menagerie star trek cast

The Menagerie, Part I (episode)

• View history
• 1.2 Act One
• 1.3 Act Two
• 1.4 Act Three
• 1.5 Act Four
• 2 Log entries
• 3 Memorable quotes
• 4.1 Production timeline
• 4.2 Story and production
• 4.3 Sets, props, and costumes
• 4.4 Reception
• 4.5 Preview
• 4.6 Remastered information
• 4.7 Video and DVD releases
• 4.8 Apocrypha
• 5.1 Starring
• 5.2 Also starring
• 5.3 Special guest star
• 5.4 Guest star
• 5.5 Also starring
• 5.6 Featuring
• 5.7 Uncredited co-stars
• 5.8 Uncredited co-stars appearing in the original Star Trek episode
• 5.9 Remastered extras
• 5.10.1 S/COMS references
• 5.10.2 Unreferenced materials
• 5.10.3 Retconned references
• 5.11 External links

Summary [ ]

Starbase 11

The USS Enterprise arrives at Starbase 11 after a subspace message asks it to divert there. When Captain Kirk , Spock , and Dr. McCoy beam down, they are puzzled when Crewman Piper , assistant to the base's commander, Commodore José Mendez , tells Kirk the base sent no such message.

Kirk insists that Spock received the urgent request from the former commander of the Enterprise , Fleet Captain Pike . Mendez is surprised that Kirk does not know the news about Captain Pike and leads them to the medical section , explaining that, during an inspection tour of a cadet vessel , one of the baffle plates ruptured. Pike removed the cadets who were still alive, severely exposing himself to delta rays .

Now, confined to a wheelchair, Pike is disfigured and cannot speak, though his mind is unimpaired. His sole means of communication is an amber light on the front of his chair, which illuminates with an accompanying beep: once for "Yes", twice for "No." Spock requests a moment alone with his former commanding officer , and says cryptically to him, " You know why I have come… I know it is treachery and it is mutiny , but I must do this. " Pike can do nothing but repeatedly beep " No. "

Act One [ ]

In Mendez's office, Kirk continues to defend Spock's claim that the starbase summoned the Enterprise . Mendez shows Kirk the record tapes , which show no such transmissions, and emphasizes that the paralyzed Pike could not have made the call – which was heard only by Spock. Kirk says that if Spock wanted to see Pike, Kirk would have granted him shore leave ; moreover, there is no trouble in that sector of space that would have induced aliens to divert the starship as a ruse. Mendez calls the computer center , where Chief Humbolt confirms he has checked and rechecked the data tapes, and the starbase could have sent no message without his knowledge. Humbolt leaves the lab and Spock slips in and begins operating a computer to create a voice transmission to the Enterprise .

Mendez's aide, Miss Piper, enters his office with a report that again denies summoning the starship. She mentions Spock's years of service under Pike, and indications of Spock's extreme loyalty to Pike. Kirk defends Spock, telling Piper that a Vulcan is incapable of disloyalty. But Piper and Mendez insist that Pike, under constant observation, could not have even asked for that message to be sent.

On board the Enterprise , Lieutenant Uhura receives a message from starbase operations with new orders – secret, scrambled, and to be fed directly into the ship's computers. Lieutenant Hansen orders Uhura to request confirmation.

Back on the starbase, as Uhura calls for confirmation, Humbolt walks in on Spock and notices Spock's alterations to the computer. Humbolt tries to wrestle and punch Spock away from the computer terminal, but Spock nerve-pinches Humbolt into unconsciousness. Uhura then tries to call Kirk, but Spock has now prepared a tape of Kirk's voice, confirming the new orders and directing any questions to Spock. Spock then activates an intercom and tells Hansen the ship's computers will handle the helm, and forbids Hansen from discussing the orders with ship or starbase personnel.

Later, Kirk and McCoy watch Pike on a monitor, still blinking "no" to an unknown question. Kirk and McCoy discuss Pike's condition, the frustrating limitations on the art of medicine, the futility of solving the mystery through Pike, and the unimaginable possibility that Spock is lying, despite the fact that Vulcans are capable of exaggerating.

McCoy then receives a message from Starbase Transporter Control , claiming a medical emergency aboard the Enterprise but providing no details. McCoy grudgingly returns to the ship.

Mendez shows Kirk a report on the planet Talos IV marked top secret , "for eyes of Starfleet Command only." The report is the basis of the well-known General Order 7 : " No vessel under any condition, emergency or otherwise, is to visit Talos IV, " the only capital offense left on the books, for reasons known only to top fleet command. But the report does mention that the Enterprise was the only Starfleet vessel to have visited Talos IV – while commanded by Captain Christopher Pike with a half-Vulcan science officer named Spock.

While discussing the situation, Miss Piper notices that Captain Pike has disappeared from his room on a monitor. Mendez contacts Starbase Operations and is told that the Enterprise is leaving orbit and refuses to acknowledge their signal.

Act Two [ ]

The Enterprise departs from Starbase 11, completely under computer control. Uhura receives a communication signal but Spock tells her not to reply. He announces to the crew that Captain Kirk has been given medical rest leave and that he is assuming command. McCoy hears this upon entering the bridge and asks who made the diagnosis and who called a medical emergency. Spock takes McCoy to a guest quarters, containing Captain Pike, and plays a tape with the voice of Kirk, telling McCoy not to disturb Pike with questions but to follow Spock's instructions to the letter and to take care of him. During the recording, Pike again blinks "no" continually. When Spock returns to the bridge, Hansen tells him that a shuttlecraft is approaching, but Spock says they will not make contact.

Aboard the shuttlecraft Picasso , Kirk and Mendez try to raise the ship and Kirk gets angry when the Enterprise doesn't respond, as the shuttle has already traveled too far to return to Starbase 11. The shuttle's fuel runs out and it continues coasting forward. Kirk and Mendez contemplate the consequences for Spock and his inexplicable actions.

Aboard the Enterprise , Spock directs the library computer to execute pre-loaded instructions. The ship reverses engine power and comes to a full stop. Spock summons an armed security team to the bridge, orders the transporter room to beam Captain Kirk aboard, and places Lieutenant Hansen in command. Spock presents himself to McCoy (as the senior officer present) for arrest on a charge of mutiny – the orders for Spock to take command of the Enterprise were false. The security team arrives and McCoy reluctantly confines Spock to quarters.

Kirk and Mendez beam aboard, and Hansen transfers command of the Enterprise to Kirk and explains the situation. The engines restart, but the computer retains control and defies Kirk's direct order to disengage. The computer controls are tied in to the ship's life support systems and cannot be disengaged until the ship reaches Talos IV.

Act Three [ ]

As the Enterprise continues toward Talos IV, arrangements are made for a preliminary hearing . But Spock waives his right to the hearing and requests an immediate general court martial . Kirk denies his request because, of the three required command-grade officers, there are only Kirk and Mendez on board. But Spock points out that Captain Pike is still on the active duty list. Mendez confirms this:

" We didn't have the heart to retire him, Jim. He's got you; whatever he's up to, he's planned it well. "

The court martial convenes, with Mendez presiding. He reminds Spock that, if the Enterprise enters the Talos star group, a further charge involving the death penalty will be held against him, a fact of which Spock confirms he is aware. Mendez asks Spock what purpose it serves to go to Talos, and with Captain Pike, given the severity of the penalty. Spock asks if Mendez's comments are part of the record. Mendez says they are, and Spock then says he can only explain with the use of the viewscreen in the briefing room. Mendez's query has opened the door for any evidence Spock wishes to present, which Kirk believes is what Spock had in mind. Scott activates the viewscreen.

On the screen, the panel views the voyage of the Enterprise to Talos IV under the command of Pike, thirteen years prior . ( TOS : " The Cage ")

The astonishing video record is much more detailed than were log entries in those days. Questioned by Kirk, Pike signals "yes," that it is he in the video, but "no," that such records were not made during the voyage. Spock will not explain how the video was produced, but reminds Mendez that viewing the video is necessary to answer the question Mendez asked him. Mendez says the court isn't obliged to view evidence without knowing the source, but Kirk insists on seeing more of it.

Later, Mendez interrupts the presentation again to remind Spock they are in a court of space law and not a theater. Spock asks Pike if they are witnessing the actual events of thirteen years previous. Pike beeps "yes." Spock then offers to release control of the ship if, after watching the complete transmission, the court still wishes to turn back. Mendez calls the situation ridiculous and says it has gone far enough. Kirk votes instead to continue and hear the full story. Mendez votes not to continue and declares a deadlock , but Kirk points out that there is still one member of the trial board to hear from. With that, Mendez asks Pike if the trial should continue. Pike beeps "yes."

Act Four [ ]

The Talosians

On the viewscreen, the visit of Captain Pike and the Enterprise to Talos IV continues. Uhura interrupts the trial with a message from Starfleet informing Commodore Mendez that Starfleet's subspace monitors show the Enterprise has been receiving transmissions from Talos IV in violation of Starfleet general orders. Spock confirms that the video presentation is coming from Talos IV. Starfleet relieves Kirk of command, and orders Mendez to assume command of the Enterprise , disabling it if necessary to prevent further contact.

Mendez tells Spock that his contact with Talos IV has invited the death penalty: Spock has not only doomed himself but ended Captain Kirk's career as well. Spock protests that Kirk knew nothing about what was happening, but Mendez reminds Spock that a captain is responsible for everything that happens aboard his ship. Mendez then orders Spock to release the ship to manual control, and Spock respectfully declines. Mendez declares the court in recess. As everyone leaves, Kirk confronts Spock, asking him if he has lost his mind. Spock pleads with Kirk that, for his career and Captain Pike's life, he must see the rest of the transmission. Kirk orders the security guard to lock Spock up, and remains in the briefing room alone to contemplate the situation.

To be concluded…

TO BE CONTINUED…

Log entries [ ]

• Captain's log, USS Enterprise (NCC-1701), 2267

Memorable quotes [ ]

" A Vulcan can no sooner be disloyal than he can exist without breathing. "

" We've learned to tie into every Human organ in the body except one. The brain. And the brain is what life is all about. Now, that man can think anything we can, and love, hope, dream as much as we can. But he can't reach out and no one can reach in! "

" …To question Spock of all people! Me, yes. I could run off half-cocked given a good reason, so could you! But not Spock. It's impossible! "

" Probably somebody discovered a hangnail. "

" Rank hath its privileges. "

" Spock would have some logical reason for going there. " " Maybe. Maybe he's just gone mad. "

" I vote we continue. " " And I vote we do not! Deadlocked! " " Not deadlocked, Commodore. There's still one member of the trial board we haven't heard from. " " Very well. Captain Pike, it's up to you. Do we continue under these conditions? " (Pike's wheelchair beeps once) " Yes. "

" Receiving transmissions from Talos IV? Then the images we've been seeing… " " …are coming from Talos IV, sir. "

" Don't stop me. Don't let him stop me. It's your career and Captain Pike's life. You must see the rest of the transmission. " " Lock him up. "

Background information [ ]

Production timeline [ ].

