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Old February 11th, 2012, 10:15 PM
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Appendix A, Part V: Star Trek Miscellany

Welcome to the first of two "epilogue" updates with regards to the development, history, and legacy of Star Trek ITTL. (As always, editorial notes and comparison points to OTL will be highlighted in RED and placed in brackets.) This first post will cover the program history from a trivia and statistical perspective, or what I like to call the "Wikipedia approach"...

Name:  Star Trek Title Card.png
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The title card for Star Trek. (For all five seasons.)

Star Trek
was in development from March 11, 1964, to July 5, 1971. In that time, two pilots, 130 regular episodes, four serial episodes (a pair of two-part stories), and one feature-length finale were produced. The syndication package for the series contained 135 episodes; this excluded the unaired original pilot, "The Cage", as well as the two-part crossover with Doctor Who, which was already part of that program's syndication package. The series finale, "These Were the Voyages", was itself split into two separate episodes for syndication. The nice, round number of 135 that resulted was enough to last for 27 weeks (just over half a year) in standard "stripped" syndication.

The Cast of Characters
(The characters are going to be listed by number of appearances per the 135 syndicated episodes, though a total of 138 were produced. These three "lost episodes" are all archived at Desilu, with the Star Trek version of the crossover becoming a bootleg favourite.)

William Shatner portrayed James Tiberius Kirk (his middle name, revealed on TAS IOTL, was here revealed in the fourth season), and appeared in every episode to be produced, with the exception of the original pilot (in which 1950s matinée idol Jeffrey Hunter had played Captain Christopher Pike). The Commanding Officer of the USS Enterprise for the entire run of the series, he held the rank of Captain until the series finale, at which time he was promoted to Commodore, and assigned command of a new vessel, the Excelsior. As a character, Kirk had a singular passion for his command and an almost perverse love for his ship. Boisterous and charismatic, he was devoted to his crew, but always kept a certain professional distance from all but his closest friends, Spock and Bones. He was also known for his love of women, frequently seducing them or enjoying their company, though his ship and his crew always came first. His larger-than-life portrayal by Shatner, though idiosyncratic to say the least, somehow suited the character perfectly. (Shatner, on the whole, does a better job of Kirk ITTL. Certainly, he can act when he really tries, and he's got more reason to try here.)
Catchphrase or verbal tic: Tendency to speak with a peculiar cadence; difficult to describe but easy to imitate

Leonard Nimoy played the half-Vulcan (his father was a Vulcan and his mother a Human), Mister Spock. The character's surname, never revealed during the run of the series proper (due to claims of being "unpronounceable"), was half-jokingly listed as "Xtmprsqzntwlfb" in production notes. (as per OTL; D.C. Fontana is credited with this facetious creation.) Nimoy, like Shatner, appeared in all episodes to air, but also appeared in the original pilot (where he was given the show’s very first line: "Check the circuit"). Spock is initially described as a Lieutenant Commander during the first season, but is quietly "promoted" to full Commander by the second. He serves as both Science Officer and First Officer throughout the show's run. Spock is promoted to Captain, and is assigned command of the Enterprise, on which he has served for his entire career, in the series finale. The character is known for his stoic nature and adherence to the Vulcan philosophy of logic; though he often feigns lack of capacity for Human emotion, it is clear that he feels very deeply. His closest friends on the ship are Kirk, Scotty, and Uhura. His relationship with Bones is famously antagonistic, but affectionately so; Nurse Chapel, on the other hand, longs for him, which he very awkwardly tries to accommodate in his dealings with her.
Catchphrase or verbal tic: Overuse of the words "logical" (or "illogical") and "fascinating"

