-written by Susan Osborn, Volume One clocks in at a hefty 580 pages, with a foreword by John D.F. Black and Mary Black. If book one is any indication, Star Trek fans will have another thousand pages of densely packed content to sift through in the coming months as later volumes are released. A three-book boxed set will be a must.
If you already have a shelf full of the 40 years of non-fiction books written about Star Trek, you may not think you need another book on the original series. However, if you don’t, and even for those who think they know everything about Star Trek, you will find These are the Voyages TOS: Season One an exhaustive, indispensible resource and a most compelling and interesting read.
Literally hundreds of books and journal articles have been written on the three seasons of Gene Roddenberry’s Star Trek. What more can be said about the making of this series? After all, there is a well-maintained website chronicling seemingly all you would want to know about “the original series” called Memory Alpha. Plus, nearly every major player involved with the creation of Star Trek has written a book on it, from Herb Solow and Robert Justman’s Inside Star Trek to William Shatner’s Star Trek Memories, Gross and Altman’s Captains’ Logs, to Stephen Whitfield’s The Making of Star Trek, Allan Asherman’s The Star Trek Compendium to the more recent entry Block and Erdmann’s Star Trek: The Original Series 365. But what writer/researcher Marc Cushman’s new These Are the Voyages – TOS: Season One does is pull information from all these sources plus resources like Starlog, Daily Variety, and TV Guide articles as well as delve into an archive of production work papers from the UCLA Performing Arts Special Collections never before tapped for such an exhaustive work on the series. These Are the Voyages is a treatise on Trek, a comprehensive history of a crowning achievement in science fiction, but also a history of television itself in the 1960s.
These are the Voyages delves into each episode in a level of detail that has not been reached before. For each episode the author gives a brief picture of where the U.S. stood via pop songs on the radio and national events. Cushman then introduces a plot summary and nicely extracts the critical theme of each episode—separating Star Trek from frivolous weekly episodes of competing series with each episode’s focus on some weighty issue for mankind. Pulling margin notes, memos, and script drafts together with interviews, both old and new, Cushman recreates the making of each episode from a production standpoint and–even more illuminating—he recreates the development of each story into the final script. Who was responsible for the romance between Edith Keener and Captain Kirk in City on the Edge of Forever? (Not Harlan Ellison). When did Gene Roddenberry’s rewrites contribute to or take away from the story writers’ original vision? What would NBC let the production get away with (like William Ware Theiss’s many actress costumes) and what did they censor (such as how brutally red-shirts could be offed)? Why did Romulans wear helmets in Balance of Terror? How much of those famous introductory words to each episode were actually penned by Gene Roddenberry, and how many takes did William Shatner need to get it right?
Cushman also records here for the first time in context the puzzling Nielsen’s ratings that supposedly ultimately prompted NBC to drop Star Trek altogether. Here we see another story emerge: Did NBC simply disregard Star Trek’s significant margin share, hidden from the public back in the late 1960s? Could they just not get past the idea that a genre TV series could survive?
We also get to see something we never get to see—the actual salaries and per-episode pay given to each major Star Trek actor. We get to see the time and sweat poured into getting each story as perfect as the deadlines would allow, the aggravation and toll on cast and crew of long days and work schedules. Where past works on Star Trek give a single perspective on decisions, These Are the Voyages presents many views of the most controversial and lets the reader decide. Why was Grace Lee Whitney really cut from Season One so quickly? Why were the episodes created in one order, only to be presented differently, with many episodes not re-broadcast in syndication for several years? Which episodes were the most costly? How did the producers swing building a prop shuttlecraft Galileo for no out-of-pocket cash?
These Are the Voyages intersperses in its narrative a treasure trove of black and white behind-the-scenes images, most never before published. Here you’ll find clapperboards galore, views of sets all the way to their off-camera boundaries, on-location images, producers and other creators with series stars, guest stars in their many futuristic costumes preparing for filming, and much more cut footage.
Professors of the history of technology or the history of television will find here material that will amplify their teaching and studies of this period, all anchored by the weight and influence of none other than Lucille Ball and Desilu Studios. Everyone’s favorite classic comedienne was even onsite late hours pressuring the production to meet its schedule. Readers will also encounter hundreds of other television shows in this first volume as Star Trek relied in great part on the creative talents behind so many classic series, but also movie creators, too. What key role did the cinematographer of Gone With the Wind play in establishing the lasting look of the universe of Star Trek? What actors would appear in the original series and come back in later Star Trek series?
