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Published Mar 15, 2016

Star Trek Vault: Read-Along Records

Power Records began releasing Star Trek -themed albums in 1975. The first ones were 12-inch, 33 1/3 RPM recordings that featured original Star Trek stories. Power Records also released 7-inch records, in either the 33 1/3 or 45 RPM formats, occasionally accompanied by a related 20-page book. Later on, in 1979, Peter Pan Records took over, unveiling 12-inch, 33 1/3 records and a couple of 7-inch, 45 RPM discs, that recycled the Power Records recordings and sometimes, but not always, included 16- or 20-page books.

All in all, there were 11 actual new Star Trek stories, billed as "original stories for children inspired by Star Trek ." The story titles included "In Vino Veritas," "The Time Stealer," "Passage to Moauv," "The Crier in the Emptiness," "The Robot Masters" and "Dinosaur Planet." As the good folks from Peter Pan Records in Newark, New Jersey, promised... "The action comes alive before your eyes!"

These days, all of the Trek material from Power Records and Peter Pan Records can be found in the dealers rooms at conventions and, of course, via online retailers such as eBay. The 7-inch versions typically cost less than $10, while 12-inch editions cost more, roughly $10-$25. The albums produced before 1979 generally fetch in the higher range, and the final two 12-inch LPs are even more valuable, as they're rare and include several stories (but no comic book).

Now here's the debate: Sealed items are usually worth more money; that's a general rule of thumb. But if your Star Trek record is sealed, then you can't listen to it or read along with the book. And what fun is that? So before you visit the dealers room or search online, we recommend that you decide in advance what you really want.

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On the Star Trek Peter Pan Records of 1979

In the last two days, we’ve discussed the seven original Star Trek stories produced by Peter Pan Records in 1975-1976 (parts one and two ). Today, we look at the company’s 1979 Star Trek offerings.

The Final Four Stories (1979)

Although Peter Pan Records hadn’t produced a Star Trek record in three years, it apparently still had the license to produce them. With the release of Star Trek: The Motion Picture , the record company went back to press on its original seven stories, reissuing them, both as singles and as 12″ collections but now under covers bearing photos from the new movie. Despite this, when comics were contained inside, the art for those comics reflected the uniforms of the original five-year mission, rather than the uniforms seen in the motion picture.

After six such reissues (the two original 12″ records, the two 7″ singles with comics, the record with both “A Mirror for Futility” and “The Time Stealer” that had comics adaptations for both, and a new combination of “Passage to Moauv” and “Crier in the Emptiness” that included both their comic adaptations), Peter Pan issued an all-new 12″ record containing four new stories (its fifteenth release overall).

This echoed the pattern Peter Pan had taken in 1975-1976, in which all seven original stories were first released on two 12″ records without comics, and only then re-released as singles, either with or without comic books. Following this all-new album, Peter Pan re-released the three book-less singles from 1975-1976 (even though this meant two singles again for “The Time Stealer,” one with a comic book and one without, and no single for “The Logistics of Stampede” or “A Mirror for Futility”). It seems as if Peter Pan was trying to churn out as much product as possible, while avoiding pressing new records — the only new pressing of old material was the combined 12″ record for “Passage to Moauv” and “Crier in the Emptiness.” With these re-releases exhausted, Peter Pan released three singles from the four stories on its all-new 12″ album, the latter two of which had new comic-book adaptations.

Then, after 21 albums containing various permutations of the same 11 stories, Peter Pan released two final 12″ records (its 22nd and 23rd releases), mixing all 11 stories in a new order onto two albums instead of three. Visually, these final two albums were distinguished by using images of the new movie’s Enterprise, whereas prior albums had only used photos of the new movie’s cast.

And that was it for Peter Pan’s Star Trek offerings.

This flurry of albums, released around The Motion Picture , apparently did good business for Peter Pan. They still exist in such quantities that it’s not rare to find them sold online still in their shrinkwrap.

Besides having photographic elements on their covers, the 1979 releases didn’t carry the Power Records logo, instead going with the logo of parent company Peter Pan.

These four new stories aren’t up to the quality of the seven original ones, especially those written by Alan Dean Foster. In fact, it’s not known who wrote these four new stories. The two original 12″ records, which had contained all seven original stories and which were released in 1975, had specified the stories’ writers on their album covers. No such information was given for the four new stories.

And instead of tapping some of the best comics artists to produce the two new comics released in 1979, the art for those stories also isn’t up to the par set by the 1975-1976 comics.

If the album covers and the art produced for the two new comics is any indicator, these stories are supposed to be set after The Motion Picture . But there’s nothing in the stories themselves that reflects this. Indeed, these feel like they’re supposed to be missions from the original (or animated) series. It’s likely that Peter Pan Records wasn’t privy to the movie’s plot, when it produced these four tales to capitalize on the movie’s release.

“The Man Who Trained Meteors”

“The Man Who Trained Meteors,” the first track on the new 12″ record containing all four new stories, was the one new story that never got its own single. It was included, however, on Peter Pan’s penultimate release, a 12″ record collecting various stories in a different order. (The story thus appeared on only two records, the lowest number of releases for any of the eleven stories.) The audio play runs 15:23; no comic-book adaptation was ever produced.