• First draft teleplay "From the First Day to the Last" by John D.F. Black : 12 August 1966
• First draft teleplay "The Menagerie" by Gene Roddenberry : 21 September 1966
• Second draft teleplay: 3 October 1966
• Final draft teleplay: 7 October 1966
• Revised final draft teleplay by Gene L. Coon : 10 October 1966
• Additional revisions: 13 October 1966 , 14 October 1966 , 17 October 1966
• Day 1 – 11 October 1966 , Tuesday (Half Day) – Desilu Stage 9 : Int. Bridge , Transporter room , Mendez's office
• Day 2 – 12 October 1966 , Wednesday – Desilu Stage 9 : Int. Mendez's office , Spock's quarters ; Desilu Stage 10 : Int. Shuttlecraft
• Day 3 – 13 October 1966 , Thursday – Desilu Stage 10 : Int. Hospital room corridor , Pike's hospital room , Ext. Starbase 11 Mall ; Desilu Stage 9 : Computer center (redress of Engineering ), Briefing room (Hearing room)
• Day 4 – 14 October 1966 , Friday – Desilu Stage 9 : Int. Briefing room ( Courtroom )
• Day 5 – 17 October 1966 , Monday – Desilu Stage 9 : Int. Briefing room ( Courtroom )
• Day 6 – 18 October 1966 , Tuesday – Desilu Stage 9 : Int. Briefing room ( Courtroom )
• Original airdate: 17 November 1966
• Rerun airdate: 18 May 1967
• First UK airdate: 23 August 1969
• Hugo Award: 1967
• A limited-time-only theatrical presentation of the remastered episode, along with " The Menagerie, Part II ", was released on 13 November 2007 and 15 November 2007 . It included a message from Gene "Rod" Roddenberry Jr., a twenty-minute "making of" documentary about the restoration process, and a trailer for Season Two of the remastered series. [1]
• Remastered airdate: 25 November 2006

Story and production [ ]

• Robert H. Justman convinced Roddenberry to write a two-part episode utilizing the first pilot because they ran out of scripts in the middle of the first season, and had to shut down production otherwise. Roddenberry called it "the envelope" and wrote the episode in three or four days. [2] Robert Butler claimed it was Roddenberry's entrepreneurial talent which managed to find a way using the failed pilot as a money saving device for the show. [3]
• The original "envelope" script, entitled "From the First Day to the Last" was written by John D.F. Black ; however Roddenberry was very unsatisfied with it, and rewrote it completely, finally taking sole writing credit. The insulted Black filed a Writers' Guild grievance over payment and screen credit, but his claims were denied. ( Inside Star Trek: The Real Story , p. 251)
• Robert Butler , who directed "The Cage", was approached by Roddenberry to direct the "envelope" parts of the episode, but he refused because he disliked the series. After Marc Daniels was assigned to direct the new footage, it was decided that he and Butler would share credit for the two episodes, Daniels for the first part and Butler for the second. [4]
• Daniels finished the episode in five and a half days instead of the usual six, which compensated for running half a day late with "Court Martial", which he directed back-to-back with "The Menagerie". ( These Are the Voyages: TOS Season One [ page number? • edit ] )
• According to James Doohan , Roddenberry originally wanted to sell the failed pilot as a theatrical film. However, it needed to be expanded with additional material to reach the feature length. Roddenberry planned to film the crash of the SS Columbia on Talos IV , because it didn't require Jeffrey Hunter , who was neither available or affordable to reprise his role as Captain Pike. However, plans for the feature release were soon abandoned. [5] Roddenberry's plans for a feature release are verified by Herb Solow and Robert H. Justman in Inside Star Trek: The Real Story (p. 251).
• The Star Trek Compendium (pp. 164-165) compared Spock's risking his career and life to return Pike to Talos IV for a chance at a better life to what Kirk would later do for Spock in Star Trek III: The Search for Spock .

Sets, props, and costumes [ ]

• A matte painting was created for the Starbase 11 exterior. Large cranes representing construction can be seen in the background. The wall used in this scene was recycled for " A Taste of Armageddon ", " Wolf in the Fold ", " Plato's Stepchildren ", and " Wink of an Eye ". The round dais in front of the wall was later used by Tharn and his council in " Mirror, Mirror ".
• The Starbase Operations set is a redress of the engineering room set. An opaque blue wall has been placed behind the grid to hide the forced perspective set. The panel in this room from which Spock issues orders to the Enterprise is a re-use of the neural neutralizer control panel from " Dagger of the Mind ". The computer banks in the room will later be seen in " A Taste of Armageddon " and aboard the shuttlecraft in " The Immunity Syndrome ".
• The structures seen outside Mendez's windows are cut-outs of buildings. In the first scene in Mendez's office, behind Kirk is a clear view of a corner of the set behind one of the pieces.
• Commodore Mendez's desk features one of the goose-neck video screens seen on the early Enterprise bridge in " The Cage ".
• This is the final appearance of the tan phaser/communicator belts.
• Sean Kenney 's make-up as the injured Captain Pike took five hours to apply. Also, his hair had to be dyed white, which then turned out to be too bright for the cameras, and had to be softened with powder. [6]
• A shot which shows crewmembers listening to the intercom in a corridor is reused from " The Corbomite Maneuver ". It can also be seen in " Balance of Terror " and " Assignment: Earth ".

Reception [ ]

2009 Hallmark ornament inspired by "The Menagerie"

• This episode won the 1967 Hugo Award for "Best Dramatic Presentation". Combined with "Part II," it's the first of four Star Trek episodes to win the award. The others are " The City on the Edge of Forever ", " The Inner Light ", and " All Good Things... ".
• "The Menagerie, Part I" and " The Menagerie, Part II " constitute the only two-parter in the run of the original Star Trek .
• Gene Roddenberry picked the whole two-parter as one of his ten favorite episodes for the franchise's 25th anniversary. ( TV Guide August 31, 1991 [ page number? • edit ] )
• Chris Pike's wheelchair has become ensconced in popular culture , and has been seen in Futurama and South Park .
• The scene depicting Kirk, Spock, and Pike was used as the inspiration for a Hallmark ornament released in 2009.

Preview [ ]

• The preview contains a Captain's Log recorded solely for the preview: " Captain's log, stardate 1512.2. Why does Spock want to take us to that one forbidden world in all the galaxy? His former captain, mutilated by a recent space disaster – unable to speak or move. "
• In the original broadcast, Leonard Nimoy opens the trailer by saying "You'll learn next week…" In syndication, this line was shortened to "You'll learn next–" with the last word edited out. This change was presumably made when it was realized that Star Trek might not be transmitted weekly overseas.
• The first part of the preview's Captain's log is recycled from the preview for " The Corbomite Maneuver ", including the use of the same stardate.

Remastered information [ ]

• "The Menagerie, Part I" was the twelfth remastered episode of the Original Series to air. It premiered in syndication the weekend of 25 November 2006 and took about two months of work by the CBS Digital team. [7] The remastered version of this episode featured new footage of the shuttlecraft (here called the Picasso , SB11-1201/1), replacing the stock footage produced for " The Galileo Seven ". A new digital matte painting of Starbase 11 was created as well, for establishing shots as well as for views outside windows. Live actors, namely several production staff members in Starfleet uniforms, were also digitally inserted into the base, giving it a far more active appearance.

Video and DVD releases [ ]

• In 1980, Paramount Home Video released this episode as the first of five volumes of classic series episodes on VHS as Television Classics on VHS and Betamax videocassette. This version however, is slightly edited to present the episode in one part, rather than two parts. The credits at the end of the episode and the closing credits are removed from Part I and the opening teaser recounting the events from Part I and the regular opening sequence are removed, instead doing a quick fade-out and cut into the first act of Part II. NOTE: This may be the same cut of the two episodes made by Paramount in 1975 that was used as part of Paramount's syndicated feature film package. The syndicated version also included specially-filmed segments with Leonard Nimoy giving some insights into the original filming of the episode, but these segments were left off the home video release. YouTube user "Rob O'Hara" posted these clips of Leonard Nimoy's segments to the video service on March 4, 2024. [1] All home video versions in the US since the Laserdisc version in 1984 present the episode in its proper two-part version.
• US CED VideoDisc release: 22 March 1981 . The 1981 RCA CED Videodisc version presents the episode in the same version as above; however, the fade-out marks the end of side 1, with side 2 fading in into the first act of Part II.
• US LaserDisc release: 1 October 1984 ( ASIN B001BFX97Y )
• Original US Betamax release: 1985
• UK VHS release (two-episode tapes, CIC Video ): Volume 9 , catalog number VHR 2274, release date unknown
• Japan LaserDisc release: 10 November 1992
• US VHS release: 15 April 1994 ( ASIN B000AMHQO6 , ASIN B000JFFIY4 )
• UK re-release (three-episode tapes, CIC Video): Volume 1.6, 7 October 1996
• Original US DVD release (single-disc): Volume 8, 22 February 2000 ( ISBN 6305744890 )
• As part of the TOS Season 1 DVD collection
• As part of the TOS Season 1 HD DVD collection
• As part of the TOS Season 1 Blu-ray collection

Apocrypha [ ]

• The first winner of the Strange New Worlds contest, "A Private Anecdote", depicted Pike reminiscing during his convalescence at Starbase 11.
• The novel Burning Dreams establishes the subspace message summoning Enterprise to Starbase 11 was not a fabrication by Spock, but instead an illusion by the Talosians making Spock think he actually did receive a message, and then the Talosians spoke telepathically to Spock, making him aware of Pike's condition and asking him to bring Pike to Talos IV. The novel also establishes that at the end of the teaser, when Spock tells Pike, "I have no choice," their conversation continued with Spock telling Pike that the Talosians were aware of his condition and wanted to give him a chance for a better life than what he had and that Spock actually asked Pike for permission to try to help him.
• Pike's accident is depicted in " Through the Valley of Shadows ", the twelfth episode of season 2 of Star Trek: Discovery .

Links and references [ ]

Starring [ ].

• William Shatner as James T. Kirk

Also starring [ ]

• Leonard Nimoy as "Mr. Spock "

Special guest star [ ]

• Jeffrey Hunter as Christopher Pike (archived footage)

Guest star [ ]

• Susan Oliver as Vina (archived footage)
• Malachi Throne as José I. Mendez
• M. Leigh Hudec as Number One (archived footage)
• Peter Duryea as José Tyler (archived footage)
• John Hoyt as Phil Boyce (archived footage)
• Adam Roarke as Garison (archived footage)
• DeForest Kelley as " Dr. McCoy "
• James Doohan as " Scott "
• Nichelle Nichols as " Uhura "

Featuring [ ]

• Sean Kenney as Christopher Pike
• Hagan Beggs as Hansen
• Julie Parrish as " Miss Piper "

Uncredited co-stars [ ]

• Majel Barrett as Computer Voice
• Starbase 11 orderly
• Tom Curtis as Starbase 11 starbase operations (com voice)
• Vinci (aka "Second Guard")
• Starbase 11 patient
• Brett Dunham as "Security Chief Pitcairn "
• Tom Lupo as Enterprise security guard
• Starbase 11 assistant
• Jan Reddin as Enterprise court recorder
• George Sawaya as Humbolt
• Enterprise command crew woman
• Enterprise lieutenant
• Enterprise navigator
• Enterprise transporter technician
• Starbase 11 computer technician
• Starbase 11 doctor
• Starbase 11 officer on mall
• Starbase 11 secretary

Uncredited co-stars appearing in the original Star Trek episode [ ]

• Sandra Gimpel as Third Talosian
• Clegg Hoyt as Pitcairn (aka "Transporter Chief")
• Anthony Jochim as Columbia survivor #3
• Robert C. Johnson as voice of Pitcairn
• Jon Lormer as Theodore Haskins
• Edward Madden as Fisher (aka "Geologist")
• Leonard Mudie as Columbia survivor #2
• Serena Sande as Second Talosian
• Georgia Schmidt as First Talosian
• Meg Wyllie as The Keeper
• Columbia survivors #4 and #5
• Enterprise bridge crewman #1
• Enterprise bridge crewman #2
• Enterprise bridge crewwoman
• Transporter technician

Remastered extras [ ]

