star trek the cage black and white

The Cage (episode)

• View history

When the Enterprise answers a distress call, Capt. Pike encounters manipulative aliens. ( Original pilot )

• 2 Memorable quotes
• 3.2 Story and script
• 3.4 Production
• 3.5 Visual effects
• 3.7 Reception and aftermath
• 3.8 Continuity
• 3.9 Apocrypha
• 3.10 Production timeline
• 3.11 Remastered
• 3.12 Home media format releases
• 4.1 Starring
• 4.2 Guest star
• 4.3 Co-starring
• 4.4 Uncredited co-stars
• 4.5 Stunt doubles
• 4.6 Stand-ins
• 4.7 References
• 4.8 Library computer references
• 4.9 External links

Summary [ ]

Captain Pike on the bridge

It is 2254 , two weeks after a battle on Rigel VII that left seven crew members injured and took the lives of three USS Enterprise crewmen, including Captain Christopher Pike 's yeoman , the ship encounters a space distortion on a collision course, according to helmsman José Tyler . It turns out to be an old radio distress signal , "keyed to cause interference and attract attention." The crew says it was sent eighteen years earlier from the Talos star group , but first officer Number One notes they have no Earth colonies or vessels that far out. Pike declines to investigate without any indication of survivors but proceeds to the Vega colony to care for the crew's own injuries.

Pike calls the Enterprise 's chief medical officer , Dr. Boyce , to his quarters but Boyce instead fixes Pike a martini to induce Pike to talk about the battle on Rigel VII. Pike has been thinking of resigning , burdened with making lethal decisions, but Boyce counsels against it. The science officer Spock interrupts on the intercom that a follow-up message from Talos IV indicates there are eleven survivors. Pike returns to the bridge and orders the ship to Talos, at "time warp, factor seven." He encounters a comely young woman, J.M. Colt . The ship's first officer, a woman named Number One, says Colt is the captain's replacement yeoman. Pike expresses discomfort with "a woman on the bridge," assuring Number One that she is an exception, as she's " different, of course. "

Pike leads a landing party to the surface of Talos IV and finds the makeshift campsite of a disheveled group of male scientists from the crashed survey ship SS Columbia . The scientists identify themselves as an expedition of the American Continent Institute and Lieutenant Jose Tyler describes technological advances while they have been marooned, particularly in the time barrier being broken. A beautiful young woman approaches them. She is Vina , born almost as the group crash-landed on the planet. Vina strangely tells Pike he is a "prime specimen" – as three aliens with huge, pulsating heads watch the landing party through a viewing screen.

Boyce provides his medical report to Pike and reports that the survivors are in good health, "almost too good." The scientist Theodore Haskins offers to show Pike their "secret," and Vina leads him away from the others. Vina suddenly vanishes, along with the scientists and their camp. Talosians render Pike unconscious and abduct him through a doorway in the rock. The landing party fires laser pistols at the door to no avail and Spock advises the ship via his communicator that this " is all some sort of trap. We've lost the captain. Do you read? "

Pike wakes up without his jacket, communicator, and laser, inside an underground cell with a transparent wall, through which he sees several creatures of different species in nearby cells. Several Talosians arrive and make callous scientific observations about him, which he perceives not through sound but telepathy . They note that Pike is more adaptable to his new surroundings and prepare to begin "the experiment."

Pike and Vina enjoy an illusory picnic outside Mojave

The Talosians intend to make Pike experience illusions based on his memories, in order to interest him in Vina. The first illusion returns Pike to Rigel VII, with the new task of saving Vina. Pike is not interested in participating, telling Vina he is " not an animal performing for its supper, " but he is interested in learning the parameters of the illusions and of his captivity. Nevertheless, he manages to survive the illusory attack from the Kalar and is returned, with Vina, to his cell.

He learns from Vina that the Talosians have severely weakened their world and themselves by reliance on their telepathic powers. They want Captain Pike and Vina as breeding stock for a new, stronger race to repopulate the barren surface of the planet. The Talosians punish Vina for revealing this information to Pike.

The Talosians provide him with a vial of liquid nourishment and insist that he consume it, even offering to make it appear as any food he wishes. Pike proposes to starve himself instead, which results in the Keeper punishing him with an illusion of being surrounded by scorching flame and threatens to punish him more severely for continued disobedience. Pike appears to relent by consuming the liquid, but then displays another outburst of attempting to break through the containment, unexpectedly startling the Keeper. Pike realizes that the Keeper was unable to read his mind during his outburst of anger and tries to inquire more as to why this is. The Keeper, still unable to probe Pike's mind, attempts then to distract Pike by changing the subject to Vina. Pike relents again, and the Keeper reveals that Vina was the sole survivor of the Columbia crash and confirms what she inadvertently revealed previously – that Pike and Vina were being kept to propagate Humanity and repopulate Talos IV. The conversation ends with Pike demanding that the Talosians punish him instead of her, since he is the one being uncooperative, which the Keeper regards as an excellent development in their relationship.

Vina appears as an Orion slave girl

The next illusion is a pleasant picnic just outside Pike's hometown of Mojave , with Vina attempting to entice Pike with the familiar setting, but with Pike still resisting, knowing that all of it is just a mere illusion. Vina then realizes that scenarios with which Pike is already familiar have not been successful in enticing him to cooperate, and surmises that he might be more easily swayed by a forbidden fantasy. The Talosians next tempt Pike by making Vina appear as a dancing Orion slave girl .

The Enterprise landing party and Vina

The Enterprise tries without success to channel the starship 's power to the surface to blast a way to Pike. Then Spock locates the Talosians' power generator and prepares a landing party . However, only the females (Number One and Yeoman Colt) are the only ones transported, as the Talosians seek to give Pike a choice of mates; and their weapons and communicators appear not to work. Vina resents the competition; Number One says records indicate Vina cannot be as young as she appears.

As the rescue attempts have failed, Spock orders the Enterprise to leave orbit, but the Talosians immobilize it and scan its records, convincing Spock that the ship's utility to the Talosians is at an end and that they will now "swat… this fly."

Pike determines that any strong emotions keep the Talosians from controlling his mind and uses this to his advantage. While Pike feigns sleep, the Talosian magistrate tries to recover the female officers' lasers from the cage. Pike seizes the magistrate and ignores the illusions. He reasons that the malfunction of the lasers was itself an illusion and uses the laser pistol to compel the magistrate to stop deceiving him. He now sees that they had blasted away the wall of the cage on their first attempt.

He escapes with the women to the surface and sees that the blasting operation on the door had also succeeded, despite an illusion made to appear otherwise. But the communicators still don't work, and the Talosian says that the original goal was to put the group on the surface. Pike offers himself as a captive for the freedom of the others and the Enterprise , but Number One begins a "force-chamber" overload of her laser pistol, intending to destroy herself and her shipmates to thwart the Talosians' plans. She tells the Talosian magistrate that it is wrong to create a whole race of Humans to live as slaves.

The magistrate's aides arrive, presenting the summary of the ship's records. The records have shown that Humans possess a "unique hatred of captivity," even when pleasant, making them too dangerous for the Talosians' needs. The magistrate does not apologize for the imposition but concedes that they will now become extinct. Pike asks if commerce or cooperation might not restore the planet, but the magistrate replies that Humans would learn the Talosians' power of illusion and destroy themselves, just as the Talosians did. The crew members are free to go, but Vina says she cannot join them. After the others transport aboard, the Talosians show Pike Vina's true appearance: underneath the Talosian illusions, she is badly deformed from the crash of the Columbia . They were able to make it so that she could remain alive, but could not restore her appearance. The Talosians agree to take care of Vina and they provide her with an illusory Captain Pike to keep her company.

Pike returns to the bridge, reassuring Dr. Boyce that he is completely refreshed for work, and waving off a query from Yeoman Colt about whom he would have chosen as a mate, as well as accusing the doctor of being a "dirty old man" for inquiring into the meaning of Colt's remark. The Enterprise departs.

Memorable quotes [ ]

" Check the circuit. " " All operating, sir. " " It can't be the screen then. "

" Records show the Talos star group has never been explored. Solar system similar to Earth; eleven planets. Number four seems to be… class M. Oxygen atmosphere. " " Then they could still be alive even after eighteen years. " " If they survived the crash. "

Pike and Boyce

" Sometimes a man'll tell his bartender things he'll never tell his doctor. "

" Chris, you set standards for yourself no one could meet. You treat everyone on board like a Human being except yourself. "

" I'm tired of deciding which mission is too risky and which isn't. And who's going on the landing party and who doesn't. And who lives. And who dies. "

" A man either lives life as it happens to him, meets it head-on, and licks it. Or he turns his back on it and starts to wither away. "

" We both get the same two kinds of customers. The living and the dying. "

" It's just that I can't get used to having a woman on the bridge. " (Number One looks surprised) " No offense, lieutenant. You're different, of course. "

" You appear to be healthy and intelligent, captain. Prime specimen. "

" There's a way out of any cage, and I'll find it! "

" But they found it's a trap. Like a narcotic. Because when dreams become more important than reality, you give up travel, building, creating. "

" I'm a woman as real and as Human as you are. We're like Adam and Eve. "

" No, please! Don't punish me! "

" You overlook the unpleasant alternative of punishment. "

" You either live life – bruises, skinned knees and all – or you turn your back on it and start dying. "

" But we're not here. Neither of us. We're in a menagerie, a cage! "

" A curious species. They have fantasies they hide even from themselves. "

" A person's strongest dreams are about what he can't do. "

" Can you believe it? Actually like being taken advantage of! "

" The women! "

" Since you resist the present specimen, you now have a selection. Each of these two new specimens has qualities in her favor. "

" Although she seems to lack emotion, this is largely a pretense. She often has fantasies involving you. "

" The factors in her favor are youth and strength, plus unusually strong female drives. "

" Wrong thinking is punishable. Right thinking will be as quickly rewarded. You will find it an effective combination. "

" With the female of your choice, you will now begin carefully guided lives. " " Start by burying you? " " That is your choice. "

" It's wrong to create a race of Humans to keep as slaves. "

" The customs and history of your race show a unique hatred of captivity. Even when it's pleasant and benevolent, you prefer death. This makes you too violent and dangerous a species for our needs. "

" No other specimen has shown your adaptability. You were our last hope. "

" She has an illusion and you have reality. May you find your way as pleasant. "

" Who would have been Eve? " " Yeoman! "

" Eve? As in Adam? " " As in all ship's doctors are dirty old men. "

" What are we running here, a cadet ship, Number One? Are we ready or not? " " All decks show ready, sir. " " Engage! "

Background information [ ]

• The title of this episode was changed during production from "The Cage" to "The Menagerie". However, when the two-part episode " The Menagerie, Part I " and " The Menagerie, Part II " (which reused almost all the footage from this episode) went into production, the title of this installment reverted to "The Cage". ( The Star Trek Compendium , 4th ed., p. 10; [1] )
• Although the episode has a title, and is universally referred to as "The Cage", no episode title actually appears on screen, with the only title used in the credits being "Star Trek".

Story and script [ ]

