Starship Enterprise - The Next Century

from Wikipedia, the free encyclopedia
Spaceship Enterprise - The Next Century
Star Trek: The Next Generation
Original title Star Trek: The Next Generation
TNG DE title neu.svg
genre Science fiction , political drama , action , space opera , anti-war drama , adventure
Television series
Country of production United States
original language English
Year (s) 1987-1994
Paramount Pictures
length 45 minutes
Episodes 178 in 7 seasons ( List )
Theme music Jerry Goldsmith ( theme song) ,
Alexander Courage
( Star Trek fanfare)
idea Gene Roddenberry
production Gene Roddenberry,
Rick Berman
music Jay Chattaway ,
Dennis McCarthy ,
Ron Jones
First broadcast September 28, 1987 (USA)
first broadcast
September 7, 1990 on ZDF
Star Trek: Generations Meet (1994)
Star Trek: First Contact (1996)
Star Trek: The Uprising (1998)
Star Trek: Nemesis (2002)

Star Trek - The Next Generation is an American science fiction - television series , which in the United States from 1987 to 1994 under the title Star Trek: The Next Generation was erstausgestrahlt. Mainly in fan circles it is abbreviated as TNG . She is a successor series of Star Trek and - taking into account the animated series The Enterprise - the total of the third television series in the fictional Star Trek - universe plays. The main motivation behind the film studio Paramount Pictures for its creation was the success of the first Star Trek cinema films and the reruns of Raumschiff Enterprise .

In a total of 178 episodes spread over seven seasons, the series, set in the 24th century, tells of the missions of the crew of the Starfleet spaceship Enterprise-D , a successor to the Enterprise spaceships from previous Star Trek productions. The missions include the discovery of new and previously unknown forms of life, the exploration of foreign cultures and phenomena in space, the mediation and arbitration in social and intercultural conflicts and assistance with technical problems. Sometimes there is also armed conflict between the United Federation of Planets and other powers.

In the United States, the series became a huge hit on television, regularly seeing over 10 million viewers, and a very lucrative source of income for Paramount Pictures. Mainly because of this, it is considered one of the most successful science fiction series. The series was also successful in German-speaking countries, where it was only broadcast in the afternoon program, especially after the Sat.1 broadcaster took over the broadcasting of ZDF in 1993 . At the height of its audience success, the series ended in 1994 to continue the action in the cinema. By 2002 four films based on the series were made. Building on the success of the series also the spin-off series created Deep Space Nine Star Trek , the successor series Star Trek: Voyager and the prequel series Star Trek: Enterprise , its completion in 2005 of uninterrupted completion of 18 years, with The Next begun Star -Trek TV production.

The series has received 18 Emmy and two Hugo Awards , among others . Critics praised the last five seasons as more layered compared to the first two seasons and Starship Enterprise .

All episodes have been restored for high resolution image release from the early 2010s . The series was adapted for numerous merchandising products, including novels and comics, and contributed significantly to the wave of enthusiasm for Star Trek in the 1990s. The newer part of the over 120 novels sets the television series by the action of the fourth movie Nemesis with a partially new ensemble of characters continued .


→ Main article: Seasons 1 , 2 , 3 , 4 , 5 , 6 , 7


Time of action
Season Sidereal time year
1 4 1 XXX 2364
2 4 2 XXX 2365
3 4 3 XXX 2366
4th 4 4 XXX 2367
5 4 5 XXX 2368
6th 4 6 XXX 2369
7th 4 7 XXX 2370

The second digit of the sidereal time corresponds to the number of the season.

The Milky Way, divided into quadrants

Within the Star Trek timeline series, the plays from ZDF assigned Series title Star Trek - The Next Generation explanatory, in the century after the events of Star Trek . The seven seasons take place in the years 2364 to 2370. One of the time measurement values ​​that is common in the series is sidereal time . It is usually mentioned in the context of entries in the computer log with which one of the main characters - above all Jean-Luc Picard, the captain of the Enterprise - sums up and reflects on the events and informs the viewer as the narrator . In the 24th century, the governments of a multitude of planets belong to the United Federation of Planets , an alliance co-founded by humans in the 22nd century and ruled from Earth. The alpha quadrant of the Milky Way is the territory and location of most of these planets . The Starfleet used the Federation for space exploration, but is also used for military purposes.

The spaceship USS Enterprise NCC-1701-D consists - similar to the USS Enterprise NCC-1701 from the classic series - of the disc-shaped saucer section and the drive section connected by a narrow neck, which has two horizontal, almost cuboid-shaped drive pods. The Enterprise is the Federation's flagship and mainly serves as a research vessel. She is often assigned by the Federation to mediate in disputes between Federation members and non-members, to help with emergencies or the solution of technical problems, to investigate astrophysical phenomena, to transport individuals and materials or to host diplomatic talks . In a number of episodes there are also random confrontations with alien species, be it on the ship, in space or on planets. The Federation's “Supreme Directive” commands the occupation not to interfere in the natural development of foreign cultures, especially those without warp technology.

The spaceship usually accommodates over 1000 people - and thus significantly more than on the old Enterprise - in addition to the crew, family members, especially children and even animals. As on the Enterprise of the classic series, so-called shuttle ships are accommodated on board - small spaceships that are used when beaming is impossible or undesirable or when few people travel long distances alone. The most important location is the circular main bridge, which is equipped with a large main screen, computer consoles and seating and standing areas for the most important officers. The main bridge is in the saucer section, which also contains the crew quarters. The drive section, from which the saucer section can be separated if necessary, contains the engine room in which the warp drive is located. The ship's computers can now also be operated interactively, voice-controlled and by means of displays and are used, among other things, for communication and navigation. The elevator-like turbo lifts are used to move around within the ship. Doors usually open automatically controlled by motion sensors . Replicators enable ready-made meals and drinks to be produced quickly. The holodecks introduced in the Star Trek universe in the pilot film are used for the holographic projection of people, environments and situations as in a virtual reality .

Main bridge of the ship (replica for exhibitions)
Science and technology stations on the main bridge (replica for exhibitions)
Infirmary (exhibition photo)
Transporter platform for beaming (replica for exhibitions)

Spaceship crew

At the center of the plot are the command officers of the spaceship, including other crew members. Many episodes provide insight into the origins, the past and the private interests of the main characters as well as into their relationships with one another.

Captain Jean-Luc Picard is from France , but speaks with a British accent in the original version . He has no family of his own and because of the lack of experience he has an aversion to children. In the course of the plot he has some romances, for example with the archaeologist Vash, none of which are permanent. He has lived with an artificial heart for many years at the beginning of the plot . Picard was once involved in the death of the ship's doctor's husband, Dr. Beverly Crusher , involved. This works primarily in the ship's medical treatment rooms. During her absence in the second season, her job will be carried out by Dr. Katherine Pulaski occupied. In later seasons, Dr. Crusher sometimes acting as a ship commander.

Commander William T. Riker from Alaska is the first officer . Picard therefore usually calls him "Number One". In the course of the series, he refuses several times to take command of his own ship. Riker once had a love affair with Counselor Deanna Troi . She is half human and half Betazoid , which means that she is particularly capable of feeling the emotions of other individuals - a skill that she uses for her job as a ship consultant. In the seventh season, she passes the examination for admission as a bridge officer. She receives visits from her eccentric mother Lwaxana, who sometimes communicates with her telepathically .

The white-gold-skinned and yellow-eyed Lieutenant Commander Data is a second officer and an android . His positronic brain enables him to grasp, analyze and evaluate facts and information free of subjective influences and much more efficiently than humanoids. In addition, he has a significantly greater physical resilience and physical strength than humans and - at least in theory - an endlessly long lifespan. With these skills, he supports his colleagues decisively in numerous situations. Since data cannot perceive feelings and emotions due to its construction , it also has a large deficit of social skills such as humor and tact . He tries to train this in the further course of the action by striving to become more human. For example, he constructs an android for the purpose of procreation, which he regards as his child, but which is only short-lived. In season four, Data's creator, cyberneticist Dr. Noonien Soong, Data to himself in order to use a chip to experience emotions. Data's older, less developed "brother" Lore can take possession of the chip and murder Soong beforehand. Data later learns in Visionen that Soong had provided him with the previously unknown possibility of dreaming, which Data is now trying out. After Data was able to get hold of the emotion chip from his brother, he decides in the seventh season against the use of the chip because of fears of becoming like Lore.

Lieutenant Commander Geordi La Forge has been blind since he was born and therefore relies on a so-called visor, a technical device that enables him to see beyond the human spectrum , but completely obscures his eyes. He is the only African American among the ship's officers . Before his promotion to chief engineer of the Enterprise in the second season, he is still used as a navigator. In his new role, he will mainly work in the engine room. There sometimes also works Wesley Crusher , the action to start 15-year-old son Dr. Crushers. Because of his particularly meritorious achievements, including conducting scientific experiments, he was soon used as a navigator. At first he worked as an honorary ensign - in the German dubbed version ensign - and in the 72nd episode ( Die Damen Troi , season 3) he was made an ensign, in the German dubbed version he was made a lieutenant . After several failed attempts, he is admitted to the Starfleet Academy in the fourth season and therefore leaves the ship's crew. His fate is nevertheless the subject of a few later episodes, including his involvement in an unplanned maneuvering exercise by Starfleet cadets. In the seventh season he decides to leave Starfleet in order to follow the “traveler” across all dimensions into a higher plane of existence.

Lieutenant Natasha "Tasha" Yar is the ship's chief security officer for the first season. During an outside mission on a strange planet, she is murdered by a hostile being as a sign of a show of power. As a result of her death, Lieutenant Worf , until then tactical officer, takes over Yar's role. He is the only Klingon in the service of Starfleet and through an inner drive he often tries to resolve conflicts through combat rather than diplomacy. Worf's biological parents were murdered in a massacre by Romulans when he was a child . As an orphan, human parents adopted him and raised him on earth. Although Worf lived in the company of humans into adulthood, he is extremely familiar with Klingon culture. Every now and then it is about the story of Worf's family, which also includes his biological brother Kurn , and about Klingon mythology . Worf's relationship with K'Ehleyr, half Klingon and half human, gives birth to their son Alexander, whose existence Worf and the audience first learn about in the episode Deadly Succession (Season 4). Some time after K'Ehleyr's death, Worf takes over the education of Alexander, but he is usually overwhelmed. Alexander repeatedly shows difficulty getting used to Klingon behavior.

Chief Miles O'Brien , who comes from Ireland , works mainly in the transporter rooms and controlling the beaming . Later seasons are sometimes about his love affair with Keiko , whom he marries. In 2369 he left the Enterprise and became chief engineer on the space station Deep Space Nine. The ship's crew also includes Guinan , who is human, but still belongs to an extraterrestrial species. The audience only learns that this is the El-Aurian species in the movie Meetings of the Generations . Guinan runs the "Zehn-Vorne", a panoramic restaurant that the crew also uses as a leisure location.

Contact with representatives of other species and cultures

Almost all representatives of the other cultures with whom the crew of the Enterprise meets have a human-like appearance, i.e. head, eyes, mouth and two hands and two feet each. As an explanation for this, the viewer learns in the sixth season that many of the cultures have a common genetic basis that was integrated into the original oceans of numerous worlds by a very early civilization. This is an explanation corresponding to panspermia . For most of the non-human creatures, the audience only gets to see their heads; a large number of species have foreheads that are differently shaped than humans. Even beings whose bodies are not organic often appear in humanoid form, such as Q.

Q is an omnipotent , always arrogant being from the space-time continuum of the same name, who usually appears in the form of a male person. He firmly believes that humanity is too primitive to explore space. In the pilot film, forexample, he accusesCaptain Picard of past crimes as judge on behalf of all human beings. However, by using diplomatic skills in solving a problem posed by Q, Picard can convince Q that people have learned from the mistakes of their past. Q then promises to continue observing humanity. In the further course of the series, Q appears a few more times, whereby his aversion increasingly turns into curiosity and increased interest in the fate of Captain Picard. At the same time, his pure disdain for mankind is increasingly complemented by the view that people can improve and that this should be strived for. However, the crew usually only perceives his appearance as annoying and potentially threatening. In the final two-part series Yesterday, Today, Tomorrow , Q appears with the intention of resuming the dormant trial against humanity from the pilot film by showing Captain Picard the limitations of human knowledge. The episode closes with Q's hint that the test of human fitness will never be completed.

It is also Q who transports the Enterprise to a distant part of the galaxy, where the crew is confronted with the Borg for the first time . Q's intention is again to demonstrate that people are not yet ready to face the dangers of space travel. The Borg are beings made up of machines and the bodies of humanoid races and possess a collective consciousness . With their cube-shaped spaceship, they prove to be far superior opponents. They consider the assimilation of foreign technology to be the main goal of their existence in order to develop themselves. When the Borg try to assimilate the Enterprise, Q moves the Enterprise back to its place of origin after Picard confesses to Q that he is dependent on him. Over a year later, the Borg have invaded Federation territory and intend to assimilate the Earth's population. They first assimilate Picard into their collective so that he can serve them as a spokesman for the people. In a space battle against the Borg, the Federation suffers heavy losses. The Enterprise crew uses tricks to get Picard back and cause the Borg ship to self-destruct. Picard is freed from the Borg implants, but keeps the memories of the time of his assimilation ( In the hands of the Borg and target earth ). In the fifth season, the crew temporarily has an injured Borg on board, whom they give the name Hugh and an understanding of individuality . Hugh later becomes one of those Borg who Lore uses for experiments to create a perfect, artificial breed.