DeForest Kelley was Dr. Leonard "Bones" McCoy. (Canonically, his middle name is only the letter "H", though "Horatio" was intended. But this was introduced much later than the run of the series IOTL.) From the Southern United States, his exact birthplace was never revealed, though he was said to have completed his undergraduate studies at the University of Georgia, the home state of the actor portraying him. (As opposed to Ole Miss, his OTL alma mater.) Kelley joined Shatner and Nimoy in the show’s opening titles from the second season onward, and appeared in every episode produced during this tenure. He missed four episodes in the first season, including the second pilot, for a total of 131 appearances. (He also appeared in both halves of the crossover.) Two of these absences bear mentioning: "Where No Man Has Gone Before" is the only episode to feature Scotty but not McCoy; "Errand of Mercy" is the only one to feature Kor but not McCoy. The good Doctor served as Chief Medical Officer aboard the Enterprise, holding the rank of Lieutenant Commander (though, as CMO, he was outside of the command hierarchy, which he often held over his ostensible "superiors"). At the end of the series, he resigned his Commission to return to Earth in order to be with his daughter, Joanna. As a character, McCoy was primarily shaped by his interactions with others, and his friendships with Kirk, Scotty, Uhura, and Nurse Chapel were all important. (The friendship with Uhura was borne out of the close friendship between Kelley and Nichols; it was also a subtle but effective way to demonstrate racial harmony, given their respective heritage.) However, it was his legendary rivalry with Spock that came to define both characters.
Catchphrase or verbal tic: "He's dead, Jim" (uttered, in that exact construction, over a dozen times, with variants used at least twice as often); "I'm a doctor, not a..." (heard about as frequently); various racist insults toward Spock

James Doohan played Montgomery "Scotty" Scott, a Scotsman from Aberdeen. (Later episodes confirm the obvious reference to Aberdeen as the place of his birth, from "Wolf in the Fold".) Doohan was absent from fifteen episodes of the series total, including a whopping twelve in the first season. From the third season onward, he appeared in every episode; these declining absentee records are reflective of the character’s increasing importance over time. (He also appeared in both halves of the crossover.) Scotty, as he insisted on being called (in casual situations, he accepted only Spock referring to him as Mr. Scott), was established as third-in-command of the Enterprise during the first season, and held the position of Chief Engineering Officer. A Lieutenant Commander for the first three seasons, he was promoted to full Commander in the fourth. He then became the First Officer of the Enterprise, on which he had served for most of his career, in the series finale. An incredibly talented engineer and repairman, Scotty had a knack for saving the day just in the nick of time. The warmest character on the show, he had friendly relationships with most of his crewmates. He and Bones were established as drinking buddies, often exchanging bemusement at the chains of command that bound their Captain and First Officer. Scotty viewed Chekov as something of a protégé, and Kyle as a trusted lieutenant. As both he and Uhura were very gregarious people, they also got along handsomely. He and Spock were established as having served on the Enterprise together prior to Kirk assuming command, and their relationship was one of implicit trust and co-operation. His relationship with Kirk was oddly stiff and formal, especially by the standards of two such exuberant characters, but befitting of Kirk’s failure to relate to any of his crew not named "Spock" or "Bones". (James Doohan seemed too much of a professional to let his hatred for Shatner get in the way of his performance, though even IOTL, it's strange how distant the two characters are. Here it's even more glaring, because Scotty gets along with everyone else.)
Catchphrase or verbal tic: (Phony) Scottish accent; complaining that he cannot possibly meet the Captain's needs, and then managing to do so anyway; complaining that the ship cannot endure much more of whatever pressure it is under, and then helping it to do so