• Richard Barnett
• Jimmy Berndt
• Toni Pace Carstensen
• Denise Okuda as Starfleet operations officer
• Michael Okuda as Starfleet sciences officer
• Dave Rossi as Starfleet command officer
• Cliff Welsh
• Niel Wray as Starfleet sciences officer
• Nicki Kreitzman
• David LaFountaine as Federation administrator

References [ ]

2236 ; 2254 ; 2265 ; 3XY phagrin level ; abduction ; Able-7-Baker ; active duty list ; address ; American Continent Institute ; answer ; armor ; arrest ; atmosphere ; baffle plate ; bargain ; bartender ; battery ; body ; " Bones "; brain ; brain wave ; breathing ; bridle ; business ; button ; cadet vessel ; call letters ; canyon ; career ; chance ; charge ; chief ; choice ; Class F shuttlecraft ; class M ; collision course ; colony ; Columbia , SS ; coma ; commanding officer ; computer center ; computer control ; computer expert ; commodore ; computer expert ; Comsol, Robert L. ; confined to quarters ; contact ; counsel ; court of space law ; course ( heading ); customer ; day ; deadlock ; death penalty ; deck ; delta rays ; distress signal ; doctor ; door ; dream ; duranium ; duty ; Earth ; emergency ; emergency frequency ; encampment ; engage ; evasive maneuvers ; event ; evidence ; fact ; first officer ; fleet captain ; forced landing ; fortress ; friend ; fuel ; g ; general court martial ; General Order 7 ; geological lab report ; guilt ; hail ; half-Vulcan ; hangar deck ; hangnail ; health ; heart ; Johansson, Helen ; helm ; hope ; horse ; hour ; hull ( shell ); Human ; ice ; image ; imagination ; information ; injury ; inspection tour ; instruction ; intensive care area ; ion engine ; intercraft ; Class J starship ( cadet ship ); J-class trainee cadets ; judgment ; landing party ; library computer ; lie ; life support system ; logic ; love ; loyalty ; lunch ; M-11 ; martini ; Mary Lou ; mass computer ; maximum warp ; medical emergency ; medical rest leave ; medical report ; medical section ; medicine ; metal ; meteorite beam ; mile ; Milky Way Galaxy ; mind ; mission ; Mojave ; monitor screen ; month ; mutiny ; navigator ; nitrogen ; orbit ; order ; organ ; Orion ; Orion colony ; oxygen ; park ; patrol ; permission ; photographic record ; Picasso ; picnic ; place ; planet ; plea ; preliminary hearing ; preliminary lab survey ; printout ; prisoner ; proof ; pulp ; quarters ; radio beam ; radio silence ; radio wave ; record tape ; region ; Regulus ; retirement ; reverse power ; RHIP ; Rigel VII ; right to counsel ; rights ; risk ; scanner ; science officer ; scientific party ; scientist ; scouting party ; sector patrolled by USS Enterprise ; security clearance ; security team ; senior officer ; sensor ; shore leave ; shuttlecraft ; ship's captain ; signal ; slave ; Sol system ; solar system ; space law ; space sector ; specimen ; spectrography ; speed ; speed of light ; Starbase 11 ; Starbase Command ; Starbase Operations ; Starfleet Command ; Starfleet General Orders ; story ; subspace chatter ; subspace message ; subspace monitor ; surface ; survey expedition ; survey vessel ; survivor ; sword ; Talos IV ; Talos IV ; Talos star group ; Talos system ; Talos system's stars ; Talosians ; Tango ; tape ; theater ; theft ; thing ; third quadrant ; thought ; time barrier ; time warp ; tractor beam ; trader ; transmission ; transporter control ; trap ; treachery ; trial ; trial board ; treachery ; Vega colony ; Vernal Galaxy ; visit ; voice command ; vote ; Vulcan ; Vulcan nerve pinch ; warrior ; water ; week ; " what the devil "; wheelchair ; word ; year

S/COMS references [ ]

astronomical unit ; Talos I ; Talos II ; Talos III ; Talos V ; Talos V moon

Unreferenced materials [ ]

devil ; ice cream ; metal cube file opener ; parasites ; pie ; praying ; Scottish ; skeleton crew ; Sulu ; surgeons ; surgery

Retconned references [ ]

Shuttlecraft One

External links [ ]

• "The Menagerie, Part I" at StarTrek.com
• " The Menagerie, Parts I and II " at Memory Beta , the wiki for licensed Star Trek works
• " The Menagerie, Parts I and II " at Wikipedia
• " "The Menagerie, Parts I and II" " at MissionLogPodcast.com , a Roddenberry Star Trek podcast
• ↑ Leonard Nimoy's video clips from a "feature-length" presentation of THE MENAGERIE aired on KAUT-TV Channel 43 in Oklahoma City, OK on February 6, 1983, as shared by Rob O'Hara on YouTube
• 3 Star Trek: Discovery

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1966 — 1969

Marc daniels, robert butler.

William Shatner

Leonard Nimoy

Jeffrey Hunter

Susan Oliver

Malachi Throne

Majel Barrett

Peter Duryea

Adam Roarke

DeForest Kelley

James Doohan

Nichelle Nichols

Sean Kenney

Hagan Beggs

Julie parrish.

Sandra Lee Gimpel

Anthony Jochim

Bob Johnson

Leonard Mudie

Serena Sande

Georgia Schmidt

Bill Blackburn

Frank da vinci, brett dunham.

Eddie Paskey

George Sawaya

Gene Roddenberry

Gene L. Coon

Robert H. Justman

Lucille Ball

Gerald Perry Finnerman

Alexander Courage

Jack F. Lilly

Joseph g. sorokin.

Rolland M. Brooks

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http://tvtropes.org/pmwiki/pmwiki.php/Recap/StarTrekS1E11TheMenageriePartI

Recap / Star Trek S1 E11 "The Menagerie, Part I"

Edit locked.

Original air date: November 17, 1966

The only TOS two-parter, re-telling of the events of the first, unaired pilot episode by framing it as video-recorded flashbacks in Spock's court-martial... for mutiny!

Before the episode, Spock claims to have received an urgent message from Fleet Captain Christopher Pike to report to him at Starbase 11. Upon arriving at the starbase, Kirk is informed that the Starbase sent no such message, and Commodore Jose Mendez rebukes Kirk's argument as impossible, because Pike is in no condition to send any such message. Pike's injuries following an shipboard accident during an inspection tour ( one of the baffle plates ruptured , causing severe radiation burns and brain damage) have left him confined to a motorized wheelchair, conscious but unable to move or speak.

Spock, it turns out, is already aware of Pike's plight, and has devised a plan to kidnap his former commanding officer, for whom he has great respect and admiration, and bring him back to the one place he might find happiness. But he is doing so without the knowledge of any of his colleagues, even Kirk, because his intended destination is the one place in the galaxy restricted under penalty of death — Talos IV.

Through Pike's wordless protest (a light on his mobility chair flashes and beeps once for yes, twice for no , and it was flashing twice a LOT), Spock tells Pike of his well-prepared plan for abducting Pike, and shows very clear emotion in his fervor that it must be carried out, that he has no choice.

Mendez and Kirk argue about the message supposedly sent from the Starbase; it could not have occurred, which means that someone must have altered the tapes; who would want to divert the Enterprise, Kirk wonders? In the computer center, Spock sneaks in and nerve-pinches a technician; then as we return to Mendez's office we meet again Miss Piper, who discusses the results of her investigation into the message; Kirk stresses that a Vulcan can no sooner be disloyal than he can exist without breathing; that goes for his current as well as his past commander. But Mendez returns that Pike could NOT have sent the message; he's completely debilitated and reliant on his special chair which resembles a mobile iron lung; his mind is as active as anyone else's, but it's trapped in a useless, vegetating body. His responses and movement are severely limited; he's kept alive with a mechanical heart, as Mendez tells Kirk with some difficulty.

Meanwhile, in the computer center, Spock is doing some hacking and voice alteration, preparing to falsely order the Enterprise crew to retrieve Pike... The extent of Spock's manipulation is necessarily limited, so most of the new orders, including destination, are fed directly into the ship's computer. Suddenly, the technician who communicated with Mendez's office before discovers Spock and his sabotage; a brief shoving match followed by a neck pinch, and Spock confirms his hacked orders with Kirk's voice, and passes the baton back to himself with the same voice.

Monitoring Pike, Kirk notices he's saying, "No! No!" quite a bit again, as agitated as he can ever exhibit. McCoy comes in and laments that the medicine of their time has not been able to tap into the human brain; Pike is capable of all the feelings and emotions that we feel, but no one can tell because his body is so damaged and restricted. Kirk comes to a frightening realization; Spock may have fabricated the message from Starbase 11 to the Enterprise! McCoy calmly reminds Kirk that as a Vulcan, Spock's incapable of lying; his human half, as McCoy claims, remains completely submerged. Kirk refuses to discount Spock as a suspect, while McCoy is recalled with a cryptic message that he's "needed aboard" the Enterprise...

Mendez gives Kirk the top-secret command-level-only file on Talos IV, certifying he ordered Kirk to read it. Not much is known about the planet or its inhabitants, only that it carries the only remaining death order on Starfleet's lawbook: General Order 7, prohibiting any contact with the world or its inhabitants. Whatever's down there is so dangerous, in form or in application, that Starfleet felt the need to bar access in such a brutal, final way, with only the urging of Pike and Spock themselves, who previously visited the planet, as impetus for the order.

Suddenly Miss Piper, monitoring Pike's room again, reports that he's vanished, chair and all! And immediately afterward, the Enterprise warps out, abandoning Kirk. Oh, Crap! ...

Spock seems rather pensive, almost guilty, but now set on his course as he paces the bridge, snapping at Helmsman Hansen and Uhura for noting the strangeness of there being no navigator (Spock replies that the computer knows where it's going), and reporting a hail (Spock orders her to maintain radio silence). The next thing he does is shatter to pieces the notion that Vulcans can't tell lies (probably by virtue of his half-human heritage) and announce on intraship that he's been placed in temporary command of the Enterprise, that Kirk's been assigned temporary rest leave and that everyone's to obey Spock's orders as though they were Kirk's. McCoy, coming up behind him when he finishes, demands to know what's going on; Spock, regretting that 'they' have kept certain things from McCoy, beckons McCoy to follow him back into the turbolift...

... into the quarters Spock's prepared for Captain Pike, as negative as ever. Spock plays a message from "Kirk," telling McCoy to follow Spock's orders to the letter; McCoy glares suspiciously at Spock, but Spock looks impassively right back...

Back on the bridge, Hansen looks out at the stars, still utterly perplexed, as Spock comes in. Hansen reports that there's a tiny object flying towards them, about the size of a Starbase shuttlecraft; Spock orders no action be taken, but the shuttle will never reach the Enterprise at their speed...

Aboard the shuttlecraft (dubbed Picasso, at least in the remastered version) are Kirk and Mendez, who keep trying to raise the Enterprise but are, of course, met by radio silence. They agree that Spock's definitely en route to Talos IV; Mendez notes that their fuel is running low, close to the point of no return. But Kirk doesn't want to return, and repeats his hails to his increasing frustration...

Spock scans the shuttlecraft and finds that their fuel has already depleted past the point of safe return. Cue a VERY clear This Is Gonna Suck face...

The shuttle finally runs out of fuel, and Mendez and Kirk have to coast... They have two hours of oxygen left. They angst about Spock being in REALLY deep poop if he comes back for them, but that he's DEAD if he reaches Talos IV. Maybe, Mendez says, maybe he's just gone mad, and should be sent to an asylum instead... Well, by the standards of Vulcans, undoubtedly he's gone mad, showing such compassion and emotion to do this for his old Captain...