In the story, a meteor storm wipes out Parynda City, capital of the colony on Parynda IV. In a rare scene of brutality, Kirk and Spock visit the devastated city and learn that it received threats a few weeks ago.

The same man soon threatens the Enterprise with his meteors. After Scotty traces the signal to a hollow meteor at the center of a swarm, Kirk, Spock, and Scotty take a shuttlecraft to investigate. Tyranneous, the villain in the hollow meteor, takes control of the shuttlecraft with his mind. Tyranneous says he deserves to rule by virtue of his powers and attacked Parynda IV to drive people away, since there are too many people there to control.

Tyranneous orders Scotty to take the shuttlecraft back to the Enterprise and blow it up. Spock uses a “Vulcan mind lock,” so he’s unaffected by Tyranneous’s powers, and stops the villain. He then has to use Tyranneous’s mind to steer the meteors to the Enterprise, where Kirk calls to be beamed aboard and instructs that Scotty be stopped “at all costs” — and he is when he hesitates, resisting his orders.

The story ends with Kirk saying that Scotty’s “not just a good Scott… but a great Scott” — and everyone laughs.

Despite the intoxicating idea of a “man who trained meteors” and is headquartered in a hollow meteor base, the story’s a lackluster one, relying upon poorly-articulated psychic powers, Spock’s “mind lock,” and massive death with no follow-up (and even a laugh at the end, despite the dead).

“The Robot Masters”

“The Robot Masters,” the second track on the new 12″ record containing all four new stories, was the third and last of those new stories to get its own single — which included a comic book. It was included on the same penultimate compilation record as “The Man Who Trained Meteors.” The audio play runs 14:21; the comic-book adaptation runs 20 pages.

Things are quiet with the Romulans and the Klingons, but Kirk learns that there’s a scourge of robots going missing — including the robots that Scotty’s ordered. Kirk learns that the robots aren’t being stolen, but being “trained” to be “soldiers… for the Romulans!”

Spock arranges a decoy ship to attract the Romulan pirates. It does, and the Enterprise quickly captures the Romulans. Although interrogations don’t produce useful information, the captured ship’s computers show its destination. So Kirk and crew disguise themselves as the pirates and pretend to deliver the stolen robots — which Scotty says he’s reprogram so they won’t fight. (His explanation of how this is possible is completely absurd and certainly doesn’t sound like someone who knows how to program anything, let alone a complex robot’s systems.)

The pirate ship’s path takes it to “unexplored regions outside the galaxy” (which, in Star Trek, is supposed to be a big deal). The ship’s destination is “a small moon on the edge of the Federation galaxy!” Incidentally, the Federation doesn’t have its own galaxy, and that’s central to the premise of Star Trek. Such a mistake recalls the notion that the Enterprise explores multiple galaxies , as is the case in the first Gold Key Star Trek comic .

Also recalling the Gold Key comics, the pirate ship seems to be a rocket , with a large flame coming out of its back.

Upon landing, Kirk and crew discover that the robot ringleader is a humanoid, green-skinned alien named Pragmar. He wears a hat with a red “M” on it, though it’s not clear why. He obviously looks nothing like a Romulan, and we might hope that he’s not intended to be one… until he uses the phrase “my fellow Romulans.” Multiple times — almost as if some sick writer is trying to increase our pain. Soon enough, we’re shown these “fellow Romulans,” who are also green-skinned and wear silly hats.

Kirk, Spock, and Scotty deliver the robots — including their leader, who Scotty says is named Mastero and whom Scotty’s been trying to reprogram, although he’s unsure if he succeeded. Mastero delivers a speech about destroying the Federation, so Scotty assumes he’s failed.

Pragmar then orders the robots to capture Kirk, saying he’s recognized Kirk all along. “Every Romulan warrior knows your face,” he says, referencing how Kirk’s defeated the Romulans time and time again. One wishes the artist knew a Romulan face.

But when Pragmar orders Mastero to kill Kirk and company, Mastero hesitates — and then orders his robots to attack the Romulans instead.

With the Romulans defeated, Spock talks admiringly about the robots’ logic. Kirk then introduces Mastero to Spock. Laughs all around, of course.

It’s not as terrible a story as it sounds, but it’s made much worse by its incongruities with the Star Trek universe. Beyond the Romulans’ appearance and the “Federation galaxy” business, robots in Star Trek were always limited. (That’s part of why the first British Star Trek strip, with its futuristic robots, feels so out-of-sync with the Star Trek universe.) When did the Federation get filled with so many robots?

But what’s really unpardonable, at least in the comic-book adaptation, is how not futuristic the robots look. They look like something that might have looked cool in the 1950s. In fact, they look decidedly retro- futuristic today. And in the audio play, they even clang around loudly. They can’t even speak well.

When robots are used in Star Trek, they’re far more likely to look like Data, of  The Next Generation , than the clunky designs seen here.

The robots in the story also all look the same. You’d think an artist would seize the opportunity to draw some wild robot designs. Instead, all the robots the Romulans have stolen look alike. Is the Federation filled with robots of this same, bizarrely retro-futuristic design? If so, why haven’t we seen them before?