Nichelle Nichols was Penda Uhura, from East Africa. (After 40 years, "Nyota", meaning "star", finally became canon IOTL with the reboot film. However, early fanon seems to have preferred "Penda", meaning "love", instead, so that's what prevails ITTL.) Vague and contradictory evidence was given on her exact birthplace, with Tanzania, Kenya, and Uganda each implied in different episodes. All were consistent with her mother tongue of Swahili. Though Nichols missed at least one episode every season, she appeared in 121 out of 135 total, one more than Doohan (120), putting her in fourth place in overall appearances. (Nichols also appeared in more episodes than Doohan IOTL, at 68-to-65.) The character of Uhura was the Communications Officer, and was said to be fluent in many languages, including alien ones. (In contrast to the OTL character, who never bothered to learn the language of one of the galaxy's major powers.) For the first three seasons, she held the rank of Lieutenant, and was promoted to Lieutenant Commander in the fourth season. She was also the ship’s Fourth Officer, putting her at fifth in the overall chain of command behind Kirk, Spock, Scotty, and Sulu. (Implied in "Bem", this is explicitly confirmed in "The Lorelei Signal".) Known for her beautiful singing voice and sassy charm, she was very popular among all of her crewmates. But in dangerous situations, she proved herself a capable and skilled officer. Perhaps her most important friendship was with Nurse Chapel, though she got along with just about everybody on the ship, including Spock, Bones, Scotty, Sulu, and Chekov.
Catchphrase or verbal tic: "Hailing frequencies open"; singing (which she does in about a dozen episodes)

George Takei portrayed Walter Sulu. (Walter was apparently planned as his name, but it never came to be IOTL, with "Hikaru" prevailing instead. ITTL, this means that two characters have the name of a different actor.) The character, meant to represent all of Asia, as Uhura represented all of Africa, was (like Takei) born in California, but his precise ethnic origins were deliberately never revealed. Takei appeared in as many episodes in the first season as Doohan (including the second pilot; they, along with Shatner and Nimoy, were the only ones to appear there and carry over into the series proper). Takei was absent from a number of second-season episodes due to his commitment to film The Green Berets with John Wayne. All told, he appeared in 104 episodes out of 135. (He also appeared in one of the two crossover episodes.) The ship’s helmsman, he was initially a Lieutenant for the first three seasons. He was then promoted to Lieutenant Commander for the fourth. He was also the ship’s Third Officer, fourth-in-command behind Kirk, Spock, and Scotty. Sulu was notorious for his serial hobbyism; he had a different interest in almost every episode. Known for his light and breezy wit, somewhat less cutting and sarcastic than that of Spock, he was good friends with Chekov, and the two of them occasionally served as a Greek chorus on the episode’s events (as in "Amok Time"). He was also friendly with Uhura, though the crush he seemed to have on her in earlier episodes never really went anywhere. (The writers eventually decided that Uhura wouldn't go any further with any male character than innocent flirtation. As IOTL, Sulu never gets a love interest throughout the show's run, for reasons that are obvious to us in retrospect, despite Takei's protestations.)
Catchphrase or verbal tic: "Well, I've always been a fan of..." (insert fleeting hobby here), or similar

Walter Koenig played Pavel Andreievich Chekov. He was born in Leningrad, Russia ("Soviet Union", a political term, was eschewed in favour of the geographical "Russia"). (And as far as you know, "Leningrad" may never become an obsolete term ITTL.) Koenig joined the cast in the second season, and was bolstered by the absence of Takei for much of it, being given his lines in many episodes. Indeed, he appeared in more of them (90) in the last four seasons than Takei (87). (Like Takei, he appeared in only one of the two crossover episodes.) Serving as the ship’s Navigator, Chekov was introduced as an Ensign, and was promoted to Lieutenant, Junior Grade after two seasons. In the series finale, he was then promoted again, to full Lieutenant. Of all the other characters, only Spock was also promoted twice over the course of the series. Accordingly, Chekov was characterized as a callow but bright young officer. Like Scotty, he was intensely proud of his homeland, though perhaps somewhat too intensely. He was on good terms with most of the other officers – with Scotty, Sulu, and Uhura all taking a particular shine to him; even Spock had a soft spot for him.
Catchphrase or verbal tic: (Phony) Russian accent; describing something as having been "inwented in Russia" or as a "Russian inwention"