Spock orders a special command tape (Able Seven Baker) to be played, which puts the engines into a dead stop. Then, he calls for the transporter room to prepare to take Kirk aboard, then for a security team to the bridge. Spock then presents himself to the senior officer present for arrest: McCoy! He reveals, to Uhura's and Hansen's shock, that he never received orders to take command. McCoy, very much put on the spot, impatiently gestures for security to take him away.

Kirk and Mendez beam aboard, being informed by Hansen that Spock's confined to quarters. Mendez argues briefly that he should be in the brig for what he's done. But then we learn something worse: Spock (who now is monitoring Kirk at transporter control from his quarters) has locked in computer control on a direct course for Talos IV; any attempt to disengage will cross-circuit [the Zeerust term for short-circuit, means the same thing] life support! Nothing, it seems, will keep Spock from delivering Pike to that forbidden planet.

Captain's Log, Stardate 3012.4. Despite our best efforts to disengage computers, the Enterprise is still locked on a heading for the mysterious planet, Talos IV. Meanwhile, as required by Starfleet General Orders, a preliminary hearing on Lieutenant Commander Spock is being convened, and in all the years of my service, this is the most painful moment I have ever faced.

Spock waives his right to the hearing, though, and requests an immediate court-martial. Kirk denies on the basis that only two command-level officers are available while three are required. Spock counters with the truth that Captain Pike is available, and still on the active duty list; the Admiralty, according to Mendez, didn't have the heart to retire him, lampshading Spock's preparations for this situation .

Captain's Log, Stardate 3012.6. General Court-Martial convened. Mr. Spock has again waived counsel and has entered a plea of guilty.

Mendez dutifully rings the traditional (manual, not electronic) ship's bell to signal the start of the court-martial, as a recording tape is loaded into the computer. Spock, acknowledging the fact that the death penalty will be applied if the Enterprise enters the Talos Star Group, requests, as an answer to Mendez's demand of "Why? What does it accomplish to go [to Talos IV], or to bring Captain Pike there?" that the screen be engaged, as what's now being shown on it is a direct answer to Mendez's request...

The Enterprise flying through space, Spock noting 13 years ago, with its Captain, Christopher Pike. The view does a very improbably fancy swoop into the Bridge dome...

(Most of what follows can be read about on the page for the pilot , but some diversions occur.)

Shortly into the very oddly-appropriately angled account, Kirk orders the screen off, and asks Pike whether it's really him on the screen. Pike replies yes. Kirk says it's impossible, that no vessel makes record tapes in that detail, so perfectly. Spock refuses to disclose at this time where the footage is coming from. Mendez is ready to shut the whole thing down unless Spock reveals his source, but Spock replies that Mendez did ask WHY Spock started this whole voyage; Mendez claims he was manuevered into asking, and declares Spock's evidence out of order. Kirk contests that; he wants to see more, and denies it's because Spock's his personal friend. Mendez allows the continuation of playback...

After Pike orders the Enterprise to the Talos Star Group, time warp factor seven, Mendez orders the screen off. He accuses Spock of somehow manufacturing the footage they're watching, which Spock, with Pike's help, refutes. It is actually what happened 13 years ago. Spock says that after viewing the evidence, if Mendez still wants to return to the Starbase, he will release the ship, but Mendez, incensed, says Spock is in no position to bargain. He votes that the playback be stopped; Kirk votes against and Mendez declares a deadlock; but he forgets that Pike is still there and a member of the trial board; he votes that the playback continue, and so it does, after...

Captain's log, supplemental. Mr. Spock, on trial for mutiny, has forced the court to accept unusual evidence. On our monitor screen, the voyage of Captain Pike and the Enterprise to the one forbidden world in all the galaxy.

After Pike's been taken underground by the Talosians, and the crew try (and fail) to blast the rock face open with their phasers, the screen turns off automatically, with Uhura radioing in from the bridge with a call for Mendez, a 'fleet signal.' They've detected that the Enterprise is receiving signals from Talos IV, in violation of general orders! ComSol (Command Solutions?) orders Mendez to relieve Kirk of command and take command himself, and return the ship to Starbase 11 so Spock may face the full weight of Starfleet justice. Spock 'respectfully declines' Mendez's order to release the Enterprise to manual control, and Mendez simply states that Spock has earned the consequences.

The yeoman assigned as Clerk exits, McCoy and Scotty slowly guide Pike in his chair out, and Spock looks absolutely devastated. Kirk asks if Spock has lost his mind, and Spock pleads with Kirk not to stop him or let Mendez stop him. "It's your career and Captain Pike's life. You must see the rest of the transmission!" Dutifully, Kirk orders the security guard present to take Spock to the brig; they exit, and "TO BE CONCLUDED NEXT WEEK" Kirk walks in solitude, contemplatively around the briefing room, laying a hand on the court recorder computer, Face Palming briefly , then finally walks out as the scene fades...

All tropes relating to the pilot episode itself should be placed on its page.

The Troperie: Part I:

• And I Must Scream : Apparently despite his horrific injuries Pike's intellect is fully intact, but he's imprisoned in a body that no longer works and cannot communicate fully. He is well aware of the situation and repeatedly tries to order Spock to stop to no avail. Kirk: He keeps saying "no". McCoy: No to what ?
• Bling of War : Kirk has a unique stone/amulet/pendant to the left of his ridiculous colorful triangles.
• Blue-and-Orange Morality : One of the earliest episodes to really dig into the idea that Vulcans aren't just people with no emotions and lots of smarts. Spock's loyalty is the impetus for the entire plot, as he cannot simply let Pike suffer, no matter that he has a new commanding officer (to whom he is equally loyal) and hasn't seen Pike in years. Vulcan loyalty is just that strong , to a point a human would consider insane.
• Cannot Tell a Lie : When Spock is first accused of having faked the message calling the Enterprise to the starbase, it's stated that as a Vulcan he's incapable of lying. Though Bones then goes on to state that this is because it would be embarrassing for a Vulcan to act the way a human would, even for a Half-Human Hybrid .
• The Casanova : Kirk visibly appreciates the pretty yeoman sent to greet them, and looks worried when she mentions knowing a former Love Interest .
• Chair Reveal : Played for drama with a Face-Revealing Turn of Pike's horrific injuries.
• Clip Show : Averted to a degree since they are clips of something we hadn't seen before, though it uses the framing of a clip show to get mileage out of the unused original pilot footage.
• Cliffhanger : Pike has been kidnapped by the Talosians, while in the present day Kirk is relieved of command and Spock refuses to release the Enterprise from computer control. When Spock urges Kirk to continue allowing the transmission from Talos, Kirk has him hauled off to the brig instead. To Be Continued …
• Cool Starship : We get a good look at the exterior of the Pike-era Enterprise, distinguished by the long spikes on the red warp nacelle caps.
• Forbidden Zone : Landing on Talos IV is punishable by death, the only death penalty crime still on the books.
• Forged Message : Spock lies about having received a message summoning them to Starbase 11, then uses faked computer instructions and confirmation orders from Captain Kirk to take control of the Enterprise.
• Heroic Sacrifice : Pike was conducting an inspection of a training ship when a baffle plate ruptured, flooding the engineering compartment with delta radiation. Pike saved as many cadets as he could before the radiation crippled him and left him an invalid.
• I Did What I Had to Do : Spock's apparently simple motive for abducting Pike and hijacking the ship.
• Irrevocable Order : Spock has wired the Master Computer so their course cannot be changed, even after he surrenders command of the Enterprise.
• Jerkass Has a Point : Since Spock has already faked several messages when stealing the Enterprise, and he refuses to explain the origin of the footage, Mendez has every reason to be skeptical.
• Spock says that he wants to hold the court-martial against him immediately. When Captain Kirk says that they need three command officers and only two (himself and Commodore Mendez) are present, Spock points out that Fleet Captain Pike is still listed as being on active duty.
• After Mendez objects to the presentation of evidence from an unknown source, Spock points out that he is allowed to introduce it in response to a direct question about why he did something. Lampshaded when Mendez grumbles that Spock maneuvered the court into asking him that question, then subverted when we find out in Part Two that Mendez is a Talosian illusion and presumably working (subtly) to steer the proceedings in Spock's favor.
• Lotus-Eater Machine : What the Talosians set up for their zoo, to keep themselves entertained and their subjects pacified; also, though we only begin to see this motive in this part, it's heavily implied in dialogue that it's what Spock wishes to return Pike to, that he may leave the confines of his broken body and let his mind run free.
• Magical Security Cam : Actually subverted, as Kirk protests that the footage from "The Cage" clearly isn't from security recordings, which is explained in Part 2.
• Once for Yes, Twice for No : The only form of communication left to the injured Captain Pike.
• Selective Obliviousness : At first, McCoy flat out denies that Spock could have lied and forged orders for the Enterprise to report to Starbase 11. McCoy: To question Spock of all people! Me, yes. I could run off half-cocked given a good reason, so could you! But not Spock. It's impossible!
• Sequel Episode : An odd example, as it's to "The Cage", the original pilot episode which at the time had not been broadcast.
• Stock Footage : A shot of crewmembers on a corridor, listening to Spock's speech on the intercom is recycled footage from " The Corbomite Maneuver ". The same shot appears in " Balance of Terror " and " Assignment: Earth " as well.
• Tractor Beam : Used to bring Kirk's shuttle aboard after he deliberately runs out the fuel to force Spock to stop and retrieve him.
• Wounded Gazelle Gambit : Kirk deliberately exhausts the shuttle's fuel so Spock will have to chose between continuing his mission or letting Kirk die, knowing Spock wouldn't allow the latter to happen no matter what the mission may mean to him.
• You Are in Command Now : Spock fakes a message placing him in command of the Enterprise . When Kirk and Mendez catch up to him, he turns over operational command to Lieutenant Hansen and then surrenders to Dr. McCoy (the senior officer present).
• You Called Me "X"; It Must Be Serious : Even Kirk thinks Spock is out of his mind. Spock replies, "Jim, don't stop me." Justified as a court martial for mutiny is pretty serious.
• Star Trek S1 E10 "The Corbomite Maneuver"
• Recap/Star Trek: The Original Series
• Star Trek S1 E12 "The Menagerie, Part II"

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Star Trek : "The Menagerie"

For all its throbbing-vein aliens and green-skinned slave girls, the two-part “Menagerie” finds its most iconic image in the fate of the poor Christopher Pike. Check out the picture—the guy saved some kids from deadly “delta-rays,” and for his troubles, he’s paralyzed, horribly scarred, and forced to spend the rest of his life in a giant black box. Sure, the box lets him communicate; one beep for yes, two beeps for no. I can’t imagine a conversation that would require anything more nuanced than that. Plus, the thing moves like a motorized wheelchair, so I don’t think he has anything to complain about, right?

The design is striking enough to be the subject of parody and fan-worship, but not even familiarity can diminish how simultaneously neat and utterly retarded the damn thing is. Common sense raises all sorts of issues here. There are quadriplegics with more mobility than Pike, and while allowances can be made for the fact that we’re never told exactly what delta rays do, it’s hard to imagine something that could render a man so inert that magic-future-tech can't save him, and yet he still doesn't die. And even if we’re willing to accept that, what the hell is up with the two beeps? Nobody had the time to teach him Morse Code?