There are a couple indications that the robots weren’t meant to all look alike. Scotty identifies the robot leader as “the one with the almost human arms, legs[,] and head.” Later, Pragmar says Mastero looks “magnificent! So big! So life-like!” But in the comic, the robot looks like all the others and certainly not any more “life-like.”

The comic-book adaptation, thanks to its wild infidelity to the show and its unimaginative designs, is worse than the audio play. But even it’s not good.

Like these other stories, there’s no reason this one should be set after The Motion Picture — except that drawing the uniforms that way might have led to increased sales. Oddly, the story briefly features Commodore Decker, who died in the classic “The Doomsday Machine” — long before The Motion Picture . But then, the story can’t even get his first name right (it’s given as Steve, instead of Matthew).

Heck, at one point Chekov refers to the Klingons, when he means Romulans. It’s a silly mistake, but if you don’t know what Romulans look like, it’s not surprising you can’t tell them and Klingons apart.

“Dinosaur Planet”

“Dinosaur Planet,” the third track on the new 12″ record containing all four new stories, was the second of the three singles culled from these stories. It was also the first of these stories to get its own comic book. It was the only one of the four new stories to be included on the second of the two 12″ compilation records — and thus on the final Peter Pan Star Trek release. The audio play runs 13:45; the comic-book adaptation runs 20 pages.

The Enterprise arrives at Oblik III, an unexplored world teeming with violent volcanoes — which surprisingly has intelligent life on it. Kirk leads a party that beams down and discovers a planet much like Earth’s distant past.

Soon, the crew’s attacked by a pterodactyl, but phasers aren’t effective on it (said to be due, absurdly, to thick skin). The creature’s soon joined by others, and the crew takes refuge within a cave.

Unable to go back outside, the crew follows a stream “of golden liquid” deeper into the cave, coming upon a cavern made of rare gems. (We later find out the liquid is literally gold.) Security officer Wodsworth instantly wants the gems for himself — but corrects himself to advocate instead that Kirk wipe out the dinosaurs and claim the gems for the Federation. (On the original show, gems can be manufactured, and money is said to be unimportant. This wasn’t always consistent. Still, Wodsworth’s reaction is completely out of character for a member of Starfleet, and Roddenberry did his best to prohibit such behavior.)

In the cavern, the crew is attacked by a couple tyrannosaurus rexes. But Spock notices that these dinosaurs differ from those of Earth’s past — they have longer arms and larger heads. (It’s not just the artist!) Spock reasons that these were the intelligent lifeforms the ship scanned. And then the tyrannosaurus rexes communicate via telepathy, explaining that since it’s been “eons” since they communicated with anyone other than themselves, they “naturally attacked without first trying to communicate.”

But Wadsworth, furious at the dinosaurs, blasts at one — destabilizing the cave. Spock absurdly informs Bones that there’s “not enough time” to beam up. Instead, Kirk asks the tyrannosaurus rexes for help, and the dinosaurs (of course) insist the crew rided on their backs.

Clearly, this is what the story’s really all about: getting Kirk and company to interact with dinosaurs — including the obligatory ride on their backs. In fact, this is the climax of the story — there’s no threat, outside of escaping the crashing caves; the joy of Kirk and the others riding telepathic tyrannosaurus rexes is supposed to substitute for any other drama. It doesn’t even really matter that they’re telepathic; they have no dialogue during the escape.

We don’t even get to see (or hear) Kirk and the others saying goodbye to these intelligent dinosaurs. Instead, after the escape, we’re right back on the Enterprise, where Kirk’s congratulating himself on “another solar system explored and another planet signed up as a member of the Federation.”

Wait… these dinosaurs are in the Federation? That’s always been depicted as involving time and diplomacy, but here Kirk treats it as little more than getting someone to sign a form. In fact, he sounds like a salesman who’s getting a commission — “another planet signed up.” Perhaps the dinosaurs are paying with some of those gems…

The episode ends with the conventional banter between Bones and Spock, who’s been a bit uncharacteristically harsh during this story.

As terrible as the story is on logical and structural levels, it manages to pull off its real agenda pretty well. Dinosaurs are cool — and beloved by kids — and it’s fun to see Kirk and the others interact with them. (If you think this is too absurd an idea, it’s worth noting that the revived  Doctor Who did this, in “Dinosaurs on a Spaceship,” in late 2012!)

And there’s no reason why, given all of these Earth-like planets in the galaxy, the Enterprise would have encountered so many humanoids and so few dinosaurs. After all, dinosaurs ruled the Earth for millions of years — longer than humans have even been around. In this sense, having the Enterprise encounter dinosaurs — while done in this story purely for fun — is actually a step towards realism, not a silly divergence from it.

This doesn’t redeem the story by any means. But the story’s so bizarre that it’s great it exists, if only for novelty’s sake. And the story’s strengths, despite its quality problems, illustrate that its premise is still worth exploring.

“The Human Factor”

“The Human Factor,” the fourth and final track on the new 12″ record containing all four new stories, was the first of the three singles culled from these stories — which was the only of those three not to come with a comic book. The story was (like “The Man Who Trained Meteors” and “The Robot Masters”) included on the first of the final two compilation albums, Peter Pan’s penultimate Star Trek release. The audio play runs 13:56; no comic-book adaptation was ever produced.