• The genesis of this episode was the first of twenty-five proposed stories in Gene Roddenberry 's series outline Star Trek is... . The description of the plot concept that became this episode (initially titled "The Next Cage") read, " The desperation of our series lead, caged and on exhibition like an animal, then offered a mate. "
• During an early May 1964 meeting wherein Gene Roddenberry and Herbert F. Solow pitched the series to television network NBC , Jerry Stanley – NBC Program Development Vice President – asked to hear more about the idea for the series' pilot episode. Solow later reflected, " I asked Gene to explain. He did, very succinctly describing the premise of 'The Menagerie'. " Neither Grant Tinker – who was also present at the meeting and was, at the time, NBC Vice President of Programs, West Coast – nor Jerry Stanley was convinced to agree to a series deal with Roddenberry and Solow. Just as Roddenberry was about to leave the room, Solow made a last-ditch attempt to persuade the NBC executives, stating, " If you give us a commitment for a ninety-minute script instead of one hour, and we make the pilot, you can always run it as a TV special and recoup your investment if it doesn't sell as a series. Besides, I'm not leaving this room until you give us a script order. " This was enough to sway NBC's stance and the executives agreed to make a deal. ( Inside Star Trek: The Real Story , pp. 6, 19-20)
• This episode's premise was not the only concept that NBC considered for the series' pilot. Herb Solow explained, " They wanted to hear more stories before one of them was chosen for the pilot script. We had more meetings, and Gene gave them more stories. " ( Inside Star Trek: The Real Story , p. 20)
• This episode's narrative style was selected after Oscar Katz , the president of Desilu Television at the time, personally pitched four different narrative approaches to the NBC executives. Whereas the first two-story types primarily focused on events aboard the Enterprise and the third option featured a planet whose inhabitants were much like Humanity of either the past or the future, the fourth type involved a planet that was highly different from Earth and was inhabited by people who were likewise very different from Humans. NBC chose the fourth type, the hardest to produce, as they wanted to challenge Desilu by making it as hard as possible for that studio to prove the series was doable. Explained Katz, " I tried to talk them out of it, because I knew it was going to be expensive and, even more, I felt that it might not be representative of the series. But they couldn't be talked out of it. " ( Captains' Logs: The Unauthorized Complete Trek Voyages , p. 11)
• The plot idea for this episode underwent further development in early May 1964, after NBC vice-president Mort Werner provided Gene Roddenberry with US$20,000 in development money to write three different story outlines based on the Star Trek format. ( The Making of Star Trek , pp. 41-42; The Star Trek Compendium , 4th ed., p. 10) With so much at stake over the trio of episode outlines, Roddenberry diligently labored away at them, obsessing over each page and every word. He spent a month writing the outlines as well as several weeks revising them, after which he finally turned the pages over to NBC. ( Star Trek Memories , p. 33) The outlines had been forwarded to the network by the end of June 1964 and the particular outline for this episode was dated 29 June ( The Making of Star Trek , pp. 45 & 47). The other two candidates were "The Perfect World" aka "Visit to Paradise" (which became " The Return of the Archons ") and "The Women" (which became " Mudd's Women "). ( These Are the Voyages: TOS Season One , 1st ed., p. 34) Following the submission of the outlines, NBC took several days before announcing their choice of "The Cage" as the pilot-to-be. ( Star Trek Memories , p. 33)
• The episode's story outline consisted of 26 pages. [2] In those pages, the name of the Enterprise 's captain was Robert April (as it was in the series outline Star Trek is… ). He was the only one of his crew whose name was to be changed, as the episode continued to evolve. Also, the Talosians were crab-like aliens (their species remaining unnamed, though they were commonly referred to as "crab-creatures"), and their planet was "Sirius IV". The outline is fully transcribed in The Making of Star Trek (pp. 47-65).
• Some of Gene Roddenberry's initial thoughts for the episode's illusory scenarios had to be altered or scaled back due to production and budgetary realities. ("The Menagerie, Part II" text commentary )
• Hours after NBC greenlighted the pilot (a duration that Gene Roddenberry and Herb Solow spent ironing out some of the "twists, turns, and bends in the plot"), Gene Roddenberry set to work on writing the teleplay. ( Star Trek Memories , p. 36; Inside Star Trek: The Real Story , pp. 20-21) As he wrote the first draft script, he spared no thought for the practicalities of producing what he was writing about, such as the episode's laser cannon, instead leaving such realistic considerations until later. Noted Herb Solow, " The network draft wasn't for shooting, the network draft was for selling. When we got the order for the pilot film, then we'd face the budget problem head on. " ( Inside Star Trek: The Real Story , pp. 20-21)
• Gene Roddenberry did, however, care about the believability of the script. To this end, he initiated a period of intensive scientific research and began an acquaintance with Harvey P. Lynn , a physicist from the RAND Corporation who served as Roddenberry's unofficial technical adviser on the pilot. ( The Making of Star Trek , pp. 74, 76-77)
• During the remainder of the summer and into the early autumn of 1964, major effort was invested in the development of the shooting script, the intention being that it was to later be submitted to NBC for approval. ( The Making of Star Trek , p. 78) The first script draft was dated 8 September 1964 . ( The Star Trek Compendium , 4th ed., p. 11) In that version of the episode, the captain's name was still Robert April, though both the Talosians and their homeworld of Talos IV received their eventual names. ( The Making of Star Trek , pp. 91-95)
• It was also the initial draft of the episode's teleplay that changed the Talosians from resembling crabs to becoming small and slim humanoids with elongated heads. ( The Making of Star Trek , p. 93) This alteration was made because the production staff realized the aliens might seem too much like the bug-eyed monsters of "1950s horror movies," the antithesis of what Gene Roddenberry wanted the more intellectually-minded Star Trek to be. Depicting the extraterrestrials as crab-like creatures would have not only run a good chance of making them look unconvincing but also would have been prohibitively expensive, two deciding factors in the adjustment of their form. ( Star Trek: The Original Series 365 , p. 008)
• According to Majel Barrett , the first character introduced in the script was Number One. " That was the first character Gene wrote into the script, " Barrett stated. " Captain April was not an afterthought because he knew he had to have a captain, but the first character that was described was Number One. " ( Star Trek Monthly  issue 27 , p. 43)
• The episode's first draft script had an opening scene in the hangar bay where Captain April, whose character at this stage was a tad older than Captain Pike was later written, is inspecting new crew members. He remarks disapprovingly to the doctor, at one point, about the young age of some of these officers. " Something, " Roddenberry later wrote in a memo, " that Jim Kirk , the boy wonder of the Academy , never would have done. " In this same scene, April sees a number of badly-wounded crewmen off the ship, onto a space shuttle or taxi from the Human colony of Antares . Among these departing officers is an uninjured former navigator named Crowley who April is sending back in disgrace, because he fired on friendly aliens. The officer argues that they were monstrous in appearance and asks how he could have known that they were intelligent enough to have weapons. These protests are met by a stern but subdued dismissal from the captain, who quietly orders, " Get off my ship, mister. " ( The Making of Star Trek ; The Star Trek Compendium , 4th ed., pp. 11-12)
• While scripting the episode, Gene Roddenberry developed a habit of being somewhat possessive about story ideas, to such a degree that Herb Solow considered this quality to be excessive. " As Gene completed the first-draft pilot script, " Solow remarked, " he unfortunately became overly protective of his new baby. " Furthermore, Roddenberry began to frequently lay claim to the input of others. " A new side of Gene slowly appeared: ownership of ideas, " commented Solow. " If a good story or series point came from anyone, be it NBC, [Desilu's agent] Ashley-Famous, or Desilu, Gene Roddenberry appropriated it. " ( Inside Star Trek: The Real Story , p. 21)
• A copy of the episode's first draft script was sent from Gene Roddenberry to Harvey P. Lynn, shortly prior to 14 September 1964. On that date, Lynn responded with correspondence of his own – a letter that included many comments on the script draft. Concerning the docking scene, Lynn proposed a theoretical docking method and a suggestion that the name Antares, since it refers to a sun unsuitable for the habitation of Humans, be substituted with "a more vague name" such as Tycho, Fabricus, or even Lynnicus (the latter name clearly being offered as an in-joke). Additionally, Lynn took the liberty of suggesting that the shuttle or taxi might be from a ship similar to the Enterprise and that that vessel had recently departed from Earth, which Lynn observed would correlate well with the introductions of both Tyler and Yeoman Colt. ( The Making of Star Trek , pp. 90-92) The docking scene was excised from the script in a revised draft, and Roddenberry notified Lynn of the scene's exclusion in a letter sent on 24 September. ( The Making of Star Trek , pp. 96-97)
• Though the first script draft referred to Talos IV as being located at the "edge of the universe" and stated that Earth was "at the other end of this galaxy," Harvey P. Lynn rejected these notions, advising Gene Roddenberry that traveling from one end of the galaxy to the other would take an impossibly long time and encouraging him to switch the latter reference to "far away in this galaxy." ( The Making of Star Trek , pp. 92, 94) Evidently, Roddenberry ultimately minimized the references to the far distance between Earth and Talos IV; of the two such references, the first was deleted while the second remained.
• Harvey P. Lynn recommended that Talos IV be stated to be in either Sigma Draconis, Eta Cassiopeiae, or HR 8832 (aka Gliese 892 ), owing to both their proximity to our solar system and the fact that it is unknown whether any of them have any Earth-type planets. Other astral names that Lynn requested be changed were Epsilon VII, Orion, and Rigel 113, which he suggested substituting with Draconis, HR 8832, and Vega 113, respectively. A similar idea that he presented was changing Orion traders to Centaurian traders. ( The Making of Star Trek , pp. 92, 95) In his reply on 24 September, Roddenberry expressed an interest in having the names of the stars in this episode be ones that were familiar to the audience. " This is why I've avoided such terms as 'HR8832,' etc, " he explained. On the other hand, he conceded that the continued use of Rigel and Orion could still be substituted, in the final shooting script, with names such as Vega, admitting that such names – while being more appropriate from a scientific perspective – were also possibly just as familiar. ( The Making of Star Trek , p. 97) Comparing the second revised final draft script (dated 20 September 1964) to the episode's final draft indicates that Roddenberry ultimately replaced Rigel 113 with Rigel VII. Neither the same script draft nor the actual episode contain reference to Epsilon VII, though they also evidence that Roddenberry ultimately excluded not only HR 8832 but also Draconis and Vega 113.
• Due to Harvey P. Lynn's influence, the SS Columbia is said to have been lost in the same "region" as the Talos star group, rather than the same "quadrant" as that star system, and the gravity of Talos IV was altered from "1.3 of Earth" to less than Earth's gravity. Lynn submitted the latter suggestion on the basis of the Talosians' appearance and proposed that Talos IV have a gravity that was 85% as powerful as Earth's. ( The Making of Star Trek , p. 92) In the episode's final version, it is said to be "0.9 of Earth."
• The character of Geologist was known as Astroscientist in the first draft script, but this was also changed on the recommendation of Harvey P. Lynn, who opted for "Geologist" because he believed it was a more specific title. ( The Making of Star Trek , p. 93)
• In the first draft script, the illusory Columbia survivors had more dialogue than they do in the episode's final edit. For instance, it was established that the survivors' distress call had been a directional beam. Harvey P. Lynn, however, proposed that it would be more likely for the survivors' signal to have been a broadcast beam, owing to the increased probability that such a beam would be intercepted. Solar batteries were mentioned by at least one of the survivors too, but Lynn opposed this by suggesting that the illusory Human instead say, " After we could no longer use the ship's power, we switched to automatic batteries and started praying. " ( The Making of Star Trek , p. 93) This dialogue was evidently later cut or omitted entirely.
• Harvey P. Lynn also made some notes on the specifics of several elements that were intended to continue to be featured in the forthcoming series (such as lasers , for which he submitted four alternative names, though Gene Roddenberry maintained that he wanted the name to stay as it was, due to the high odds that it would be recognizable to viewers). ( The Making of Star Trek , pp. 94, 97)
• Executives at Desilu were also included in the revision process. Herb Solow explained, " Finally, all the top executives received copies of our pilot [script] to read, review with others, and comment on. I personally walked the Star Trek pilot script into [Desilu president and actress] Lucy [Ball] 's dressing room and handed it to her. 'Lucy, this is the Star Trek pilot script. There'll be lots of changes, so if you have any comments, let me have them, because there'll be ample time to implement them.' Lucy never mentioned the script […] I know Oscar [Katz] read his copy of the pilot script, but he never offered any comments [either]. " ( Inside Star Trek: The Real Story , p. 22)
• The second revised final draft script of the "The Cage" indicates, as does the episode, that Spock, José Tyler, and others had been wounded in the fighting on Rigel VII – events which took place just prior to the action in "The Cage". The script includes stage directions for Spock to be limping and for Tyler to have a bandaged hand.
• As late as 20 November 1964 (in the second revised final script), the captain's name was James Winter.
• Even though Gene Roddenberry was open to some of Harvey P. Lynn's suggestions, his possessiveness over plot ideas affected his interactions with NBC. ( Inside Star Trek: The Real Story , p. 21) The script's final draft was ready to send to the network by the end of September 1964 and the proposed shooting script was submitted to NBC in the last week of September. ( The Making of Star Trek , pp. 90, 99) Herb Solow offered, " Gene and I met with NBC to get their script comments. He took offense at most of them, at times unnecessarily so. Some ideas were really good. " ( Inside Star Trek: The Real Story , p. 21) However, Roddenberry was pleased with the network's general reaction to what he had written, the major stumbling block between them, at this point, being a specific dream sequence that Roddenberry had scripted. NBC warned against overly focusing on the sequence, wary that the message concerning what is reality might be lost on the audience. Numerous other, minor alterations were requested, but NBC more-or-less gave their approval for the episode to be filmed. ( The Making of Star Trek , p. 99)
• By the time this episode's script was completed, Gene Roddenberry's initial concept for the installment had been greatly changed by suggestions from Desilu and NBC. ( Inside Star Trek: The Real Story , p. 22) The teleplay also reflected the input of the numerous scientific advisers who Roddenberry had consulted. ( The Making of Star Trek , p. 90) Having finished writing the script, Roddenberry asked Robert Butler to read it. Butler later remembered his reactions to the teleplay; " I remember thinking it was a terrific yarn, but that it was somewhat obscured because it was such a showcase script. 'The Cage' showcased such solid, good and fascinating science-fiction disciplines, examples and events, that it was, I thought, a little obscure. The story was somewhat remote. " ( Starlog , issue 117, p. 55)
• By the time filming began, the name of the Enterprise 's commanding officer had finally been changed to Christopher Pike. ( The Making of Star Trek , p. 115)
• Prior to the making of this episode, Gene Roddenberry already knew that he wanted to cast both Majel Barrett – who he had in mind when originally developing the character Number One – and Leonard Nimoy as Number One and Spock, respectively. ( Star Trek Memories , p. 23; Star Trek: The Magazine  Volume 1, Issue 2 , p. 82) All three had previously worked on The Lieutenant , a series that had been produced by Roddenberry and had featured appearances from Barrett and Nimoy. ( Star Trek Memories , pp. 43)
• Casting director Joseph D'Agosta had also worked on The Lieutenant . At a point after Star Trek had been greenlighted but did not yet have a casting director, Gene Roddenberry called D'Agosta and eagerly invited him to fill that production capacity. ( The Star Trek Interview Book , p. 213)
• The casting process began at a time when the script revisions were under way and the captain's name was still Robert April. ( Star Trek Memories , p. 41; Star Trek: The Magazine  Volume 1, Issue 11 , p. 26) However, because Joseph D'Agosta was meanwhile at 20th Century Fox, his work on the episode was indirect. " I cast it on the phone, " he explained, " by just suggesting films to look at and what actors to see, and I relayed all this through a young man named Morris Chapnick , who was Gene's assistant. " ( The Star Trek Interview Book , p. 213) Chapnick, yet another production staffer who had worked on The Lieutenant , had first become aware of Star Trek when Roddenberry had told him about this pilot. ( The Making of Star Trek , pp. 100-101)
• Majel Barrett was cast as Number One before both Leonard Nimoy and Pike actor Jeffrey Hunter were cast in their roles. ( Star Trek Memories , p. 23) Alternative actors that were considered include Lloyd Bridges for the Captain Pike role, Martin Landau for the Spock character, and Yvonne Craig for the guest star role of Vina. ( Star Trek: The Magazine  Volume 1, Issue 11 , p. 26; [3] ) DeForest Kelley was considered for the roles of both Dr. Boyce and Spock. ( The Star Trek Interview Book , p. 98; Star Trek Memories , p. 44) Even though Leonard Nimoy was always Gene Roddenberry's first choice for the Spock role, he often said that he would have instead approached Martin Landau to play the role, if Nimoy had been unavailable. ( Star Trek: The Magazine  Volume 1, Issue 11 , p. 26)
• Robert Butler was involved in many of the casting decisions for the episode, including the selection of Peter Duryea as José Tyler. Butler later recalled, " I was very much in on the casting of the supporting people […] I remember trying to get a freshness and colloquiality in those characters and not have them all be rigid and pasteboard leading men. " ( Star Trek Monthly  issue 6 , p. 53)
• Robert Butler was happy with the casting of Peter Duryea, Majel Barrett, and Susan Oliver as Vina but had some difficulty with Jeffrey Hunter playing Pike. " I certainly knew of him and found him to be a real co-operative good guy, " stated Butler. " He was a little heroic and a little stiff, and I tried to modify that a little bit. " ( Star Trek Monthly  issue 6 , pp. 53-54)
• In his introduction for the 1986 VHS release of "The Cage" (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he refused to cast his crew what the network dubbed "sensibly," which according to Roddenberry meant "all white." This was indirectly contested by Herb Solow in the book Inside Star Trek: The Real Story , in which he states that Mort Werner deliberately encouraged NBC to show racial diversity and integration in its programs.
• In general, the pilot gave its cast a good impression of how good the potentially forthcoming series could be. Laurel Goodwin , who was cast as Yeoman J.M. Colt , remembered, " The whole gang of us knew this show was going to go along wonderfully well. We were all so involved with our characters. There was no doubt in my mind that this would be a successful show if they could just get good stories. " ( Star Trek: Communicator  issue 119 , p. 59)
• Leonard Mudie , who has one line of dialogue as one of the Columbia survivors, was a veteran of dozens of films dating back to the 1930s. He was 81 when this sequence was filmed, and he died the next year. He was the second-oldest actor ever to appear on the original Star Trek and the first to pass away.
• Although male voices were dubbed in for the Talosians, all the Talosian actors were actually women. (This is, unfortunately, not correct. Felix Silla (January 11, 1937 - April 16, 2021) played one of The Keepers; he was not just a background image to show how small they were.) Robert Butler and Gene Roddenberry struck upon using this casting method at about the same time as one another, Butler reckoning that it would lend the Talosian characterizations an alien-like androgynous quality. ( The Star Trek Interview Book , p. 97) Roddenberry believed that the lighter builds of females might suggest that the Talosians had allowed their bodies to atrophy while instead choosing to concentrate on advanced brain development. ("The Menagerie, Part II" text commentary ) Upon searching for suitable performers to play the parts, Roddenberry scoured Hollywood for short actresses with faces that he deemed to be interesting. ( The Star Trek Compendium , 4th ed., p. 15) Meg Wyllie was cast as the Talosian Keeper on Butler's recommendation, they having previously worked together. ( The Star Trek Interview Book , p. 98)
• Clegg Hoyt played the transporter chief, Pitcairn, but his voice was dubbed in by Bob Johnson. Johnson was the voice on the tape (and disc) in the TV series Mission: Impossible .
• Leonard Nimoy and Majel Barrett are the only actors to appear in both this episode and the final episode of Star Trek: The Original Series , " Turnabout Intruder ", where Barrett played her most regular role, Nurse Chapel .
• Malachi Throne ( Voice of The Keeper ) featured not only in this episode, Leonard Nimoy's first Star Trek appearance, but also appeared during Nimoy's final TV Star Trek appearance, the Star Trek: The Next Generation episode " Unification II ".
• This is the first of six Star Trek instances in which Leonard Nimoy appeared without William Shatner, the other five being TAS : " The Slaver Weapon ", TNG : " Unification I " and " Unification II ", and the films Star Trek and Star Trek Into Darkness .
• Mike Dugan , who played the illusory Kalar warrior, was actually a stunt performer. ("The Menagerie, Part II" text commentary )
• After the crew beams down to the planet surface of Talos IV , Spock is seen limping as he walks toward the singing plants. It has been mistakenly stated that Nimoy had suffered an injury prior to filming. In fact, Nimoy's limp here was feigned, in accordance with the script. ( The Making of Star Trek [ page number? • edit ] ) José Tyler similarly appears with a bandage around his hand. Both injuries were meant to reference the recent mission-gone-wrong that Pike speaks to Boyce about.
• Because Jeffrey Hunter (who played Pike) was playing a very controlled, internalized character, Nimoy felt the need to bring in some energy and animation onto the set. ( Mind Meld: Secrets Behind the Voyage of a Lifetime ; et al.)