Challenges for the next two volumes covering Season Two and Season Three are many. So much content in Season One revolves around the trials of getting the production off the ground. What similar challenges will we find facing the production in Season Two? With a Season Three that is full of episodes hardly as compelling as those of the first two seasons, how will Cushman hold our interest through the end of the series? As much as you can pack into such an immense work, fans will always want more. William Ware Theiss and Wah Chang created costumes and props for the series, and Cushman includes a few comments by these creators, including that fact that Theiss felt forthright enough to comment on the substance of scripts to Roddenberry himself, but readers will want even more from these creators in future volumes–if more is available (we’re a greedy bunch).
Co-written by Susan Osborn, Volume One clocks in at a hefty 580 pages, with a foreword by John D.F. Black and Mary Black. If book one is any indication, Star Trek fans will have another thousand pages of densely packed content to sift through in the coming months as later volumes are released. A three-book boxed set will be a must.
If you already have a shelf full of the 40 years of non-fiction books written about Star Trek, you may not think you need another book on the original series. However, if you don’t, and even for those who think they know everything about Star Trek, you will find These are the Voyages TOS: Season One an exhaustive, indispensible resource and a most compelling and interesting read.
October 20, 2013
To borrow a familiar word: Fascinating. An _incredibly_ in-depth and copiously researched look into the creation and production of the original series. The sole problem is that it seems it could have used another editing pass or two, with numerous spelling or formatting errors, and occasional odd errors when venturing beyond the boundaries of the original series (the differing looks of Klingons over the years was not explained during _The Next Generation_, nor was it due to there being "different species" of Klingons). Still, even with that minor gripe, the amount of detail contained in this textbook-like tome, much of it sourced from original production documents given to the author by Gene Roddenberry himself in the 1980s, is wonderful for the die-hard fan. Looking forward to the coming volumes two and three, covering seasons two and three, respectively.
June 21, 2015
I'm one of those old Original Series fans. Sure I like Next Gen, etc.... but they never held a candle to the Original Series.
I've been reading "Making of Star Trek" books since I was about 10 years old. So in 30 years of reading this very tight sub-genre, this is hands down the best of the bunch. It's amazing well researched and doesn't have an agenda to promote (as many of the actor written books do). By far the most amazing thing it does is shatter the myth that Star Trek was failing in the ratings war (in reality it was NBC's highest rated Thursday night show).
Amazing read.
I've been reading "Making of Star Trek" books since I was about 10 years old. So in 30 years of reading this very tight sub-genre, this is hands down the best of the bunch. It's amazing well researched and doesn't have an agenda to promote (as many of the actor written books do). By far the most amazing thing it does is shatter the myth that Star Trek was failing in the ratings war (in reality it was NBC's highest rated Thursday night show).
Amazing read.
November 7, 2018
This was a fantastic read. I learned so much about the creation of Trek and the first year production. Lots of stuff I didn't know previously.
For years I’ve been well aware of the hundreds of “making of” reference books on Doctor Who, but I was totally gobsmacked to find out that there were these sorts of books covering the original 1966-69 Star Trek series too.
I discovered this book one day in November 2017 while perusing Amazon.ca for some new reading material. Taking a look at the book’s overall concept and what it covered, I was fascinated—this was definitely something I’d like to read.
the authors are to be commended for writing such an engaging and informative book, I do have to mention that sadly such a wonderful book as this is let down by poor layout and binding. The book contains several typographical mistakes; the text on the page is off centered, with numerous instances of text on the left margins coming perilously close to being cut off. Much of the layout is also off centered and printed at a diagonal, while the overall page layout comes across as a badly made experiment in self-publishing. I was disappointed by the publisher’s lack of attention to these details, and it’s really too bad a book of such high calibre has been let down by sloppy and blatantly amateurish execution.
Despite these complaints, this is definitely a book for the seasoned, and even the newbie, Star Trek fan.
(Read the full review in the first issue of Chromakey)
For years I’ve been well aware of the hundreds of “making of” reference books on Doctor Who, but I was totally gobsmacked to find out that there were these sorts of books covering the original 1966-69 Star Trek series too.
I discovered this book one day in November 2017 while perusing Amazon.ca for some new reading material. Taking a look at the book’s overall concept and what it covered, I was fascinated—this was definitely something I’d like to read.
the authors are to be commended for writing such an engaging and informative book, I do have to mention that sadly such a wonderful book as this is let down by poor layout and binding. The book contains several typographical mistakes; the text on the page is off centered, with numerous instances of text on the left margins coming perilously close to being cut off. Much of the layout is also off centered and printed at a diagonal, while the overall page layout comes across as a badly made experiment in self-publishing. I was disappointed by the publisher’s lack of attention to these details, and it’s really too bad a book of such high calibre has been let down by sloppy and blatantly amateurish execution.