John Winston portrayed Mr. Kyle, whose first name was never revealed over the course of the series. The character, like the actor, was of English extraction, though his home county was never revealed. (Winston himself is from God's Own Country, Yorkshire - Leeds, to be specific - though of course, he doesn't sound like he is.) Winston appeared in every season, though he made only a few brief appearances in the first. He became a regular in the second, appearing in at least half the episodes produced from the third season onward, for a total of 67 episodes out of 135. (In addition to both halves of the crossover, given his English heritage and resultant popularity in the UK.) He served as Transporter Chief, though he was something of a jack-of-all-trades and was also seen on the Bridge and in the Engine Room, often assisting Scotty in the frequent event of a stranded landing party. He held the rank of Lieutenant throughout the show’s run, finally promoted to Lieutenant Commander in the series finale. As a character, he functioned largely as a "straight man" to those around him; he wasn’t really developed to the same extent as his crewmates. (In other words, he is developed to the same level as everyone who was not Kirk, Spock, Bones, and Scotty IOTL.) He was helpful, dependable, and versatile, but these were primarily job descriptions, not personality ones. His closest friendship was probably with Scotty, in the sense that they often worked together. Famously, Kirk consistently mispronounced his name as "Cowell". (Per OTL, from the episode "The Immunity Syndrome", or The One with the Giant Space Amoeba.)
Catchphrase or verbal tic: "Transporter malfunction!", or various, less succinct words to that effect

Majel Barrett, Gene Roddenberry’s mistress, was Nurse Christine Chapel, a "consolation" role handed to her after the network rejected her for the role of "Number One" in the original pilot. As Chapel, she appeared in 58 out of the 135 regular episodes, through all five seasons. She served as Head Nurse, and though her initial rank was unclear, she was firmly established as a full Lieutenant in the later seasons. A sweet but rather shy and withdrawn character, her most important relationships were with her bosses, Dr. McCoy and M'Benga, her best friend Uhura (whom she alone usually addressed as "Penda"), and Spock, for whom she obviously carried a torch. The "romance" between the two characters was deliberately awkward, an oddly realistic touch that added to the resonance and appeal of the characters.

Diana Muldaur played Ann Mulhall. Featured in a single episode of the second season, both the actress and the character were sufficiently popular to lead to repeat appearances, with D.C. Fontana championing her as part of a recurring "clique" of female characters. She appeared in 23 episodes out of 135. Working in various roles in the Science Department, she held the rank of Lieutenant Commander throughout her run on the show. She interacted primarily with the other women on the crew – Uhura, Chapel, and Martine – along with her boss, Mr. Spock. Like both Spock and the original "Number One" character, she was cool, collected, and calm under pressure.

Barbara Baldavin, the wife of casting director Joseph D’Agosta, portrayed Angela Martine. She started out largely as a "placeholder", with the actress filling various roles as needed. Her characterization in "Balance of Terror", as a young woman who worked in a tactical role on the ship, eventually prevailed, and her title became Tactical Officer. She appeared in 24 out of 135 episodes, absent only from the second season. Her initial rank, like her initial role, was unclear, but she was eventually established as a Lieutenant. A frequent pinch-hitter for both Sulu and Chekov, she was on good terms with both of them, as well as the other three women in the primary "clique" – Uhura, Chapel, and Mulhall. But on the whole, Martine was known for her friendliness, and got along with just about everyone.

Booker Bradshaw was Dr. M'Benga who, like Uhura, was of East African extraction. He appeared in 11 episodes out of 135. His role in the series was to serve as backup to McCoy whenever he was part of the landing party. He held the rank of Lieutenant throughout the show's run. He interacted primarily with his departmental co-workers, McCoy and Chapel, as well as Spock, his primary patient.

Byron Morrow played James Komack, Vice-Admiral, Starfleet Command. (Komack is named for the actor/director who worked on Star Trek, though IOTL, only his last name was revealed over the course of the series, and his precise rank was never specified.) Often mentioned, he made ten proper appearances over the course of the series, including in both halves of the series finale. In all but the very last of these, he was a talking head on a viewscreen. He served as Kirk's direct superior, and most of the Enterprise's orders were sent through him. He was generally portrayed as a reasonable, if stern and occasionally unyielding, authority figure. Though there was a tension between he and Kirk, it was tempered by obvious mutual respect. (Thus the OTL "evil Admiral" cliché lacks a sturdy foundation ITTL.)