Production [ ]

A moment from production on this episode

• The making of this episode despite the fact that best estimates for the pilot originally placed its production cost as more than US$500,000 represented a considerable gamble for Desilu, which was a small, ill-equipped studio at the time. ( The Making of Star Trek , p. 41) Nervous about this situation, NBC set out to monitor the progress of the pilot, keeping a check on the project's schedule and cost. ( Star Trek Memories , p. 36)
• Oscar Katz announced NBC's go-ahead to produce the pilot at a Desilu board meeting, after which Herb Solow fielded questions from the board. He explained that, although the pilot was going to cost more than NBC gave the studio, Desilu had no way of knowing how much more until after the revised script had been budgeted. Solow later mused, " The board was nervous. Production of a ninety-minute science-fiction pilot was an expensive business move, a risky business move. " As the meeting went on, Solow gave assurances that it was possible for Desilu to produce the show and tried to maintain a positive demeanor as he answered more questions about the imminent pilot. ( Inside Star Trek: The Real Story , p. 23)
• At first, it was uncertain how a production crew could be assembled to handle such an ambitious and complex episode as this, though Gene Roddenberry and Herb Solow immediately ruled out the crew that regularly produced Desilu's The Lucy Show , which starred Desilu President Lucille Ball. " As professional as the crew was, most of them would be of little help when confronted with the overwhelming demands and technical requirements of the planned Star Trek pilot, " explained Solow. " Basically, Gene and I were faced with the job of building a production unit from scratch at a time when the availability lists from the unions were scant or empty. " ( Inside Star Trek: The Real Story , p. 27)
• Besides Gene Roddenberry and Herb Solow, the first production staffer to be assigned to this episode was Robert Butler. He was chosen by Roddenberry and Solow, following extensive talks with both NBC Programming and Alden Schwimmer, the boss of Ashley-Famous. NBC was satisfied with the decision, Butler having established himself as a director on numerous television series in the 1960s (including The Lieutenant ). ( Inside Star Trek: The Real Story , pp. 27 & 13) It was Gene Roddenberry who asked Robert Butler to helm the episode. ( Star Trek Monthly  issue 6 , p. 52) Both Roddenberry and Solow regarded Butler as highly dependable. ( Inside Star Trek: The Real Story , p. 27) However, Roddenberry's extreme protectiveness over the episode clashed with Butler's impression of the script as being somewhat obscure. Butler later reflected, " I discussed whether or not people would get it. I could tell at that point that Gene was so consumed with it that he couldn't have heard any objections. " ( Starlog issue 117, p. 55) The director also said, " I remember trying to suggest to Gene that we ought to do some straightening out, or at least we should discuss it, and I remember thinking that Gene was too far into it, so I just gave up. " ( Trek: Deep Space Nine , p. 43) Butler wanted Roddenberry to change the title of the show from " Star Trek " to " Star Track ", feeling that the former was too pretentious, tedious, inert and boring. ( Starlog issue 117, p. 55; [4] ) " In that discussion, and others regarding the story's obscurity, Gene was not in the mood to receive any such input, " remembered the director. ( Starlog issue 117, p. 55)

A set design for the Talosian cage, as sketched by Matt Jefferies

• After Robert Butler was drafted, some key members of the art department were also sought out. These were Pato Guzman , the art director from The Lucy Show , and Matt Jefferies , who was hired as the episode's assistant art director. Jefferies was initially assigned to design the Enterprise 's exterior, with Guzman deciding upon the look of the sets. ( Inside Star Trek: The Real Story , pp. 27-28; The Making of Star Trek , pp. 78-79) One of the environments that Guzman designed was Captain Pike's quarters. ( The Art of Star Trek , p. 11) When he left amid the episode's pre-production phase (specifically, in October 1964), Guzman was replaced by Franz Bachelin , a veteran art director. ( The Making of Star Trek , p. 101; Inside Star Trek: The Real Story , p. 35) One set that was designed by both Guzman and Bachelin was the planet surface of Talos IV. ("The Menagerie, Part I" text commentary ) However, Matt Jefferies also worked on designing the sets, such as the cage-like environment that serves as the episode's namesake. ( The Art of Star Trek , p. 5) In fact, much to his frustration, designing the Enterprise 's exterior initially delayed Jefferies from planning the episode's sets. ( Star Trek Memories , p. 32) A great deal of effort went into scheming the sets, on paper, while the installment's shooting script was in development, spanning late summer and early autumn of 1964. ( The Making of Star Trek , p. 78)

Theiss adjusting Oliver's wardrobe on the set of "The Cage"

• Costume Designer William Ware Theiss was fortunately available and was hired on the pilot with the task of designing, on a very limited budget, costumes that had to be different from any seen before on television. ( Inside Star Trek: The Real Story , p. 28)
• In early October 1964, Robert H. Justman was interviewed for the post of associate producer on the pilot but turned it down, fearing that his post-production knowledge was not as extensive as it had to be for the episode, a response that lead to Byron Haskin instead being recruited as the pilot's associate producer. ( Inside Star Trek: The Real Story , pp. 28-30; "The Menagerie, Part I" text commentary ) Justman meanwhile went back to working on The Outer Limits , on which he had worked with Byron Haskin.
• The Star Trek pilot still required an assistant director. " The first Star Trek pilot needed a good one, " clarified Herb Solow. " I didn't want to use any first assistant [director] who'd worked with Bob Butler in the past, feeling that too much familiarity might be a disadvantage on this mind-boggling science-fiction pilot. " After Solow consulted producer and director friends (including his college classmate James Goldstone ) around Hollywood (irritatedly referring to the pilot as "a bitch"), he found that Robert Justman was the highest recommended candidate. ( Inside Star Trek: The Real Story , p. 31) Solow then convinced Leslie Stevens , Justman's boss on The Outer Limits and other projects, into permitting a temporary transfer of Justman to the Star Trek pilot, saying, " With prep time, the shooting, and some wrap-up, figure I'd be borrowing him for no more than a month at the most. " Stevens wanted Justman to serve as assistant director on his upcoming Esperanto language horror movie, Incubus , which coincidentally starred William Shatner . However, pre-production of Incubus went overdue, so Stevens loaned Justman to Desilu. Justman likewise believed his assignment on Star Trek was not going to be longer than six weeks and, when he returned to Desilu, he was surprised to find that no final shooting script was yet available for him, the teleplay undergoing one of Gene Roddenberry's many rewrites of the script. Justman began his work after he read through the latest rewrite, initiating the schedule and budget "breakdown" process. ( Inside Star Trek: The Real Story , p. 32) His role as this episode's assistant director made Justman responsible for a virtually endless series of critical production details. ("The Menagerie, Part I" text commentary )

Filming the parkland scenes

• When Director of Photography William E. Snyder became available, he brought his own camera crew and "lighting" gaffer with him. Although some sources cite Jerry Finnerman as having been the camera operator on this episode, the actual cameraman was Richard A. Kelley , according to both Robert Justman and the original crew sheet for the episode. ( Inside Star Trek: The Real Story , p. 36)
• Locating a makeup supervisor who was equipped to tackle the pilot involved a challenging search. " It was apparent that we needed the best makeup man we could find, " explained Robert Justman. " There were numerous 'appliances' [latex or rubber prosthetics] that would have to be designed, built, and affixed, on a daily basis, to the actors who would portray non-human aliens […] Most makeup artists didn't have the prosthetic expertise we needed. " Also, Desilu had no makeup department of its own. Justman spoke about the project with Fred Phillips , a busy makeup man who had worked with him on The Outer Limits and several previous series. " I managed to spring him long enough to do our pilot, " concluded Justman. ( Inside Star Trek: The Real Story , p. 36)
• Purchasing a laser cannon for this episode was of some difficulty. Herb Solow once commented that it was " tough to go down to the local hardware store or gun shop and buy one. " ( Inside Star Trek: The Real Story , p. 20) The laser cannon prop was ultimately a modified camera dolly. ("The Menagerie, Part II" text commentary )
• The weirdness of Gene Roddenberry's requirements startled some of the advisors he attempted to consult. " Well, it was all so new and strange to them, " Roddenberry observed. " Like you call some unsuspecting production man on the phone, and he says, 'Hello,' and you say, 'What does it cost to paint a girl green?' You get a long silence! " ( The Making of Star Trek , p. 77)