But there is something nightmarish about that absurdity. The folks behind TOS were clearly trying to come up with the most horrible living death they could, and while it doesn’t really scan logic-wise, it does serve as a perfect example of “shit I don’t want happening to me.” Pike’s predicament has to be sufficiently dire for “Menagerie” to work at all; anything less than utterly horrible, and Spock’s actions would go from ill-advised to downright inexplicable. As it is, watching the cool-headed half-Vulcan engage a one-man operation to take control of the Enterprise is kind of fun, so long as you don’t spend too much time wondering about the consequences.

“Where No Man Has Gone Before” was the first Star Trek pilot to air, but it wasn't the first one filmed; Roddenberry originally tried his idea out with “The Cage,” featuring a slightly different Enterprise and an almost entirely different cast. “Menagerie” has two plots. The first has Spock turning mutinous, steering the Enterprise towards the forbidden planet of Talos IV, and then surrendering himself to a court martial; which leads us to plot two, focusing on Pike’s adventures on Talos IV years ago, back when he was captain of the Enterprise, the First Officer was a woman (gasp!), and Spock himself had a wider variety of facial expressions. This second storyline is made up of footage cannibalized from that first pilot, presented to Kirk (and us) as a visual recording made by the awesomely powerful Talosians. Clips shows are nothing new to TV, but this is something different—flashbacking to a rerun that never actually aired in the first place.

Different can be good, and back before VHS and DVD releases, this was probably the only way most people could see “The Cage” even in an abbreviated form. And it really is worth seeing; partly because the story isn’t half bad, but also because it does a great job of showing just how important casting was to TOS ¸ and how crucial the chemistry between Kirk, Spock, McCoy and the rest is towards making the series work. When Roddenberry presented them with his first version of Star Trek , the network complained it was too brainy, without enough action, and while I don’t think it’s possible to be “too brainy,” I have to admit, the suits were on to something. “Cage” is clever enough, but there’s hardly any humor, and even less warmth. It’s a show that’s better respected than enjoyed.

Take Jeffrey Hunter as Captain Pike. (Hunter's only in the "Cage" clips; Sean Kennedy plays the inanimate-object version we get in the “present” sections of the episode.) He’s a solid actor—before his untimely death at 43, he’d done a lot of TV and movie work, including a great turn in The Searchers . There’s nothing obviously wrong about his performance as Pike; he’s believable, and he commits to the premise. But he’s not all that much fun. Whatever you say about Shatner, he’s got charisma coming out his ears as Kirk; Hunter is too grim. You buy that he’s world-weary, you buy that’s he’s furious at his captors, and you definitely buy his talent for “primitive thoughts,” but you don’t really want to spend week after week planet hopping with him. It’d be like vacationing with a guy who only wants to visit Holocaust museums.

The rest of the cast is similarly restrained. It’s nice having a female with a rank above nurse or secretary, but Majel Barett isn’t given a whole lot to do; at one point, Vina, the woman the Talosians are trying to mate Pike with, accuses her of being like a “computer,” but it’s more a clever line than an accurate character assessment. (Makes for an unintentional in-joke, too, since Barett would go on to voice most of the computers in the series.) The doctor's generic, the yeoman is cuter than Rand but not much else; the only real personality we get is from Spock. Ironically, out of the lot, Nimoy is the one who gets to display the widest range of emotion, but even he seems to be floundering. I’m sure things would’ve solidified if this pilot had been picked up, but it’s not hard to see why it wasn’t.

At least the actual story of “The Cage” is strong. The Enterprise gets a distress signal from Talos IV, and stops to investigate; they find what at first appears to be a colony of survivors from a crashed ship, a bunch of old scientists and one pretty young blonde. Within moments, though, the old guys vanish, and the blonde, Vina, spirits Captain Pike away. It was all a set-up by a bunch of big-brained natives—they’ve got this zoo going, and they want to bring in Pike so Vina will have a partner. Plus there’s something about the Talosians being a dying race, who need hot-blooded humans around to keep them alive. Standard alien stuff.

The Talosians are masters of telepathy and illusion, and one of the big strengths of the “The Cage” (and the parts of it that appear in “The Menagerie”) is how consistently those abilities are displayed. We never see the aliens engaging in shows of physical prowess, and their mental powers never blur into telekinesis. Instead, the big balds get what they want through trickery. After imprisoning Pike, they use a variety of fantasy scenarios to try and fool him into wanting Vina; he doesn’t fall for it, of course, although he does have a struggle over the “Orion slave girl” bit. But the fantasy doesn’t end there. Pike’s crew is frantically trying to break down the door to rescue their errant captain, but their weapons seem to have no effect on the structure. “Seem” being the operative word; it’s ultimately revealed that the barrier was destroyed early on, but the Talosians were projecting the image of an undestroyed barrier. The same way they convinced Pike and company that their phasers were inoperative; the same way they punished Pike for not obeying their wishes.

And the same way they make Vina look like an eighteen year-old girl (okay, they say she’s supposed to look eighteen, so I’ll play along), when she was really the only survivor of the crash from so long ago. When her true appearance is revealed, it’s a little heartbreaking; the Talosians rebuilt her, she’s healthy—but they had never seen a human before.

All very sad, and, while it has its problems, "Cage" would've made a solid hour-long Twilight Zone episode. But that's not exactly what we get in "The Menagerie"; while Roddenberry manages to reuse a good chunk of film, the whole thing plays out over two hours, and with a framing story from the regular cast that, while dramatic, doesn't quite gel.

Spock's behavior here, while not completely out of character, favors impulse over logic to a distressing extent. His motives are largely a mystery till the second part of the ep, but once we discover what's driving him—he's trying to get Pike back to Talos IV, where he can spend the remainder of his box-life living a carefree, illusion-based life—the knowledge doesn't really justify everything we've seen him do. Mr. "The Needs Of The Many Outweigh The Needs Of The One" is putting the lives of the entire crew in jeopardy just so his old boss can get an upgrade in nursing homes. Apparently, loyalty to his former commander trumps his loyalty to Kirk and Starfleet; while he doesn't exactly betray his current captain, you can't imagine Kirk being all that happy to have the Enterprise stolen away by his most trusted subordinate. And the main reason for all the subterfuge is bizarre; people are forbidden from visiting Talos IV on pain of death. Why, exactly? The Talosians are creepy, but once they realize that human beings hate captivity, they leave off quickly enough. The only real justification for the extreme measure is to justify a Spock's trial, a trial we need if we want to get all that "Cage" footage in.

As for the use of that footage—surely it could've been trimmed a bit. Gene wants to get as much bang for his buck, but spending all that time away from Kirk and Spock diminishes the conflict that's supposedly driving the episode. There's no real reason for this to be a two-parter, and the more we learn about the Talosians, the more we suspect that Spock's coup, though bad-ass, wasn't all that necessary. By the end credits, we've found that the court martial was a mock-up created for Kirk's benefit, which means the aliens have an astonishing range with their mind control powers. (Enough to make that whole "death penalty" thing largely irrelevant; if they really wanted to, they could've tricked somebody from Starbase 11 to drop by.) And then there's the way that the charges against Spock are tossed lightly aside, because, hey, he did everything with the best of intentions. Intentions or not, he stole the Enterprise, as well as defrauded the captain and assaulted a number of Starfleet personnel. At the very least, a slap on the wrist would've been nice.

But that would've taken away from our supposedly happy ending, with the crippled Pike reunited with Vina to spend out the rest of their days in artificially induced heaven. It's a rare moment of string-free wish fulfillment; in general, TOS tends to favor hard truth over even the most pleasant lie, and idyllic lives are hardly ever presented without cost. We're supposed to trust the Talosians motives here, but it's hard not to remember what they did to Pike the last time he put his will against theirs. There's something unsettling about abandoning a man that helpless to creatures who we still don't understand all that well, regardless of how much better that abandonment appears to the alternative. "The Menagerie" is a hodge-podge, written primarily as a money-saver, and the various parts never fit together that well, but it has its moments. Pike in that hateful box is still unnerving, and glad as we are to see him free of that box, the ambiguity of that freedom—that he's now entirely at the whim of a race he basically doomed to slow death years ago—is hard to ignore.

Stray Observations:

• On it's own, "The Cage" would rate a B+. Chopping it up and stretching it out does it no favors.
• What is it with captains and pretty yeomen?
• Watching Kirk defend Spock's honor so vehemently makes his willingness to forgivie Spock's betrayal at the end hard to believe. (Although maybe he was just that flattered that everyone had gone to such trouble to win him over.)
• Up next week, "The Conscience of the King" and "Balance of Terror."

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Star Trek – The Menagerie, Part I (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

Ah, clip shows. The bane of modern television. Okay, I’m being a bit harsh. After all, home media is a relatively recent invention. Up until the past couple of decades, it seemed that most people would only catch their television shows on… well, television. The audience was generally thought to be somewhat transient, the realities of scheduling and life making it highly unlikely that everybody would see everything. Indeed, most fans of old television shows found themselves at the mercy of fickle network schedules. Particularly for long-running shows, it was reasonable to assume that a significant portion of your audience might not be intimately familiar with the show.

Of course, the emergence of DVD box sets and on-line streaming have radically changed the way that television operates. Most obviously, there has been a massive a swing towards serialisation in the past few years, overlapping with the expansion of home media. While it’s tough to imagine a show like  The Wire or  Game of Thrones working in the early nineties, the fact that people can record and download and own their television shows means that producers can get away with assuming that everybody has seen everything.

What I’m getting at here  is that there was a time when clip shows were an understandable, maybe even desirable, part of the network television landscape. They could bring new viewers up to speed, or allow old viewers to celebrate the favourite parts of the show that they would otherwise never see again. Indeed, The Menagerie , the only two-part episode of the classic Star Trek , has a better excuse than most. The clip sections of this adventure are taken from the 1964 pilot, The Cage . Not only was this footage two years old when The Menageri e was broadcast, it had also never been aired.

Spock the difference…

There was a time when The Cage was something of a ghost among Star Trek fandom. Gene Roddenberry would take it to conventions and show it to those in attendance, but it wasn’t until after Star Trek: The Next Generation came on the air that the show was broadcast on network television. Since then, of course, the episode has been included in VHS releases and DVD box sets. The adventures of Christopher Pike have been incorporated into various media, really starting with D.C. Fontana’s Vulcan’s Glory in 1989. Pike has featured in his own books as part of crossovers, and played a significant role in the 2009 Star Trek reboot.

The Cage won’t ever be “just another episode” of Star Trek . Its place in the canon is too sacred for that. However, it is a lot less exotic than it was over two decades ago. As a result, The Menagerie has lost a lot of its cache, a lot of its uniqueness. And, to be honest, I’d be lying if I argued that The Menagerie was “the best way to watch The Cage” or anything like that. The insertion of Kirk and the modern Enterprise into the story undercuts the segments from The Cage , because nothing slows down a pulpy science-fiction adventure like court room scenes.

Everything goes up to eleven…

Indeed, I can honestly see why the broadcast and production order for The Menagerie and Court Martial are so different. By the time we reach the end of The Menagerie, Part II , we’ve had three solid hours of court room drama in Star Trek . The concept of putting one of our crew on trial was novel in Court Martial . Unfortunately, doing a two-part adventure about directly afterwards makes it seem like the show has run out of ideas. Given some of the gems waiting towards the end of the season, we know that isn’t the case.

There are even some themes carried over from Court Martial as well, particularly early on in the hour. Here, a member of the crew finds their official statements at odds with the recorded version of events. In Court Martial , Kirk found his word weighed against the Enterprise’s computer. Here, Spock apparently responds to a message never sent. “Spock stated he received a message for us to come here,” Kirk tells Mendez. “He entered same in his log. That’s all the proof I require.”