The big-eared, pointed-toothed Ferengi are a species whose representatives are mostly devious, suspicious, infatuated with women of other species and extremely greedy for profit . One of them sets a trap for Picard in the first season to force him to relive a battle in which Picard once had a Ferengi spaceship destroyed with his former spaceship. Another day the Ferengi Lwaxana kidnap Troi in order to profitably market their telepathic abilities. In doing so, however, they fail, as well as when trying to acquire the rights of use to a wormhole that turns out to be not stable enough.

The Romulan territory is separated from that of the Federation by the “neutral zone”, a buffer zone . After more than 20 years of silence between the two sides, Romulans occasionally meet the Enterprise from the first season onwards. For example, when the Enterprise crew finds a crashed Romulan spaceship with two crew members on a planet in the neutral zone, a war threatens, as other Romulans accuse the Enterprise of having shot it down. But Picard manages at the last minute to convince the Romulans of his peaceful intentions. One of the Romulan officers' staff is Sela, the daughter of a Romulan and Yars, who looks a lot like her. As a spaceship commander, she supports the Klingon forces when they provoke a civil war in their homeland (→ The Battle for the Klingon Empire , Parts 1 and 2) .

In the middle of the 24th century, the Klingon Empire , unlike in previous Star Trek productions, is no longer an enemy of the Federation, but an allied power. Nevertheless, there is sometimes distrust of the Federation among the Klingons. It can be seen, for example, in an officer exchange program in which Riker is temporarily on duty on a Klingon spaceship. The relationship between the Federation or Starfleet and the Klingons is in the foreground in addition to the political and diplomatic level, also in the personal and family environment of Worf. When his long-dead father Mogh is blamed for the deaths of hundreds of Klingons by the Klingon government, Worf is forced to accept the dishonor of his family in order to avoid a Klingon civil war. He received this back from the new Klingon ruler Gowron almost two years later.

The Cardassian Empire is a power that has long waged war against the Federation. When it is at the center of the plot for the first time in season four, the successful efforts to reach a ceasefire between the two powers are short-lived. But there is still mistrust between the two sides. This can be seen in the two-part Secret Mission on Celtris Three (Season 6), in which Picard, Dr. Crusher and Worf form a special unit to destroy viruses that are capable of bio-weapons, secretly and with genetic engineering, by the Cardassians. During the action, Picard temporarily falls into the hands of Cardassians, who torture him. In the seventh season, the Federation signed an agreement with the Cardassians, which also defines a border area between the two worlds, which is called the "demilitarized zone". Federation members who do not allow themselves to be driven out of this area by the Enterprise and want to continue fighting the Cardassians, form the Maquis , a resistance group.

In the fifth season, the viewer learns for the first time about the Bajorans , whose home planet has been occupied and exploited by the Cardassians for decades. One of the few Bajorans in the service of Starfleet is Ro Laren , who works as an ensign as part of the bridge crew in the fifth season and is sometimes defiant. In the seventh season, she joins the Maquis.

Apart from the species, with whose representatives the crew of the Enterprise is in contact repeatedly during the series, there are also aliens whose encounter with the crew is only told in one episode. This includes the two pre-warp civilizations, the Mintakans and the Malcorians, some representatives of which - without the Enterprise crew's intention to do so - learn about the possibility of space travel, thereby violating the Federation's top priority.

Time travel and space-time anomalies

Occasionally the Enterprise or crew members get into anomalies or paradoxes in space or time, that is, they are transferred to other dimensions or transported to another time through time travel . Corresponding episodes often revolve around escaping these anomalies, restoring the normal course of time or returning to the original time.

In the first of such episodes, The Future Is Silent (Season 2), the Enterprise encounters one of its shuttle ships, which has a second Picard and which is six hours from the future in which the Enterprise will be destroyed. In Déjà vu (season 5) the Enterprise gets into a time loop , which means that the crew members experience the same situation, which also ends with the destruction of the ship, several times. The two-parter danger from the 19th century (seasons 5 and 6) is about aliens who suck up the nerve energy they need to survive on earth at the end of the 19th century cholera victims and thus impair the stability of the timeline. Accidentally traveled back in time, Data comes into contact with Guinan as well as Mark Twain and Jack London . In the two- parter Yesterday, Today, Tomorrow Picard is sent back and forth through time through the Q continuum.

In The Old Enterprise (Season 3), the Enterprise-C , the predecessor of the Enterprise-D, appears from a spatial anomaly . The latter is moved to a different timeline at the same time that the Federation is at war with the Klingons. In So Close and Yet So Far (Season 5), La Forge and Ro are transported into another dimension by a transporter accident and thus invisible and also materialless for everyone else. In Captured in a Temporary Fragment (Season 6) Picard, Data, La Forge and Troi find themselves in a field of temporal anomalies, in which time sometimes runs faster, slower and also backwards. In Parallels (Season 7), after having accidentally and unnoticed come into contact with a quantum gap in the space-time continuum , Worf repeatedly finds himself in a different reality.

Opening credits

In the opening credits of each episode of the first two seasons, the camera slides through space , starting from the earth , sun and moon , past Jupiter and Saturn . Starting with the third season, it instead moves through a blue nebula and then approaches a spiral galaxy before focusing on a fiery red planet and its rings . Then the camera pans to the flying spaceship Enterprise. Meanwhile, a voice from the off speaks the following introduction in the German TV dubbed version:

“Space - endless expanses. We are in a distant future. These are the adventures of the new spaceship Enterprise, which is many light years away from Earth to discover strange worlds, unknown forms of life and new civilizations. The Enterprise penetrates into galaxies that no human has ever seen before. "

The introduction in the German TV dubbed version differs in some places from the English original version. There is no talk of galaxies there; with one exception, the ship does not leave the Milky Way anyway. In the original version , the opening credits are spoken by Patrick Stewart , who plays Captain Jean-Luc Picard, but in the German TV dubbed version it is spoken by a neutral narrator. In the German dubbed version, which was created for the CIC video cassettes, the content of the introductory text is closer to that of the original version ( Season 1 ). In the original English version, the introductory text reads:

“Space, the final frontier. These are the voyages of the starship Enterprise, its continuing mission, to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before. "

“Space, the ultimate frontier. These are the journeys of the spaceship Enterprise, its continued mission to explore strange new worlds, to seek new life and new civilizations, to bravely go where no one has been before. "

After hearing the introductory text, the viewer sees the spaceship accelerate to faster than light and disappear into the depths of space in a flash. While the overture from Star Trek: The Movie can be heard in a new recording and the Enterprise flies by a few more times, the names of the main actors are displayed. The opening credits vary acoustically as well as optically from the opening credits from Raumschiff Enterprise .


Conception and composition of staff

Because of the audience success of the first three Star Trek cinema films and massive advocacy of the syndication channels, which successfully repeated Raumschiff Enterprise on television, the film studio Paramount Pictures decided in 1986 to continue Raumschiff Enterprise as a television series. Because of the advanced age and the feared fee demands from William Shatner and the other actors from the classic series, the studio planned with new actors and a new crew of starships. The Spock actor and film director Leonard Nimoy turned down Paramount's request to act as creative person for the new series in favor of his cinema career. Instead, Paramount hired the scriptwriter and producer Gregory Strangis , known from his work for the soap opera Falcon Crest , who then began to work out a concept for the series. Paramount feared that a Star Trek television series would not be successful enough without the characters Kirk and Spock, and therefore, along with the dismissal of Strangis, hired Star Trek creator Gene Roddenberry as creative director. Roddenberry had previously been blamed by the studio for the insufficient success of the first movie, which is why he was no longer significantly involved in the making of the following films. In order not to give him the sole responsibility for the series in view of this, Paramount assigned him Rick Berman , until then deputy program director at Paramount, as a supervisor.

At least 63 different series names were considered before choosing Star Trek: The Next Generation . Roddenberry brought in several writers and others with whom he had worked on Starship Enterprise . These include David Gerrold , Robert Justman, and DC Fontana . Although the concept for the series consisted primarily of Gerrold's work and Justman's suggestions, Roddenberry passed it off as his own accomplishment.

Captain Picard was designed as a more mature, older and more diplomatic figure than Kirk . The character Riker was designed as Kirk-like and daring. Behind the designs for the two characters was the intention to distance the series from the seemingly familiar and rivalry relationship between Kirk and Spock.

Roddenberry's idea that mankind will have overcome interpersonal conflicts in the future was the cause of his demand on the scriptwriters for freedom from conflict within the spaceship crew. In order to implement this goal, Roddenberry made subsequent changes to many scripts, some of which were serious, and prevented the implementation of a number of ideas and suggestions. During the first season he was also helped by the lawyer Leonard Maizlish. For example, the script for the episode The Conspiracy (Season 1), which deals with a conspiracy within Starfleet, was changed at Roddenberry's instigation in such a way that, in the end, extraterrestrial parasites in the bodies of the officers in question turn out to be the cause of the conspiracy. Because of his behavior, which staff members characterized as petty and authoritarian, several authors left the team. Twenty-four writers joined the team in the first three seasons and left in the same period - that's about three times as many as usual in TV series. The Writers Guild of America screenwriters union represented some writers who complained about changes that were not agreed upon in arbitration proceedings against Paramount. The magazine Cinefantastique summarized the numerous exits of scriptwriters and producers as a "creative exodus". As a result of the clashes with the union, Maizlish was banned from participating in the series after the first season. Because of this, and because Roddenberry's health worsened, Berman began to gain influence over Roddenberry's production from season two.

Due to a strike by the Writers Guild in 1988, which was not only related to the series, the second season finally comprised only 22 instead of 26 episodes, for which therefore scripts from Star Trek: Phase Two were also used. For the same reason, the last episode of the second season was largely edited as a compilation of scenes from previous episodes.

With increased influence, Berman replaced much of the staff before the start of season three . This also included screenwriter Maurice Hurley , who was replaced by Michael Wagner in his role as supervising producer . Wagner left the baton after three weeks of work on the series, but had hired his former colleague Michael Piller as a screenwriter during this time . From then on, Piller acted as lead screenwriter and - alongside Berman and Roddenberry, whose influence continued to decline - as producer. Unlike Roddenberry, he encouraged an open atmosphere at the meetings of the members of the screenwriting team. He described an essential rule that he followed for the creation of the scripts from the third season onwards: “Those people who come from outside the ship must be the trigger for our people,” by which the main characters are meant, “in their personal conflicts come into play. "

At the beginning of the third season, Piller introduced the option of including unsolicited manuscripts in the selection for scripts. This allowed amateurs, freelancers and other writers who were not part of the writing team to contribute scripts. The series was the first and - until the beginning of Deep Space Nine only - US television series in which this possibility existed. The production team received over 3,000 such manuscripts per year. To ensure the quality of the manuscripts to increase, organized established writers and writing workshops for Star Trek - Conventions .

Screenwriter Ronald D. Moore
Screenwriter Brannon Braga

After conflicts with Piller during the production of the third season, the screenwriters Hans Beimler , Richard Manning and Melinda Snodgrass left the baton. At Piller's intercession, Ronald D. Moore was added to the screenwriting team after Moore's manuscript was filmed as an episode Mother's Love (season 3); in the following seasons, Moore was promoted to story editor and producer. Many of the Klingon-centered stories are from him. Screenwriter Brannon Braga , who was responsible for many of the distorted reality stories, was an intern in season three. He was later added to the team and promoted to story editor. Moore and Braga, then in their twenties , became two of the most widely used scriptwriters.

In total, the credits name around 150 authors who were involved in the creation of the scripts. This also includes scientists like the physicist Leonard Mlodinow, who was used as story editor in the second season . The linguist Marc Okrand , creator of the Klingon language , contributed the Klingon expressions. Engineer Naren Shankar was initially an intern at the Writers Guild, serving primarily as a scientific advisor.

Despite protests from several scriptwriters, Berman avoided sequel stories as much as possible so that television stations could freely choose the broadcast order. Picard actor Stewart and Riker actor Frakes campaigned to remove sexist passages from the scripts. Threatening several times with his exit from the series, Stewart also enforced from the third season that his role would be more complex. This included activities for Picard that go beyond routine operations on the Enterprise.

The authors initially used the Ferengi as the most dangerous opponents of the Federation and - when they did not prove to be threatening enough - the Borg created by Hurley. The two-parter The Battle for the Klingon Empire (Seasons 4 and 5 ) was originally planned as a cliffhanger connecting Seasons 3 and 4, but was postponed in favor of the Borg-centric episodes In the Hands of the Borg and Target Earth . The human rights organization Amnesty International also worked on the script for the two-parter Geheime Mission auf Celtris Drei (Season 6), in which Picard is tortured in Cardassian violence .

Some episode scripts were inspired by feature films and literary works (for examples see also: Season 6 ). Joe Menosky , screenwriter from season four, was inspired by the books of the US writer James Hillman in his two years as story editor and co-producer for most of the episodes he co-authored . For the story involved in the two-part reunion? (Season 5), Michael Piller used German reunification as a starting point. Reunion? was dedicated to Roddenberry, who died shortly before the US premiere. With the appearances of Leonard Nimoy and Mark Lenard in the roles of Spock and Sarek, the two-parter forms an example of episodes in which actors re-embodied the characters they played in Raumschiff Enterprise as guest roles. Other examples include the pilot in which DeForest Kelley as Dr. McCoy appears, and the episode Visit of the Old Enterprise (season 6) in which James Doohan stars as engineer Scott.