Majel Barrett screen-testing Orion make-up for this episode

• When doing makeup tests for Vina as an Orion slave girl, Majel Barrett was used as a willing test subject. ( Inside Star Trek: The Real Story , p. 40) " I was cheap, I was there, and our guest star was not! " Barrett laughed in retrospect. " She would have had to be brought in and they would have had to test it [on her], and there just wasn't the money. " ( Star Trek Monthly  issue 27 , p. 43) This took place early in the episode's preproduction phase and it was Fred Phillips who applied the makeup to Barrett. ("The Menagerie, Part II" text commentary ) However, the footage of these tests kept coming back without the green skin being visible. Puzzled by this, the makeup crew kept painting the actress again and again with other shades of green, hoping it would be visible on film. This went on for a period of three consecutive days. Afterward, the makeup artists discovered that the film processing lab was "de-coloring" her because they didn't know she was supposed to be green. ( Inside Star Trek: The Real Story , p. 40; The Making of Star Trek , pp. 77-78)
• The first filmed scene from "The Cage" (and of Star Trek ) – the sequence with Dr. Boyce and Captain Pike sharing a martini – was filmed on Friday, 27 November 1964 . ("The Menagerie, Part I" text commentary )
• Only a short stretch of corridor was built for this episode. This set can be seen, in its entirety, during the scene in which Pike heads through a passageway into his "cabin" (or quarters), passing a young couple. ("The Menagerie, Part I" text commentary )

Pike and the humanoid bird in a cut scene

• The animation of two of the specimens in the Talosian menagerie – the anthropoid ape and the humanoid bird – was provided for by Janos Prohaska . ("The Menagerie, Part II" text commentary ) The ape creature originally appeared in The Outer Limits episode "Fun and Games", without its facial hair. Prohaska was brought in by Robert Justman, who had worked with him previously on the series. The owl-like bird creature, entirely designed and built by master craftsman Wah Chang , also appeared in a later episode of that series, "The Duplicate Man". ( Star Trek: The Magazine  Volume 3, Issue 9 , pp. 71-72) Still, "Roddenberry's weirdness" of it all continued to befuddle Director Butler, as he recalled. " I remember there was some chicken – some killer fowl – being locked in some cell somewhere, and I'm talking to this stuntman – it's crazy, me talking to this Janos Prohaska, [who was] Hungarian or something…[saying], "Janos, okay that's good, baby, now try this." And there's this big chicken – this killer chicken – or some equivalent. I mean, it was nuts. " ( These Are the Voyages: TOS Season One , 1st ed, p. 60) Needless to say, the extended scenes were not utilized in the pilot as presented.
• One of the imprisoned species is seen only by its shadow; the last cage in the zoo contains a large crab-like creature with huge claws. This was a shadow puppet, rendered with several fingers silhouetted against a lit background. ("The Menagerie, Part II" text commentary )
• The Talosian seen down the corridor as Pike looks at all the imprisoned creatures was a dwarf ( Felix Silla ). This gave the appearance of great length to what was actually a short, forced-perspective hallway. Bob Justman came up with this idea when they realized the budget wouldn't allow them to build a large hallway. ( Inside Star Trek: The Real Story , p 47)
• The Talosian headpieces – complete with their bulging veins and small, round ears – were also created for this episode by craftsman Wah Chang, who (like Robert Justman, Byron Haskin and Fred Phillips) had previously worked on The Outer Limits . ("The Menagerie, Part I" text commentary ) The head prosthetics were blended into the actresses' own facial features by Phillips and his makeup staff. ( The Star Trek Compendium , 4th ed., p. 15)
• The Talosians' elevator landing was built on a platform, allowing room for the lift to descend without having to excavate below the soundstage's floor. ("The Menagerie, Part I" text commentary )
• A matte painting created by noted matte artist Albert Whitlock was used to portray the Rigel VII fortress, though these exterior shots also involved the filming of live-action footage on the Metro-Goldwyn-Mayer back lot. ("The Menagerie, Part II" text commentary )

Makeup artist Fred Phillips turning Susan Oliver into an Orion slave girl

• While Susan Oliver was wearing her green Orion slave girl makeup, she became very tired. A doctor was called to the studio to give her a vitamin B shot. He went to her dressing room where, not having been informed of her appearance, he was greatly surprised to see that her complexion was green. The doctor was so flustered, in fact, that it took him nearly five minutes to simply identify an area to administer the shot. ( The Making of Star Trek , p. 78)
• The spearhead Pike uses to kill the Kalar on Rigel VII was a recycled prop from RKO Pictures . It measured approximately thirty inches in length and was seven and a half inches wide. ( Star Trek: The Original Series 365 , p. 011)
• Robert Butler said in an interview with Star Trek Monthly that he wanted some dirt and rust on the sets, but Roddenberry vetoed this idea, claiming that everything must be clean and shiny. In another interview, Butler claimed that this was his basic reason for disliking Star Trek overall, calling it "too square-jawed, heroic" and "too worthy and clean" for his taste. ( Star Trek Monthly issue 6 [ page number? • edit ] )
• The landing party jackets in this episode were fastened by long strips of black Velcro running down the entire length of the inside flap, visible in some of the scenes.
• The belts were grey-colored elastic-type bands that had metal hook/clip fasteners at the front which held the communicator and hand weapon. They were worn over the shirt but under the jacket, at the waist.
• When indicating the region of the Talos group on his viewscreen, Spock calls up a photograph of the Pleiades Cluster .
• The scene inside the Rigel fortress was one of the last scenes to be shot for this episode. It was filmed on 14 December 1964 . Gene Roddenberry was present during the filming and model maker Richard C. Datin, Jr. also payed a visit to the set, presenting the three-foot USS Enterprise study model to Roddenberry, it eventually turning out to be a full-fledged filming model onto its own. ("The Menagerie, Part II" text commentary , [5] )
• This was the single most expensive episode ever created for the original Star Trek series. ("The Menagerie, Part I" text commentary ) According to several sources (including the The Star Trek Compendium , 4th ed., p. 17), NBC spent US$630,000 on this episode. According to Majel Barrett, however, there was only US$168,000 available for the pilot. ( Star Trek Monthly  issue 27 , p. 43) The episode's preproduction costs were reduced thanks to the use of rear-screen projection for images on the Enterprise 's main viewscreen. ("The Menagerie, Part I" text commentary ) Based upon extensive research author Marc Cushman had performed on the internal studio documentation used at the time, he has reported the budget and total cost at $452,000 (hugely debunking Barrett's earlier statement) and $616,000, respectively. ( These Are the Voyages: TOS Season One , 1st ed., p. 64)

Visual effects [ ]

Datin (l) taking delivery of the eleven-foot studio model

• Howard Anderson Company , the company responsible for all visual effects or "opticals" as they were called at the time, subcontracted the build of the Enterprise studio model to Richard Datin. Datin himself built the above-mentioned small three-foot that was originally intended to serve as a study model, but which ended up being used for filming nevertheless. The actual large eleven-foot filming model he himself had to sub-contract to Production Models Shop due to time pressure and lack of space in his workshop. ( Star Trek: Communicator  issue 132 , pp. 51-53 For a far more detailed treatise on the two models, see: Constitution -class model
• The opening shot of this episode was filmed with the use of frame-by-frame stop-motion animation, in order to allow for the transition between the footage of the Enterprise model and the shot that was taken on the set for the starship's bridge. Due to the movement of the space vessel, the shot was necessarily very intricate and extraordinarily difficult to produce. It was created by the Howard Anderson Company. ("The Menagerie, Part I" text commentary ) The shot used the eleven-foot model of the Enterprise , while the other ship shots of this episode involved the three-foot miniature of the spacecraft. ("The Menagerie, Part II" text commentary ) The shot was the very last to be produced and the only one where the large model was utilized, as it was only delivered to Anderson's on 29 December 1964 , after all other footage had approximately been completed a week earlier. ( Star Trek: Communicator  issue 132 , p. 54) The text commentary for "The Menagerie, Part I" refers to the shot's creation as " an outstanding achievement in television visual effects. "
• The opening establishing shot of the Enterprise was reused in several early episodes: " Where No Man Has Gone Before ", " The Corbomite Maneuver ", " Mudd's Women ", " The Man Trap ", and " Charlie X ". The starship, traveling at warp speed, is depicted in a unique effect that was never re-created for the series; the camera "sidles up" to the Enterprise model and "swoops over" the top of the primary hull. Combined with this shot are two space effects: one of a stationary star field and the other of a star field moving rapidly, from right to left. The completed effect is meant to suggest that "local" stars are flying past the Enterprise while the great "backdrop" of the galaxy remains motionless. ( These Are the Voyages: TOS Season One , 1st ed., pp 90-91)
• The effect of the laser cannon firing was an animation produced by the Howard Anderson Company. ("The Menagerie, Part II" text commentary )
• Majel Barrett felt that her perceived lack of "special effects" in this pilot episode was an indication that the finances provided for the pilot "didn't go very far." ( Star Trek Monthly  issue 27 , p. 43)
• Upon first hearing the theme tune for this episode (which went on to serve as the theme music for the original Star Trek series), Robert Butler was impressed. He later reminisced, " The music was good; I remember that theme song was quite wonderful […] I remember liking it when I heard it. " ( Star Trek Monthly  issue 6 , p. 53) Alexander Courage provided not only this thematic composition as well as the episode's score but also created the sounds of the singing plants . ("The Menagerie, Part I" text commentary , TOS Season 1 DVD ; et al.)
• The musical score of this episode has been released on CD, tied with the score of the episode "Where No Man Has Gone Before". The first official release came in 1988. It was later expanded, restored and remastered for disc 1 of the Star Trek: The Original Series Soundtrack Collection .

Reception and aftermath [ ]