Kirk’s opening log refers to dinosaurs, Romulans, and meteors — the last three stories, in other words. The Enterprise is on a mission to convey the diminutive ambassador from Garus, a new member of the Federation, back to his home planet. The ambassador asks to see the Enterprise’s computer, and Uhura is assigned to assist him. But when the ship arrives at Garus, a shuttlecraft goes missing — along with Uhura and the ambassador.

Kirk, Spock, Sulu, and Chokov beam down to the surface and meet the planet’s president, Garmin. Kirk challenges Garmin, who reveals he’s in on the kidnapping and orders his men to capture Kirk and his crew. Sulu and Chekov are subdued, but Kirk and Spock escape into the capitol’s mile-long hall of worship. Spock picks a lock on a huge door, and inside he and Kirk discover a huge room with a fabulous computing system that monitors the whole planet. On one monitor, in what seems to be a religious ritual, Sulu and Chokov are helpless as Uhura is escorted away to serve “the Master.”

When Kirk and Spock arrive on the scene, they find out the truth: that the Garusians worship their vast computer (which presumably runs their society) as a god. Their religion forbids them to touch this “Master,” and so they have kidnapped outsiders to be trained to work the computer, which they regard as the highest honor. When Kirk asks why the Garusians didn’t simply request help, they explain that even speaking of their deity is forbidden. Kirk and crew return to the Enterprise.

To solve the Garusians’ problems, the Federation will deploy a satellite that will send “peaceful programming” to the computer on Garus. It’s an unsatisfactory — and very quick — explanation that seems to suggest that the computer doesn’t really need an operator; it’s just hungry for programming, which it seems to need a constant supply of. That’s how computers work, right? They eat programming?

Despite this, the story’s not bad overall. Very different planetary cultures were often used on the original show as a source of conflict, and the idea of a religion based on an advanced computer also reflects the religious messages of the original show. The story’s not as good as the best of the first seven stories (such as “A Mirror for Futility”), but it would be solid with a few minor changes.

Unfortunately, this was the final Star Trek story Peter Pan Records ever produced.

ABOUT THE AUTHOR

In 1996, while still an undergraduate, Dr. Julian Darius founded what would become Sequart Organization . After graduating magna cum laude from Lawrence University (Appleton, Wisconsin), he obtained his M.A. in English, authoring a thesis on John Milton and utopianism. In 2002, he moved to Waikiki, teaching college while obtaining an M.A. in French (high honors) and a Ph.D. in English. In 2011, he founded Martian Lit , which publishes creative work, including his comic book Martian Comics . He currently lives in Illinois.

See more, including free online content, on Julian Darius's author page .

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Star Trek's universe of world records

Today marks the opening of Star Trek Into Darkness in cinemas, the 12th outing for the sci-fi franchise, and second with JJ Abrams at the helm as director.

Abrams' 2009 reboot of the franchise was almost the Highest gross movie reboot - narrowly beaten to the title by The Amazing Spiderman, which grossed $262.0 million domestically, to Star Trek 's $257.7 million.

However, the film did secure a GUINNESS WORLD RECORDS title for the Most downloaded trailer in 24 hours - with 1.8 million downloads from apple.com in the first day, and over 5 million downloads in the first week.

The series, originally created for television by Gene Roddenbery in 1966, has not just set records for the film adaptations, however.

1979's Star Trek: Phaser Strike for the Microvision handheld console marked the First Star Trek videogame , and in 2000 seven separate Star Trek licensed games were released - the Highest number of game releases for an IP in a single year .

Many of the scientific concepts first suggested by the series are now beginning to be given some serious consideration.

In October 2011 NASA awarded a $100,000 research grant for the study of three potential methods for manipulating and transporting particles using laser light - the Largest tractor beam study .

In addition, on 10 January 2012 the X-Prize Foundation and the Qualcomm Foundation announced a $10 million incentive for the first working version of a medical tricorder - a handheld device used by doctors in Star Trek for on-the-spot diagnosis of medical conditions.

The stars of the series have also set a handful of records - including the bizarre Most expensive kidney stone ! It was sold in 2006 by the original Captain James T. Kirk, William Shatner, to online casino GoldenPalace.com for $25,000. Shatner donated the profits to a housing charity.

Meanwhile James Doohan, who played chief engineer Montgomery Scott alongside Shatner on the original series, will forever be in space after the Largest space burial . Doohan was one of 308 people to have their cremated remains sent into space on 22 May 2012, along with US astronaut Gordon Cooper.

Of course, no discussion of Star Trek records would be complete without recognising the huge enthusiasm of it's fanbase, or Trekkies , as they are sometimes known.

In October 2012, 1,063 of them came together in London's ExCel, for the Largest gathering of people dressed as Star Trek characters !

Finally, a mention of tlhIngan (Klingon) for you - by far the Most widely spoken fictional language . Participants at Star Trek conventions frequently converse in the language and in addition to a Klingon Dictionary there are Klingon translations of Hamlet, Much Ado About Nothing, Gilgamesh , and the Tao Te Ching . Qapla'!