Despite these complaints, this is definitely a book for the seasoned, and even the newbie, Star Trek fan.
(Read the full review in the first issue of Chromakey)
July 5, 2021
This was a birthday present. Because the giver purchased it through the Jacobs/Brown Media Group web site, it was signed by the author. At first I was intimidated by the 600+ pages, and by how the glossy hardcover feels like a college text book. But once I started reading, I could not stop- EXCEPT to watch each episode after reading about it. I realized that there were some episodes from the first season (such as the first episode to air, "The Man Trap", and the crown jewel of the first season, "The City On The Edge Of Forever") that I had never seen. Every detail is, as Spock would say, "Fascinating", especially when the author mentions which records were the top sellers or which songs were getting the most air play when shooting started on an episode. There is also a great section about all of the products (good and ridiculous) generated by the first season of Star Trek. I especially admire the lack of hero worship; the author does not gush over Gene Roddenberry or anyone in the cast or crew, and the numerous mentions of their foibles is terrific. I can wait for the holiday season when I request (and am certain to receive) These Are The Voyages: TOS Season Two.
September 19, 2020
In the beginning...
I am a Star Trek fan from way back, September 8, 1966 to be exact. I am not fanatical about it. I can't speak Klingon and I don't know how many Romulans can dance on the head of a pin; but I do have fond memories of watching this show over the past 50 years. If you only read one (actually 3) book(s) about the making of the original Star Trek this is it. 600+ pages on the first season alone. It painstakingly describes the development of the series and each individual episode. It includes the development of each script, the process of each production (including the final budget) and the reception of each episode through both fan mail and Nielsen(?) ratings. It is also a primer on television production in the 1960's. It explains how a show creator's vision is almost always compromised (but sometimes enhanced) by budgets and network deadlines. I cannot recommend this book enough.
I am a Star Trek fan from way back, September 8, 1966 to be exact. I am not fanatical about it. I can't speak Klingon and I don't know how many Romulans can dance on the head of a pin; but I do have fond memories of watching this show over the past 50 years. If you only read one (actually 3) book(s) about the making of the original Star Trek this is it. 600+ pages on the first season alone. It painstakingly describes the development of the series and each individual episode. It includes the development of each script, the process of each production (including the final budget) and the reception of each episode through both fan mail and Nielsen(?) ratings. It is also a primer on television production in the 1960's. It explains how a show creator's vision is almost always compromised (but sometimes enhanced) by budgets and network deadlines. I cannot recommend this book enough.
May 5, 2018
Every year I try to read one hefty tome about some aspect of pop culture history, and this was it for this year. It was indeed hefty, as it went through both the conception of Star Trek and the writing, filming, and reaction to every episode from season one. It also had a lot of interesting tidbits about the television industry of the early to mid 1960's, when every show on TV was a western and there were shows called things like "The Alcoa Hour" because the three networks and sponsors controlled everything. It's interesting to look back and see how episodes whose effects look laughably terrible now were budget-busting for their time, and how it was the sheer expense of filming the show at a high quality that would end up being its downfall rather than the low ratings that seem to be the generally-accepted story.
March 1, 2017
This book was somewhat disappointing. It started off okay, with some interesting production and scriptwriting details but it too quickly devolved into this repetitive pattern for every episode with attempts to justify different script decisions that frankly didn't really hold up to my scrutiny as a reader or as a fan of the TV show. There is too much focus on the backgrounds of the minor actors, particularly people who came on for very limited exposure. By this, I mean they were given detailed backgrounds and talked about at length without really giving me any information on why they were chosen or how they were affected. In some cases, that information was presented but overall it felt like filler. I've ended up deciding not to continue reading the other books after this.
March 23, 2021
Imagine Star Trek: The Original Series had a Three Volume Detailed History Collection.
Imagine having access to tons of Star Trek: TOS data, interviews, & Nielson ratings for each episode of the first season.
This book is split into episodic sections. (Synopsis, Story origin & development, Studio & Network interference, production [with costs included.], dates created & aired. Off Studio Locations, Scandals, even Drama.
Through a post on Reddit, I learned the publisher released an audiobook version with a star-studded cast. Some of the readers of the interviews are the actual people who gave the interview.
Others performed individual actors/crew throughout the book. Even children of Nemoy & Doohan.
If you ever like the Original Star Trek, do yourself a favor & get this/these books.
Imagine having access to tons of Star Trek: TOS data, interviews, & Nielson ratings for each episode of the first season.