• One of the first occasions on which word of this episode reached the press was following NBC's approval of the pilot script; while Gene Roddenberry and Herb Solow were celebrating the confirmation during lunch with their daily Cobb salad at the Hollywood Brown Derby on Vine Street, Dave Kaufman – a television reporter and columnist for Daily Variety – passed by their table on his way back to his office and Solow notified him of the news. However, the cheerful Kaufman replied, " I knew it before you did. " After leaning over to engage Roddenberry in a handshake, Kaufman repeatedly asked who would be producing the pilot, doubting that Desilu was up to the task. Roddenberry and Solow acknowledged Kaufman's remarks and he wished them good luck before exiting. ( Inside Star Trek: The Real Story , pp. 26-27)
• The first view of the completed pilot was at a special screening for the episode's cast and crew. " I remember the screening and the special effects and the makeup were just perfect, " remarked J.M. Colt actress Laurel Goodwin, " Everyone was applauding when we saw the transporter effect put together. When you shoot it, of course, they just stop the camera and you walk off. But on film, it was so great. " ( Star Trek: Communicator  issue 119 , p. 59)
• NBC rejected the episode, following its production, and declared it was "too cerebral." Robert Butler found he could relate to this statement. " Apparently, the network, at its level, was feeling exactly as I did, " he remarked. ( Starlog issue 117, p. 55) According to Gene Roddenberry, he had a similar response to the news. " I sort of understood [NBC's verdict], " he said. " I wrote and produced what I thought was a highly imaginative idea, and I realized I had gone too far. I should actually have ended it with a fistfight between the hero and the villain if I wanted it on television […] because that's the way shows were being made at the time. The great mass audience would say, 'Well, if you don't have a fistfight when it's ended, how do we know that's the finish?,' and things like that. " ( The Star Trek Interview Book , p. 10) Besides finding the episode too intellectual, NBC also cited criticisms such as the presence of a female first officer on the bridge and the character of Spock being too alien for audiences of the time. ( Star Trek Monthly  issue 6 , pp. 14, 20, 52; et al.)
• However, the "myth" of the network wanting to eliminate the female first officer was debunked by Herb Solow and Robert H. Justman in Inside Star Trek: The Real Story . In the book, they state that NBC supported the idea of a strong woman in a leading role, they only rejected Majel Barrett, feeling the actress is not talented enough to pull off such a role, and "carry" a show as co-star. ( Inside Star Trek: The Real Story , p. 60)
• NBC was also not satisfied with the majority of the actors. They wrote, " We also think you can do better with the ship's doctor, the yeoman and other members of the crew ". Solow decided to hire a full-time casting director for the next pilot, and eventually the series. ( Inside Star Trek: The Real Story , pp. 60-61)
• Another aspect of the pilot which NBC was very worried with, was its "overall eroticism", most notably the "scantily clad green dancing girls with the humps and grinds". This was a major factor for not choosing " Mudd's Women ", which dealt with "an intergalactic pimp selling beautiful women hookers throughout the galaxy", to be the second pilot. ( Inside Star Trek: The Real Story , pp. 59-61, 65-66)
• Oscar Katz was pleased with this pilot episode. ( The Star Trek Interview Book , p. 10) However, Lucille Ball was seemingly uninterested in it. Herb Solow offered, " The day the completed pilot was screened for NBC on the West Coast, I walked into Lucy's dressing room to tell her NBC's reaction. The pilot script was still there, apparently untouched. " ( Inside Star Trek: The Real Story , p. 22)
• DeForest Kelley viewed this episode around the same time it was being shown to studio executives. He told Gene Roddenberry, " Well, I don't know what the hell it's all about, but it's either gonna be the biggest hit or the biggest miss God ever made. " ( Star Trek Monthly  issue 18 , p. 18)
• Despite the numerous nitpicks they had with this episode, NBC made the extraordinary (and, at the time, rare) move to order a second pilot, " Where No Man Has Gone Before ". For that subsequent pilot, the briefing room , transporter room and bridge were kept much the same as they are in this historic first attempt (although the bridge doors and other bridge features were painted red, and several smaller modifications were made). However, the only actor to be reused from this episode was Leonard Nimoy. In reference to Number One and Spock, Gene Roddenberry once joked about how he kept the alien character and later married the woman, noting, " I couldn't have legally done it the other way around. " ( Inside Star Trek ) Majel Barrett commented, " To be fired from the job and then see it come back 30 years later made me feel kind of good, but at the time I wasn't happy. " ( Star Trek Monthly  issue 27 , p. 43)
• After Jeffrey Hunter's wife convinced the actor that science fiction was "beneath him," Gene Roddenberry – planning to cast William Shatner for the second pilot – arranged for himself and Shatner to watch this episode in Los Angeles. ( The Star Trek Interview Book , pp. 10 & 16) " When I walked out [of the viewing] I remember thinking it was a very imaginative and vital idea, " Shatner recalled. " I thought everybody took themselves a little too seriously. " Shatner not only thought that the episode lacked humor but was also of the opinion that its cast had overacted their parts, to the point of being unrealistic. " That was my impression, " he admitted, " and we spoke about that. " ( The Star Trek Interview Book , p. 16)
• Fred Freiberger was highly impressed with the episode and, in 1988 , he expressed surprise that the outing had been rejected by NBC. " I fell in love with [it] […] To me, 'The Cage' was pure science fiction, " he enthused. " That's what the show should have been […] 'The Cage' was what the series was all about. At that time people didn't accept it. " ( The Star Trek Interview Book , pp. 162-163)
• In her 1994 autobiography Beyond Uhura (pp. 139 & 140), Nichelle Nichols comments on this installment, stating, " Viewing it today […] the show stands as the purest earliest representation of what Gene hoped Star Trek would achieve. " She also characterizes the episode as " not only the basic pattern for countless future Star Trek episodes but a blueprint for the future of civilization " and describes the episode's conclusion as "an intelligent, peaceful resolution."
• In 1996 , Grace Lee Whitney cited this as one of her favorite TOS episodes (along with " Charlie X ", " The Devil in the Dark " and " The City on the Edge of Forever "). ( Star Trek Monthly  issue 19 , p. 32)
• The following year, Majel Barrett similarly named this as one of her two favorite episodes of TOS (the other being "The City on the Edge of Forever") and said that she thought both of them "are more Star Trek than anything else that has been conceived." Of this episode specifically, she enthused, " I thought it was beautiful. People still ask me, 'What is your favorite episode? no question, it would have to be 'The Cage' […] [It] was pure Star Trek . " ( Star Trek Monthly  issue 27 , pp. 43 & 44)
• A black-and-white 16mm print of this episode was owned by Gene Roddenberry and was shown by him at speaking engagements and conventions. One of these events was "Tricon" – 1966's World Science Fiction Convention in Cleveland, Ohio – whose attendees included Allan Asherman , a future writer of Star Trek reference works. Due to popular demand, the black-and-white version of this episode was shown after "Where No Man Has Gone Before". ( The Star Trek Compendium , 4th ed., pp. 1 & 3) The event was the first convention that Roddenberry took the Star Trek pilots to. ( The Star Trek Interview Book , p. 11) Asherman later wrote how he had been impressed by the "serious and imaginative detail" in this episode, a facet he believed it shared with the later pilot. He went on to comment, " In addition there were the laser cannon opticals, the superb Talosian makeups, and another interesting musical score. Its most outstanding characteristics were the intelligence of its story, its polished production values, and the performances of its actors. " ( The Star Trek Compendium , 4th ed., pp. 1, 3)
• The master color 35mm negative of "The Cage" was cut into the master negative of "The Menagerie" in 1966, and the trims not used were subsequently lost. No color or 35mm print of "The Cage" was known to exist, only the black-and-white print owned by Gene Roddenberry, who continued to exhibit the footage at various Star Trek conventions throughout the 1970s and early 1980s.
• "The Cage" was initially released on home video in late 1986 , in celebration of Star Trek 's 20th anniversary. The release was a combination of the color footage used in "The Menagerie" and the additional scenes in Roddenberry's black-and-white print. ("The Menagerie, Part II" text commentary ; et al .)
• In 1987, film archivist Bob Furmanek discovered the missing trims from the color 35mm negative of "The Cage" at a Hollywood film laboratory, and saw that they were returned to Paramount. However, the soundtrack trims were not found. When restoring "The Cage", Paramount used the soundtrack from "The Menagerie" for most scenes, and the soundtrack of Roddenberry's 16mm print (which was of lower audio quality) for the restored trims. [6]
• A full-color version of this installment was aired on 4 October 1988 , with a two-hour special called The Star Trek Saga: From One Generation To The Next bookending it. The special was hosted by Patrick Stewart and traced the history of Star Trek from "The Cage" throughout the first season of TNG and the beginnings of production for Star Trek V: The Final Frontier . The opportunity to broadcast "The Cage" in its original form came when production of Star Trek: The Next Generation was interrupted due to a Writers' Guild strike. The broadcast filled in for two of the four hours missing from TNG's truncated second season .
• The Keeper's voice ( Malachi Throne ) used in "The Cage" was modified for "The Menagerie", in which Throne guest-starred as Commodore Mendez. ("The Menagerie, Part II" text commentary ) When the color and black-and-white versions were spliced together in 1986, The Keeper's original voice was heard in the black-and-white footage and the altered voice in the color footage taken from "The Menagerie". This voice discrepancy persists in the "restored" all-color version of "The Cage" in the TOS Season 3 DVD set, even though it would have been entirely possible to substitute the original audio from the 16mm print for the Keeper's lines in footage taken from "The Menagerie". Conversely, the remastered version included on the 3rd season Blu-ray Disc set has the Keeper's dialogue from the black and white footage digitally pitched up to more closely match the altered voice track heard in the color footage.
• This episode's depiction of the Rigel VII fortress is one of the most-recognized and celebrated matte paintings in Star Trek history. The same painting was reused (unaltered) in the third season, as Flint 's home in " Requiem for Methuselah ". In addition, the large moon in the background of the painting was the inspiration for a song called " Moon over Rigel VII ", which Captain Kirk recommends as a campfire song in Star Trek V: The Final Frontier . ( citation needed • edit )
• Footage of the asteroids from the beginning of this episode was reused later, in " Mudd's Women " and " The Doomsday Machine ".
• Throughout most of the first and second seasons, the "singing plant" sound heard on Talos IV became the standard background noise on various planets. Beginning with " Spectre of the Gun ", a different, warbly sound was used for a number of the remaining shows. The sound was used as the transporter beam sound effect in the series proper.
• In his introduction for the 1986 VHS release of "The Cage" (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he wanted no-one aboard the Enterprise to smoke. This was despite the fact that tobacco advertising was a major revenue source for the television networks in 1964. Even one of Star Trek 's sponsors, during its first season, was Viceroy cigarettes. (All tobacco advertising was banned from television and radio on 1 January 1971 ). Seventeen years later, Patrick Stewart would appear on-screen smoking a cigarette in " The Big Goodbye ", although Picard was shown choking on it.
• Herman Zimmerman commented: " From my point of view, Gene Roddenberry created, without being maudlin, an eternal idealization of the future. The characters that he created came out of his imagination pretty much whole cloth. You could compare "The Cage" to Sign of Four , which was written by Arthur Conan Doyle . Sherlock Holmes and Watson and Moriarty and Lestrade and the Baker Street Irregulars have a charm and an identity that are immediately discernible from that very first novel ". ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , pp 5-6)
• Zimmerman found similarities between "The Cage" and Star Trek: Deep Space Nine 's pilot episode, " Emissary ". Zimmerman commented, " 'The Cage' was a brilliant piece of science fiction work – especially for when it was done. 'The Emissary' is equally as good. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , pp. 40-41)
• The same was true (if only for one scene) for Michael Piller , who commented, " I haven't seen 'The Cage' in years, but what brings to mind the memory of it is the imagination that takes you out of that locked cage – Gene's imagination. It takes you into green fields and the picnic and Susan Oliver and those wonderful moments. I would be lying if I did not say that image was with me when I wrote " Emissary ". I don't remember much about it. I don't remember the story, but I remember that friendly green pasture. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , p. 19)
• In a 1993 interview, Rick Berman revealed, " I've never seen 'The Cage'. I've seen little pieces of it. " ( Cinefantastique , Vol. 23, No. 6, p. 22)
• When this episode was re-released on VHS in 1996, Star Trek Monthly  issue 16 , p. 57 rated the episode 3 out of 5 stars (defined as "Warp Speed") and regarded it as a "now classic story."
• Similarly, Cinefantastique scored the episode 3 out of 4 stars in 1996. ( Cinefantastique , Vol. 27, No. 11/12, p. 26)
• In their 1998 book Trek Navigator: The Ultimate Guide to the Entire Trek Saga (p. 29), co-writers Mark A. Altman and Edward Gross both individually rate this episode 4 out of 5 stars (defined as "Classic!").

Continuity [ ]

• This episode is difficult to reconcile with canon in many instances. For example, Spock smiles and uses several Human expressions (for example, "buzzing about down there"), which he seldom does in subsequent episodes and films. In the series, he instead has the emotional control and genius level intellect present in the character of Number One here. This change was actually due to the fact that, in contrast to Jeffrey Hunter's portrayal of Captain Pike, Leonard Nimoy found William Shatner as Captain Kirk had his own energy, animation, and exuberance, so Nimoy felt like he was able to be more reserved and internalized in the series than in this pilot. ( Mind Meld: Secrets Behind the Voyage of a Lifetime , et al.) Nonetheless, the scene of Spock smiling was included in " The Menagerie ", with Kirk later making a brief reference to Spock's emotions, though the moment itself is not commented upon directly.

Spock's smile when he encounters the singing flower on Talos IV inspired Michael Chabon to write the Star Trek: Short Treks episode " Q&A "

• More than half a century later, Michael Chabon wrote the Star Trek: Short Treks episode " Q&A " to provide an in-universe explanation for the differences between Spock's behavior and manner in this episode and in the rest of the original series. ( "Michael Chabon Explains His New Short Trek 's Connections to The Next Generation and Picard" at SyFy Wire ) Chabon wrote that "apart from the ears and the gull-wing eyebrows, the Spock who served under Captain Pike was nothing like the Spock who later launched a thousand zines."
• Pike tells the Talosians that he's from a stellar group "at the other end of this galaxy," which, in modern Star Trek parlance, implies that Talos IV is deep in the Beta , Gamma or Delta Quadrants – anywhere but the Alpha Quadrant which it is established as being in in " If Memory Serves ". This does not seem likely, especially because the SS Columbia was lost for only eighteen years and, having traveled at less than light speed, must be relatively close to Earth. In fact, Harvey P. Lynn , who served as Gene Roddenberry's unofficial technical adviser on the pilot, told him that traveling from one end of the galaxy to the other would take an impossibly long time. ( The Making of Star Trek , p. 92)

The Enterprise

• Tyler implies that faster-than-light (FTL) travel is relatively new. He tells one of the scientists that they can get back to Earth quickly. " The time barrier's been broken! Our new ships can… " Earlier, with an expression used only once in the series, Pike orders FTL speed to Talos IV by saying, " Our time warp, factor 7. " Basically, this establishes that warp speed is not only FTL, but also "negates" the time dilation effect about which Einstein theorized in his Special Theory of Relativity. Of course, later Star Trek canon establishes that Zefram Cochrane "discovered" the space warp in the mid-21st century. "The Cage" takes place two centuries later, in 2254.
• Spock's cry of " Switch to rockets , we're blasting out! " is very anachronistic – there are no direct references to rocket engines in the episodes to come.
• Dwight Eisenhower , John F. Kennedy , and Lyndon Johnson make the only contemporary presidential appearances in an original series episode here, as images in the Talosian download of the ship's computer .
• As opposed to the electronic clipboards used in the regular series, Pike uses a very 20th century metal clipboard. A television also appears in his quarters.
• A "captain's hat" can be glimpsed, in passing, on top of that television, although Pike never wears it, and after this pilot, the hat was never seen again, though similar caps later appeared in Star Trek Into Darkness and in Carol Freeman 's ready room in Star Trek: Lower Decks .
• Landing party jackets also vanished after "The Cage", but returned in Star Trek: The Motion Picture , also appearing in Star Trek II: The Wrath of Khan , Star Trek III: The Search for Spock , and Star Trek V: The Final Frontier . Star Trek: Enterprise was the only other television Star Trek that depicted hats and a variety of environment-specific outerwear being regularly issued to crew members.
• Judging by the shape of the wall and the window, Pike's quarters seem to be directly below the bridge; there are no other curved windows on the saucer section of the model.
• The bed in Pike's quarters was far too short for Jeffrey Hunter. His feet are extending well beyond the end of the mattress, as he briefly reclines on it.
• The sign next to the door of the captain's quarters reads simply "Captain." When the series went into production, Captain Kirk's name was put on the nameplate outside his quarters.
• The pants that the crew wear have a very conspicuous pleat down the front and seem to be a shade of dark blue-grey.
• At the end of "The Menagerie, Part II", Kirk sees Pike and Vina – with their illusions of youth and beauty – running off, hand in hand. This is an example of the reused footage from this episode. Here, it is an illusion of Pike who the Talosians have provided for Vina to keep her company. In "The Menagerie, Part II", it is the "real" Pike (or rather the non-physical consciousness of the now-disabled Pike) rejoining Vina to start a new life.
• In one brief part of the first transportation sequence, the transporter chief's assistant is a man wearing glasses , but the scene changes and he appears without them. This is one of only three occasions where Starfleet officers are shown wearing corrective eyeglasses.
• Although Pike cites the crew complement as 203 other lives besides his own, the Enterprise 's total crew complement was increased to 428 in " Charlie X ", and 430 in later episodes. DIS : " Brother ", however, confirms that, at the time of Pike's mission, the ship had 203 crewmembers.
• This episode's depiction of a parkland near Mojave is the only time that 23rd century Earth is ever seen in the entirety of the original Star Trek series. Given that this is merely an illusion created by the Talosians, the first appearance of the real Earth of the 23rd century was in TAS : " One of Our Planets Is Missing ", in which scenery from Earth is shown to a cloud creature from the ship's library computer . However, it is not shown in live-action until Star Trek: The Motion Picture in 1979 .
• "The Menagerie, Part II" establishes that, following the events of this episode, the Federation imposed General Order 7 on the Talos system, preventing anyone from ever approaching the planet again, under penalty of death .