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Star Trek Power Records book & record sets

For more detailed plot summaries of these sets and those on the next page, you can go offsite and visit Curt Danhauser's Guide to the Star Trek Story Records .

PR-25 1975 Passage to Moauv The Enterprise is ordered to transport the noisy, cat-like pet waul of the Moauvian ambassador to his home world. The waul escapes and its telepathic projections of fear affect all crew members except Lt. M'Ress ( The Survivor ) who manages to calm the alien kitty cat. Stardate 5440 For reasons unknown, Sulu is black rather than Asian, Uhura is a blonde, and M'Ress appears to be Orion. Illustrated cover. 7" 45-rpm record and 20-page comic book. Writer: Alan Dean Foster Artists: Russ Heath, Dick Giordano, Neal Adams Cover artist: Neal Adams

PR-26 1975 Crier in emptiness The Enterprise encounters a being of pure sound, whose musical voice causes damage all over the ship until a crewman establishes a musical rapport with the being. Stardate 5444.9 Illustrated cover. 7" 45-rpm record and 20-page comic book. Writer: Alan Dean Foster Artists: Russ Heath, Neal Adams? Cover artist: Neal Adams

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The full announcement from Lakeshore Records, which includes commentary from primary series composer Nami Melumad as well as main title theme composer Jeff Russo.

Lakeshore Records is set to release Star Trek: Strange New Worlds Season 1—Original Series Soundtrack digitally on April 28 with original music by award-winning composer Nami Melumad –she recently won the David Raskin Award for Emerging Talent at this year’s SCL Awards for this score. Emmy Award-winning and Grammy-nominated composer Jeff Russo, known for his definitive scores to several Star Trek series in including Star Trek: Picard and Star Trek: Discovery, created the main title and end credits themes.   Notes Melumad: “Creating the ‘Star Trek: Strange New Worlds’ score has been one of the biggest honors of my life. A captain is nothing without her crew and I’d like to thank the artists, musicians, and friends that made this Season 1 score album possible: Matt Decker, Jeff Kryka, Tracie Turnbull, Natalia Goldstein, Dennis Sands, Brian Vibberts, Vincent Cirlli, Jamie Olivera, Tom Hardisty, Rich Wheeler, Whitney Martin, Gina Zimmeti, Nick Cazares, Lisa Janacu, Booker White and our wonderful orchestra musicians. Also, many thanks to Alex Kurtzman and the Secret Hideout, Paramount+ and Lakeshore records! Happy listening!“   Adds Russo: “Being asked to write the theme for the show that was going to directly precede the original series was such an honor. Tying into the sound of the iconic theme while creating something unique for our new adventure was such a fantastic artistic experience.”

We’ve got an exclusive preview of the soundtrack to share with you today, bringing you “Home is Where the Helm Is” from the closing moments of Strange New Worlds’  premiere episode.

Here’s the full track listing for the digital release:

1. Star Trek: Strange New Worlds (Main Title Theme) – Jeff Russo (1:51) 2. Everyone Wants a Piece of the Pike (3:50) 3. Put a T’Pring On It (2:56) 4. Eyes on the Enterprise (4:42) 5. Home is Where the Helm Is (4:16) 6. Space Cadet (1:01) 7. Comet Away With Me (2:36) 8. Romancing the Comet (3:23) 9. M’hanit and Greet (7:00) 10. Since I First Saw the Stars (3:54) 11. A Holding Pattern (4:44) 12. Gorn With the Wind (5:29) 13. The Pike Maneuver (2:03) 14. Gorn But Not Forgotten (3:24) 15. Are You a Vulcan or a Vulcan’t? (2:59) 16. Spock Too Soon (2:03) 17. Chris Crossed (3:43) 18. Looking For Ascension in All the Wrong Places (3:04) 19. Ascent-ial Questions (2:01) 20. T’Pring It On (1:42) 21. Pirates in the Sky (2:54) 22. Will You Be My Vulcantine? (2:45) 23. Won’t You Be My Pirate? (3:38) 24. You’re My Mercury Stone (2:04) 25. Don’t Leave in Uhurry (2:54) 26. When the Hemmer Falls (4:09) 27. No One’s Ever Neutral About Spaghetti (2:53) 28. Throw Plasma from the Train (5:28) 29. Star Trek: Strange New Worlds (End Credits) – Jeff Russo (0:57)

Lakeshore Records’  Star Trek: Strange New Worlds Season 1 soundtrack can be purchased for streaming through Apple Music, Spotify, and Deezer through this link.

Star Trek: Strange New Worlds Season 2 is in post-production now and will debut June 15 on Paramount+ on Paramount+ in the U.S, the U.K., Australia, Latin America, Brazil, France, Italy, Germany, Switzerland and Austria.

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The long lost original model of the USS Enterprise has been returned

The model, in the opening credits of Star Trek , had been missing since the 1970s. It popped up on eBay last fall. The seller helped facilitate its return to the family of the creator of Star Trek .

(SOUNDBITE OF ALEXANDER COURAGE'S "THEME FROM STAR TREK")

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Good morning. I'm Leila Fadel.

