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Item: 326064574383
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Subject Type:TV & Movies
Genre// Theme:TV
Card Size:Standard
Autographed:No
Set:Star Trek: The Original Series – Season Two
Character:Captain James T. Kirk
Card Condition:Near Mint
Year Manufactured:1998
Material:Card Stock
Franchise:Star Trek
Original/Licensed Reprint:Original
TV Show:Star Trek: The Original Series
Modified Item:No
Vintage:Yes
Sub-Type:Cards: Individual
Graded:No
Type:Non-Sport Trading Card
Language:English
Card/ Sticker Theme:Star Trek
Manufacturer:SkyBox
Genre:Star Trek The Original Series,Cult 1960s TV Show,Gene Roddenberry,Action,Adventure,Sci-Fi
Country/Region of Manufacture:United States
This listing is for an individual card from the second series issued by Skybox / Fleer in 1998. Star Trek is an American science fiction television series created by Gene Roddenberry that follows the adventures of the starship USS Enterprise (NCC-1701) and its crew. It later acquired the retronym of Star Trek: The Original Series (Star Trek: TOS or simply TOS) to distinguish the show within the media franchise that it began. The show is set in the Milky Way galaxy, roughly during the 2260s. The ship and crew are led by Captain James T. Kirk (William Shatner), first officer and science officer Spock (Leonard Nimoy), and chief medical officer Leonard McCoy (DeForest Kelley). Shatner’s voice-over introduction during each episode’s opening credits stated the starship’s purpose: Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. The series was produced from September 1966 to December 1967 by Norway Productions and Desilu Productions, and by Paramount Television from January 1968 to June 1969. Star Trek aired on NBC from September 8, 1966, to June 3, 1969, and was actually seen first on September 6, 1966, on Canada’s CTV network. Star Trek’s Nielsen ratings while on NBC were low, and the network canceled it after three seasons and 79 episodes. Several years later, the series became a bona fide hit in broadcast syndication, remaining so throughout the 1970s, achieving cult classic status and a developing influence on popular culture. Star Trek eventually spawned a franchise, consisting of six additional television series, thirteen feature films, numerous books, games, and toys, and is now widely considered one of the most popular and influential television series of all time. The series contains significant elements of Space Western, as described by Gene Roddenberry and the general audience. Creation On March 11, 1964, Gene Roddenberry, a long-time fan of science fiction, drafted a short treatment for a science-fiction television series that he called Star Trek. This was to be set on board a large interstellar spaceship named S.S. Yorktown in the 23rd century bearing a crew dedicated to exploring a relatively small portion of the Milky Way Galaxy. Roddenberry noted a number of influences on his idea, some of which includes A. E. van Vogt’s tales of the spaceship Space Beagle, Eric Frank Russell’s Marathon series of stories, and the film Forbidden Planet (1956). Some have also drawn parallels with the television series Rocky Jones, Space Ranger (1954), a space opera which included many of the elements that were integral to Star Trek—the organization, crew relationships, missions, part of the bridge layout, and even some technology. Roddenberry also drew heavily from C. S. Forester’s Horatio Hornblower novels that depict a daring sea captain who exercises broad discretionary authority on distant sea missions of noble purpose. He often humorously referred to Captain Kirk as “Horatio Hornblower in Space”. Roddenberry had extensive experience in writing for series about the Old West that had been popular television fare in the 1950s and 1960s. Armed with this background, the first draft characterized the new show as “Wagon Train to the stars.” Like the familiar Wagon Train, each episode was to be a self-contained adventure story, set within the structure of a continuing voyage through space. All future television and movie realizations of the franchise adhered to the “Wagon Train” paradigm of the continuing journey, with the notable exception of the serialized Star Trek: Deep Space Nine and the third season of Star Trek: Enterprise. In Roddenberry’s original concept, the protagonist was Captain Robert April of the starship S.S. Yorktown. This character was developed into Captain Christopher Pike, first portrayed by Jeffrey Hunter. Development In April 1964, Roddenberry presented the Star Trek draft to Desilu Productions, a leading independent television production company. He met with Herb Solow, Desilu’s Director of Production. Solow saw promise in the idea and signed a three-year program-development contract with Roddenberry. Lucille Ball, head of Desilu, was not familiar with the nature of the project, but she was instrumental in getting the pilot produced. The idea was extensively revised and fleshed out during this time – “The Cage” pilot filmed in late 1964 differs in many respects from the March 1964 treatment. Solow, for example, added the stardate concept. Desilu Productions had a first-look deal with CBS. Oscar Katz, Desilu’s Vice President of Production, went with Roddenberry to pitch the series to the network. They refused to purchase the show, as they already had a similar show in development, the 1965 Irwin Allen series Lost in Space. In May 1964, Solow, who previously worked at NBC, met with Grant Tinker, then head of the network’s West Coast programming department. Tinker commissioned the first pilot – which became “The Cage”. NBC turned down the resulting pilot, stating that it was “too cerebral”. However, the NBC executives were still impressed with the concept, and they understood that its perceived faults had been partly because of the script that they had selected themselves NBC made the unusual decision to pay for a second pilot, using the script called “Where No Man Has Gone Before”. Only