Jeri Taylor was part of the scriptwriting team from season four and was the only woman in it. For the fifth season she pursued the intention to involve the character Troi, which she felt as too one-dimensional and underused, more in the plot. At the beginning of the sixth season she became co- executive producer alongside Piller and Berman, who from then on also dedicated themselves to the production of DS9 .

Production design, costumes and masks

Graphic designer Michael Okuda (left)

For the interior of the spaceship, especially for the corridors, a number of sets from the first four Star Trek cinema films were reused and adapted. The bridge used for the films, for example, was used for the battle bridge of the Enterprise and for the bridge of the Stargazer, the console of the Starfleet Command from the fourth film for part of the new engine room. Production designer in the first season was Herman F. Zimmerman , from the second season Richard D. James . Modified sets were used in conjunction with the change in staff and as a result of budget increases. This also included the spaceship background, that is, space and the stars. Because too much dirt stuck to the material duvetine, which was initially used for black space , James replaced it at the beginning of the second season with black velvet on which stars were glued. In the first season, cyclorames and paper mache rocks were used for planetary surfaces , which were reused from the spacecraft Enterprise . Paper mache rocks also appeared in later seasons.

At least for the episode A Fistful of Datas (Season 6) a set from Warner Bros. was also used.

For the first 30 episodes, polarizing filters on rotating wheels were used for moving graphics displayed on computer consoles. This technology served as a replacement for screens which, due to their 24 Hertz frequency, could not be synchronized with the 30 Hertz frequency of television. From the 31st episode, Sony monitors were used instead . The set designer Michael Okuda , who had already worked in this function on the fourth Star Trek movie, was responsible for the graphic design of the computer consoles. The numerous displays he created for operating the ship's computer and contained in the spaceship were based on ideograms ; that is why the term “ocudagrams” was commonly used.

The designer William Ware Theiss designed the Starfleet uniforms used in the first two seasons. Robert Blackman , who acted as costume designer from the third season, designed the uniforms introduced at the beginning of that season for better wearing comfort; they cost about $ 3,000 each. As in Starship Enterprise, there are black, red, yellow, and blue uniforms depending on the functional area; In contrast to the original series, the black and red uniforms now stand for command and navigation functions and the black and yellow for technical and security personnel.

For the make-up was Oscar award winner Michael Westmore responsible.

Locations and filming

Filming for the pilot began on May 29, 1987. Most of them took place at Paramount Studios in Hollywood . The relatively few external shoots were made in California locations, mostly in and around Los Angeles . These included Griffith Park for the pilot and the Tillman Water Reclamation Plant at Van Nuys and the Movie Ranch Golden Oaks Ranch for other episodes . The filming for the episode The Final Mission (Season 4) took place over two days in the salt flats of El Mirage Lake .

The series was shot on 35 mm film and optimized for the 4: 3 TV aspect ratio. The post-production of the first two seasons took place on analog video tape with composite video data transmission.

A total of 28 directors were deployed over the course of the series. The most active include Cliff Bole (25 episodes), Les Landau (22), Winrich Kolbe (16), Rob Bowman (13) and Robert Scheerer (11). Jonathan Frakes (8), Patrick Stewart (5), LeVar Burton (2) and Gates McFadden (1) directed the main cast (→ main article: List of Star Trek directors ) . The cameraman was Edward R. Brown for the first two seasons . He was followed by Marvin V. Rush until the beginning of the sixth season , after which - with the exception of two episodes in the seventh season - Jonathan West took over .

Special effects and visual effects

Some of the special effects were created using motion control photography , and a small part using CGI . The company Illusion Arts supplied matte paintings , for example of planetary surfaces and landscapes . At least in the first season, effects from the Star Trek cinema films were also reused, such as a matte painting of Starfleet headquarters.

Of Industrial Light & Magic , two approximately 60 and 180 centimeters long traditional models of the Enterprise, which together cost about $ 75,000. These two models were mainly used in the first two seasons. The large one was also the only model that could be used to film the sequences in which the ship is divided; Industrial Light & Magic (for the pilot film) and Image G used these models to create reusable blue screen recordings. From the middle of the third season, a new, approximately 120 centimeter long model of the Enterprise replaced the two predecessors, as the large model turned out to be too bulky and the small model was too detailed. Starlight Effects created the models for the Borg spaceship . By the fifth season, the models of the Klingon spaceships from the Star Trek movies were also reused. The spaceship models used were mostly not scaled to each other, so that conversions were necessary for the motion control recordings.

An average of 50 to 60, sometimes more than 100, individual shots were created for visual effects per episode ; for the entire first season it was around 1800. In view of the large number of effects required and the shorter time for creating them compared to movies, the producers decided to avoid them high cost of having the effects produced on video and not on negative film . However, there was also a significant potential loss of revenue for the film studio associated with this decision. This is because the image resolution was also set to the US NTSC format. For this reason, the episodes could not be edited into feature films for foreign cinemas, as was customary at the time, and moreover could only be distributed with loss of quality in foreign video formats such as PAL . About 90 percent of the sequences that make up the effects were first recorded on 35mm film and then transferred to video format. For creating the effects, the company was primarily The Post Group responsible for the transfer of footage to video and the blue-screen compositing the company Composite Image Systems . At that time you were among the leading companies in the field of video post-production . With the start of production in the sixth season, these companies were replaced by Digital Magic and CIS Hollywood . The creation of the visual effects was directed by Robert Legato and Dan Curry .

Grass Valley technology was also used to create effects from multiple sequences . Planets and effects such as phaser shots were created using Quantel equipment . Ultimatte technology was also used for blue screen compositing , the advantage of which over earlier technologies was that it made shadows and reflections appear more realistic.


The theme music , created by Dennis McCarthy , is an adaptation of Jerry Goldsmith 's theme tune from Star Trek: The 1979 Film and the classic theme by Alexander Courage .

McCarthy alternated episodically with Ron Jones in the function of the main music composer . Jones was convinced that the action to be played in the future would be optimally underlaid with electronic music . His style, however, displeased the Paramount management, who found him "annoying" and conflicting with the sound effects and therefore dismissed Jones shortly before the end of the fourth season production. Then Jay Chattaway replaced him .

For the sound mix, the sound editor and Automatic Dialogue Recording in was Hollywood -based firm Modern Sound responsible.

HD restoration

On the occasion of the 25th anniversary of the first broadcast in 2012, Paramount owner CBS began to have the episodes restored for publication in HD resolution on Blu-ray Disc , but also for later television broadcasts and online distribution . The simple conversion of the final cut versions was not possible because they were saved on video in standard definition. That is why the original film negatives were scanned in again using HD scanning . To do this, the total of more than 25,000 rolls of film with the original negatives had to be removed from the Paramount archives and cleaned. Also because the original visual effects had been prepared for the 4: 3 format, the HD versions were created in 4: 3. Some visual effects such as phaser shots or beam processes were recreated instead of converted. In addition, perspective errors in space and misguided shadows have been corrected. Some matte paintings were also created from scratch. The final English-language cut version received an audio track in DTS-HD 7.1 .

The restoration process took between four and six weeks per episode and was overseen by Michael Okuda. The restoration of the first season alone cost $ 9 million. The company CBS Digital was responsible for the restoration . In order to speed up the work, it was originally planned to hand over the restoration of seasons 2, 4 and 6 to a subcontractor . Due to the reactions of Blu-ray consumers, who certified some visual effects in the second season restored by HTV-Illuminate , CBS Digital commissioned the company Modern VideoFilm for the fourth season ; the sixth season was taken over by CBS Digital itself.

Cast and German dubbed version

In order to keep the actor's fees as low as possible in favor of the rest of the budget, Paramount selected largely unknown actors. This included stage actor Patrick Stewart , who caught producer Robert Justman when he was in a Shakespearean production . Stewart was eventually preferred to Stephen Macht for the role of Captain Picard . All main actors signed contracts for an initial period of six years. Billy Campbell was originally intended to play the role of Riker . It was also initially planned to cast the character Troi with Denise Crosby and the character Yar with Marina Sirtis ; It was not until the shooting of the pilot film that the two actresses were exchanged. Crosby left the series at the end of the first season because she was unhappy with the development of her role. The cinema actress Whoopi Goldberg asked the producers for a role in the series herself. Mainly due to Roddenberry's efforts, Gates McFadden was released after the first season, but was brought back to her original role for the third season. In the second season she was replaced by Diana Muldaur , whose name - in contrast to the other main actors - was not listed in the opening credits of the opening credits , but afterwards as a "Special Guest Star". Wil Wheaton left the cast in 1990 because he felt under-challenged as an actor.

The first 14 episodes of the first season were dubbed for the video cassettes distributed by CIC by Alster Studios in Hamburg . Dialogue direction was directed by Andreas von der Meden , who was also the author of the dialogues ( → main article: Season 1 ). This version was discarded for broadcast on television. The episodes 1 to 83 broadcast by ZDF were dubbed by Arena Synchron in Berlin. Responsible dialogue book author and dialogue director until episode 75 was Michael Erdmann. For the broadcast on Sat.1 , the synchronization was still carried out by Arena Synchron from the 84th episode, but now under the responsibility of Ulrich Johannson, who acted as a dialogue book author and dialogue director from the 76th episode. In the course of changing the broadcasting station, the voice actors for the actors Patrick Stewart, Marina Sirtis, Gates McFadden and Whoopi Goldberg were also replaced.

In the episode Attack the Borg - Part 1 (season 6), popular British scientist and Star Trek fan Stephen Hawking has a cameo that he asked for and in which he plays himself. Because of him, the episode received increased media attention on its US premiere.

The table lists the actors, their role names, their affiliation with the main cast (●) or with the secondary and guest actors (•) per season and the total number of episodes with performances. The German voice actors are also given in both the television series and the movies.

actor Role name 1 2 3 4th 5 6th 7th Episodes German voice actor in television series and movies
Patrick Stewart Voice in the opening credits 178 Harald Dietl
Jean-Luc Picard Rolf Schult (Ep. 1–83, films) ,
Ernst Meincke (Ep. 84–178) ,
Hans-Jürgen Wolf (Ep. 1–3; new scenes)
Jonathan Frakes William T. Riker 178 Detlef Bierstedt (series, film 1 ) ,
Tom Vogt (films 2–4)
LeVar Burton Geordi La Forge 170 Charles Rettinghaus (series, film 1 ) ,
Bernd Vollbrecht (films 2–4)
Michael Dorn Worf 175 Raimund Krone
Marina Sirtis Deanna Troi 168 Eva Kryll (Ep. 1–83, films) ,
Ulrike Lau (Ep. 84–178)
Brent Spiner Data 177 Michael Pan
Gates McFadden Dr. Beverly Crusher 155 Rita Engelmann (Ep. 1–83, films) , Ana Fonell (Ep. 84–178)
Wil Wheaton Wesley Crusher 070 Sven Plate
Denise Crosby Tasha Yar 027 Katja Nottke (Season 1, Ep. 63) , Martina Treger (Ep. 177-178)
Diana Muldaur Dr. Katherine Pulaski 018th Bettina Schön
Eric Menyuk Traveller 003 Martin Keßler (Ep. 6) , Tom Vogt (Ep. 79) , Michael Christian (Ep. 172)
Carel Struycken Homn 005 Michael Erdmann
Majel Barrett Lwaxana Troi 006th Ursula Heyer (season 1–3) ,
Inken Sommer (from season 4)
Computer voice 093 Eva-Maria Werth
John de Lancie Q 010 Hans-Werner Bussinger
Colm Meaney Miles O'Brien 053 Jörg Döring (except Ep. 7, 59, 60, 62) , Walter Alich (Ep. 7) , Uwe Jelinek (Ep. 59, 60)
Whoopi Goldberg Guinan 028 Regina Lemnitz (Ep. 27–84, films) , Marianne Groß (Ep. 88–148)
Andreas Katsulas Tomalak 004th Friedrich G. Beckhaus (except Ep. 58) , Ernst Meincke (Ep. 58)
Dwight Schultz Reginald Barclay 005 Florian Krüger-Shantin (series) , David Nathan ( film 2 )
Mark Lenard Sarek 002 Friedrich W. Bauschulte (Ep. 71) ,
Jochen Thomas (Ep. 107)
Jennifer Hetrick Vash 002 Monica Bielenstein
Jon Paul Steuer Alexander Rozhenko 001 Tobias Müller
Brian Bonsall 007th
Barbara March Lursa 003 Sabine Sebastian (season 4, 5) , Ulrike Johannson (season 7) , Marianne Groß ( film 1 )
Gwynyth Walsh B'Etor 003 Viola Sauer (series) , Ulrike Möckel ( film 1 )
Rosalind Chao Keiko O'Brien 008th Iris Artajo
Robert O'Reilly Gowron 005 Jan Spitzer
Patti Yasutake Alyssa Ogawa 017th Manuela Brandenstein
Michelle Forbes Ro Laren 008th Susanne Schwab
Leonard Nimoy Spock 002 Herbert Weicker
Natalia Nogulich Alynna Nechayev 004th Evamaria Miner


Television broadcast

In 1991 the series was broadcast in at least 40 countries, by 1994 by more than 200 television companies worldwide.