Apocrypha [ ]

• Star Trek: Early Voyages #4: " Nor Iron Bars a Cage " (from Colt's point of view)
• #9: " Return to the Forbidden Planet "
• #10: " Return to the Forbidden Planet, Part 2... A Prelude to War "
• Star Trek Annual (DC volume 2) Annual #2: " The Final Voyage "
• Pocket TOS : Legacy
• Pocket TOS : Burning Dreams
• Roddenberry actually almost uses the term "forbidden planet" ( the one forbidden world in all the galaxy ) in his teleplay for "The Menagerie", thereby coming close to admitting how much of "The Cage" was actually "stolen" by him from the 1956 movie of that name, including: setting the action in the 23rd century; the visual design of the starship (the flying saucer design of the C-57D spaceship in the movie becoming the saucer section of the USS Enterprise ); the military organisation of the crew; their Navy-style uniforms; setting the action on an alien planet; the planet's name Altair IV, which became Talos IV; the mental powers of the Krell, which became (only slightly altered) the mental powers of the Keeper; and the energy weapons of the Cruiser's crew, which became the Star Trek hand phasers. The 1956 film also uses, as its main cast, the spaceship's captain, first officer, and medical officer: the command structure which Roddenberry lifted as the basis for the main cast on Star Trek .
• Additionally, a few novels have theorized as to the cause for the vast differences between Spock's highly emotional behavior in this episode and his reservedness in the regular series of Star Trek . Examples of this include Spock possibly not having complete control of his emotions at that point, as he was still quite young, and that he achieved full control of his emotions by observing Captain Pike. In fact, the novel Burning Dreams establishes that indeed, whether Pike liked it or not, Spock did consider him a mentor and so Pike tried his best to live up to that assignment. Burning Dreams also establishes that Spock yelled early in his career because he was under the mistaken impression that Humans couldn't hear him unless he did. The novel The Fire and the Rose establishes that Spock was simply emulating Human behaviors such as smiles, and that there was truly no emotion behind his own smile. He eventually stopped though when his crewmates came to distrust him, believing him not to be truthful about himself to them.
• Burning Dreams delves much deeper not only into Pike's life before and after Talos, but also Vina's, establishing her to have been a singer and a dancer, who was lovers with the real Theodore Haskins. In fact, before the Enterprise 's arrival, she spent much time in illusion, dreaming that Columbia had successfully returned to Earth and she led a dance troupe afterward. The novel also establishes that Vina stood up to the Talosians, demanding that they never refer to her as a 'specimen' again and she was just as important as them, perhaps moreso, because their plans for Pike depended on her. During the Rigel VII illusion, she played the "damsel in distress" role effectively, although she hated female characters that screamed like she had to do.
• A cat version of "The Cage" was featured in Jenny Parks ' 2017 book Star Trek Cats .

Production timeline [ ]

• Series proposal, " Star Trek is... ": 11 March 1964 – Mentions story idea "The Next Cage"
• Rough draft outline: 25 June 1964 [7]
• Pilot story outline: 29 June 1964 ( The Making of Star Trek , p. 47)
• Final draft outline: 8 July 1964 [8]
• Final draft outline: 22 July 1964 [9]
• Teleplay titled "The Cage": 31 August 1964 [10]
• First draft script: 8 September 1964 ( The Star Trek Compendium , 4th ed., p. 11)
• Revised draft script: on or shortly before 24 September 1964 ( The Making of Star Trek , p. 96)
• Revised teleplay: 6 October 1964 [11]
• Color Makeup Tests at Desilu Culver Stage 15 : 17 November 1964 ( Call sheet )
• Second Revised Final Draft script, titled "The Menagerie": 20 November 1964 [12]
• Day 1 – 27 November 1964 , Friday – Desilu Culver Stage 16 : Int. Pike's quarters
• Day 2 – 30 November 1964 , Monday – Desilu Culver Stage 16 : Int. Briefing room , Corridors
• Day 3 – 1 December 1964 , Tuesday – Desilu Culver Stage 16 : Int. Transporter room
• Day 4 – 2 December 1964 , Wednesday – Desilu Culver Stage 15 : Int. Bridge
• Day 5 – 3 December 1964 , Thursday – Desilu Culver Stage 15 : Int. Bridge
• Day 6 – 4 December 1964 , Friday – Desilu Culver Stage 15 : Int. Orion courtyard
• Day 7 – 7 December 1964 , Monday – Desilu Culver Stage 16 : Ext. Talos IV surface
• Day 8 – 8 December 1964 , Tuesday – Desilu Culver Stage 16 : Ext. Talos IV surface
• Day 9 – 9 December 1964 , Wednesday – Desilu Culver Stage 16 : Ext. Talos IV surface
• Day 10 – 10 December 1964 , Thursday – Desilu Culver Stage 16 : Ext. Talos IV surface ; Desilu Culver Stage 15 : Int. Talosian monitoring area
• Day 11 – 11 December 1964 , Friday – Desilu Culver Stage 15 : Int. Pike's cell , Talosian menagerie
• Day 12 – 14 December 1964 , Monday – 40 Acres "Arab Village" backlot: Ext. Rigel VII fortress
• Day 13 – 15 December 1964 , Tuesday – 40 Acres "Arab Village" backlot: Ext. Rigel VII fortress
• Day 14 – 16 December 1964 , Wednesday – Desilu Culver Stage 15 : Int. Pike's cell
• Day 15 – 17 December 1964 , Thursday – Desilu Culver Stage 15 : Int. Pike's cell , Hell-Fire illusion
• Day 16 – 18 December 1964 , Friday – Desilu Culver Stage 16 : Int. Orion cavern , Ext. Mojave parkland
• Score recorded: 22 January 1965 ( citation needed • edit )
• Network rejection: February 1965 ("The Menagerie, Part II" text commentary )
• Color "trims" discovered: 1987 ( citation needed • edit )
• Premiere airdate: (complete color) 4 October 1988 ( citation needed • edit )
• First UK airdate: 19 August 1992 (BBC Genome Radio Times listings magazine )

Remastered [ ]

The Enterprise translucent bridge dome, as seen in the remastered episode.

• Originally intended for airing in syndication on 26 April 2008 , the remastered version of the episode was removed from the schedule the week before its intended airdate, but was rescheduled for 2 May 2009 , partly as a tie-in with the release of Star Trek . [14] The remastered episode is also included in the TOS-R Season 3 DVD and TOS Season 3 Blu-ray sets, along with the original 1986 color-black/white release presented by Gene Roddenberry in its original ("unaltered") format.

Home media format releases [ ]

• US Betamax release (one-episode tape, Paramount Home Video ): Volume 51 , catalogue number 60040-01, November 1986
• US LaserDisc release (two-sided disc): Volume 27, catalog number LV60040-106, October/ November 1986
• Original US VHS release: November 1986
• UK VHS release (two-episode tapes, CIC Video ): Volume 1 , catalog number VHR 2207, release date unknown
• US Betamax/VHS release (one-episode tape, Paramount Home Video ): Volume 80 , catalog number 60040-99, 1989
• UK VHS release as "The Cage" All Colour Collectors Edition (CIC Video): catalog number VHR 2374, 2 July 1990
• US LaserDisc release (two-sided disc): Volume 42, catalog number LV60040-99* , 11 October 1991
• Japan LaserDisc release (two-episodes disc): As part of the Star Trek - Log 1 collection, catalog number PILF-1615(16), 10 November 1992
• US VHS re-release in color: 15 April 1994
• UK VHS re-release: As part of the Star Trek - 30th Anniversary Trial Pack collection: 2 January 1996
• UK/German LaserDisc release (two-episodes disc): As part of the Star Trek - The Pilots collection, catalog number PLTES-34071 (UK)/PLTGB-34561 (Germany), April 1996
• UK re-release (three-episode tapes, CIC Video): Volume 1.1, 24 June 1996
• US DVD release (two-episodes disc): Volume 40 , 11 December 2001
• US/Europe DVD release (two versions single-disc): As part of the TOS Season 3 DVD collection, 14 December 2004 (US)/ 6 December 2004 (Europe)
• US/Europe remastered DVD release (two versions single-disc): As part of the TOS-R Season 3 DVD collection, 18 November 2008 (US)/ 27 April 2009 (Europe)
• US/Europe Blu-ray release (two versions single-disc): As part of the TOS Season 3 Blu-ray collection, 18 December 2009 (US)/ 22 March 2010 (Europe)
• US/Europe Blu-ray release (five-episodes disc): As part of the Star Trek: The Original Series - Origins Blu-ray collection, 10 September 2013 (US)/ 2 September 2013 (Europe)

Links and references [ ]

Leonard Nimoy as young Lt. Spock

Starring [ ]

• Jeffrey Hunter as Christopher Pike

Guest star [ ]

• Susan Oliver as Vina

Co-starring [ ]

• Leonard Nimoy as "Mister Spock "
• Majel Barrett as Number One
• John Hoyt as Phil Boyce
• Peter Duryea as José Tyler
• Laurel Goodwin as J.M. Colt

Uncredited co-stars [ ]

• Sam Bagley as Columbia survivor
• Barker as 4th Talosian
• John Burnside as bridge engineer
• Carol Daniels as Communications crew woman
• Mike Dugan as Kalar
• Joe Evans as Columbia survivor
• Carey Foster as Orion servant girl ( deleted scene )
• Sandra Gimpel as Talosian
• Clegg Hoyt as Transporter Chief
• Anthony Jochim as 3rd Survivor
• First Talosian (voice)
• Transporter Chief Pitcairn (voice)
• Jon Lormer as 1st Survivor
• Edward Madden as Geologist
• William McCarter as Columbia survivor
• Joseph Mell as Earth Trader
• Leonard Mudie as 2nd Survivor
• William H. O'Brien as Columbia survivor
• Robert Phillips as Space Officer
• Anthropoid ape
• Humanoid bird
• Adam Roarke as 1st Crewman
• Serena Sande as 2nd Talosian
• Georgia Schmidt as 1st Talosian
• Felix Silla as 3rd Talosian
• Malachi Throne as the Keeper (voice)
• Meg Wyllie as the Keeper
• Bridge crewman #1
• Bridge crew woman
• Bridge engineer #1
• Columbia survivors #8 , #9 , #10 , and #11
• Command officer in corridor
• Four Orion colony musicians
• Guards #1 , #2 , and #3
• Orion slave master (deleted scene)
• Sciences officer
• Sciences officer in briefing room
• Sciences officer in corridor
• Transporter technician
• Two civilian crewmembers
• Two laser technicians
• Two Orion servant girls (deleted scene)

Stunt doubles [ ]

• Sandra Gimpel as stunt double for Meg Wyllie
• Robert Herron as stunt double for Jeffrey Hunter

Stand-ins [ ]

• Charles Bidwell
• Carol Daniels

References [ ]