Grace Lee Whitney provided the role of Yeoman Janice Rand for ten episodes (all in the first season). This threshold, shared with two other recurring characters, is named the "Rand line" in her honour; those appearing more often were semi-regulars, and those appearing less often were merely recurring characters. Rand was the final incarnation of a character type involved from the very beginning: the female Yeoman who finds herself engaged in romantic tension with her Captain. Whitney's departure from the series was both acrimonious and mysterious: either it was because she had been sexually abused by multiple executives; she was falling into drug and alcohol addiction; the need for a permanent love interest for Kirk was deemed unnecessary; or some combination of the three. (Appearing in 10 out of 135 is nowhere near as significant as 10 out of 79, and ITTL the character of Rand is about as well-remembered as Kyle is IOTL.)

Miko Mayama played Yeoman Tamura, appearing in ten episodes (skipping both the second and the third seasons entirely). Brought back to increase the minority presence on the show, she had no specific role on the ship, and no set characterization. However, her most developed part was in the fifth-season episode "Cassandra", which established her as somewhat withdrawn and clumsy, but good-natured.

John Colicos essayed the role of the nefarious Klingon Captain Kor, who featured in eight episodes (with at least one appearance per season). Wily and devious, he viewed himself as Kirk's arch-nemesis, vowing that the two would one day meet in a final confrontation, which only one of them would survive; for one of them was destined to kill the other. (Kor thus realizes the writers' dream, IOTL and ITTL, for a recurring rival character.) His death in the grand finale (where he appeared, in both parts) proved his ultimate valour.

Roger C. Carmel appeared as Harcourt Fenton "Harry" Mudd five times, once per season. The character, an unapologetic scroundel, was made memorable through Carmel's incredibly hammy performance. The fifth season episode "Cyrano de Mudd" inevitably paired him with the show's other smuggler character: Cyrano Jones, played by Stanley Adams, who appeared three times altogether.

Mark Lenard played Vulcan Ambassador Sarek, the father of Spock, five times over the course of the show's run, including in the first part of the series finale (at his request). Lenard had come to the attention of producers in his memorable role as the Romulan Commander in "Balance of Terror", and was even considered a leading candidate to replace Leonard Nimoy, had contract negotations fell through. Lenard was joined on three occasions by Jane Wyatt, who portrayed Amanda Grayson, Spock's Human mother. The relationship between the two was both appealing and resonant, thanks to the strong acting and low-key chemistry between the two actors. Their complex relationship with their son, on the other hand, perfectly illustrated the show's emphasis on character interaction and development.


The most frequent writer was D.C. Fontana, who is credited for having written 21 episodes over the course of the show’s run. In second place behind Fontana was Gene L. Coon, who is credited for having written 16. The two officially collaborated on "Bondage and Freedom" (story by Roddenberry), the two parts of "Lords of Time and Space" (with Terrance Dicks and Robert Holmes), and the grand finale, "These Were the Voyages" (story by Roddenberry). (That's a combined 35 out of 135, or 37 out of 138, depending on which episodes you count. Either way, that's good for more than one-quarter of the total produced between them.)

Other frequent writers include Gene Roddenberry (though mostly for story ideas; he had not written any teleplays since the first season); David Gerrold (officially credited for nine episodes, having done uncredited re-write work on many others, alongside Coon and Fontana); Jerome Bixby (eight episodes); John Meredyth Lucas (seven episodes); Robert Bloch (six episodes); Theodore Sturgeon, Stephen Kandel (each with five episodes, one per season); and Margaret Armen (five episodes). Far more writers contributed multiple scripts than those who provided only one, but the list of those one-and-done writers was a sight to behold: George Clayton Johnson ("The Man Trap"), Richard Matheson ("The Enemy Within"), Harlan Ellison ("The City on the Edge of Forever"), and Larry Niven ("The Borderland") were all among them. Of course, there were plenty of duds among the one-timers as well.