The long-lost original model of the USS Enterprise, the one that could be seen in the opening credits of the TV show "Star Trek," has been returned. Missing since the 1970s, the model popped up on eBay last fall. The seller eventually took down the item and helped facilitate its return to Rod Roddenberry, the son of the late "Star Trek" creator Gene Roddenberry. Roddenberry, the son, says he now hopes to get the model into a museum for the public to enjoy.

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Original ‘Star Trek’ Enterprise Model Is Found After Being Missing for Decades

The 33-inch model surfaced on eBay after disappearing around 1979. An auction house is giving it to the son of Gene Roddenberry, the creator of “Star Trek.”

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By Emily Schmall

The first model of the U.S.S. Enterprise, the starship that appeared in the opening credits of the original “Star Trek” television series , has been returned to Eugene Roddenberry Jr., the son of the creator of the series, decades after it went missing.

“After a long journey, she’s home,” Mr. Roddenberry wrote on social media on Thursday.

For die-hard Trekkies, the model’s disappearance had become the subject of folklore, so an eBay listing last fall, with a starting bid of $1,000, didn’t go unnoticed.

“Red alert,” someone in an online costume and prop-making forum wrote, linking to the listing.

Mr. Roddenberry’s father, Gene Roddenberry, created the television series, which first aired in 1966 and ran for three seasons. It spawned numerous spinoffs, several films and a franchise that has included conventions and legions of devoted fans with an avid interest in memorabilia.

The seller of the model was bombarded with inquiries and quickly took the listing down.

The seller contacted Heritage Auctions to authenticate it, the auction house’s executive vice president, Joe Maddalena, said on Saturday. As soon as the seller, who said he had found it in a storage unit, brought it to the auction house’s office in Beverly Hills, Calif., Mr. Maddalena said he knew it was real.

“That’s when I reached out to Rod to say, ‘We’ve got this. This is it,’” he said, adding that the model was being transferred to Mr. Roddenberry.

Mr. Roddenberry, who is known as Rod, said on Saturday that he would restore the model and seek to have it displayed in a museum or other institution. He said reclaiming the item had only piqued his interest in the circumstances about its disappearance.

“Whoever borrowed it or misplaced it or lost it, something happened somewhere,” he said. “Where’s it been?”

It was unclear how the model ended up in the storage unit and who had it before its discovery.

The original U.S.S. Enterprise, a 33-inch model, was mostly made of solid wood by Richard C. Datin, a model maker for the Howard Anderson Company, a special-effects company that created the opening credits for some of the 20th century’s biggest TV shows .

An enlarged 11-foot model was used in subsequent “Star Trek” television episodes, and is now part of the permanent collection of the Smithsonian National Air and Space Museum , where it was donated by Paramount Studios in 1974.

Mr. Roddenberry, who said he gave the seller a “reward” for its recovery but did not disclose the terms, assembled a group of “Star Trek” production veterans, model makers and restoration specialists in Beverly Hills to authenticate the find.

The group included a “Star Trek” art supervisor, Michael Okuda, and his wife, Denise, an artist on “Star Trek” television series and films, and Gary Kerr, a “Trek x-pert” who served as technical consultant for the Smithsonian during a 2016 restoration of the 11-foot model.

“We spent at least an hour photographing it, inspecting the paint, inspecting the dirt, looking under the base, the patina on the stem, the grain in the wood,” Mr. Roddenberry said.

“It was a unanimous ‘This is 100 percent the one,’” he said.

Gene Roddenberry, who died in 1991 , kept the original model, which appeared in the show’s opening credits and pilot episode, on his desk.

Mr. Kerr compared the model to 1960s photos he had of the model on Mr. Roddenberry’s desk.

“The wood grain matched exactly, so that was it,” he said on Saturday.

The model went missing after Mr. Roddenberry lent it to the makers of “Star Trek: The Motion Picture,” which was released in 1979, Mr. Maddalena said.

“This is a major discovery,” he said, likening the model to the ruby slippers from “The Wizard of Oz,” a prop that was stolen in 2005 and recovered by the F.B.I. in 2018, and that Heritage Auctions is selling.

While the slippers represent hope, he said, the starship Enterprise model “represents dreams.”

“It’s a portal to what could be,” he said.

Emily Schmall covers breaking news and feature stories and is based in Chicago. More about Emily Schmall

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Fans on mission. To seek out autographs from Star Trek icon William Shatner

LAKE TWP. − For many, it was a final frontier.

To boldly go where they had never gone before — into the presence of Star Trek actor William Shatner .

Several hundred people flocked Saturday to Hartville MarketPlace & Flea Market to get autographs and pictures with the 93-year-old man known for his role as Captain James T. Kirk in the original 1960s television series Star Trek. Those 79 episodes spawned a decades-long influential cultural franchise and phenomenon.

The crowd loudly cheered when Shatner appeared at 10:50 a.m. in an area by the food court cordoned off for his appearance that was arranged by Prime Time Sports and Framing of Kent. Fans, several arriving in wheelchairs, brought Star Trek uniforms, promotional pictures from the TV series and Star Trek films, a model of the U.S.S. Enterprise and sketches to be marked with his coveted signature.

Related: 'Star Trek' legend William Shatner to appear at Hartville MarketPlace

The cost of each autograph or picture with him was $149. If you wanted both, the cost was $275. For him to write three words or less with the autograph cost $79 more. Several also paid $100 for a VIP pass to skip the line.