2236 ; 2254 ; 24-hour clock ; acting captain ; address ; Adam and Eve ; adaptability ; adult ; advice ; age ; alternative ; American Continent Institute ; ancestor ; animal ; answer ; apology ; armor ; artisan ; artist ; atmosphere ; backpack ; bargain ; bartender ; battery ; battle-axe ; beauty ; big cities ; blood ; bluff ; boasting ; brain ; bravery ; breeding stock ; bridle ; bridge ; briefing room ; bruise ; building ; business ; button ; cactus ; cadet ship ; cage ; call letters ; canyon ; captain ; captivity ; cell ; century ; chance ; chicken ; chief petty officer ; childhood ; children ( offspring ); choice ; circuit ; class M ; clipboard ; clothing ; coffee ; collision course ; colony ; color ; Columbia , SS ; commander ; communicator ; community ; computer ; condition ; confusion ; conjecture ; contact ; continent ; conversation ; countdown ; course ; creating ; creature ; custom ; customer ; danger ; day ; death ; deception ; deck ; desert ; desire ; destination ; devil ; dignity ; distress signal ; doctor (occupation); doctor (title); dream ; dress ; Earth ; emotion ; encampment ( camp ); engage ; engine room ; engineering deck ; Enterprise casualties ; entry ; escapism ; evasive maneuvers ; evil ; experience ; experiment ; fable ; fabric ; family ; fear ; feeling ; flesh ; fly ; food ; fool ; forced chamber explosion ; forced landing ( crash ); form ; fortress ; frustration ; geological lab report ; geologist ; glasses ; gravity ( g ); green ; hair ; hand ; hand laser ; hat ; hate ; head ; headache ; health ; Hell-Fire ; helm ; hereditary ; " hold on a minute "; hole ; home ; hope ; horse ; horseback riding ; hour ; hull ; Human (aka Human being ); Human history ; hunger ; husband ; husband-wife relationship ; hybrid ; hyperdrive ; ice ; illusion ; Illyrian ; image ; indication ; inert element ; information ; inhabitant ; injury ; intelligence ; intention ; intercraft ; jailer ; judgment ; Kalar ; keeper ; knee ; knoll ; landing party ; laser cannon ; laser weapon ; library ; lie ; lieutenant ; life ; life span ; limitation ; love ; luck ; lunch ; mace ; machine ; magistrate ; magnetic field ; martini ; Mary Lou ; mate ; measurement ; medical report ; memory ; memory capacity ; menagerie ; mental power ; message ; metal ; metal fabric ; meteoroid ; meteoroid beam ; microrecord ; mile ; Milky Way Galaxy ; mind ; minute ; mission ; Mojave ; mutual cooperation ; mutual dependence ; name ; narcotic ; NC ; neck ; need ; Nguyen, Zac ; nitrogen ; nuclear weapon ; nourishment ; officer ; olive ; opinion ; orbit ; Orion ; Orion colony ; Orion slave girl ; overload ; oxygen ; pair ; parent ; parkland ; passion ; pen ; percent ; permission ; person ; physical appearance ; physical prowess ; picnic ; picnic basket ; picture ; pike ; Pike's mother ; place ; planet ; plant ; power ; power generator ; preliminary lab survey ; printout ; probing ; problem ; proof ; protectiveness ; protein complex ; pulp ; punishment ; quality ; quarters ( cabin ); radio ; radio-interference distress call ; radio wave ( radio beam ); reality ; reason ; recipe ; record ; red ; reflection ; region ; Regulus ; report ; resignation ; respect ; responsibility ; rest leave ; Rigel VII ; Rigel VII moon ; risk ; rock ; rocket ; saddle ; safety limit ; sand ; sandwich ; scientific party ; scientist ; scouting party ; second ; secret ; shield ; ship's captain ; signal ; singing plant ; situation ; size ; slave ; society ; Sol system ; soul ; space ; space vehicle / spaceship ; speaking ; species ( race ); specimen ; spectrography ; speed of light ; star system ; stellar group ; starvation ; " steady as we go "; strength ; subject ; sugar ; supper ; surface ; survey expedition ; survey vessel ; survivor ; sword ; sympathy ; table ; Talos star group ; Talos system ; Talos system's stars ; Talos IV ( moon ); Talosians ; Talosian ancestors ; Talosian observers ; Tango ; tape ; technician ; telepathy ; television ; theater ; theory ; thermos ; thing ; thought ; thought record ; thought transmission ; thousand ; threat ; time barrier ; time computation ; time warp ; time warp factor ; town ; trade ; trader ; transporter ; trap ; travel ; tricking ; tuna ; universe ; USS ; Vega colony ; vegetation ; vein ; vessel ; vial ; viewer ; Vina's parents ; volunteer ; Vulcan ; wall (transparency); war ; warp drive ; warp factor ; warrior ; water ; weapon ; week ; white ; wife ; window ; word ; wreckage ; wristwatch ; year ; yeoman ; youth ; zoo

Library computer references [ ]

USS Enterprise (NCC-1701) library computer : Africa ; Alaska ; altimeter ; American Civil War ; American Revolution ; Anchorage ; Andromeda Galaxy ; Antarctica ; antenna gear box ; Arabian Peninsula ; Arabian Sea ; Arctic Circle ; Asia ; astronomical unit ; Atlantic Ocean ; Atlas-Agena ; Australia ; Battle of Hampton Roads ; Bering Sea ; Black Sea ; bronchial tube ; Canada ; Caspian Sea ; Central America ; command antenna ; cosmic dust detector ; diaphragm ; daisy ; Delaware ; Dumbbell Nebula ; Earth sensor ; Eisenhower, Dwight D. ; electrostatic analyzer ; Explorer S-55 ; Europe ; eye ; flower ; gallbladder ; gamma-ray spectrometer ; Hawaii ; high-gain antenna ; high resolution camera ; Hong Kong ; infrared scanner ; intestine ; ion chamber ; ironclad ; Jackson, Stonewall ; Japan ; Juneau ; Kennedy, John F. ; kudu ; Kyoto ; Last Meeting of Lee and Jackson at Chancellorsville, The ; Lee, Robert E. ; Lincoln, Abraham ; liver ; long range Earth sensor ; Los Angeles ; Luna ; lunar capsule ; lung ; Lyman-alpha telescope ; magnetometer sensor ; Mariner 2 ; Mars ; Maryland ; Mercury ; Mexico ; micrometeoroid satellite ; mid-course motor ; Monitor , USS ; New Orleans ; Nimbus 1 ; North America ; North Pole ; omnidirectional antenna ; optic nerve ; orbit ; Orbiting Geophysical Observatory ; Orbiting Solar Observatory ; Pacific Ocean ; particle flux detector ; Pioneer 5 ; Pleiades Cluster ; Point Barrow ; polar orbit ; Portland ; President of the United States ; primary sun sensor ; probe ; radiometer ; radiometer reference horn ; Ranger 5 ; Ranger 7 ; Ranger program ; retrorocket ; rib ; rocket ; San Francisco ; satellite ; secondary sun sensor ; skull ; Sol ; Sol asteroid belt ; solar panel ; Sol system ; South America ; South Pole ; Soviet Union ; star ; star chart ; stomach ; Talos I ; Talos II ; Talos III ; Talos V ; temperature control louver ; temperature control shield ; thermal control van ; Tokyo ; trachea ; TV camera ; United States of America ; Venus ; viola ; Virginia ; Virginia , CSS ; Washington, George ; Washington, DC ; wildebeest ; yaw control nozzle

Remastered : Africa ; Asia ; Australia ; battery ; Brazil ; Aldrin, Buzz ; Andromeda Galaxy ; Apollo CSM and LM ; Apollo mission ; atomic bomb ; Battle of Fort Hindman ; Bikini Atoll ; Blair, Montgomery ; Blue Marble, The ; Brooks, Jack ; Canada ; carbon dioxide ; Chase, Salmon P. ; China ; Colombia ; Earth ; Earthrise ; docking port ; Eisenhower, Dwight D. ; Emancipation Proclamation ; eye ; fuel ; Fat Man ; First Reading of the Emancipation Proclamation of President Lincoln ; fox squirrel ; Gray's Anatomy ; Great Egret ; heart ; helium ; Hughes, Sarah T. ; India ; Indian Ocean ; International Space Station ; Iran ; ironclad ; Jupiter ; Kennedy, Jacqueline ; Kennedy, John F. ; Kilduff, Malcolm ; Johnson, Lady Bird ; Johnson, Lyndon B. ; life support system ; Lincoln, Abraham ; lionfish ; Luna ; lungs ; maple ; Mexico ; Mongolia ; Moses ; Moses Showing the Tables of the Law to the People ; muscles ; NGC 602 ; nitrogen tetroxide ; oxygen ; Peru ; Rayburn, Sam ; ribs ; rose ; Russia ; Saturn ; Saturn V ; Seward, William H. ; Small Magellanic Cloud ; Smith, Caleb B. ; South Africa ; Soyuz ; space shuttle ; steamship ; Ten Commandments ; Thomas, Albert ; United States of America ; V838 Monocerotis ; Valenti, Jack ; Vina's parents ; Vostok 1 ; water ; Washington, George ; Welles, Gideon ; Wright Flyer ; Yosemite Falls

External links [ ]

• " The Cage " at Memory Beta , the wiki for licensed Star Trek works
• " The Cage " at Wikipedia
• " The Cage " at the Internet Movie Database
• " The Cage " at MissionLogPodcast.com , a Roddenberry Star Trek podcast
• 1 Rachel Garrett
• 3 USS Enterprise (NCC-1701-G)

The Cage: The Star Trek Pilot That Wasn’t (Quite)

“The Cage” was the original Star Trek pilot that later became part of the double episode “The Menagerie,” which was first broadcast in November 1966. “The Cage” had received the green light two years earlier, in September 1964. Months of preparation had gone into it. Gene Roddenberry had rewritten the story again and again, obsessing over every detail. Production costs were estimated to be in excess of half a million dollars — an extraordinary high amount for a television series pilot at the time, especially for a small studio like Desilu.

By the time the episode was completed, costs had soared to $630,000. Roddenberry admitted that it was an “abnormal amount”, but argued in The Making of Star Trek :

We had to realize that we were building the interior of a spaceship, doing complex opticals of ships in flight and transporter effects and so forth, all props had to be built from scratch, all costumes had to be designed from scratch. To be quite honest, I don’t think the “powers that be” at the studio were aware of how much we were spending until after it was spent. But we spent it making a good product.

The network’s executives were less sure. When they watched “The Cage” in February 1965, almost ten months after they had first expressed an interest in Star Trek , they turned it down.

Not because they didn’t like it. To the contrary, NBC was impressed with Roddenberry’s work. But they felt the show would go over the heads of most of their viewers. Star Trek , they thought, was “too cerebral.”

“Looking back,” Roddenberry recalled in The Making of Star Trek , “they probably felt that I had broken my word.” He had pitched Star Trek as a “wagon train to the stars”, but “The Cage” was light on action and adventure.

I had known the only way to sell Star Trek was with an action-adventure plot. But I forgot my plan and tried for something proud.

Roddenberry’s casting choices raised some eyebrows. Not everyone was sure if the audience would accept a female first officer and a racially mixed crew. On this, Roddenberry stood his ground. “This approach expressed the ‘message’ basic to the series,” he wrote.

We must learn to live together or most certainly we will soon all die together.

The character of Spock was particularly unappealing to NBC. “They were afraid his satanic appearance would repulse people,” according to Roddenberry. He was adamant about keeping the Vulcan.

My own idea on that was, in a very real sense, we are all aliens on a strange planet. We spend most of our lives reaching out and trying to communicate. If during our whole lifetime we could reach out and really communicate with just two people, we are indeed very fortunate. And this is exactly what Spock is trying to do. Literally tens of thousands of letters have come in to Spock, saying, “Yes, I understand. I’ve had the same problem all my life.”

Keeping Spock was clearly the right choice. He became the most popular character of the franchise by far.

Roddenberry did relent and give up his female “Number One”. Her role was deemed “too domineering” and her cold and logical attributes were given to the alien science officer instead.

The decision to eliminate “Number One” wasn’t the network’s, Producers Herb Solow and Robert Justman reveal in Inside Star Trek: The Real Story . NBC supported a strong female lead but didn’t think Majel Barrett — Roddenberry’s girlfriend and future wife — could pull off the role.

Other female actors you may not have noticed played the Talosians. Their voices were dubbed by men. The episode’s director, Robert Butler, reckoned it would lend the Talosians an alien-like androgynous quality. Roddenberry suggested that the women’s lighter builds might suggest that the Talosians had allowed their bodies to atrophy while concentrating on the development of their brains.

Costumes and makeup

“The Cage” introduced two of Star Trek ’s most iconic alien looks: the green-skinned Orions and the pointy-eared Vulcans. Both were created by makeup artist Fred Phillips, who would stay with Star Trek for many years.

Click here to learn more about Phillips; here to learn more about the Orions, and the trouble they had keeping keeping them green; and here to learn more about the creation of Spock.

Another Star Trek regular who came on board for “The Cage” was costume designer William Ware Theiss. Click here for his story.

Another interesting piece of this story is that “The Cage” had largely been lost in the 60s and 70s. I saw Gene Roddenberry speak in the late 70s/early 80s, and one of the high points of his talk was a screening of a black-and-white version of “The Cage” which was apparently the only full version they’d found at the time. In the mid-80s, I purchased a VHS version of “The Cage” that switched between color and black-and-white, with the parts that had been used in “The Menagerie” episodes in color and the other parts in black-and-white. Of course, now the full episode is available in full color, though I don’t know whether that means they eventually found a color version of the whole episode, or if they colorized the black-and-white version.