The most frequent writers tended to have recurring themes in their scripts. Fontana, for example, usually wrote character-based episodes, particularly those with a focus on Spock (her favourite character). She also enjoyed writing intrigues, a trend highlighted by "Journey to Babel" and "The Enterprise Incident", among others. Coon, on the other hand, leaned toward plot-based stories, usually with novel settings, or familiar but skewed or twisted situations. "Bread and Circuses", "A Piece of the Action", and "Spectre of the Gun", all alternate-Earth-type stories, were his handiwork. But as a writer, he was very dependable and had genuine bursts of creativity (two of his early works, "The Devil in the Dark" and "Errand of Mercy", conclusively prove this). More than even Fontana or Gerrold, he also devoted considerable energies to re-writing the scripts of others. Gerrold, for his part, became known for his comedies, and for often throwing the characters into absurd situations (as in absurdist, as opposed to surreal or bizarre, which were typical for Star Trek); both aspects were amply demonstrated in "The Trouble with Tribbles", his first - and quintessential - script. Bloch, a horror writer by trade, naturally tended toward more macabre stories (which naturally got him a stint on "Night Gallery"). All five of Kandel's episodes (four of which were co-written by Gerrold, though only the last - "Cyrano de Mudd" - credited him) featured the character of Harry Mudd, and indeed, Mudd was often described as "Steve's thing". Sturgeon, Lucas, and Bixby, on the other hand, were all known for their versatility.

The show's five most frequent directors, who between them contributed to over 80% of the episodes produced, were Marc Daniels, Joseph Pevney, Ralph Senensky, Vincent McEveety, and John Meredyth Lucas (in that order). Two cast members, William Shatner and Leonard Nimoy, also directed episodes. Additionally, both Daniels and Lucas directed episodes that they had written themselves. Likewise, the show relied on the work of a few key composers. In addition to Alexander Courage, who had written the show's theme song, and had scored all of the earliest episodes, frequent contributors to the show's brassy and delightfully bombastic soundtrack included Fred Steiner, the most prolific composer; Gerald Fried, who tended to write more melodic and atmospheric scores, usually with epic fantasy influences; and Sol Kaplan, who preferred bass and percussion, creating thrilling, energetic scores. (Kaplan, for this editor's money, was one of the finest, most underrated composers ever to work in television. His full score for "The Doomsday Machine", snippets of which were constantly reused elsewhere, was magnificent. He only scored two episodes IOTL - he'll be doing a lot more than that ITTL.)

Key production personnel throughout the run of the show included: Jerry Finnerman, the Director of Photography; Rolland Brooks and Matt Jefferies, the two art directors and production designers; William Ware Theiss, the costume designer; Jim Rugg, the special effects supervisor; Fred B. Phillips, the makeup artist; Irving Feinberg, the prop master; Joseph D'Agosta, the casting director; and, last but certainly not least, creature and effects designer Wah Chang. In the above-the-line positions were the "Big Five": Gene Roddenberry, Executive Producer and initial showrunner; Gene L. Coon, Producer, later Co-Executive Producer, and de facto showrunner for most of the show's run; Robert H. Justman, Associate Producer and later full Producer, but eternally the bean counter; D.C. Fontana, from Staff Writer to Script Editor and finally Supervising Producer; and Herbert F. Solow, the Executive in Charge of Production. Other producers included John Meredyth Lucas and David Gerrold, both of whom started as Staff Writers, and served as Co-Producers during the show's later seasons; and Edward K. Milkis and Gregg Peters, both of whom were promoted to Associate Producer from below-the-line positions.

Production Budgets
(These numbers represent what Desilu would report to NBC, who in paying for the show would cover these costs, with the difference representing the studio's net profits - at least, in theory. NBC would then hope to cover their production expenses with advertising revenue from the sponsors, at minimum five times their costs pro rata: 50 minutes of programming to 10 minutes of advertising, in this era.)