First broadcast dates
United States Germany
Original version Episodes Original version HD-restored version
St. Period Rating
Number No. Free TV
(up to ep. 83: ZDF , from ep. 84: Sat.1 )
Pay TV
( Syfy )
Free TV
( Tele 5 )
1 26 Sep 1987 - May 14, 1988 10.9 26th 1-26 0Sep 7 1990 - Apr 6, 19910 03rd Sep 2012 - Sep 12 2012 0July 1, 2014 - July 30, 2014
2 Nov 19, 1988 - July 15, 1989 10.2 22nd 27-32, 34 Apr 13, 1991 - June 8, 19910 Jan 17, 2013 - Jan 31, 2013 July 31, 2014 - Aug. 25, 2014
33, 35-48 0Feb. 7, 1992 - June 26, 1992
3 23 Sep 1989 - June 16, 1990 10.4 26th 49-67 0July 3, 1992 - Nov. 27, 1992 0June 7, 2013 - June 21, 2013 Aug 26, 2014 - Sep 19 2014
68-74 0Aug 2, 1993 - Aug 11, 1993
4th 22 Sep 1990 - June 15, 1991 11.3 26th 75-83 Aug 12, 1993 - Aug 26, 1993 Nov 14, 2013 - Dec 2, 20130 22 Sep 2014 - Oct 23, 2014
84-100 02nd Mar 1994 - March 24th 1994
5 21 Sep 1991 - June 13, 1992 12.5 26th 101-126 28 Mar 1994 - May 16, 1994 28 Mar 2014 - Apr 11, 2014 Oct 24, 2014 - Nov 25, 2014
6th 19 Sep 1992 - June 19, 1993 12.7 26th 127-152 May 17, 1994 - June 22, 1994 17 Sep 2014 - Oct 3, 20140 Nov 26, 2014 - Dec 19, 2014
7th Sep 18 1993 - May 23, 1994 12.3 26th 153-178 June 23, 1994 - July 27, 1994 Feb 22, 2015 - Mar 8 20150 Dec 22, 2014 - Jan 22, 2015

United States

Logo of the original English title

Based on the great success of the reruns of Spaceship Enterprise in syndicated broadcasts , Paramount decided not to broadcast the new series through a network but also in syndicated broadcasts. The studio found itself in a market niche; First broadcasts of fictional programs in syndicated form were unusual at the time. Paramount's business and airing model for the series included several innovative marketing decisions, including advertising revenue. In addition, the studio aimed the model at the advertising-relevant target group of 18-49 year old male viewers. The studio made it a condition of television stations that wanted to buy the classic series that they also buy The Next Generation . The new series was the first fictional television series whose business model included the new financing method “barter syndication”. This variant made the series profitable for the studio much earlier than with a standard financing model.

The first season had an average weekly reach of around 9.4 million households. Paramount had about $ 1 million in ad revenue per episode this season, about $ 200,000 more than networks usually paid for hour-long prime-time shows . Several times in the course of its first broadcast, the series set a new record among all television series in terms of the price that Paramount demanded for 30 seconds of advertising time. In the final two-part series in 1994, that price was $ 700,000. In the fall of 1992, the series was the most-viewed, syndicated broadcast for four weeks in a row - no program other than Wheel of Fortune had achieved this since 1987 . The final double episode saw around 31 million viewers when it first aired in 1994.

Paramount ended the series on the one hand in order to adapt it for films and to let the Picard crew follow the retired crew around Captain Kirk. On the other hand, the production costs would have risen too much after the seventh season and with seven seasons there were already enough episodes for the lucrative daily repetitions.

The budget for the first season was about 1.2 million dollars per episode and rose to the seventh season, according to various sources, up to 2 million dollars - roughly double the budget for network television series that was usual in 1992. For Paramount Television boss McCluggage it was clear that it was the most expensive television series. In 1992 the return on investment for the series was 40 percent. Paramount had revenues of $ 511 million and a profit of $ 293 million when the series first aired through 1994; sales of replay rights added an additional $ 161 million in revenue. Taking the advertising revenue into account, The Next Generation was one of the most lucrative series on US television. To date, it is the most successful syndicated drama television series that aired.

The series was repeated many times on television and achieved exceptionally high viewership, for example in 2001 on the cable channel TNN .

German-speaking countries

On September 7, 1990, ZDF began broadcasting in German for the first time. The episodes ran in the afternoon program on a weekly basis. The pilot film, which was divided into two individual episodes, reached 3.7 (Part 1) and 2.8 (Part 2) million viewers. After twelve episodes, the series switched from Friday to Saturday. Up to June 1991 33 episodes were broadcast, with the episode The Conspiracy (Season 1) running in a cut version and the last episode for the time being The Exchange Officer (Season 2), after reduced coverage in the second season, only reached about 1.9 million viewers . From February to November 1992, the remaining episodes of the second season and the first 19 of the third season ran again on Fridays, with the reach in some cases falling to well below a million viewers. Beginning in March 1993 and four times a week (Monday to Thursday, afternoons), ZDF repeated all episodes that had already been broadcast before showing the rest of the third season and the first nine of the fourth season for the first time in August of the same year.

In 1993 the private broadcaster Sat.1 took over the first broadcasting rights and from October 1993 onwards repeated all the episodes already broadcast by ZDF on a daily working basis. This was followed in March 1994 by the first broadcast of the remaining episodes of the fourth season as well as the complete seasons 5, 6 and 7. The seventh season was shown unusually close to the US premiere, just two months apart. The average range of all seven seasons, shown for the first time by Sat.1, was 1.5 million, mostly young viewers, a response that the broadcaster rated as highly satisfactory. From 1995 to 1999, Sat.1 repeated the entire series 4 times on the same slot.

As the first German television station began Pay TV transmitter Syfy in September 2012 with the German premiere of the HD restored version; it lasted until March 2015. From July 2014 to January 2015, Tele 5 broadcast this version for the first time on free TV .

Both the original and the restored version were announced by Sat.1, Kabel 1 and Tele 5 as STAR TREK: The next century , but always broadcast with the title Raumschiff Enterprise - The next century in the opening credits.

Home theater publication

Video publishing overview
Original version HD-rest. Version
United States United States TOP, ROOF United States TOP, ROOF
St. VHS,
DVD VHS Blu-ray Blu-ray
1 1991-93  March 2002 1987/88
(Ep. 1-14) ,
July 24, 2012 July 26, 2012
2 1993/94  May 2002 1995/96 0Dec 4, 2012 0Dec 6, 2012
3 1995  July 2002 1996 Apr 30, 2013 0May 2, 2013
4th 1996  Sep 2002 1996/97 July 30, 2013 19 Sep 2013
5 1996/97  Nov. 2002 1997 Nov 19, 2013 0Jan. 3, 2014
6th 1998  Dec 2002 1998, 2002 June 24, 2014 03rd July 2014
7th 1998/99  Dec 2002 2002 0Dec 2, 2014 Dec 18, 2014

Paramount initially limited television broadcasting of the series to the United States and Canada in order to market it on video cassettes in other countries . Episodes of the first season appeared on VHS until spring 1988 in eight European and Asian countries; the earnings from the sales were $ 2 million.

In the US, Paramount published all episodes from 1991 to 1999 on both video cassettes and laser discs . The 14 first episodes dubbed by Alster Studios were released for German-speaking countries in 1987 and 1988 by CIC on VHS. In 1995 the follow-up distributor Paramount Home Entertainment began with the VHS release of the dubbed version created by Arena Synchron , until 1998 all episodes of the first five seasons and part of the sixth season appeared in pairs at several week intervals; The other episodes followed in 2002.

Pioneer published at least two German LaserDisc editions with episodes of the series in the 1990s. The pilot was released as part of the Star Trek: The Pilot Films issue . The Borg two-part series was distributed as a film under the title Star Trek: The Next Generation Attack Target Earth .

In 2002, both in the USA and in Germany, all seven seasons were released on DVDs with regional code 2. These and all subsequent editions are approved by the FSK from 12 years of age. In 2009, all seven seasons were released again on DVD for the German-speaking market, this time in a total of 14 boxes, each with half a season. All seven seasons were published as a complete edition with the synchronized unrestored version in December 2012 (subtitle: The Full Journey ) and in February 2015 (subtitle: The complete series ).

On January 31, 2012, the pilot film and the episodes The Sins of the Father and The Second Life were released in advance for the HD restored version on the Blu-ray edition The Next Level , subtitled in German with an insight into the next generation . The seven restored seasons were released as Blu-ray boxes from July 2012 to December 2014. The 95,000 boxes of the first season, sold in the first week after its appearance in the USA, achieved the highest income of the week at $ 5.73 million. The Blu-ray editions keep the 4: 3 aspect ratio of the unrestored version. In April 2015, a complete edition subtitled with The Full Journey with the German dubbed, restored version of all seven seasons was published.

The German DVD releases of seasons 6 and 7 contain instead of the original stereo - track a soundtrack in Dolby Surround 5.1 . Because of its qualitative inferiority to the original stereo sound there was a petition addressed to CBS Home Entertainment at , which was voted on until 2013 and which induced the distributor to use the original stereo sound for the Blu-ray boxes of these seasons. Equip soundtrack.

In addition to the regular editions, editions with thematically grouped episodes, such as the VHS editions Data Box and Captains Box , were published on VHS as well as on Laserdisc, DVD and Blu-ray . The same applies to two-part episodes that - offered as a film - often appeared before their regular release.

Cinema screenings

Mainly to promote the first releases of the Blu-ray boxes of seasons 1 to 3, the company CBS Home Entertainment , which cooperates with event agencies , had two popular episodes of the series shown in their restored versions in cinemas per season box , and only in one performance in the evening before the day of publication and supplemented by a selection of bonus material. On the occasion of the appearance of the first season box, the companies announced the showing of the episodes The Traveler and The Duplicate in approximately 500 American, 55 Canadian and approximately two dozen Australian cinemas. CBS promoted the second season box with the screening of the episode Zeitsprung mit Q and the long version of the episode Who Owns Data? in around 550 exclusively US cinemas. With regard to the third season box, the company announced the showing of the two-part play In the Hands of the Borg and Target Earth in another 550 US cinemas and around 60 Canadian cinemas.

Video on demand

In the United States, the series is available as video-on-demand on Netflix , Amazon Instant Video , Hulu and iTunes , at least on Netflix since 2015 in the restored version. The series has been available on Netflix worldwide since the end of 2016.

Radio plays and soundtrack

The Karussell label released the first 10 episodes in German in the form of radio plays on music cassettes .

When music label GNP Crescendo Records the following appeared Soundtrack CDs ( ST: TNG is representative of Star Trek: The Next Generation ):

  • ST: TNG (released in 1988) contains music from the pilot film and a different, discarded version of the title melody used in the opening credits.
  • ST: TNG Vol. Two (1992) and ST: TNG Expanded Collector's Edition (2013) contain music from the two-part In the Hands of the Borg and Attack Target Earth .
  • ST: TNG Vol. Three (1993) contains music from the episodes The Old Enterprise , Reunification (Parts 1 and 2) and The Shy Reginald .
  • ST: TNG Collector's Set (1993) is a compilation of the first three editions and was released in Germany by ZYX Music under the title The Original Star Trek Box: The Next Generation .
  • ST: TNG Encounter at Farpoint / The Arsenal of Freedom (2014) contains music from the pilot and the episode The Gun Dealer .

The following soundtrack editions were released by other labels:

  • ST: TNG The Ron Jones Project is a collection of music composed by Ron Jones for 40 episodes of the series. It was published in 2010 by the Film Score Monthly label, is limited to 5000 copies and consists of 14 CDs with a running time of over 16 hours.
  • The label La-La Land Records has released two CD boxes so far, each containing three CDs and limited to 3000 copies. In addition to the theme song, they contain a selection of episode-specific compositions by Dennis McCarthy and Jay Chattaway as well as by the following composers:
    • ST: TNG Collection - Volume One was released in 2012 and also contains music by Fred Steiner, Don Davis, John Debney
    • ST: TNG Collection - Volume Two was released in 2016 and also contains music by George Romanis


Some criticism

Regarding the spaceship crew, which is completely new to Starship Enterprise , serial supporters accused Gene Roddenberry of treason. There was also criticism from the actors in the classic series. Scott actor James Doohan, for example, thought that Star Trek was so synonymous with the characters that it couldn't be replaced. After the pilot first aired, TV Guide praised the series as a "worthy successor" to the original series and found Roddenberry had lost none of his ingenuity and taste in story selection. The New York Times, on the other hand, hoped for more liveliness.

The first two seasons were generally judged to be weaker than the following seasons. Chris Gregory, author of the book Star Trek: Parallel Narratives (2000), criticized the narrative style initially pursued by Roddenberry as predictable and superficial. With the beginning of the third season, however, a number of critics recognized an improvement in the series. In 1991, for example, the Los Angeles Times identified it as the merit of Bermans and Piller to have made the Star Trek universe more detailed, layered and more fearful in the third and fourth seasons. Gregory saw it similarly and explained the increase in resonance and depth in the stories with the fact that the nice resolutions and moral certainties typical of the Roddenberry era are being replaced by ambiguous endings that are now often occurring. The US technology magazine Wired presented the quality of the episodes as remarkable and consistently high from the third to the seventh season.

The long-time editor of the official, English-language Star Trek magazine, Brian J. Robb, praised the series in 2012 for the great way in which it combined the reality of life in the 1990s with Roddenberry's visions of the future of humanity. However, at Paramount he missed the insight that the problems and characters depicted in the series could have been explored more effectively in cross-episode, continued action than in feature-film-like episodes with a completed action.