It’s a beeping mess he’s got himself into…

When Mendez points out that the evidence does not support that assertion, Kirk won’t hear of it. “Then I suggest the record tapes have been deliberately changed,” he argues. “A computer expert can change record tapes, duplicate voices, say anything, say nothing.” Of course, not only does the episode play out Kirk’s suggestion with a wonderful irony (with Spock as the “computer expert” in question), but Kirk also had very recent first-hand experience with such tampering.

Interestingly, the episode is also set at Starbase 11, the same setting featured in Court Martial . The fact that Christopher Pike was here, and it didn’t come up in the last episode, is probably the reason that Court Martial was shifted to much later in the schedule. Similarly, it’s really weird that Commodore Stone isn’t present here. Maybe he just dealt with disciplinary stuff, or maybe he was transferred away after all the crazy stuff that happened in  Court Martial .

Spock’s holiday slide show made for surprisingly compelling viewing…

Anyway, it does feel a little weird to use Starbase 11 so soon after  Court Martial , but without maintaining even a hint of continuity. Not that Star Trek was great with continuity. As a case in point, the name of Starfleet is re-established here, after being introduced in Court Martial . However, the organisation will be called “Spacefleet Command “ in Squire of Gothos . So it probably shouldn’t be too surprising that the show can’t maintain a real consistency between two episodes set at the same location.

That said, Court Martial and The Menagerie both do a great job extending and developing the depiction of Starfleet, and place both Kirk and Spock in a broader administrative framework. While a lot of Star Trek featured Kirk engaging in pulp sci-fi adventures, episodes like The Menagerie make it clear that this sort of thing doesn’t happen in a vacuum. I’ve been talking a great deal about world-building, and that’s something that really begins in the middle of the first season, from around Balance of Terror onwards.

Spock strikes a nerve..

The Menagerie continues this theme. The Conscience of a King and Court Martial confirmed that Kirk had a personal and professional history. The Menagerie establishes the same for Spock and the Enterprise. I’ll talk a bit more about Spock in a moment, but The Menagerie really firmly suggests that we aren’t watching the origins of the Enterprise or its crew. The ship has been around a long time, so long that it has a life before Kirk. Asked how long he served with Pike, Spock answers, “Eleven years, four months, five days.”

That’s a lot of empty space there, and it leaves a lot of room for back story. While stories so far have referenced particular events – the Earth-Romulan War, Kirk reporting Finney, the massacre on Tarsus IV – The Menagerie does the opposite. It establishes a blank space where events could be. It invites the audience to fill in that white canvas with details of these adventures and these stories. Star Trek tie-ins thrive on these gaps and these little spaces. It’s no wonder that the novels and comics have seized the rather expansive period where Pike commanded the Enterprise.

Now he’s no longer being Stone-walled, let’s see if Kirk can Mendez his relationship with Starbase 11…

I actually really like The Menagerie . Well, okay, let’s qualify that. I acknowledge that it’s a clip show. If I want to watch Pike command the Enterprise, I’ll just stick on The Cage . I don’t want to watch episodes of Star Trek about characters watching episodes of Star Trek . I don’t consider Shades of Grey the worst Star Trek episode ever written, but it’s a pretty crappy hour of television. That said, I do like some of the meta-fictional aspects, as the script intentionally draws our attention to the fact that we are watching a clip show.

Kirk points out that it’s unlikely the ship’s log would record Pike’s adventure in such cinematic terms. “That’s impossible,” he protests, like a fan on an internet forum who just found a plot hole. “Mister Spock, no vessel makes record tapes in that detail, that perfect. What were we watching?” While The Menagerie doesn’t have an especially effective or compelling cliff-hanger, I respect that it’s honest enough to have Roddenberry Spock make a plea to the audience Kirk. “You must see the rest of the transmission.”

Pike chairs the judging panel…

I’m not a big fan of watching an episode chopped up and inserted into another episode. However, I do like the framing story of The Menagerie . It’s a pretty great Spock story, coming only a few episodes after the first true Spock story, The Galileo Seven . Playing on the themes that are developed through most of the stronger Spock stories, The Menagerie hints at the idea that Spock is more governed by emotion than he might let on. Certainly, he actions here are sentimental, rather than logical.

As McCoy and Kirk note, this conduct is not possible for a Vulcan. In a nice touch, The Menagerie casts McCoy as a character who has complete and implacable trust in Spock. This is a character who disagrees with Spock’s whole worldview, but still respects the man and his traditions. It’s a much more balanced and sophisticated portrayal than the disrespect McCoy demonstrated in  The Galileo Seven . While McCoy would never give Spock the satisfaction of admitting it to his face, it’s clear that he quite likes and trusts Spock.

The lights are on, but no one’s home…

Indeed, McCoy and Kirk both demonstrate how well they know and understand Spock, and what drives him. “Jim,” McCoy reminds his commanding officer, “forgetting how well we both know Spock, the simple fact that he’s a Vulcan means he’s incapable of telling a lie.” Kirk points out, “He’s also half human.” McCoy responds, “And that half is completely submerged. To be caught acting like us or even thinking like us would completely embarrass him.” Interestingly, both characters are right about Spock, even as they disagree. McCoy understands that Spock can’t bring himself to acknowledge his human half, while Kirk knows he can’t completely hide it.

Kirk even points out the illogical and irrational nature of Spock’s plan. “If he had wanted to see Captain Pike he could have requested a leave,” Kirk tells Mendez. “I would have granted it.” It seems hard to believe that Spock couldn’t have simply bribed passage on a freighter with Pike, or even taken an especially well-stocked shuttle. As much as Talos IV is off-limits, there are no hints of orbital defences or security checkpoints. The Enterprise just flies there unmolested.

Mendez’s spec. script for a sequel to “Talos III” was garnering great word of mouth…

Spock’s plan to hijack the Enterprise is – on the surface – most illogical and inefficient. A cynic might suggest that it exists purely to set up the court martial subplot. However, I think there’s a very clear reason for Spock to hijack the Enterprise. He doesn’t just want to bring Christopher Pike to Talos IV. He wants to take him for one last trip on the Federation flagship, probably the most high-profile ship Pike ever commanded. There’s a sentimentality there, a clear respect and affection for his old commanding officer. It’s a shame that we don’t get a better sense of the bond between Pike and Spock, even if we can intuit it easily enough.

This is, after all, a nice bit of foreshadowing. Much as Spock hijacked the Enterprise to bring an old friend some sense of peace, Kirk and his crew would eventually do the same for Spock in Star Trek III: The Search for Spock . Even this early in the series, it’s hard to believe that Spock wouldn’t do the same for Kirk or even McCoy. Indeed, it’s hard to believe that Kirk would have refused – even under penalty of death – had Spock asked this of him as a friend.

Well, that’s one way for Spock to get his command…

Leonard Nimoy does his usual great work here. A lot of the reason that the first half of the episode works so well is down to Nimoy’s performance. Despite the fact that this is all a contrived set-up so that the production crew can broadcast an unaired pilot, Nimoy’s portrayal of Spock gives the episode a great deal of nuance. He also invests us in this particular framing adventure. I suspect that  The Menagerie would probably be worth skipping entirely if it weren’t for Nimoy’s work.

Indeed, it’s fascinating that we trust Spock so much that we almost immediately accept that he has a good reason for lying to Kirk, incapacitating a bunch of officers and stealing the Enterprise. The fact that he surrenders himself, and is willing to confess his crimes, also maintains the character’s dignity and audience’s trust. It seems like the show is realising pretty quickly exactly what it has in Spock, who really is one of the most fantastic characters in the history of television.

I guess they can kill the time by catching up with fleet shuttlebutt…

There are other little touches that fit quite well with Roddenberry’s vision of Star Trek , this early in the show’s run. There’s a sense that the Enterprise is cruising along the frontier, isolated and insulated from the goings-on among the core worlds. While Spock had obviously heard somehow, Kirk is shocked to hear what has happened. “You don’t know?” Mendez asks, shocked. “You actually don’t know what’s happened to Captain Pike? There’s been subspace chatter about it for months.” It really gives you a sense that the Enterprise is truly on the frontier.

It seems like the show has really settled into its characterisation of Kirk as a ladies’ man, to the point where the show is even making jokes about it. Though, to be fair, as of Court Martial , we’re reaching the point where Kirk is awkwardly bumping into ex-girlfriends at space ports. Maybe there’s a reason the Enterprise spends so much time so far out. Here, Mendez introduces Kirk to his mini-skirted assistant.

Watching Star Trek reruns is the best part of Mendez’s job…

“I recognized the Captain immediately,” Piper responds, politely. “A mutual friend described you, sir. Lieutenant Helen Johansson.” Shatner does that wonderful thing where Kirk is delightfully socially awkward. This is a man who can order crew members to their death, but not talk about basic human interaction. “Helen described–?” Piper politely cuts his embarrassed comment off. “She merely mentioned she knew you, sir.” I’m actually kind of curious as to what Kirk thought she “ described.” I know I should probably be more mature, but there’s something weird about the use of the word of “described” instead of “said” or “told.”

Building off episodes like Court Martial and Dagger of the Mind , The Menagerie also suggests some institutional doubts about the structures of authority in classic Star Trek . Again, this is probably a result of the script’s desire to create suspense rather than any conscious decision on the part of Gene Roddenberry, but it’s fascinating that Starfleet still has a death penalty. And that it is reserved for a very particular case. (Which, naturally, comes into play here.)

“Don’t worry, we just did one of these last episode, it’ll be fine…”

“General Order 7,” Kirk clarifies. “No vessel under any condition, emergency or otherwise, is to visit Talos IV.” Mendez continues, “And to do so is the only death penalty left on our books. Only Fleet Command knows why. Not even this file explains that.” Not only does this suggest that Starfleet is keeping secrets (we’re also told that “the command reports stated Talos contained absolutely no practical benefits to mankind” ), but also that the operational body is genuinely  afraid of Talos IV. In a way that, for example, they are not afraid of the Neutral Zone or the Galactic Barrier or any other exotic locale.

It’s interesting that Starfleet has these sorts of operational secrets. You might understand why a military body would keep the news of an ancient civilisation with that sort of power relatively quiet, but it does raise questions. Despite the relatively amicable terms on which Pike left, does Starfleet consider the Talosians a threat? Or was this order established with their consent? If Starfleet is so concerned about people going off to live fantasy lives so real that they would never leave, how come they go on to develop the holodeck?

Into darkness…

More than that, what other dark secrets does Starfleet harbour? The footage from Pike’s expedition is news to Kirk, so does that mean that nay of Vina’s surviving relatives never discovered what happened to her? Or any other relatives of those lost in the crash? Despite the appearance of Utopia, does Starfleet take similar steps to cover up Kirk’s adventures? If the Talosians are off-limits, would Starfleet admit that the events of – to pick an example – Errand of Mercy took place? Sure, they signed “the Organian Treaty” , but is it possible that they suppressed news of how powerful the Organians were?

What about things like Gary Mitchell’s insanity in Where No Man Has Gone Before or Adams’ abuse in Dagger of the Mind ? After all, if Starfleet seems afraid to admit the awesome power of these aliens, it must be motivated by fear if the word got out. What would happen if people discovered that visiting the Galactic Barrier turned you into a god-like being or that Federation officials had been systematically abusing penal colony inmates? All of a sudden, the Section 31 stuff from Star Trek: Deep Space Nine and the version of Starfleet presented in The Final Reflection don’t seem so radically incompatible with Roddenberry’s vision.

These are the times that try men’s (and half-Vulcan’s) souls…

So The Menagerie is an interesting piece of Star Trek , even beyond being the first clip show and the first two-parter. It’s an interesting addition to the mythos, a wonderful Spock story and filled with some fascinating ideas. The second part doesn’t quite stick the landing, but the first part is still well worth a watch.