It wasn’t “colorized”. In 1987, film archivist Bob Furmanek discovered the missing trims from the color 35 mm negative of “The Cage” at a Hollywood film laboratory, and had them returned to Paramount. I have the laserdisc release from 1991 of the all-color version. You can see the new color footage had a bit more contrast to them than the parts used from “The Menagerie”. The sound was still from the black-and-white print, so it was more scratchy during those scenes as well. They used that cut again with minor clean-up for the DVD release in the early 2000s. And, finally a proper restoration was done to make it all look and sound consistent for the Blu-ray release.

Submit comments by email .

We will keep fighting for all libraries - stand with us!

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

The Cage (1964) Black & White 16mm Workprint Recreation (Star Trek Pilot)

Video item preview, share or embed this item, flag this item for.

• Graphic Violence
• Explicit Sexual Content
• Hate Speech
• Misinformation/Disinformation
• Marketing/Phishing/Advertising
• Misleading/Inaccurate/Missing Metadata

plus-circle Add Review comment Reviews

3 Favorites

DOWNLOAD OPTIONS

In collections.

Uploaded by Tyler J. Anderson on February 6, 2024

SIMILAR ITEMS (based on metadata)

• More to Explore
• Series & Movies

Published Aug 15, 2016

Behind the Scenes of "The Cage"

When Gene Roddenberry set out to develop Star Trek , he said he wanted to produce an adult and intelligent science fiction television show. Certainly, when he completed its first adventure, “The Cage,” he proved that he could. The tale Roddenberry told was terrific, thought-provoking and memorable, and the resultant show was extremely well-produced for the time. Unfortunately, “The Cage” didn’t sell the series, but it was good enough to warrant a second attempt, and we all know what happened next.

“The Cage” has been well-studied over the decades and much has been written about it. But with the 50th anniversary of The Original Series ' first airdate just around the corner, we felt compelled to organize some electrons and spend a little time on a few of the lesser-known facts about this first pilot. So, now that you’ve been properly conditioned, let’s begin.

It’s hard to believe, but before “The Cage,” Star Trek didn’t exist, and that meant that everything in its universe needed to be created… the stars, the sets, the sound… everything. It was a daunting task, but team Star Trek did it. And they did it convincingly well, at least for 1960’s television.

Before the pilot went before the cameras, many items, such as the makeup and costumes, were screen tested in order to cull creative choices. These tests were done about two weeks prior to the commencement of principal photography and quite a few of them were done in black and white (B/W) to see how certain items would translate from color. The reason for this latter decision was that many homes back then still had B/W televisions in them and the hopeful series wanted to make sure that its “living color” reproduced correctly in grayscale. Here’s an example frame from one such preliminary B/W test that shows Leonard Nimoy as Mr. Spock, for the first time, sans ears.

The Briefing Control Console

The Enterprise sets for “The Cage” were carefully designed by a number of people including Roddenberry, Pato Guzman, Franz Bachelin and Matt Jefferies. The sets were excellent, and they went on to be used for the remainder of the series, albeit slightly redecorated and repainted, with the notable exceptions of the captain’s quarters and the briefing room. With regards to the briefing room, it’s been reported that it was difficult to shoot on, so Jefferies completely reimagined it when the series went into production following the second pilot, “ Where No Man Has Gone Before .”

In the middle of “The Cage’s” briefing room is a table, and at its side is an odd-shaped grey box with yellow buttons and what appears to be a black speaker towards its top. The script for the first pilot calls this device the “briefing control console” and Mr. Spock uses it as a slide projector control to change the images on the viewing screen. It looked high-tech and functional for 1964, but we wonder how many people realized then that it was just a slightly modified and repainted office telephone sitting on a platform.

Interestingly, the Amplicall Business Communication System also had another thing in common with Star Trek . Note the similarity of the stylized “A” in its name/logo with the command insignia.

Briefing Room Trim

Speaking of the briefing room, the scene that takes place in it towards the beginning of Act II – the one in which Spock, Number One, Colt, Tyler, Boyce and the Geologist discuss the Talosians and the capture of Pike — had several segments that were filmed but not used. For example, all of the geologist’s dialogue was eliminated, as was the small section shown below.

Goggle Struggle

We’ll wrap up this article about Star Trek ’s first voyage by leaving you with a blooper from it.

Towards the end of Act II, the landing party beamed down the ship’s laser cannon and attempted to use it to burn through the elevator door to rescue Captain Pike. Right before the laser cannon fired, Number One, played by Majel Barrett-Roddenberry, grabbed her protective safety goggles and attempted to put them on. Apparently, as the frame on the left in the below collage shows, she struggled doing this as she simultaneously crouched and held her communicator. The footage of this wide-angle shot wound up on the cutting room floor, and, in the finished pilot, a quick cut to a closer angle, shown on the right in the below, revealed her eyes perfectly covered.

And with that, we’re finished. We have an illusion and you have reality. May you find your way as pleasant. Until next time!

Biographical Information

David Tilotta is a professor at North Carolina State University in Raleigh, NC and works in the areas of chemistry and sustainable materials technology. You can email David at [email protected]. Curt McAloney is an accomplished graphic artist with extensive experience in multimedia, Internet and print design. He resides in a suburb of the Twin Cities in Minnesota, and can be contacted at [email protected]. Together, Curt and David work on startrekhistory.com. Their Star Trek work has appeared in the Star Trek Magazine and Star Trek: The Original Series 365 by Paula M. Block with Terry J. Erdmann.

Get Updates By Email

Log in or Sign up

You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser .

Star Trek in Black and White?

Discussion in ' Star Trek - The Original & Animated Series ' started by Spock's Barber , Oct 29, 2015 .

Spock's Barber Commodore Commodore

Color television was still in its infancy when ST premiered in 1966. Some shows still filmed in Black and White. Would ST have been as dynamic if the studio/producers decided to cut costs by filming in B/W?  

Captain Rob Rear Admiral Rear Admiral

My first viewings of Star Trek when I was in elementary school in the early 70's was with a black and white portable TV. Finally seeing it in color was a tremendous improvement. Of course in black and white there was never the argument over what color the Captain's shirt was.  

GNDN18 270 Rear Admiral

I had a 19" black and white Zenith when I was a kid. I used to turn the contrast way up and the brightness down: Star Trek: Noir . I thought it worked, especially for the moody episodes.  

Melakon Admiral In Memoriam

NBC was becoming the first full color network at the time, the peacock clip played before each episode. If "The Cage" had been in black and white, they might never have been open to a second pilot.  

Green Shirt Rear Admiral Rear Admiral

Captain Rob said: ↑ Of course in black and white there was never the argument over what color the Captain's shirt was. Click to expand...

T'Girl Vice Admiral Admiral

Star Trek would have been somewhat cheaper to produce, maybe we would have gotten a fourth season?  

Cyrano Mudd Ensign Newbie

I think the writing was on the wall well by third season. It was the less-than-accurate ratings that led to production cost cuts in the first place, wasn't it? From the premiere of 'Man Trap' to the finale 'Turnabout Intruder,' despite all the letter-writing campaigns, marches on and harassment of the network, after all the petitions and phone calls and everything else, Star Trek ’s Nielsen ratings had dropped by well over fifty percent from birth to death. ​ - Herbert F. Solow and Robert H. Justman, Inside Star Trek: The Real Story (1996), p.415​ Click to expand...

The Nielsens may have been accurate for the age groups they tended to focus on. The inaccuracy was they're weren't calculating the age groups who were watching the show.  

Compare ST to Lost in Space (Ugh!). LIS was bad in Black and White and even worse in color. At least the ST cinematographers didn't make a joke out of using different colors to 'paint' a scene. Anyone remember the infamous LIS episode "The Great Vegetable Rebellion" or whatever it was called? Maybe it is better if you didn't see it.  

ZapBrannigan Rear Admiral Rear Admiral

My father didn't spring for a color TV until about 1975, but he got us a huge roof antenna to go with it. I had been peering intently at the snowy, barely-there, b&w Star Trek , and suddenly it was crystal clear and in color. That blew me away like a whole new show. The 1986(?) VHS release of "The Cage" with b&w segments illustrates how the show lights up whenever it switches to color. Lost in Space started with a b&w season, and although it was photographed with deep, dramatic beauty by Gene Polito, just being in b&w hurt the show significantly in syndication. At least I that read somewhere recently. I don't know the Nielsen figures.  

Richard Baker Commodore Commodore

I watched the first run of Star Trek in B&W- didn't see any of it in color until years later - I think it looks good in both formats. IIRC the show had a person walking around with a special viewer which showed every thing in monochrome so they could make sure the sets and scenes looked good to the vast majority of viewers who had not gotten the colors sets yet.  

Dr. Sevrin said: ↑ The Nielsens may have been accurate for the age groups they tended to focus on. The inaccuracy was they're weren't calculating the age groups who were watching the show. Click to expand...

Serveaux Fleet Admiral Premium Member

Well, I watched it in B&W for the first two seasons, and it was pretty effective.  

Richard Baker said: ↑ IIRC the show had a person walking around with a special viewer which showed every thing in monochrome so they could make sure the sets and scenes looked good to the vast majority of viewers who had not gotten the colors sets yet. Click to expand...

Maurice Snagglepussed Admiral

I don't think the network "misunderstood the Nielsens". The ratings were the ratings, and it's untrue that NBC didn't use demographics , either. I know people want to believe the show was an unrecognized success , but in terms of prime time audience, it simply was not.  

scotpens Professional Geek Premium Member

Spock's Barber said: ↑ Color television was still in its infancy when ST premiered in 1966. Click to expand...

BillJ The King of Kings Premium Member

Maurice said: ↑ I don't think the network "misunderstood the Nielsens". The ratings were the ratings, and it's untrue that NBC didn't use demographics , either. I know people want to believe the show was an unrecognized success , but in terms of prime time audience, it simply was not. Click to expand...

TV Guide was printing the show ratings every few weeks. I don't remember ever seeing Star Trek in the top 25. It was disappointing watching the numbers fall.  

Drone Fleet Captain Fleet Captain

Spock's Barber said: ↑ Compare ST to Lost in Space (Ugh!). LIS was bad in Black and White and even worse in color. At least the ST cinematographers didn't make a joke out of using different colors to 'paint' a scene. Anyone remember the infamous LIS episode "The Great Vegetable Rebellion" or whatever it was called? Maybe it is better if you didn't see it. Click to expand...

HGN2001 Captain Captain

I was lucky enough to have color TV when STAR TREK premiered, and since it aired on Thursdays, I didn't have to watch on our weekend-getaway cabin where black & white was all that was available. Once it switched to Fridays for the second year, I was often stuck watching images like this: (I realize that these are first-season images, but you get the idea.) Harry  

• Log in with Facebook
• No, create an account now.
• Yes, my password is:
• Forgot your password?
• Search titles only

Separate names with a comma.

• Search this thread only
• Display results as threads

Useful Searches

• Recent Posts

The Enterprise encounters two duo-chromatic and mutually belligerent aliens who put the ship in the middle of their old conflict. The Enterprise encounters two duo-chromatic and mutually belligerent aliens who put the ship in the middle of their old conflict. The Enterprise encounters two duo-chromatic and mutually belligerent aliens who put the ship in the middle of their old conflict.

• Gene Roddenberry
• Oliver Crawford
• Gene L. Coon
• William Shatner
• Leonard Nimoy
• DeForest Kelley
• 31 User reviews
• 11 Critic reviews

• Captain James Tiberius 'Jim' Kirk

• Mister Spock

• Nurse Chapel
• See all cast & crew
• Production, box office & more at IMDbPro

Did you know

• Trivia The original story concept did not depict the aliens with bi-colored skin. One was a devil with a tail and the other was an angel. Episode director Jud Taylor came up with the idea of bi-colored skin shortly before the episode began filming. His original suggestion was that they be half-black/half-white, one color from the waist up and the other from the waist down, but each wearing reversed color schemes. The central idea stuck but the colors were finally separated along the vertical axis rather than along the horizontal.
• Goofs Chekov reports that Bele's ship is "out there" while at his station at the helm. The camera shot from behind the helm shows Kirk and crew looking at the display screen appears, Hadley rather than Chekov is at the navigation station. When they cut back to a shot from the front angle as before to show the crew's faces, Chekov is back in his seat and Hadley is in Sulu's position at the helm.

[last lines]

Mr. Spock : [On the bridge, after Lokai and Bele have beamed to the surface of Charon] And another life form has appeared on Cheron.

Uhura : That doesn't make any sense.

Mr. Spock : To expect sense from two mentalities of such extreme view points is not logical.

Sulu : Their planet's dead. Does it matter now which one's right?

Mr. Spock : Not to Lokai and Bele. All that matters to them is their hate.

Uhura : Do you suppose that's all they ever had, sir?

Captain James T. Kirk : No, but that's all they have left. Warp factor two, Mr. Sulu. Set course for Starbase 4.

• Alternate versions Special Enhanced version Digitally Remastered with new exterior shots and remade opening theme song
• Connections Featured in William Shatner's Star Trek Memories (1995)
• Soundtracks Theme Music credited to Alexander Courage Sung by Loulie Jean Norman

User reviews 31

• Nov 2, 2021
• January 10, 1969 (United States)
• United States
• Official Facebook
• Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA
• Paramount Television
• Norway Corporation
• See more company credits at IMDbPro

Technical specs

• Runtime 51 minutes

Related news

Contribute to this page.

• IMDb Answers: Help fill gaps in our data
• Learn more about contributing

More to explore

Recently viewed