Compared to the other Star Trek television series, the online edition of Time found the series 2012 not to be among the best; sometimes it was not far enough away from being “trite or even boring”. The US daily The Christian Science Monitor , on the other hand, assessed the series in terms of the appeal that its characters with courage, intelligence, empathy and tolerance had on the audience than the more attractive compared to Deep Space Nine . However, the paper criticized it as "a little too nice" that most of the spaceship crew is unmarried and that everyone lives in their own quarters. Interpersonal relationships with “the typical human disorder” would only rarely occur and - if they did - would be resolved through the rapid application of “reason”, in German for example “rationality”, or through a separation.

Melinda Snodgrass , screenwriter during the second and third seasons, criticized the series negatively in the US magazine Omni in 1991. It is nowhere near as daring and entertaining as Spaceship Enterprise and reflects the "ponderous, self-righteous new world order of the Reagan and Bush era ". Berman met the criticism in 1992 in the Cinefantastique and described Snodgrass' opinion as "nonsense". The classic series deals with the temperament and values ​​of the 1960s , while The Next Generation deals with those of the 1980s and 1990s ; America is now a different place and "more cynical than the Kennedy years".

The first three, sometimes four, episodes in which the Borg appear were widely praised. For example, in the opinion of Thomas Richards, author of The Meaning of Star Trek (1997), the four episodes are among the greatest achievements in science fiction. He - like other critics - but sharply negative criticism of the later appearance of the Borg in the two-parter Attack of the Borg (seasons 6 and 7), in which their tragic threat gradually degenerates into a comedic farce and they "like wound-up toy figures" across the screen staggered.

Among the actors, especially Patrick Stewart and Brent Spiner were honored for their achievements. Richards, for example, extolled Brent Spiner for his ability as an impersonator ; he gave Data an unshakable, calm comedy reminiscent of Buster Keaton .

In his 1995 book The Physics of Star Trek , for example , the physicist Lawrence Krauss praised the theming of cosmic threads , while he criticized the baryon cleansing of the Enterprise in the episode In the Hand of Terrorists (Season 6) as unbelievable.

The visual effects of the unrestored version met with mixed feedback. The Los Angeles Times judged her after the first season as one of the “most sophisticated” (German: “sophisticated”) in television history. The online edition of Cinefantastique was less convinced in 2009; they would have fluctuated between acceptable and risky. The HD-restored version was widely recognized for its sharpness and richness of detail in picture and sound.

The German film service rated the 14 episodes dubbed on VHS in 1988/89 largely negative ( Season 1 ). The magazine criticized the pilot as a "rather disappointing" revival of Starship Enterprise and spoke of a "naive fairy tale". Even retrospectively, in 1996, the magazine was not very convinced and spoke of a "rather stiff style" and an " aseptic aesthetic" of the stories told , also referring to the lack of humor in the plot .

When it began broadcasting on ZDF in 1990, Die Zeit judged the series to be “entertainment well done, but no more than any science fiction series with lots of special effects”. The female characters turned out to be a bit colorless and the presence of the families on the ship was "annoying", especially in view of the "precocious" - and therefore criticized negatively by fans - Wesley Crusher. Several television magazines highlighted the absence of Kirk and Spock.

Criticism of the German dubbed version

Mike Hillenbrand and Thomas Höhl , authors of various books on the subject of Star Trek , criticized the ZDF television title Raumschiff Enterprise - The next century as being misleading because this could lead to the mistake that the series would play in the next one viewed from the time it was first broadcast, i.e. the 21st Century. They praised the translation made for ZDF as very good linguistically and the selected speakers as generally very good. However, they criticized the German sound for the fact that it was not available in stereo in the relevant seasons and that noises and music were sometimes reproduced much too quietly. The two were completely disappointed with the Sat.1 synchronized version; it is flawed, contains "the most nonsensical foreign and fantasy words" and lacks pauses in speech. They complained about the translation as being too literal and containing many false friends and missed the “to be continued” overlay in cliffhanger episodes. The fact that Data incorrectly speaks in his own voice instead of Picard's voice in the episode The Unequal Brothers (season 4), they rated as the “biggest mistake in dubbed history” of Star Trek .


The series was nominated for a Primetime Emmy Award a total of 58 times - between 5 and 10 times per season - and was awarded a total of 18 times - at least 2 times per season. There was a nomination for the seventh season in the most important category Best Drama Series . All other nominations were in technical categories, including hairstyle , camera , costume design , artistic direction , musical composition and editing . The series received the most nominations for make-up (nominated 9 times, awarded 2 times) and for special visual effects (nominated 8 times, awarded 3 times). Most of the awards were given - with one nomination per season - for sound mixing (awarded 5 times) and sound editing (awarded 4 times). The series was not taken into account in categories that honor acting , script or direction .

In addition, from 1990 to 1995, the series was nominated for a Saturn Award six times in a row as the best network television series, receiving an award in 1990 and 1991. The episode The Big Farewell (Season 1) won the prestigious Peabody Award . The episode The Second Life (season 5) and the final two-part series were honored with the Hugo Science Fiction Prize , while the pilot film was nominated for the same prize. Patrick Stewart was for the American US from the Screen Actors Guild Screen Actors Guild awarded SAG Award nominated 1995th Wil Wheaton received - with three consecutive nominations - a prize for the Young Artist Award as best young actor. The American Society of Composers, Authors and Publishers and the Cinema Audio Society honored the music and the setting of the series.

The US industry magazine TV Guide put the series at 46th place on its list of 50 most entertaining or influential television series in American pop culture in 2002, in which it is one of only two series produced for syndication . In the 2008 list of the 50 best television series of all time by the British film magazine Empire, the series ranks 37th. The Writers Guild of America took The Next Generation in 2013 in their list of the 101 Best Written TV Series on where it shares the 79th place with three other series.

Analysis and interpretation

Some subjects

Among the topics covered by the series are some that had not been covered in Starship Enterprise . One example is terrorism , which is featured in Terror On Rutia Four (Season 3) and In The Hand Of Terrorists (Season 6). The former episode is an allegory on the Northern Ireland conflict , so it was omitted when the series first aired in the UK and Ireland . Substance abuse is discussed in the episode Die Epuche (Season 1). The episode The Space Catastrophe (Season 7) deals with the negative consequences of warp flights for a certain area in space and thus reflects the environmental damage caused by exhaust fumes and road traffic.

The arms dealers (Season 1) and The Space Catastrophe can also be summarized under the subject of technology assessment . Genetic engineering , genetic manipulation and cloning are thematized in the episodes The young old men , The planet of clones (both season 2) and The artificial paradise (season 5). In Operation (Season 5) deals with medical ethics and the Dr. Crusher ultimately said no to the question of whether it was justifiable to put research concerns about patients' lives. Several episodes, including The Power of Nanites (Season 3) and Dream Analysis (Season 7), deal with invasions in the broadest sense, including those caused by viruses , computer viruses , and aliens. The influences of the increased use of home and workplace computers and the emerging fear of AIDS were recognized in them. One topic that has been taken up repeatedly is the abuse of technology. For example, the episode The Shy Reginald (Season 3), in which the socially insecure Barclay creates a substitute world in the holodeck to meet his superiors on an equal footing, can be understood as a reflection of the danger of excessive media use in general and computer games in particular .

The issue of euthanasia is taken up in The Dissolution (Season 4) . To a woman who was a man promised as a wife, and therefore the subject of Arranged Marriage , it goes into a Perfect Mate (season 5). The episode Edo Law , in which Wesley Crusher is sentenced to death for an accidental act while visiting a foreign culture, was seen as commentary on the death penalty in the reign of Ronald Reagan . The stand trial (season 4) is about a witch hunt by a Starfleet officer and served as an indictment against the McCarthy era . A topic that was also taken up in Spaceship Enterprise is how to deal with the North American Indians . The episode At the End of the Journey (Season 7) raises the question of guilt for the expulsion of the Indians from their land.

Under Piller's influence, many stories ended with a morally more ambiguous resolution from the third season - compared to the first two seasons. For example, in the episode The Survivors on Rana Four (Season 3) , Picard leaves the man responsible for the murder of many thousands of individuals alone on the planet because there is no court before which the man can answer . Starting with the fourth season in particular, many episodes were devoted to the private or family background of the main characters. A story was then often told as part of the parallel montage in a second storyline and finally merged with the main storyline.

Interpretations and controversies

Social and technological utopia

In the production of Starship Enterprise , Paramount often pushed Roddenberry to rewrite scripts to include more action than originally intended. As a result, Roddenberry could not realize his ideas of a more diplomatic than militant acting federation to the extent intended by him; Captain Kirk's behavior is therefore similar to that of a daredevil. There was no such restriction in The Next Century , which is why the representation of the Federation here comes closest to its utopia . Part of this utopia is that blacks and whites, women and men, people and people like people live and work peacefully with one another and help one another on the Enterprise . Starfleet is portrayed as one big family in the series. In the federation there are no more social and military conflicts caused by money or famine. Part of the idealized picture is that Picard's orders are well-balanced and rarely unreasonable.

After Roddenberry's death, Berman emphasized that the series would continue to implement his vision of a future that is much better than the present. In reviews, the social interactions conveyed by the series were seen as ethically and morally preferable and as desirable compared to contemporary conditions. Screenwriter Braga characterized the 24th century as the perfect place "where people have overcome the pettiness that leads to heinous deeds, but haven't lost their shady, dark sides" and are aware of it. As exemplary and typical of Star Trek's intention to convey values ​​such as tolerance and respect for other cultures, several critics highlighted the episode Darmok (season 5), in which Picard uses communication to prevent war.

The technological utopia of the series as well as its successor series , which are set in the same century, also includes communication via a system similar to the Internet , which in reality was not a widespread communication medium at the time of its creation . The technological utopia also includes the holodeck. The idea for the holodeck is based on a concept called “rec room”, a holographic entertainment center, set up for the classic series, but not implemented there. It was already used in the episode The Laughing Monster of the animated series The Enterprise and was further developed for The Next Century . The theory that the scriptwriters used to explain beaming in spaceship Enterprise ignored quantum mechanical fundamentals such as Heisenberg's uncertainty principle . That is why Rick Sternbach and Michael Okuda added the fictitious "Heisenberg compensator" to the functionality of the transporter on the Enterprise-D (see also: Star Trek technology ) .

Religion, science and rationalism

Compared to Spaceship Enterprise , the representation of religion in The Next Century was interpreted on the one hand as more advanced, more subtle and more complex. The belief is now also a part of more advanced cultures, such as the Klingons that the return of the dead warrior king Kahless and to the realm of the dead believe the honorable and dishonored. On the other hand, a neglected role of religious belief was recognized in the series utopia, is an opinion in relation to Picard's statement in the episode The God of the Mintakans (season 3), according to which the Federation members "have overcome this type of belief for centuries". Referring to this episode as an example, the writing duo Michèle and Duncan Barrett interpreted the series as "militantly secular" as "militantly secular ". The series implies that humanism means the replacement of God and the elevation of humanity to the moral top. In addition, both believed in several episodes, including The Pact with the Devil (Season 4), to see a pattern according to which the Enterprise crew repeatedly used science to prove the falseness of religious principles. Furthermore, they came to the conclusion that the series represented the rationalism within Star Trek s most strongly because of the disregard for religion on the one hand and the great importance of science and technology on the other .


The Borg can be understood as a socialist society, among other things because they function as a collective and because there is no competition between their representatives, but rather cooperation. The threat that they pose to the Federation, reflecting the fear of the Western world before communism . By rising above the individuality of the individual, the Borg embody the complete negation of the individual and are in this respect a counter-model, an antithesis , to the Federation. The Borg's intention to improve themselves through assimilation is similar to human history , in which cultures incorporated other cultures for their own expansion or created subordinate peoples through imperialism . Under the influence of Lore, who wants to make the Borg into a master race , the ideology of the Borg changes into a fascist system; Lore can be understood as a "cybernetic Mengele ".

Klingon culture

Ronald D. Moore oriented himself in the elaboration of the Klingon culture, starting with the episode The Sins of the Father (season 3), on the samurai and the Vikings , who are similar in terms of their code of honor . While the Klingons were still portrayed as stereotypical, pirate-like villains in Raumschiff Enterprise , their role in The Next Century is much more extensive and differentiated, which becomes clear, among other things, in the thematization of the domestic and foreign policy of the Klingon Empire.

The US communications scientist Leah Vande Berg interpreted the Klingons as a culture that is assimilated by the Federation culture. Worf and his liminality , that is, his position between the two cultures, are exemplary . That he adapts human and morally superior values ​​and behaviors such as compassion, generosity and forgiveness and that Klingon values ​​such as justice and immaculate family honor are presented as primitive is shown in The Battle for the Klingon Empire, Part 1 (Season 4) and his Decision not to kill the treacherous Toral contrary to Klingon traditions. Vande Berg concluded that the series conveyed a cultural imperialist attitude instead of the self-proclaimed multiculturalism . The German philosopher Andreas Rauscher considered the concept of assimilation to be too brief and said that the episode was less evidence of subordination than rather a further step in Worf's search for an identity of its own between two opposing cultures, which is not yet concluded in the series .

East-West relationship

The warlike relationship between the Federation and the Klingons depicted in Starship Enterprise reflected the reservations the United States had with the Eastern Bloc during the Cold War era . The Klingons and Romulans in The Next Century , on the other hand, cannot be equated without reservation with the Soviet Union and China: In reality, there is no equivalent for a contractually regulated alliance such as that between the Federation and the Klingon Empire, and Russia and China were not in State of war.