You might be interested in our other reviews from the first season of the classic Star Tre k :

• Supplemental: Vulcan’s Glory by D.C. Fontana
• Supplemental: Early Voyages #1 – Flesh of my Flesh
• Supplemental: Crew by John Byrne
• Where No Man Has Gone Before
• The Corbomite Manoeuvre
• Mudd’s Women
• The Enemy Within
• The Man Trap
• The Naked Time
• Supplemental: My Enemy, My Ally by Diane Duane
• Supplemental: Romulans: Pawns of War by John Byrne
• Supplemental: Errand of Vengeance: The Edge of the Sword by Kevin Ryan
• Dagger of the Mind
• The Conscience of a King
• The Galileo Seven
• Court Martial
• Supplemental: Early Voyages #12-15 – Futures
• Supplemental: Burning Dreams by Margaret Wander Bonanno
• Shore Leave
• The Squire of Gothos
• Supplemental: Requiem by Michael Jan Friedman & Kevin Ryan
• Supplemental: The Fantastic Four #108 – The Monstrous Mystery of the Nega-Man
• Tomorrow is Yesterday
• The Return of the Archon
• A Taste of Armageddon
• Supplemental: The Eugenics Wars: The Rise and Fall of Khan Noonien Singh, Volumes I & II by Greg Cox
• This Side of Paradise
• The Devil in the Dark
• Supplemental: Spock Must Die! by James Blish
• Supplemental: The Final Reflection by John M. Ford
• Supplemental: The City on the Edge of Forever by Harlan Ellison/Cordwainer Bird
• Supplemental: Crucible: McCoy – Provenance of Shadows by David R. George III
• Supplemental: Star Trek (Gold Key) #56 – No Time Like the Past
• Operation — Annihilate!

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Filed under: The Original Series | Tagged: Benedict Cumberbatch , Cage , Chris Pike , Christopher Pike , Court Martial , Fleet Captain , J. J. Abrams , james t. kirk , kirk , Leonard McCoy , Menagerie , spock , star trek , Star Trek Into Darkness , star trek: the next generation , StarTrek , USS Enterprise |

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Roddenberry Entertainment COO On Star Trek: Discovery, Rob Zombie & Exploring The Human Condition [SXSW]

• The legacy of Star Trek: Discovery lives on through new shows like Strange New Worlds and Lower Decks .
• Producer Trevor Roth hints at new Star Trek films in development, with a focus on expanding the universe.
• The final season of Discovery promises a thrilling rollercoaster ride with emotional closures and character developments.

The fifth and final season of Star Trek: Discovery has finally arrived, premiering earlier this week. Ahead of its release, much of the show's cast and crew made their way to South by Southwest festival last month, including Trevor Roth, the show's executive producer. Though the story of the U.S.S. Discovery and its crew may be coming to a close, the legacy begun by the series will live on - since it began, Discovery has helped spawn several other shows in the Star Trek universe like Star Trek: Strange New Worlds and Lower Decks .

Roth also serves as Chief Operating Officer of Roddenberry Entertainment, the company founded by Rod Roddenberry, son of original Star Trek creator Gene Roddenberry. Through this position, Roth has a major role not just in Discovery but all current Star Trek properties, including some not yet released, like Section 31 and Starfleet Academy . Although there currently aren't any new Star Trek films in the franchise currently announced, the universe continues to grow at a steady pace, with several series and podcasts currently in production.

Star Trek: Discovery Season 5 Returning Cast & New Character Guide

Screen Rant interviewed Trevor Roth at South by Southwest to discuss the final season of Discovery , his many other projects, and the legacy of Star Trek .

Trevor Roth Talks All Things Star Trek

Screen Rant: You guys are killing it over there at Roddenberry. First of all, how busy are you? How are you even here? Are you juggling? You have multiple shows on air and in development. Is your daily routine like working on seven things at a time?

Trevor Roth: We are very busy and we are not actually a huge crew, but we do have wonderful partners in Secret Hideout and CBS and Paramount and all those kinds of things. And wonderful producers as well, that are tremendously both helpful and leading charges and all those kinds of things. So, we do our best to be the part of everything that takes that 20,000-foot view on it and really - in the case of Star Trek - remembers what Star Trek is and what it maybe needs to be and make sure that that voice is heard in the room, throughout everything that we're doing. And that goes for everything that we are doing outside of Star Trek as well. We really believe that Gene Roddenberry gave us a gift of this name and the promise of what that means in the world of entertainment, and so we're doing our best to uphold it.

Is it hard not to play favorites? Are you like, "Oh, if only you could all be like Picard ." Is it hard not to play favorites with all the shows you got going on?

Trevor Roth: I'm a father of two and a producer of many. And I feel like, in certain circumstances, maybe one of your kids is annoying you and the other's being really good. But I don't know that you probably say you love one more than the other. It just depends on the day, which one's annoying you or not, which one wants money -

You do have a few less shows on at this precise moment. Because I think there was a zenith you hit. I think it was around 2022, you had five shows.

Trevor Roth: Yeah. Right now let me just count real quick. So Picard is done, of course. So, Discovery season five, woo. And Prodigy's on Netflix right now, its second season's going to be coming out hopefully pretty soon. And Lower Decks is continuing to run and an awesome, awesome show. Strange New Worlds, which wasn't one of the originals, we're working on that. And then we've got some stuff in development that is going to be coming soon, so we're doing good. I feel good.

What's Next For Star Trek & Roddenberry Entertainment

Yeah. Tease what you have in development right now?

Trevor Roth: Am I allowed? I'm not sure which I'm allowed to talk about.

J.J. Abrams, is he coming back? Is there going to be a Star Trek IV ?

Trevor Roth: Oh, we're on movies. Fair enough. Yeah, I am not able to say much, but I can say that it is Paramount's heavy intent to figure out the Star Trek side of movies and what's going on there. There's every intent of a new movie coming out in the very near future. There's a lot of secrecy around what's going to happen there. But there is a plan getting into place and we're very excited to see it return to the big screen.

Okay. And maybe also a prequel?

Trevor Roth: I don't know what you're talking about. No. There's some stuff out there that I can't deny or confirm. But, I think that - look, there've been a lot of people talked about throughout the last year, since, what? '16 was the last movie.

Do you recognize that you're keeping us waiting?

Trevor Roth: I do, as a fan I do. And I will tell you that you want to do it the right way. You want to do it and yet practical things get in- people a lot of times are like, "Oh, why isn't this happening or that happening?" And sometimes those questions are really good questions and other times there's a lot you don't know that is happening behind the scenes, that can make things more difficult than you would think. So, all in all, we're getting there to my understanding. And we're excited and plans are being put in place. And I know that from the standpoint of the studio, there was no lack of recognition of wanting and needing a Star Trek film coming out.

Well, speaking of happening or not happening, the rumors were just running rampant at one point. Was a Quentin Tarantino Star Trek movie ever in the realm of possibility? Was it ever close?

Trevor Roth: That was not a rumor, I'll say, I believe that was something that was being explored and discussed. It's not completely like an urban legend, is what I'll say. And by the way, my understanding is, although I've never met the man, that Tarantino is in fact a big Star Trek fan and loves Sitting On the Edge of Forever and some great old episodes. And so it's awesome to think that he sees something in this that we see as well.

Yeah. But, not currently in production, or pre-production or anything. Not something you guys are having meetings?

Trevor Roth: I don't think it's going to be his 10th film, to my understanding.

10th and final film. Speaking of high-profile Star Trek fans, I had a conversation with the almighty actor Nic Cage.

Trevor Roth: Yes, I did see that. I was very excited about that actually.

I was asking him if he was going to do Star Wars , because his buddy Pedro Pascal wanted him in Star Wars . And he said - which never happens in interviews - "No. No, thank you. I am a Trekker." He's like, "I am a Star Trek fan," and of course the internet went wild.

Trevor Roth: I was blown away. It's so wonderful when someone comes out of the woodwork like that. And there are some people I don't even know if they want me to name them. But to give you an example, like Rob Zombie is a Star Trek fan. When I found out [about] Rob Zombie, it was awesome. It was awesome to learn that he was a Star Trek fan and Nic Cage is the same. So, I am waiting for the day when I somehow run into him or have some kind of interaction with him, because it was awesome to find that out. I was really excited about it, actually.

And the internet really wants that to happen. There were people offering to put up money. I want to see a Rob Zombie Star Trek movie now.

Trevor Roth: I know. We've got to wonder what that guy would do with it, right? A thousand corpses in space.

Looking Back On The Legacy Of Star Trek: Discovery

I mentioned this prior to the interview, but we had the cast of Discovery in here to celebrate the fifth season, which is premiering here at South By. What a crew! And a lot of it was very emotional. There's a lot of bittersweetness about that series coming to a close. What can you say about what drove that decision? Why was it the time?

Trevor Roth: Look, there's probably a lot of things that I don't even understand that drive the decision. I think that one, we look at Discovery as a huge success. Five seasons in a streaming world of today is actually a really strong showing. And this is the one that really began the new iterations of Star Trek. Discovery was the one who paved the way for this next generation, if you will, of stuff coming out there. So, it is bittersweet, because it was the first in that sense and it was on its shoulders that so many of the others stood or stand. And the people involved in Discovery from Sonequa [Martin-Green] to Doug [Jones] to everyone, just such wonderful people that have truly become a family. It's incredible to see how the dynamics have gotten them to be such a close-knit group, and how they truly care about each other on screen and off.

What can you tease about the fifth season? We've heard a little bit from the cast. Wilson [Cruz] has promised to end on a really high note.

Trevor Roth: Is that what he promised? Wilson's putting his neck out there. Listen, I think that it's very exciting. You know what I mean? I think that season five, as little as I'm allowed to say about it - because tonight is the premiere and we're all going to get to see where it begins at least - season five is a roller coaster of a ride. I think you're going to get a lot of thrills out of it. And, I think that at the same time it's going to come to a nice resolution come the end that you're going to feel that it's closed. You're going to feel that closure, I think.

And speaking of closure, one of the things fans are excited about seeing where it goes is the romantic aspects and what happens with Michael and Book. They're like the Ross and Rachel of Discovery .

Trevor Roth: Yeah. It is interesting how the soap got in there really, and people really enjoy it. I think that when you look back at season one at Michael Burnham - and I mean this was a woman who was second in command and calling for mutiny and all these kinds of things, pretty crazy. To then look at her after season two eventually jumping to the future, and now beginning a whole new life or a new part of her life in a very different time and having very different challenges. To me, it makes all the sense in the world. Then Book came along and was with her during that chapter, because I think it had to do with her growing emotionally in a lot of ways. And I think the two of them, I can't say enough good things about them both as actors and as people.

So many great characters. Doug Jones just killing it as Saru always.

Trevor Roth: I don't even call him Doug, by the way. I just call him Saru. [Laughs] He doesn't always answer to me, but whatever.

Do you see a future for any of these characters beyond Discovery ? Is there a hope that we might see them cross over anywhere else?

Trevor Roth: Look, never say never. And I will say they are wonderful characters. And a lot of them probably have stories that we don't know yet, or have yet to occur. And so I think the wonderful thing about Star Trek, because I believe it will be around forever, is that there's always a chance to tell those stories, and that those stories normally are very meaningful and interesting and dynamic.

Yeah. Discovery is so interesting because it's so groundbreaking in so many different ways. But, when it came about in 2017, I think there were aspects to it that were controversial. Do you think that's one of these series like a DS9 that won't be fully appreciated until people look back on everything that it did?