Season 1: $190,000 per episode average (excluding the two pilots); 28 regular episodes. $5,320,000 total.
Season 2: $195,000 per episode average; 26 regular episodes. $5,070,000 total.
Season 3: $215,000 per episode average; 26 regular episodes. $5,590,000 total.
Season 4: $250,000 per episode average; 26 regular episodes. $6,500,000 total.
Season 5: $275,000 per episode average; 26 regular episodes. $7,150,000 total.
Season 5, including crossover and finale (note that the crossover is partly financed by the BBC): $300,000 per episode average; 30 regular episodes. $9,000,000 total. (Yes, both the crossover and the finale cost nearly $1 million apiece, very costly for 1970-71.)
Total production costs, including both pilots: approximately $32.5 million

(Note that, in this era, ratings for shows outside of the Top 30 are difficult to ascertain, even for well-documented ones like Star Trek.)

Season 1: Not in Top 30 (Ranking somewhere in the low 50s overall.)
Season 2: Not in Top 30 (Ranking somewhere in the low 40s overall.)
Season 3: #22 overall; 21.0 rating (12.44 million households)
Season 4: #10 overall; 23.0 rating (13.45 million households)
Season 5: #19 overall; 21.0 rating (12.62 million households)
Grand Finale: 47.0 rating; 75 share (28.25 million households)

Industry Recognition

Star Trek
received numerous
Emmy awards during (and after!) its run. Here is a list of them:

1967: No Wins
1968: Two (2) Wins: Outstanding Dramatic Series (Gene Roddenberry, Gene L. Coon); Outstanding Performance by a Supporting Actor in a Drama (Leonard Nimoy as Mr. Spock)
1969: No Wins
1970: Three (3) Wins: Outstanding Dramatic Series (Gene Roddenberry, Gene L. Coon, D.C. Fontana, Robert H. Justman); Outstanding Performance by a Supporting Actor in a Drama (Leonard Nimoy as Mr. Spock); Outstanding Directorial Achievement in a Drama (Joseph Pevney for "Yesteryear")
1971: Three (3) Wins:
Outstanding Dramatic Series (Gene Roddenberry, Gene L. Coon, D.C. Fontana, Robert H. Justman); Outstanding Performance by a Supporting Actor in a Drama (Leonard Nimoy as Mr. Spock); Outstanding Directorial Achievement in a Drama (Ralph Senensky for "The Sleepers of Selene")
1972: Special Award (non-competitive); (Gene Roddenberry, Gene L. Coon, Robert L. Justman, D.C. Fontana, Herbert F. Solow)

NBC received a Peabody Award in the year 1970 on behalf of Star Trek. The citation reads as follows: "for the creative use of allegory to present societal problems in original ways, and for challenging audiences to reflect on the present day in order to create a better future".

Star Trek also won the Hugo Award for Best Dramatic Presentation four times: for "The Menagerie" in 1967, "The City on the Edge of Forever" in 1968, "The Borderland" in 1971, and "These Were the Voyages" in 1972. All nominees in the category in both 1968 and 1971 were episodes of the series. (2001: A Space Odyssey won in 1969, and coverage of the moon landings won in 1970. IOTL, no award was given for the year 1971, and A Clockwork Orange received the award in 1972.)

Indeed, the show won a great many awards, both during and following its original run, as it was beloved by critics and audiences alike. But these were just a small part of the rich legacy that Star Trek would leave in its wake...


Thus concludes our in-depth analysis of the original run of Star Trek. It's been one heck of a ride, but all good things must come to an end. Our next look at the series will explore the aftermath, the continuing influence, and the legacy of the program, along with the fates of many of the principals in the years ahead. Just as IOTL, Star Trek will never leave the popular consciousness, no matter how final the conclusion may have seemed at the time. Look forward to the sixth (and last) production appendix for Star Trek as part of the next cycle of updates. And please respect the many names I mentioned above; they all played a part in making the show great, ITTL and IOTL.
The Turtledove Award-Winning That Wacky Redhead: Big Dreams Have Big Consequences!

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