Yet there are parallels between the Federation and the United States' post-Cold War political role. Gregory emphasized that episodes that deal with terrorism and hostage-taking offer a more realistic view of interventionism compared to Starship Enterprise , for example because Picard can do little to counter the internal political conflicts on the planet despite successful hostage rescue. The fact that with Worf a representative of the Klingons now belongs to the Starfleet and the bridge crew was understood as a message that in the context of the Cold War, enemies can become friends.

Controversy over racism and influences of neoconservatism

In his monograph Star Trek and History (1998), the US media scholar Daniel L. Bernardi believed that the portrayal and characterization of the various species by the series influenced neoconservatism , a political trend that dominated the United States at the time the series was written and which, together with the New Right , would have mediated racism under the ostensible advocacy of democratic ideals . The German author Holger Götz took a similar position to Bernardi in 1999/2000 in an article for Faszinierend! Star Trek and the Sciences .

The main reason for the interpretation was that the series was characterized by speciesism and biologism and that the culture of a species was repeatedly explained with its biological or genetic requirements. By describing the level of development of the Mintakans in The God of the Mintakans (Season 3) as "proto-volcanic", the series implies that the Mintakan culture is based on the genetic makeup of its members. In the episode Riker's Father (Season 2), Data explains that all Klingons are genetically predisposed to hostility . The series also suggests that Worf's incisive affinity to Klingon culture, which is evident from his good knowledge of Klingon rites and customs, is due to the genetic requirements of all Klingons. The series itself leaves open the cultural imprint through which Worf achieved this affinity, since he lived among people for most of his childhood and youth.

In addition to Worf's behavior, that of K'Ehleyr and Alexander was also interpreted as being genetically influenced. With regard to K'Ehleyr and Alexander, who are only partly Klingon, it has been interpreted that they conform to the racist stereotype of the "tragic mulatto " because their personality is determined by their racial composition. Alexander, for example, intends in Rite of Ascension (season 7) as his adult alter ego to kill himself in childhood in order to prevent him from becoming a full-fledged Klingon.

It was found that the representatives of the federation and / or the people usually manage to adapt to other cultures. Picard, for example, speaks fluent Klingon and persists in battling Klingons ( The Sins of the Father , Season 3). In addition, he succeeds in defeating the Sheliak with her own weapons by finding a clause in their extensive treaty and using it for the benefit of the Federation ( The Power of Paragraphs , Season 3). In contrast, representatives of other cultures fail to integrate into human or federation culture. Examples are K'Ehleyr, Sela and Worf's brother Kurn. The latter, for example, as an exchange officer on board the Enterprise, does not master the rules of behavior - in contrast to the Riker who is deployed on Kurn's spaceship at the same time ( The Exchange Officer , Season 2). For these reasons, the series has been credited with constructing a hierarchy of cultures with federation culture at the top. The series thus reflects the hegemonic structures of US society.

In his book The Politics of Star Trek (2015), the American political scientist George A. Gonzalez contradicted Bernardi's assessment that the series conveyed racism. The Next Generation is not racist per se, but rather tends to portray the underdeveloped world as inhabited by corrupt, violent regimes. Gonzalez compares the Klingons with Arabs or the Klingon Empire with the Middle East , the Cardassians with Latin Americans and the Romulans with East Asians . Bernardi misunderstood that the series puts the politics of these developing regions in a negative light as a general anti-black stance.

In response to Bernardi's interpretation of the possible influences of neoconservatism, the French scientist Mehdi Achouche responded in an essay on multiculturalism in 2018 that the Borg in the series were equated with an even greater conservative ideal. More useful is the view that TNG offers a middle ground between non-contradicting models of integration , that adaptation is necessary, but does not necessarily result in the disappearance of all cultural and individual peculiarities and differences.

Looking at the two-parter Captured in the 19th Century (Seasons 5 and 6), it was emphasized that the dark-skinned Guinan was treated like a white woman in the segregated America of the late 19th century because she attended a literary salon because of her Skin color is not discriminated against.

The non-human species in the series that are culturally more advanced than humans are whites. Non- white characters are underrepresented: The Asian characters Keiko Ishikawa and Alyssa Ogawa only appear in relatively few episodes, Hispanics do not appear at all. The series thus contradicts its claim to show the future of all humanity.

In summary, the series was denied the emancipatory stance intended by Raumschiff Enterprise in relation to the hegemonic structures of US society; for this it was characterized as a document of contemporary US ideology .

Book author Michael C. Pounds interpreted that non-white figures, in contrast to the white ones, are reduced to the level of servants and repeatedly involved in only a narrow range of activities. Similar to other critics, he took the view that La Forge was a "glorified mechanic," a type of worker associated more with physical than intellectual work. Book reviewer McMullen disagreed and pointed out the numerous decisive situations in which La Forge shines with his ideas. With reference to the friendly respect he is shown by other crew members, she also denied Pounds' opinion that La Forge was a "pitiful figure" just because his best friend with Data, an android.


Data was originally conceived as a "walking library" and an android searching for its creator . Roddenberry's idea of ​​Data was based on the android "Questor" in the pilot he devised, The Questor Tapes . This was first broadcast in 1974 without the planned television series of the same name being filmed. One of the scriptwriters' intentions was to use data to explore the meaning of humanity . Season 2 and 3 screenwriter Melinda Snodgrass used Data as a child and thus as a person allowed to learn from their mistakes. Snodgrass described the holodeck character Sherlock Holmes, played by Data, as a catalyst for his search for the meaning of humanity. In his efforts to assimilate to humans, Data is similar to the wooden puppet Pinocchio . This comparison is especially true of the early seasons, where he depicts a harmless, innocent character often used as a comic relief . In later seasons he moves away from this characterization and is increasingly part of darker and more ambiguous stories, including the episode Radioaktiv (Season 7), in which he unintentionally radioactively contaminated a village of a pre-industrial society . In other interpretations, Data has been compared to Frankenstein , Tin Man , C-3PO and Charlie Chaplin .

Scientific research investigated the question of the reasons for data, determined in statistical surveys, high popularity among the viewers. One possible reason given was that the viewer should feel instead of data instead of data due to the lack of an emotional reaction, which involves the viewer in a special way. Several scholars, including Robert Alexy (see also: Who Owns Data? ) And Henry Jenkins , examined the question of the extent to which data has emotions and whether it has human rights .


In the early stages of production of the series, screenwriters David Gerrold and Herbert Wright developed the screenplay Blood and Fire , which served as an allegory on AIDS and gay male rights . Among other things because of Berman's opinion not to want to show the homosexual characters contained in it in the afternoon program, and after several revisions, the plan was discarded to film it as an episode of the series. But it was later used in the fan fiction series Star Trek: Phase II . The episode Odan, the Special Envoy (Season 4) took up the topic of sexual orientation again. Created as a story about the nature of love, it was understood as a message to accept the rights of homosexuals. After the episode was first broadcast, the production staff received numerous postal requests from homosexual activists to include a same-sex character in the plot. The episode Verbotene Liebe (Season 5), which serves as a metaphor for intolerance that homosexuals are exposed to, and in which Riker establishes a love affair with an individual of an androgynous species, was also inspired by these reactions . Both episodes were discussed lively in scientific publications. Lee E. Heller, for example, came to the conclusion in her often-cited essay that they conveyed the message of reasserting traditional heterosexual relationships.

Other aspects

The relationship between Picard and Q was interpreted as homoerotic , for example because of Q's appearance in Picard's bed in prison in the past (season 4), and therefore a topic of slash fiction . Regardless of this interpretation, Q was interpreted in a mythological context: In view of his almost unlimited ability to change reality and his very human appearance, he shows similarities to the Olympian gods .

Economic and pop cultural impact

The series' extremely high ratings proved that syndicated premier television series can compete with network series, and resulted in several other television series being produced for syndicated premiering in the hope of similar success. In addition to Deep Space Nine, these include the series War of the Worlds (1988–90), Baywatch - The Lifeguards of Malibu (1989–2001, syndicated from 1991), The Untouchables (1993–94), Time Trax - Back to the Future (1992 -94), Babylon 5 (1993-98), RoboCop (1994-95), Hercules (1995-99) and Xena - Die Kriegerprinzessin (1995-2001). The business model used by Paramount for the television marketing of The Next Generation developed into a standard in the US television landscape and contributed to the weakening of the established networks. The commercial success was one of the decisive factors behind the emergence of Paramount's own network, United Paramount Network , which went into operation in January 1995 with the Star Trek pilot film : Voyager .

The New York Times judged Paramount's strategy of discontinuing the series in favor of its adaptations in the form of feature films and other television series, in 1994 as representative of how popular culture is sliced, diced, packaged and sold by the entertainment industry "nowadays." , split, packaged and sold ”). The online edition of Time Magazine certified the series in 2012 that it had made “ nerd culture mainstream ” for the first time , mainly because of the high number of viewers .

The double Borg episode The Best of Both Worlds (first broadcast in 1990) and the cliffhanger at the end of the first part, which left the fate of Picard and the Enterprise open over the summer, played a major role in the series’s popularity increase in the United States . The call of the Borg to the Enterprise crew, not to resist, was both in English ( "Resistance is futile.") And in German ( "Resistance is futile.") At a household word in the language.

When the series began to be broadcast on television in 1990, there was a Star Trek boom in German-speaking countries , through which the fandom grew significantly and within the framework of which Star Trek was commercialized with the sale of countless merchandising products . The takeover of the broadcast by the self-proclaimed “ Star Trek channel” Sat.1 accelerated this enthusiasm. A survey carried out around the year 2000 among around 800 members of the official Star Trek fan club showed that 62 percent of those questioned had only discovered a deeper interest in Star Trek through The Next Century and that the series for them was the most popular of Star Trek -Tv series is.

Pointless in Space is a 12-part film series created by fans from Siegen , which mainly spread on the Internet and of which eleven parts parody The Next Century . The series, created from 1994 to 1996, is a fandub , which means that existing film material - in this case from the television series - has been given a new soundtrack . The dubbing voices are spoken in the Siegerland dialect . The conversations, which are strongly influenced by vulgar language , are mainly about violence, sex, drunkenness and drugs, with which the political correctness of the television series and its characters is satirized (→ main article: Sinnlos im Raum , see also: Star Trek Fan Fiction , Star Trek parodies and persiflage ) .

The 180 centimeter long model of the Enterprise-D was auctioned off at Christie's in 2006 for $ 576,000. After the bridge of the Enterprise had been destroyed as planned during the filming of the movie Meetings of the Generations , Paramount had a replica built true to the original for a traveling exhibition that also stopped in Germany in 1998 . A Californian bought the long-standing and shabby copy free of charge in 2012 and ran a crowdfunding campaign to restore the bridge and then make it accessible to visitors for entertainment and educational purposes; the campaign raised over $ 68,000. The Chinese game developer company Netdragon Websoft had the building of its corporate headquarters built on the model of the Enterprise-E. The six-story, approximately 260-meter-long building is located in the city of Changle , cost US $ 97 million and opened in 2014 after four years of construction.

In the pop culture of the 1980s, Captain Picard achieved a great role model character, mainly because of his strength in solving difficult decisions. An information center based on the model of the ship's bridge was built at the headquarters of the US Army's Security Headquarters in Virginia , where General Keith B. Alexander received delegates and other official guests. An officer responsible for tours of such visitors was quoted as saying that “everyone” wanted to take a seat in the leather captain's chair in order to have passed himself off as Jean-Luc Picard at least once.

Patrick Stewart's star on the Hollywood Walk of Fame

Patrick Stewart's notoriety increased significantly through his role as Picard. In a 1992 survey of readers of the TV Guide magazine , Stewart was voted "Most Desirable Man on TV". In the first half of the 1990s, he placed in other attractiveness rankings, in 1995 in those of the US magazines Playgirl and People . Stewart starred in internationally successful cinema productions such as X-Men and received several film awards. In 1996 he was honored with a star on the Hollywood Walk of Fame , in 2001 with the ennobling to Officer of the Order of the British Empire by Elizabeth II. However, his fame as a Star Trek protagonist also represented an obstacle for him at least once. when a Hollywood director turned him down to cast a role for that reason.

In the episode Again Q (Season 3), Picard reacts to a difficult situation for him by covering a large part of his face with his open hand. The English term “ Facepalm ” is based on this scene and is used in Internet jargon to express feelings of foreign shame and anger at other people. The emoticon "m (" , for example, is used to communicate the gesture in writing .

Other members of the cast and staff also worked in successful productions outside of Star Trek after the series ended . This includes Ronald D. Moore , who had significant creative responsibility in the production of the television series Battlestar Galactica .

The series was, for example in a 1990 article in the New York Times, as a leader in the production of special and visual effects for television. The holodeck has become a model for researchers in the fields of virtual reality and computer graphics . As such, they also discussed it at SIGGRAPH conferences. The computerized retrieval of music inspired the lead Apple developer Steve Perlman to come up with the idea for the QuickTime software .