Trevor Roth: Yeah. It's a good question. I hope it's appreciated today. I think that a lot of people, like two Star Trek fans who take issue with this or that along the way, The Next Generation they took issue with at first, if you remember? But, I think that as you fall into the annals of Star Trek history, people start to recognize what you contributed to the overall franchise and the overall universe. And I think that if for some reason Discovery wasn't your cup of tea, I think that there's definitely a softening over time. But, hopefully, it was from the beginning.

Checking In On Star Trek: Strange New Worlds, Lower Decks, And More

Yeah. Well, I want to ask you for some rapid-fire updates. We've mentioned a couple of these shows already. But, any update on Strange New Worlds is good. Season 3?

Trevor Roth: Season 3? It's awesome. I love Strange New Worlds. It's such an homage to, literally the very first - the Cage - the very first pilot that was made that ended up in the Menagerie. And it too, I think about the cast in my mind right now and what a wonderful group of actors and bringing certain characters that we love or have known of to life and others being brand new. It's fantastic. We're very excited about season three.

How about Lower Decks ?

Trevor Roth: Lower Decks? Taking it to the animation man. Mike McMahan and that crew and Tawny [Newsome] and Jack and [Quaid], everybody there, it's a great look at Star Trek. I think that for those people who - the "underbelly" is not the right word, but getting to see that side of Star Trek that we didn't used to see was always such a fascinating thing to me. And they do it with a great sense of humor and it's fantastic. And no one knows Star Trek like Mike McMahan. I mean that guy is pulled out I cannot tell you how many little Easter eggs or referrals to - it's insane.

How about Prodigy ?

Trevor Roth: Love it. All I can say about Prodigy is if you haven't seen it yet, go watch it. I don't care if you're a child or an adult, it is strong Star Trek and a great adventure. And if you don't know Star Trek, it's also a wonderful, wonderful access point to it, because it allows you, along with the characters in it, to figure out what this is all about and why it's been around for almost 60 years.

What about Section 31 ? I don't think we've mentioned it.

Trevor Roth: Section 31, Michelle Yeoh. What more could you ask for? Michelle was part of Discovery early on, and then eventually left the show and is now back in Section 31. And she's like a force of nature. And it's almost like the world in some ways is just now recognizing that, and in other ways has forever. But, really, I'm not even a tall guy, but she's just like this small woman who's just a powerhouse. It's crazy.

So, where's Star Trek going from here?

Trevor Roth: I think that Star Trek is going to continue to expand and see the different ways we can. We're working on everything from podcasts or audio dramas to other shows. And I think that one of the things that we try and do is continue to push the vantage points from which we can see Star Trek. So, are there new perspectives that we can bring to it? We've never seen it from this perspective or that perspective. I think a lot of it is about, again, keying into what Star Trek is, making sure that we provide that substantive quality adventure and exploration of both out there and the human condition, while simultaneously see if we can bring a new perspective or a new on-ramp to that and see if we can bring something new to the table.

Check out our other Star Trek: Discovery interviews here:

• Sonequa Martin-Green
• Doug Jones & David Ajala
• Alex Kurtzman & Michelle Paradise
• Wilson Cruz, Mary Wiseman & Blu del Barrio

New season 5 Star Trek: Discovery episodes come to Paramount+ every Thursday.

Source: Screen Rant Plus

Star Trek: Discovery

Cast Blu del Barrio, Oded Fehr, Anthony Rapp, Sonequa Martin-Green, Doug Jones, Wilson Cruz, Eve Harlow, Mary Wiseman, Callum Keith Rennie

Release Date September 24, 2017

Genres Drama, Sci-Fi, Adventure

Streaming Service(s) Paramount+

Franchise(s) Star Trek

Writers Alex Kurtzman

Directors Jonathan Frakes, Olatunde Osunsanmi

Showrunner Alex Kurtzman

Where To Watch Paramount+

Star Trek (TV Series)

The menagerie: part ii (1966), full cast & crew.

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Writing credits  , cast (in credits order) complete, awaiting verification  , produced by , music by , cinematography by , editing by , art direction by , set decoration by , costume design by , makeup department , production management , second unit director or assistant director , art department , sound department , special effects by , visual effects by , stunts , camera and electrical department , costume and wardrobe department , editorial department , music department , script and continuity department , additional crew .

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Screen Rant

Mary & george cast & character guide.

Real-life historical figures like King James VI and the Duke and Dutchess of Villiers are brought to life by a talented cast in Starz's Mary & George.

• Mary & George offers a comical and scandalous look at 17th-century English royalty, with a stellar cast bringing real-life characters to the small screen.
• The Starz miniseries, led by Julianne Moore and Nicholas Galitzine, delves into the historical love affair between George Villiers and King James VI.
• With a large ensemble including Tony Curran, the series offers a mix of drama and comedy in British history, akin to popular royal dramas like The Great.

Mary & George takes a comical and scandalous look at 17th-century English royalty, with a dazzling cast portraying various real-life characters. The Starz miniseries, which released its first episode in the United States on April 5, 2024, boasts a large cast to bring the drama of British history to the small screen. Created by D.C. Moore ( Not Safe for Work ), Mary & George has been hailed a replacement for series like The Tudors , with the sort of comedy that made other royal dramas like T he Great so intriguing.

Starz's historical TV show Mary & George is based on the 2017 book T he King's Assassin: The Fatal Affair of George Cilliers and James I by Benjamin Woolley and tells the true story of English Dutechess Mary Villiers' attempts to raise her family's social rank. Her endeavors result in a history-making love affair between her son, George, and King James VI (King James I for Scotland). It's all the scandal and drama that we like to see in a TV series of this nature, and this is, of course, made possible by the talent of Julianne Moore, Nicholas Galitzine, Tony Curran, and more .

Mary & George Trailer: A Worthy Tudors Replacement With More Scandals & Twists

Julianne moore as mary villiers, julianne moore is 63 years old.

Julianne Moore, born in Fort Bragg, North Carolina, has been a beloved figure in blockbuster films since the 1990s. She started her career in the soap opera As the World Turns (1985-1988), and got her breakthrough movie role through the 1993 Robert Alman film Short cuts . From there, Moore starred in a number of massively successful movies, like Nine Months (1995) and the Jurassic Park movie , The Lost World: Jurassic Park (1997). Other notable films from Moore include The Big Lebowski (1998), Magnolia (1999), Hannibal (2001), and The Kids Are All Right (2010).

In Mary & George , Moore plays the titular Mary Villiers, Countess of Buckingham. This real-world figure went to notorious lengths to see her son, George, find social success. As the miniseries explores, this includes setting the handsome young man up to become the lover of King James VI himself.

New episodes (with a total of 6) of Mary & George are released every Friday on Starz.

Nicholas Galitzine as George Villiers

Nicholas galitzine is 29 years old.

London-born actor Nicholas Galitzine is an increasingly familiar face in movies and TV and has secured several more prominent roles in the 2020s. He began his acting career in a variety of teen movies, such as High Strung (2016) and Handsome Devil (2016). However, come the 2020s, Galitzine broke into other genres, playing in movies like Cinderella (2021), Purple Hearts (2022), and Bottoms (2023) . Along with Mary & George , Galitzine's 2024 roles include Hayes Campbell in the romantic comedy The Idea of You opposite Anne Hathaway .

Galitzine plays George Villiers, Duke of Buckingham, in Mary & George . He is a handsome young man who piques the interest of King James VI. George is greatly under the control of his mother, Mary, who is determined for her family to be elevated within English social life.

Tony Curran as King James VI

Tony curran is 54 years old.

Tony Curran, born in Scotland, has been an active actor since the 1990s. However, it's his more recent roles that have gained him the most notoriety. Curran has made his mark on the Marvel Cinematic Universe, playing Bor in Thor: The Dark World (2013) and Finn Cooley in Daredevil season 2 (2016). In addition to this, t he actor has appeared in projects like Doctor Who , Crazy Head (2016), The Flash , Outlaw King (2018), and Mayflies (2022).

Curran adds his talent to Mary & George, playing King James VI of Scotland and I of England.

Curran adds his talent to Mary & George, playing King James VI of Scotland and I of England. James was the son of the famed Mary Queen of Scots and took the English throne after the death of Queen Elizabeth I. The real-life ruler was notoriously flexible regarding his sexuality, with a strong preference for men, leading to his intimate relationship with George Villiers.

Mary & George Supporting Cast & Characters

Meet the supporting cast of starz's mary & george.

Laurie Davidson as Robert Carr - Laurie Davidson, best known his roles in the TV series Will (2017), and 2019's movie adaptation of Cats , plays Robert Carr in Mary & George , King James VI previous favorite lover. This, of course, makes Davidson's character the natural enemy of the titular George and a significant antagonist in the scandalous miniseries.

Sean Gilder as Sir Thomas Compton - Actor Sean Gilder is best known for his work on movies and TV shows like Gangs of New York (2002), The Gold (2007), Shadow and Bone (2021), and Slow Horses(2022). He plays Sir Thomas Compton in Mary & George , Mary's second husband after her first's passing.

Mark O'Halloran as Francis Bacon - Irish actor Mar O'Halloran is known for his writing and acting work on projects like Adam & Paul (2004), Garage (2007), Rialto (2019), and An Encounter (2021). In Mary & George , O'Halloran plays Francis Bacon, the Lord High Chancellor and close confidant for King James VI.

Pearl Chanda as Frances Carr - Pearl Chanda plays Frances Carr in Mary & George , the wife of King James' previous lover, Robert. Chanda is best known for her roles in War of the Worlds (2019), I May Destroy You (202) and See How They Run (2022).

Mary & George's Tony Curran Talks Biting "Quite Heavily" Into Risqué Historical Dark Comedy

Trine Dyrholm as Queen Anne - Danish actor and director Trine Dryholm is best known for In a Better World (2010), Love Is All You Need (2012), and Queen of Hearts (2019). She plays Anne of Denmark, Queen of England and Scotland in Mary & George , the wife of King James VI.

Niamh Algar as Sandie - Irish actor Niamh Algar is best known for movies like Censor (2021), Deceit (2021), and the TV medical drama Malpractice (2023). Algar plays Sandie in Mary & George , who works at a brothel Mary frequents. This leads to a secret love affair between the two women.

Adrian Rawlins as Edward Coke - English actor Adrian Rawlins is best known for playing Arthur Kidd in The Woman in Black (1989) and James Potter in the Harry Potter movies. In Mary & George , he plays Sir Edward Coke, a judge and member of King James VI's privy Council.

Samuel Blenkin as Charles I of England - Samuel Blenkin is best known for his roles in Black Mirror (2011), Atlanta (2016), and The Sandman (2022). He plays Prince Charles I in Mary & George , the second son of King James VI and the future king of England and Scotland.

15 Historical Dramas To Watch If You Liked Reign

Amelia Gething as Frances Coke - Actor Amelia Gething plays Francis Coke, Viscountess Purbeck in Mary & George , the daughter of Sir Edward Coke. Gething is best known for her role in Emily (2022) and her voice work for the Harry Potter video game Hogwarts Legacy .

Nicola Walker as Elizabeth Coke - Nicola Walker is best known for her roles in TV series like Spooks (2003-2006), Unforgotten (2015-2021), and Last Tango in Halifax (2012-2020). She plays Lady Elizabeth Coke in Mary & George , the wife of Sir Edward, who despises Mary, proving herself a significant obstacle in the Dutchess' goals.

Mary & George

Based on the 2017 book The King's Assassin, Mary & George is a historical drama television series created for Starz by D. C. Moore. The series follows the tale of the Countess of Buckingham, Mary, as she plots to influence England's development from the shadows by training her son to seduce the king.