This book is split into episodic sections. (Synopsis, Story origin & development, Studio & Network interference, production [with costs included.], dates created & aired. Off Studio Locations, Scandals, even Drama.
Through a post on Reddit, I learned the publisher released an audiobook version with a star-studded cast. Some of the readers of the interviews are the actual people who gave the interview.
Others performed individual actors/crew throughout the book. Even children of Nemoy & Doohan.
If you ever like the Original Star Trek, do yourself a favor & get this/these books.
September 24, 2018
As a kid I devoured as many books about my favorite show that I could. The Making of Star Trek, The World of Star Trek, The Trouble with Tribbles. I had a Star Trek Compendium. I had a Starfleet Technical Manual. I had the blueprints. I was, to say the least, a fan. I was never a "Trekker", I was and always will be a "Trekkie".
Cushman's book is a worthy companion to those aforementioned. Detailing the process of every episode it goes into less about the nuts and bolts than Whitfield's book did but it manages to goose nuggets about the entire show from stem to stern.
If you are a Star Trek fan, this is something you should dive into.
I look forward to the next volume.
Cushman's book is a worthy companion to those aforementioned. Detailing the process of every episode it goes into less about the nuts and bolts than Whitfield's book did but it manages to goose nuggets about the entire show from stem to stern.
If you are a Star Trek fan, this is something you should dive into.
I look forward to the next volume.
December 7, 2020
Super-detailed book probably for die-hard trekkers only. But I was intrigued enough to buy volumes 2 and 3 in this series. This might also be good for people interested in the process of screenplay writing and television production. While the details have certainly changed since the 1960s, I believe it will give you a good flavor of the process. Also, Robert Justman's memo excerpts on the cost of producing some scripts and the liberties taken with Kirk, Spock and other characters had my spouse and I in stitches.
A few things that surprised me - the actual story of where Star Trek TOS's miniskirts came from and why the TOS Klingons looked the way they do.
A few things that surprised me - the actual story of where Star Trek TOS's miniskirts came from and why the TOS Klingons looked the way they do.
April 25, 2018
Lots of interesting well researched information
Good read with lots of information on the nitty-gritty of the making of each episode. Did not appreciate the author's constant commentary on which episodes were good and what was bad -- did not agree with many of his assessments. Also I would just skip the paragraphs of what was popular the day a particular episode started filming, it felt like not needed filler. Still, really good if you care about Star Trek and/or old TV production
Good read with lots of information on the nitty-gritty of the making of each episode. Did not appreciate the author's constant commentary on which episodes were good and what was bad -- did not agree with many of his assessments. Also I would just skip the paragraphs of what was popular the day a particular episode started filming, it felt like not needed filler. Still, really good if you care about Star Trek and/or old TV production
January 9, 2022
This may not be a book that everyone will want to read. I am no Star Trek superfan. There are countless people that have far more Star Trek knowledge than myself. However, I am slightly obsessed with the original series. This book takes each episode from outline to screenplay, through production and post-production. It gives a glimpse into what went on behind the scenes using excerpts from memos and anecdotes from cast, crew, and producers. I loved it. Looking forward to reading Seasons 2 and 3.
September 23, 2024
Now I know the answer to “Star Trek or Star Wars?”
I was too young to appreciate Star Trek and too old to ever take Star Wars seriously. This book shows why Star Trek is the seminal work of modern science fiction and should receive all the laurels.
I highly recommend watching the remastered original series in parallel to reading. The original series was shot on film so this HD quality presentation demonstrates the brilliance of the cinematography and also puts some of the bloopers on display.
What a joy to learn how all this came to life!
I was too young to appreciate Star Trek and too old to ever take Star Wars seriously. This book shows why Star Trek is the seminal work of modern science fiction and should receive all the laurels.
I highly recommend watching the remastered original series in parallel to reading. The original series was shot on film so this HD quality presentation demonstrates the brilliance of the cinematography and also puts some of the bloopers on display.
What a joy to learn how all this came to life!
May 15, 2018
This book straddles the area between a true work of academic research and an exhaustive dump of fan fuel. I loved the behind-the-scenes stories and extensive detail. But damn this thing is long. I don't know what I would have chosen to leave out or cut back on. But I'll have to recharge my batteries before undertaking the Season 2 volume.
January 24, 2019
I really enjoyed this look at the making of Star Trek season one and I look forward to the next two volumes. It is very detailed and interesting. I enjoyed reading about how the show was made. It goes into details about the writing filming, adding effects and music. I can't recommend it enough.
March 26, 2019
I didn’t read every word and absorb every instance of crew overtime, but there are some fascinating anecdotes and a lot of great quotes - contemporaneous and looking back later - from the people involved.
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