Adaptations for Star Trek television series and films

TV Shows

Star Trek: Deep Space Nine was produced in seven seasons with 176 episodes from 1992 to 1999 and is a spin-off of The Next Century . A starting point for the series is the end of the Cardassian occupation over the Bajoran population. The space station Deep Space Nine is run jointly by Starfleet and Bajorans, also to ensure political stability. In essential parts of the series is about a conflict between the Federation and the shape-shifting Dominion Empire, in the course of which it comes to an interstellar war. Conceivedfrom the beginning as darker and more conflictual than The Next Century , the thematic focus of the series, in contrast to the previous Star Trek productions, was on religion , war and - mostly in the context of Ferengi, which is even more central here - money. This was due Ira Steven Behr as showrunner on who deals with his work as a writer and producer for the third season of The Next dissatisfied showed partly due to low-conflict action. The main actors include Colm Meaney as Chief O'Brien and - from the fourth season - Michael Dorn as Worf, both of whom have played thesame charactersin The Next Century .

The series Star Trek: Raumschiff Voyager is a sequel to The Next Century and was produced from 1994 to 2001 in seven seasons with 172 episodes. She plays on the eponymous spaceship, which is much smaller than the Enterprise, which at the start of the series is moved to an area of ​​the Milky Way 70,000 light years away from Earth and is confronted with numerous dangers and alien, but also well-known species on its return flight. The plot adapts various elements introduced in The Next Century . This includes encounters with the Borg, which are the focus here with more than 20 episodes. Jeri Taylor and Brannon Braga , who previously worked for The Next Century , had significant creative responsibility . Ronald D. Moore , who had designed several episodes centered on the Klingons for Deep Space Nine , left the scriptwriting team after a few weeks and sharply criticized Spaceship Voyager as "very superficial" and a "very empty series that the viewers don't really see responds ".

Star Trek: Enterprise was produced following Voyager from 2001 to 2005. The series takes place on the prototypical spaceship Enterprise NX-01 and takes place in the 22nd century, about 100 years before the spaceship Enterprise , thusforminga prequel to the previously produced Star Trek television series. In addition to the exploration of space, it is also about the establishment of the federation. After four seasons, the series was discontinued mainly because the audience was too low. The final episode These are the adventures takes place as part of the plot of the TNG episode The Pegasus Project (Season 7): On the Enterprise-D, Riker uses a holodeck program of events that occurred during the last voyage of the Enterprise NX-01 to decide whether he should inform Picard of Pressman's once-in-a-half death of 71 crew members.

In the three series, some of the cast of The Next Century resumed their roles as guest and supporting actors. These include Patrick Stewart as Captain Picard in the pilot of Deep Space Nine , John de Lancie as Q in Deep Space Nine and Voyager , Dwight Schultz as Lieutenant Reginald Barclay in Voyager, and Jonathan Frakes as Thomas Riker in Deep Space Nine and as William T. Riker in Voyager and Enterprise .

The three television series did not, on average, have as high an audience as The Next Century . Their first broadcasts began in the USA with around 12 million viewers ( Deep Space Nine , Enterprise ) and 8 million viewers (Voyager) ; but they all ended in the low single-digit million range. Berman, who had been the main creative producer of Star Trek since 1987 , was fired from Paramount in 2005 because of its waning success.

Star Trek: Picard has been released since 2020. Patrick Stewart can be seen again as Picard. The series takes place a few decades after The Next Century .

Screen adaptations

Cinema films and box office results
Box office income (US $ million)
German title Budget
(US $ million)
United States
1994 2371, 2293 Generations meet 35 75 approx. 14.7 118
1996 2373, 2063 The first contact 45 92 approx. 19.1 146
1998 2375 The riot 58 70 00015.0 112
2002 2379 Nemesis 60 43 approx. 11.8 067
Brent Spiner as Data on the set of Nemesis

Four films based on the series were made. In it, the seven main actors of the last three seasons continued their roles - sometimes only in supporting roles; Other characters from the Star Trek universe that have already been introduced were also part of the plot. Various storylines from the series continued in the films, most notably Data's quest for more emotionality.

Star Trek: Gathering of Generations is the seventh Star Trek film and is about the scientist Soran, who wants to get to the Nexus, a place of perfect happiness, but accepts the annihilation of millions of planetary inhabitants in order to carry out his plans. In an effort by the Enterprise crew to stop Soran from doing so, the ship is so badly damaged that the propulsion section explodes and the saucer section is forced to make an emergency landing on a planet. Data can use the chip to experience emotions. One of the scriptwriters' motives was to use the meeting of Picard and Kirk in the Nexusto addressthe issue of dying . Filming of the film began just days after filming on the television series ended. The response from the audience and the critics was mixed, according to the latter, the film was not ableto inspire an audience inexperienced Star Trek . About 1.8 million viewers saw the film in Germany's cinemas.

Star Trek: The first contact builds - also by means of flashbacks - on Picard's assimilation in the episodes In the Hands of the Borg and Target Earth . With the newly commissioned spacecraft Enterprise NCC-1701-E , the crew follows a Borg cube on its journey through time to the year 2063, in which the Borg intend topreventthe scientist Zefram Cochrane from launching his spacecraft into space. They want to prevent him from making the first contact of mankind with aliens and therefore attract resistance from the Enterprise crew. The film introduces a Borg queen into the Star Trek universe that Data tries to win over to her side. The first contact , directed by Jonathan Frakes, is the most commercially successful of the four screen adaptations; in Germany, the film had around 2.5 million moviegoers.

Star Trek: The Uprising , also staged by Frakes, is about the planet Ba'ku , whose shining rings have a healing and rejuvenating effect on its inhabitants. For this reason, the so far terminally ill Son'a , supported by a Starfleet Admiral ,want to makethe radiation usable for themselves and relocate the Ba'ku against their will. However, Picard, protecting the principles of the Federation, and his senior officers want to prevent this, which ultimately succeeds them. Many critics complained that the film looked more like an overly long TV episode than an expensive movie. The film was seen in German cinemas by at least 2.3 million people.

Star Trek: Nemesis is about Shinzon , a clone of Picard who was created by the Romulans to one day replace Picard. With his spaceship, which is equipped with a deadly, overpowering weapon, Shinzon wants to attack the earth, which the Enterprise crew tries to prevent. In the end, she succeeds in doing this, although Data, preventing the destruction of the Enterprise, kills himself. With grossing US $ 43 million in the US, it was the least financially successful Star Trek movieto date. Troi actress Marina Sirtis blameddirector Stuart Baird for the failure by accusing him of neglecting the series characters. In Germany, the film only had around 1.3 million admissions, significantly fewer than its three predecessors.

Patrick Stewart's fee rose from $ 5 million for First Contact to $ 14 million for Nemesis .

Other adaptations licensed by Paramount (selection)



The US publisher Pocket Books , an imprint of Simon & Schuster , adapted the television series beginning in 1987 for novels that are licensed by Paramount Pictures . Since then, at least 120 novels have appeared in the Star Trek: The Next Generation series; that's at least 50 fewer than in the main series, in which novels based on Kirk's crew from Starship Enterprise appeared. In the 1990s there were mostly seven titles published each year. Initially, only novels with a completed plot appeared; From the mid-1990s, multi-part series were also added. Five novels are retellings of episodes from the television series, which include the pilot and the final double episode. Some of the stories told in the novels emerged from script proposals.

From 1989 - and thus before the German first broadcasting - until 2004, Heyne Verlag published most of the German first publications; until 1995 under the main series title Star Trek: The Next Generation , from 1996 under the English original title. In Germany Heyne achieved sales of 40,000 copies per volume in some cases. VGS Verlag published six volumes for the first time between 1995 and 1997. All of the volumes published in English up to 1995 were also published in German; among those who followed up to 2004 at least 30 remained unpublished in German. The publishing house Cross Cult continued the German first publications in 2009. Heyne publishes reprints and new editions.

Pocket Books published 14 novels, which are aimed at young readers, have a smaller scope and are, among other things, centered on the youthful experiences of the main characters; Heyne published ten of them in German under the series title Starfleet Kadetten (German first publication) and Starfleet Academy (higher editions). The novel versions of the four films were also published as novels for young people - in addition to longer, non-age-specific novels .

Some novels and novel miniseries are crossovers with other main Star Trek novel series. In the four-part miniseries Invasion! For example, it is about the confrontation of the spaceship and / or space station crews from the Star Trek television series that had been published up to then with the threatening furies. The crossover miniseries The Dominion War also tells of the Enterprise-E's role in the Federation-Dominion conflict that was introduced in Deep Space Nine . The six-part mini-series Double Helix is about a deadly disease that occurs among Cardassians, Romulans and other species, the cause of which is found to be the use of a bio- weapon. The so far at least seven-part novel miniseries The Lost Era , which has not yet been published in German, connects Spaceship Enterprise with The Next Century by telling of the time between the year 2293, when the generations meet , and the pilot film. The six-part mini-series Slings and Arrows takes place in the period between the commissioning of the Enterprise-E and the presence of the film The First Contact, which was settled in 2373 . It remained just as unpublished in German as the nine-part miniseries A Time to ... , published in 2004 , which chronicles the events surrounding the Enterprise E-Crew in the one-year period (2378/79) before the start of the plot of Nemesis .

Star Trek: Stargazer is a six-part series of novels that tells of Picard's time as commander of the USS Stargazer and thus forms a prequel to the television series. It is by Michael Jan Friedman , was published in English from 2002 to 2004 and has not yet appeared in German. The same theme grabbed Friedman previously in the novels The Valiant and Reunion (German: Reunited ), which - like many other Star Trek 1991 on the bestseller list - novels New York Times was placed.

Star Trek: New Frontier , released in 1997, is the first non-televised Star Trek series. Some characters who appeared in guest roles in The Next Century were adapted as main characters for this; this also includes Elizabeth Shelby from the two-part play In the Hands of the Borg and Target Earth .

Novels that after Nemesis act

Star Trek: Titan is a series of novels that has been appearing in English since 2005 and also in German since 2008. It is an offshoot of The Next Century or a spin-off of the movie Nemesis . The novel series adapts the star fleet spaceship USS Titan, mentioned for the first time in Nemesis , over which Riker, now in the rank of captain, receives command, and follows the end of the film. Initially used for peace negotiations between the Federation and Romulans, the crew under Captain Riker mainly goes on research missions. Deanna Troi is one of the 350-strong crew and the main characters. The series was used by the publisher at Pocket Books to emphasize the goals originally pursued by Starfleet - consisting of peaceful exploration, diplomacy and broadening of knowledge.

Also immediately following the film Nemesis , the novel Tod im Winter is the first of several novels in the series The Next Generation that narrate the series beyond the film, which collectively also relaunch , sequel or “Second Decade” (German for the “second decade”). The Enterprise-E remains the main setting for these novels. After the departure of Data, Riker and Troi in Nemesis or by Titan , Picard as captain, La Forge as chief engineer and Dr. Crusher as Senior Medic; Worf becomes first officer. The remaining posts will be filled by new, sometimes changing figures.

Beginning with the second novel Resistance , the Federation confronts the Borg again. In the attack of a Borg cube on the solar system, which is portrayed in the novel Heroic Death, Admiral Janeway, once Voyager in command, is first assimilated by the Borg before she is killed as the Borg Queen. In that novel it also turns out that the Borg have evolved and are now absorbing.

Star Trek: Destiny is atrilogy of novels writtenby David Mack (published in English in 2008, in German in 2010), which is a crossover of The Next Generation mainly with the Deep Space Nine and Titan series . It is about a devastating attack by the Borg on the Federation and numerous other worlds in the Alpha and Beta Quadrants in 2381. The Borg kill over 60 billion individuals. In the aftermath of this extermination campaign and to defend against the Borg, the Romulans and five other powers in the quadrants form the so-called Typhon Pact, which is also an opposition to the Federation. The crossover novel series Star Trek: Typhon Pact (8 novels, English 2010–2012, German 2013–2014) and Star Trek: The Fall (5 novels, English 2013, German from 2015)tell of the time in which the pact existed) and other novels in the TNG series. The cold calculation novel trilogy includes the resurrection of Data.

Comics, graphic novels and mangas

Comics and graphic novels adapting the television series were published in the United States by DC Comics , Marvel Comics , Wildstorm Comics , IDW Publishing . Compared to spaceship enterprise adaptations, there are significantly fewer. In contrast to the novels, only a relatively small part of them was published in German; German publishers often combined the parts of miniseries that were originally published in English in individual issues into one volume.

In 1988, DC Comics publisher initially published a monthly series of six issues written by Mike Carlin , before starting a new monthly series in 1989, mainly written by Michael Jan Friedman , which has comprised 80 issues since it was discontinued in 1996. The first eight of the 86 issues appeared in 1990/91, combined in pairs, in four editions in German - accompanying the ZDF first broadcast - under the title Raumschiff Enterprise - The Next Century in Norbert Hethke Verlag . In 1996 Condor Verlag published another six issues in German. The Carlsen publishing house published the story originally appeared in four DC-stitching, translated The universe of Borg that the episodes in the hands of the Borg and Earth Assault retold. In addition, DC Comics published at least six annuals and a few miniseries, one of which was published in German in 1995 by Carlsen (The Return to Modala) and Feest Comics (Shadowheart) . In 1996 Feest also published the band Approaches , created as a crossover with Raumschiff Enterprise .

The comic series Star Trek: Unlimited was published by Marvel from 1996 to 1998 , which contains ten stories about the crews around Kirk and Picard. One of Marvel's One Shots also includes Second Contact (1998), which is a crossover between The Next Generation and Marvel's X-Men comic series ; an overlap between the two series appeared in the same year by Pocket Books with the novel Planet X . Another link between The Next Generation and a fictional universe outside of Star Trek was with the eight-part graphic novel miniseries Assimilation² , published by IDW Publishing in 2012 , in which Picard alongside the eleventh doctor from the British science fiction television series Doctor Who fights against an alliance of Cybermen and Borg.