Shatner could be seen for the next 74 minutes signing autographs, smiling and engaging in light banter with fans. After everyone who had paid for an autograph had been served, he got onto a scooter with balloons tied to it and going nowhere close to as fast as warp speed went to All Star Sports Gallery.

Someone wearing an elaborate costume as Bumblebee the Transformer led the procession. Then, Shatner switched from the scooter to sitting on a stool to take pictures with people, with the line of those waiting for pictures stretching back to the food court area.

Dave Bell, 74, of Lake Township, who watches the classic Star Trek episodes every night, said he wasn't willing to pay $149 for an autograph. But he came to Hartville Marketplace to get a glimpse and picture of Shatner.

"I'm a Trekkie. But this is ridiculous," Bell said about the crowd. "I'm not surprised. He's a very popular guy."

Jann Henthorn drove an hour from Orrville to see the man who played the beloved Star Trek captain.

"Is William Shatner here?" she said as she tried to spot him through the autograph seekers blocking her view. "I see him! ... All of us baby boomers are all excited!"

Henthorn recalled watching Star Trek when it first aired in the 1960s long before it achieved massive cult status in syndication.

"He looks good," she said about Shatner.

Cassedy Brennan, 28, of Wadsworth stood by one of the barricades snapping pictures of Shatner. Her father, a big Star Trek fan, was in line waiting for an autograph on a poster.

"He is like a kid in a candy store today. He is so excited. It's like Star Wars, Star Trek paraphernalia in the basement. ... Unopen toys. This is his jam," she said. "I think it's cool. Not exactly my thing. But here to support my dad. It's cool to see, too."

Brennan was one of the few people in their 20s in the crowd.

"I probably wouldn't know William Shatner out of context if it weren't for my dad," she said, adding that she saw classic Star Trek episodes with her father. "There's probably some millennials that are fans. But I'm not a sci-fi kind of girl."

Michael Rothman, 38, of Lake Township said Shatner autographed his set of Star Trek DVDs.

He said the actor said to him, "'Thank you very much.' That's all he said."

His wife Shandi Rothman clarified that, "He (also) said, 'Pleasure to see you.'"

Stacy Klotz of Massillon got Shatner to autograph her Captain James T. Kirk poster. She considered the $149 cost a "once in a lifetime type of thing." A sci-fi fan, she first started seeing Star Trek in syndication in the late 1970s.

Matt Merew, 56, of Zanesville got Shatner to sign his model of the Enterprise and his picture depicting the scene where Captain Kirk fights an alien captain known as a Gorn. The picture already had the autograph of the actor who played the Gorn that Merew got at a past Star Trek convention.

Cameron Blakey, 46, of Mogadore, who watched Star Trek in the 1980s with his uncle and mother, got Shatner to autograph his sketch of Captain Kirk that Blakey drew.

"He asked me how I was. And he asked me if I drew this. I told him I did. And I told him that we basically thank you for everything and he made my day," he said. "He made my life. Awesome, awesome experience!"

Karen Isaiah of Mogadore said she watched the original Star Trek in 1967.

"I'm ecstatic. I didn't want to miss him for anything," she said. "I met (singer) Johnny Mathis. I talked to William Shatner. My life is complete."

Reach Robert at [email protected]. X formerly Twitter: @rwangREP.

CinemaBlend

'Star Trek's' Paul Wesley Strongly Clarifies Recent 'Vampire Diaries' Comments, Explains Why He's Open To Many Years Of Playing Kirk

Posted: April 23, 2024 | Last updated: April 23, 2024

Actor Paul Wesley is crushing it as James T. Kirk in "Star Trek: Strange New Worlds," but even so, there's a community of fantasy fans out there still holding out hope to see him return to his former franchise. Those hopes were dashed recently when Wesley went viral explaining why he wouldn't return to "The Vampire Diaries," noting that eight years on a show was long. CinemaBlend wondered if that same mindset translated to playing Kirk in "Trek" and got a passionate response from the actor about the differences between the two. We had a chance to speak to Paul Wesley recently, and during our conversation, we brought up the fact that many "Trek" actors have reprised their roles throughout their lifetimes. As the heir apparent to playing James T. Kirk from this point on, we noted he could be called on to play him in other projects and questioned if he was up for that, given the comments he made about never returning to "The Vampire Diaries." Wesley enthusiastically set the record straight on his original comments, with a bit of key context that better explained his response.

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Records officer

• View history

A records officer was a position on Federation starships in the 23rd century , responsible for compiling and managing information regarding a ship's mission and assignments.

In 2267 , the records officer aboard the Starship USS Enterprise was Lieutenant Commander Benjamin Finney . During that year, the Enterprise encountered a violent ion storm , and Finney was assigned duty in the ion pod for the purpose of gathering information on the storm. When the ship went to red alert , the ion pod was jettisoned, and Finney was presumed killed.

Later, in Starbase 11 's officers' lounge , Timothy questioned how long it would take to get a new records officer. ( TOS : " Court Martial ")

See also [ ]

• Record keeper

External link [ ]

• Records officer at Memory Beta , the wiki for licensed Star Trek works

Screen Rant

Strange new worlds actors reveal cut star trek musical finale moment & why spock dances.