the character of Spock, played by Leonard Nimoy, was retained from the first pilot, and only two cast members, Majel Barrett and Nimoy, were carried forward into the series. This second pilot proved to be satisfactory to NBC, and the network selected Star Trek to be in its upcoming television schedule for the fall of 1966. The second pilot introduced most of the other main characters: Captain Kirk (William Shatner), chief engineer Lt. Commander Scott (James Doohan) and Lt. Sulu (George Takei), who served as a physicist on the ship in the second pilot but subsequently became a helmsman throughout the rest of the series. Paul Fix played Dr. Mark Piper in the second pilot; ship’s doctor Leonard McCoy (DeForest Kelley) joined the cast when filming began for the first season, and he remained for the rest of the series, achieving billing as the third star of the series. Also joining the ship’s permanent crew during the first season were the communications officer, Lt. Nyota Uhura (Nichelle Nichols), the first African-American woman to hold such an important role in an American television series; the captain’s yeoman, Janice Rand (Grace Lee Whitney), who departed midway through the first season; and Christine Chapel (Majel Barrett), head nurse and assistant to McCoy. Walter Koenig joined the cast as Ensign Pavel Chekov in the series’ second season. In February 1966, Star Trek was nearly killed by Desilu Productions, before airing the first episode. Desilu had gone from making just one half-hour show (The Lucy Show), to deficit financing a portion of two expensive hour-long shows, Mission: Impossible and Star Trek. Solow was able to convince Lucille Ball that both shows should continue. Production Once the series was picked up by NBC the production moved to what was then Desilu Productions Gower street location. It was previously the main studio complex used by RKO Pictures and is now part of the Paramount Pictures lot. The series used what are now stages 31 and 32. The show’s production staff included art director Matt Jefferies. Jefferies designed the starship Enterprise and most of its interiors. His contributions to the series were honored in the name of the “Jefferies tube”, an equipment shaft depicted in various Star Trek series. In addition to working with his brother, John Jefferies, to create the hand-held phaser weapons of Star Trek, Jefferies also developed the set design for the bridge of the Enterprise (which was based on an earlier design by Pato Guzman). Jefferies used his practical experience as an airman during World War II and his knowledge of aircraft design to devise a sleek, functional and ergonomic bridge layout. The costume designer for Star Trek, Bill Theiss, created the striking look of the Starfleet uniforms for the Enterprise, the costumes for female guest stars, and for various aliens, including the Klingons, Vulcans, Romulans, Tellarites, Andorians, and Gideonites among others. Artist and sculptor Wah Chang, who had worked for Walt Disney Productions, was hired to design and manufacture props: he created the flip-open communicator, often credited as having influenced the configuration of the portable version of the cellular telephone. Chang also designed the portable sensing-recording-computing “tricorder” device, and various fictitious devices for the starship’s engineering crew and its sick bay. As the series progressed, he helped to create various memorable aliens, such as the Gorn and the Horta. Season 1 (1966–67) NBC ordered 16 episodes of Star Trek, besides “Where No Man Has Gone Before”. The first regular episode of Star Trek, The Man Trap, aired on Thursday, September 8, 1966 from 8:30–9:30 as part of an NBC “sneak preview” block. Reviews were mixed; while The Philadelphia Inquirer and San Francisco Chronicle liked the new show, The New York Times and The Boston Globe were less favorable, and Variety predicted that it “won’t work”, calling it “an incredible and dreary mess of confusion and complexities”. Debuting against mostly reruns, Star Trek easily won its time slot with a 40.6 share. The following week against all-new programming, however, the show fell to second (29.4 share) behind CBS. It ranked 33rd (out of 94 programs) over the next two weeks, then the following two episodes ranked 51st in the ratings. I am an avid fan of Star Trek, and would simply die if it was taken off the air. In my opinion it is the best show on television. —M.P., Oswego, New York, February 20, 1967 Star Trek’s first-season ratings would in earlier years likely have caused NBC to cancel the show. The network had pioneered research into viewers’ demographic profiles in the early 1960s, however, and, by 1967, it and other networks increasingly considered such data when making decisions; for example, CBS temporarily cancelled Gunsmoke that year because it had too many older and too few younger viewers. Although Roddenberry later claimed that NBC was unaware of Star Trek’s favorable demographics, awareness of Star Trek’s “quality” audience is what likely caused the network to retain the show after the first and second seasons. NBC instead decided to order 10 more new episodes for the first season, and order a second season in March 1967. The network originally announced that the show would air at 7:30–8:30 pm Tuesday, but it was instead given an 8:30–9:30 pm Friday slot when the 1967–68 NBC schedule was released making watching it difficult for the young viewers that the show most attracted. Season 2 (1967–68) Star Trek’s ratings continued to decline during the second season. Although Shatner expected the show to end after two seasons and began to prepare for other projects, NBC nonetheless may have never seriously considered cancelling the show. As early as January 1968, the Associated Press reported that Star Trek’s chances for renewal for a third season were “excellent”. The show had better ratings for NBC than ABC’s competing Hondo, and the competing CBS programs (#3 Gomer Pyle, U.S.M.C. and the first half-hour of