Star Trek: Strange New Worlds' Ethan Peck, Celia Rose Gooding, and Christina Chong drop some BTS about the musical episode's grand finale number.

• Star Trek: Strange New Worlds' musical episode concludes with a grand finale showcasing the power of unity and camaraderie among the crew.
• Lt. Spock's logical decision to dance in the musical finale helps boost subspace rift's 'improbability levels,' aiding the crew in saving the galaxy.
• A bonding moment between Uhura and La'an highlights the ensemble's support for each other, showcasing a sense of solidarity and friendship, but it was cut from the episode.

Star Trek: Strange New Worlds ' Celia Rose Gooding and Christina Chong reveal a cut moment from the finale of the first-ever Star Trek musical, and Ethan Peck explains why Lt. Spock decided to dance in the closing musical number, "We Are One." Strange New Worlds season 2's acclaimed musical episode, "Subspace Rhapsody," was written by Dana Horgan and Bill Wolkoff and directed by Dermot Downs. All of the songs were composed by Kay Hanley and Tom Polce from Letters to Cleo. The musical required the entire cast of Star Trek: Strange New Worlds to sing and dance, and everyone embraced the musical with gusto.

In Star Trek: Strange New Worlds' musical episode, a subspace rift created a reality defined by the rules of musicals that threatened to engulf the entire galaxy. Meanwhile, aboard the USS Enterprise, Captain Christopher Pike (Anson Mount) and his crew unwittingly express their deepest feelings and emotions through songs. Ensign Nyota Uhura (Celia Rose Gooding) deduced that to close the subspace rift, the crew of the Enterprise needed to perform a grand finale, and every single person aboard the starship joined in for the big finish musical number, "We Are One."

Star Trek Strange New Worlds Musical Episode Ending Explained

Star trek: strange new worlds' musical cut a moment from the grand finale, celia rose gooding explains a missing moment from the musical episode..

In an interview with TV Insider, Celia Rose Gooding and Christina Chong reveal that there was a bonding moment between Ensign Nyota Uhura and Lt. La'an Noonien-Singh that was cut from the final version of Star Trek: Strange New Worlds ' musical episode 's finale number, "We Are One." Read their quotes below:

Celia Rose Gooding: La’an and Uhura had a little handshake moment that we made up on the spot. Christina Chong: We did! Celia Rose Gooding: We did, but that didn’t make it. But in my mind, there was something so beautiful about that after we finished the song. Our instinct was first to just celebrate one another, and then get back to work. I think that is such a nod to our routine as an ensemble to just check on each other and really boost each other up because we’re doing something that some characters are not super comfortable with and that isn’t their instinct to burst out into song. And so that final moment of camaraderie - of course, it had to be shrunk down for the nature of TV - but in my perfect world, there’s an edit of five minutes of everyone just giving each other compliments.

"We Are One" was a catharsis for the crew of the Starship Enterprise. For La'an, the Strange New Worlds musical's finale reaffirmed her decision to be more open with her feelings, even after her confession that she is attracted to Lt. James T. Kirk (Paul Wesley) didn't go as she had hoped. Meanwhile, Uhura realized that her role in keeping the crew of the Enterprise connected was a gift, and it empowered her to save the ship. Both La'an and Uhura shed their old inhibitions and took steps forward to becoming happier people .

Watch the full TV Insider interview with Star Trek: Strange New Worlds' cast below:

Why Spock Dances In Star Trek: Strange New Worlds' Musical Finale

Ethan peck knew spock would only dance when it was logical to dance..

Ethan Peck also explained Lt. Spock's decision to dance in Star Trek: Strange New Worlds ' grand finale, "We Are One." Peck, who understands Spock like Leonard Nimoy did , needed a logical justification for Spock to dance , and he found out. Read Peck's quote below:

Ethan Peck: There was a moment there in that finale where life really imitated art. I mean, that happens so frequently, but never so closely together as in that moment. Spock doesn’t get to participate because, obviously, he doesn’t want to be dancing. I spoke with Dermot, the director, about it. How would Spock dance? Well, I guess he has to to get that meter maxed out so we can break out of the musical reality. And he would do it for that, and so he joins in for the very end of it. So I felt like kind of an outsider. I join in at the very end of that whole sequence. And then Chapel and Spock are sort of on rough terms, and I remember its ending. We had this joyous moment, and then we have kind of a broody look to each other. So my experience was a little bit different from some of the other cast members.

Lt. Spock dancing in Star Trek: Strange New Worlds' musical finale did boost the subspace rift's 'improbability levels ', and helped put the Starship Enterprise crew over the top. Unlike Uhura and La'an's moment, the final cut of Star Trek: Strange New Worlds ' musical included the awkward moment between Spock and Nurse Christine Chapel (Jess Bush) after the couple ended their relationship through song. What happens next between Spock, Chapel, and the crew of the USS Enterprise in Star Trek: Strange New Worlds season 3 remains to be seen, although it won't include another musical episode. (At least not in Star Trek: Strange New Worlds season 3.)

Source: TV Insider

Star Trek: Strange New Worlds is available to stream on Paramount+