the #12 CBS Friday Night Movie) were in the top 15 in the Nielsen ratings. Again, demographics helped Star Trek survive. Contrary to popular belief among its fans, the show did not have a larger audience of young viewers than its competition while on NBC. The network’s research did, however, indicate that Star Trek had a “quality audience” including “upper-income, better-educated males”, and other NBC shows had lower overall ratings. The show was unusual at the time in its serious discussion of contemporary societal issues in a futuristic context, unlike Lost in Space which was more “campy” in nature. Look! Look! It doesn’t stop! They’re lined up all the way down the street! —Norman Lunenfeld, NBC executive, on the mail trucks delivering Star Trek fans’ letters The enthusiasm of Star Trek’s viewers surprised NBC. The network had already received 29,000 fan letters for the show during its first season, more than for any other except The Monkees. When rumors spread in late 1967 that Star Trek was at risk of cancellation, Roddenberry secretly began and funded an effort by Bjo Trimble, her husband John and other fans to persuade tens of thousands of viewers to write letters of support to save the program. Using the 4,000 names on a mailing list for a science-fiction convention, the Trimbles asked fans to write to NBC and ask ten others to also do so. NBC received almost 116,000 letters for the show between December 1967 and March 1968, including more than 52,000 in February alone; according to an NBC executive, the network received more than one million pieces of mail but only disclosed the 116,000 figure. Newspaper columnists encouraged readers to write letters to help save what one called “the best science fiction show on the air”. More than 200 Caltech students marched to NBC’s Burbank, California studio to support Star Trek in January 1968, carrying signs such as “Draft Spock” and “Vulcan Power”. Berkeley and MIT students organized similar protests in San Francisco and New York. The letters supporting Star Trek, whose authors included New York State Governor Nelson Rockefeller, were different in both quantity and quality from most mail that television networks receive: The show, according to the 6,000 letters it draws a week (more than any other in television), is watched by scientists, museum curators, psychiatrists, doctors, university professors and other highbrows. The Smithsonian Institution asked for a print of the show for its archives, the only show so honored. In addition: Much of the mail came from doctors, scientists, teachers, and other professional people, and was for the most part literate–and written on good stationery. And if there is anything a network wants almost as much as a high Nielsen ratings it is the prestige of a show that appeals to the upper middle class and high brow audiences. And now an announcement of interest to all viewers of Star Trek. We are pleased to tell you that Star Trek will continue to be seen on NBC Television. We know you will be looking forward to seeing the weekly adventure in space on Star Trek. —NBC announcer, March 1, 1968 NBC—which used such anecdotes in much of its publicity for the show—made the unusual decision to announce on television, after the episode “The Omega Glory” on March 1, 1968, that the series had been renewed. The announcement implied a request to stop writing, but instead caused fans to send letters of thanks in similar numbers. Season 3 (1968–69) NBC at first planned to move Star Trek to Mondays for the show’s third season, likely in hopes of increasing its audience after the enormous letter campaign surprised the network. But in March 1968, NBC instead moved the show to 10:00 pm Friday night, an hour undesirable for its younger audience, so as not to conflict with the highly successful Rowan & Martin’s Laugh-In on Monday evenings, from whose time slot Laugh-In producer George Schlatter had angrily demanded it not be rescheduled. In addition to the undesirable time slot, Star Trek was now being seen on only 181 of NBC’s 210 affiliates. Roddenberry was frustrated, and complained, “If the network wants to kill us, it couldn’t make a better move.” He attempted to persuade NBC to give Star Trek a better day and hour, but was not successful. As a result of this and his own growing exhaustion, he chose to withdraw from the stress of the daily production of Star Trek, though he remained nominally in charge as its “executive producer”. Roddenberry reduced his direct involvement in Star Trek before the start of the 1968–69 television season, and was replaced by Fred Freiberger as the producer of the television series. NBC next reduced Star Trek’s budget by a significant amount per episode, as the per-minute commercial price had dropped from $39,000 to $36,000 compared to the Season 2 time slot. This caused a significant decline in the quality of many episodes for the 1968–69 season, which emphasized “monster of the week” stories. Nichols described these budget cuts as an intentional effort to kill off Star Trek: While NBC paid lip service to expanding Star Trek’s audience, it now slashed our production budget until it was actually ten percent lower than it had been in our first season … This is why in the third season you saw fewer outdoor location shots, for example. Top writers, top guest stars, top anything you needed was harder to come by. Thus, Star Trek’s demise became a self-fulfilling prophecy. And I can assure you, that is exactly as it was meant to be. The last day of filming for Star Trek was January 9, 1969, and after 79 episodes NBC cancelled the show in February despite fans’ attempt at another letter-writing campaign. One newspaper columnist advised a protesting viewer: You Star Trek fans have fought the “good fight,” but the show has been cancelled and there’s nothing to be done now. In 2011, the decision to cancel Star Trek by NBC was ranked #4 on the TV Guide Network special, 25 Biggest TV Blunders 2.
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