The comics and graphic novels published by Wildstorm in 2000/01 were also published in German by Dino Comics in the same years ; The German volumes are Maybe also dream , Im Bann des Wolfs , Murderous Shadows , Die Gorn Crisis , Forgiveness and - as a crossover with other Star Trek series - missions . The publisher Tokyopop in 2009 published a written by American authors Manga band with four stories.

The German publisher Cross Cult , which since 2009 published by IDW Publishing Star Trek comic books published, appeared on the next The Century Comics centered so far only the band gateway to the Apocalypse and as a prequel to the eleventh Star Trek -Kinofilm -scale comic Countdown (as of April 17, 2015).

Other literary adaptations

Pocket Books also published several anthology volumes containing short stories. The following anthologies have not yet been published in German. The Sky's the Limit was released in 2007 with 14 short stories , mostly set before Nemesis . The ten volume anthology series Strange New Worlds , which contains 209 Star Trek- related short stories, contains at least 51 centered on The Next Century . Further anthologies with short stories focused on the Picard crew are Enterprise Logs (published in 1999), The Amazing Stories (2002) and Tales of the Dominion War (2004).

As an offshoot of the science fiction magazine Starlog , the magazine The Official Star Trek: The Next Generation Magazine was published in 30 issues in the USA from 1987 to 1994 , which contains interviews, production reports and plot summaries. From 1991 to 1995 a poster magazine for the series, each with a DIN A1 poster , appeared in 93 editions in the United Kingdom, mostly twice a month .

A large number of non-fiction books appeared on the series . Those translated into German include the following:

  • Star Trek: The Technology of the USS Enterprise. The official manual ( Heel Verlag , 1994) is the German version of the book Star Trek: The Next Generation Technical Manual published by Pocket Books in 1991 . It also uses diagrams, schematic drawings and floor plans to explain the construction of the Enterprise-D, its warp drive and the other subsystems. The book comes from the series' two scientific and technical consultants, Rick Sternbach and Michael Okuda , and, motivated by audience inquiries , emerged from their internal reference to the technology of the Enterprise intended for the scriptwriters.
  • Star Trek: The Next Generation - Blueprints (Heel 2000) by Rick Sternbach is the German edition of the English book of the same name from 1996 and offers large-format construction drawings of the Enterprise-D.
  • Star Trek: The Next Generation: Picard's Principle - Management by Trek ( Heyne Verlag , 1996) is the German-language edition of the book Make It So - Leadership Lessons from Star Trek: The Next Generation (Gallery Books, 1996) and gives instructions for management and management tasks using the example of Captain Picard.
  • Phil Farrand wrote two volumes called Cap'n Beckmesser's Guide to Star Trek: The Next Generation (Heyne 1995 and 1998), which explain a variety of errors in the series, for example inconsistencies in the plot.
  • Star Trek: The Next Generation 365 is a 2012 volume by Paula M. Block with explanations and photos about the genesis of the series.

Computer games

Following Star Trek - computer games are primarily based on The Next Generation :

  • The Transinium Challenge is a video game for Macintosh from the publisher Simon & Schuster Interactive from 1989, which takes place between the first two seasons and in which the Enterprise investigates a planetary system and the connections of the mineral Transinium to a terrorist attack.
  • Future's Past is an adventure - strategy game for Super Nintendo in 1994, which - with minor variations - titled Echoes from the Past for Sega Genesis released. It is about the Enterprise's search for an artifact and the relationship of the Romulans and the Chordak species to the item.
  • A Final Unity is a 1995 adventure game for DOS in which the Enterprise tries to help Garidian refugees who are persecuted by their government. It appeared both on Spectrum HoloByte and - as part of the so-called Fun Compilation No. 1 - with Software 2000 .
  • Klingon Honor Guard is a first-person shooter game by MicroProse for Windows 95 from 1998, in which the player, in the role of a Klingon, has to prevent plans to assassinate the Klingon Chancellor Gowron.
  • Birth of the Federation is a turn-based global strategy game from the publisher Hasbro Interactive for Windows from 1999. Its aim is to create the most powerful empire in the galaxy with the Klingon Empire or the Ferengi, for example.
  • Conquest Online is an online strategy game by Activision from 2000 for Windows 95 and 98, in which the player takes on the role of a member of the Q continuum and fights for power over planets.

In addition, the television series was adapted for computer games together with the other, in the 24th century acting offshoots Deep Space Nine and Voyager . Many of them, including Armada , Armada 2 and Invasion , contain the Borg as an essential element of the plot or as an important enemy. In many games, the actors of the television series characters also gave voice to the characters.



English speaking

  • Jeff Ayers: Voyages of Imagination. The Star Trek Fiction Companion , Pocket Books, New York 2006, ISBN 978-1-4165-0349-1
  • Michèle and Duncan Barrett: Star Trek. The Human Frontier . Polity Press, Cambridge 2001, ISBN 0-7456-2491-X
  • Daniel Leonard Bernardi: Star Trek and History - Race-ing Toward a White Future . Rutgers University Press, New Brunswick 1998, 2nd printing 1999, ISBN 0-8135-2466-0
  • Lincoln Geraghty: American Science Fiction Film and Television . Berg Publishers, New York 2009, ISBN 978-1-84520-796-0
  • George A. Gonzalez: The Politics of Star Trek: Justice, War, and the Future , Palgrave Macmillan, New York 2015, ISBN 978-1-137-54940-2
  • Chris Gregory: Star Trek: Parallel Narratives , St. Martin's Press, New York 2000, ISBN 0-333-74489-6
  • Jan Johnson-Smith: American Science Fiction TV: Star Trek, Stargate and Beyond , Wesleyan University Press, Middletown 2005, ISBN 0-8195-6738-8
  • Lawrence Krauss : The Physics of Star Trek . Basic Books, New York City 2007, ISBN 978-0-465-00204-7
  • Larry Nemecek: The Star Trek The Next Generation Companion . Pocket Books, New York, Revised Edition 1995, ISBN 0-671-88340-2
  • Roberta E. Pearson, Máire M. Davies: Star Trek and American Television , University of California Press , Berkeley, Los Angeles, London 2014, ISBN 978-0-520-27622-2
  • Michael C. Pounds: Race in Space. The Representation of Ethnicity in Star Trek and Star Trek: The Next Generation , Scarecrow Press, Lanham 1999, ISBN 0-8108-3322-0 (dissertation)
  • Adam Roberts: Science Fiction ( The New Critical Idiom Series ) Routledge, London 2000, ISBN 0-203-45465-0
  • Brian J. Robb: A Brief Guide to Star Trek. The Essential History of the classic TV Series and the movies , Constable & Robinson, London 2012, ISBN 978-1-84901-514-1

German speaking

Other works


Scientific essays

  • Holger Götz: Speciesism as a metaphor for racism in The Next Generation . In: Rogotzki et al. 2012, Volume 1, pp. 244-267
  • Brian L. Ott, Eric Aoki: Popular Imagination and Identity Politics: Reading the Future in Star Trek: Next Generation , in: Western Journal of Communication, Vol. 65, No. 4 (Fall 2001), pp. 392-415
  • Gregory Peterson: Religion and Science in Star Trek: The Next Generation. God, Q, and Evolutionary Eschatology on the Final Frontier . In: Jennifer E. Porter et al. Darcee L. McLaren (Ed.): Star Trek and Sacred Ground. Explorations of Star Trek, Religion, and American Culture . State University of New York Press, Albany 1999, ISBN 0-7914-4334-5 , pp. 61-76
  • Leah R. Vande Berg: Liminality. Worf as Metonymic Signifier of Racial, Cultural, and National Differences , in: Harrison et al. 1996, pp. 51-68

Cinefantastique posts

  • No. 3, March 1989 (19th vol.), Pp. 24-35, 59-61
  • No. 2, Sep. 1990 (21st vol.), Pp. 24-51, 58, 59
  • No. 2, Oct. 1991 (22nd year), pp. 16-51, 61
  • Double no. 2/3, Oct. 1992 (23rd vol.), Pp. 32-105, 124, 125
  • Double no. 3/4, Oct. 1993 (24th year), pp. 16-87, 124
  • Double no. 6/1, Dec. 1994 (vol. 25/26), pp. 44-93, 124, 125

Other magazine, newspaper and online articles


  • Victor Grech: Star Trek's Picard: Humanity's Conscience , in: The New York Review of Science Fiction No. 6/2013 (25th year), pp. 20-23
  • Victoria B. Korzeniowska: Engaging with Gender: Star Trek's 'Next Generation' , in: Journal of Gender Studies No. 1/1996 (5th year), pp. 19-25
  • Robin Roberts: Sexual Generations - "Star Trek: The Next Generation" and Gender , University of Illinois Press, Urbana 1999, ISBN 978-0-252-06810-2
  • Alan N. Shapiro: Star Trek: Technologies of Disappearance , Avinus Verlag, Berlin 2004, ISBN 3-930064-16-2
  • Nadja Sennewald: Alien Gender. The staging of gender in science fiction series , transcript Verlag , Bielefeld 2007, ISBN 978-3-89942-805-6
  • JP Telotte (Ed.): The Essential Science Fiction Television Reader . University Press of Kentucky, Lexington 2008, ISBN 978-0-8131-7296-5


  • Ronald R. Beck (Director): Journey's End - The Saga of Star Trek: The Next Generation , US premiere on May 21, 1994 - Background information on the production of the series
  • William Shatner (Director): William Shatner Presents: Chaos on the Bridge , Canadian premiere on August 25, 2014 - Documentation about the making of seasons 1 to 3

Web links

Commons : Star Trek: The Next Generation  - Collection of images, videos and audio files

Individual evidence

  1. cf. Ep. 64: Data's descendant (season 3)
  2. cf. Ep. 77: The Unequal Brothers (Season 4)
  3. cf. Ep. 142: The Moment of Knowledge - Part 1 (Season 6)
  4. a b cf. Ep. 152/153: Attack of the Borg (Seasons 6 and 7)
  5. cf. Ep. 146: The Missing Fragment (Season 6)
  6. Krauss 2007, p. 145
  7. cf. Ep. 42: Time jump with Q (season 2)
  8. cf. Ep. 123: I'm Hugh (Season 5)
  9. cf. Ep. 9: The Battle of Maxia (Season 1)
  10. cf. Ep. 72: The Ladies Troi (Season 3)
  11. cf. Ep. 56: The Barzan Trade (Season 3)
  12. cf. Ep. 26: The Neutral Zone (Season 1)
  13. cf. Ep. 55: Walking a Fine Line (Season 3)
  14. cf. Ep. 34: The Exchange Officer (Season 2)
  15. cf. Ep. 65: The Sins of the Father (Season 3)
  16. cf. Ep. 100 and 101: The battle for the Klingon Empire (seasons 4 and 5)
  17. cf. Ep. 86: The Vengeance Campaign (Season 4)
  18. a b cf. Ep. 176: The Return of Ro Laren (Season 7)
  19. cf. Ep. 103: Ensign Ro (Season 5)
  20. cf. Ep. 52: The god of the Mintakans (season 3)
  21. cf. Ep. 89: First Contact (Season 4)
  22. cf. Season 1, Episode 6: The Traveler
  23. ^ Judith and Garfield Reeves-Stevens: Star Trek: Deep Space Nine. The realization of an idea . From the American by Ralph Sander . Heyne, Munich 1996, ISBN 3-453-10982-1 , p. 43 ff.
  24. Pounds 1999, p. 67 f.
  25. Robb 2012, p. 126 ff.
  26. Nemecek 1995, p. 1 ff.
  27. Robb 2012, p. 137
  28. Robb 2012, p. 133 ff.
  29. Rauscher 2003, p. 169
  30. a b c Mark Dawidziak: Behind the Scenes of “The Next Generation” , in: Cinefantastique No. 3/1989 (19th year), pp. 24-30
  31. Robb 2012, p. 136 ff.
  32. Quote p. 25: “creative exodus”
  33. Mark A. Altman: Rick Berman, Trek's New Great Bird , in: Cinefantastique No. 2 and 3/1992 (23rd vol.), Pp. 36-37
  34. Robb 2012, p. 139
  35. Nemecek 1995, p. 94
  36. Cinefantastique No. 2/1990 (21st year), p. 44
  37. Mark A. Altman: Michael Piller, Scriptmaster , in: Cinefantastique No. 2/1991, p. 23, quotation M. Piller: “Those people who come from off the ship must be catalysts for our people to get into their personal conflicts . ”
  38. a b Jeff Greenwald: Write for Star Trek , in: Wired No. 4.01, January 1996, accessed online January 1, 2014
  39. Dale Kutzera: Freelance Writers , in: Cinefantastique No. 6, 1 of 1994 (25/26 vol.), P. 81
  40. Mark A. Altman: The Board and the Art of the Pitch , in: Cinefantastique No. 3, 4 of 1993 (24th year), p. 52
  41. Mark A. Altman: Rene Echevarria, Waiter cum Writer , in: Cinefantastique No. 3, 4 of 1993 (24th year), pp. 68-69
  42. ^ Leonard Mlodinow , in: IMDb, accessed on February 23, 2014
  43. Nemecek 1995, p. 120
  44. Cinefantastique No. 3, 4/1993, p. 30
  45. a b The family saga from Star Trek: The Next Generation . Documentary, season 4, German Blu-ray box (2013)
  46. ^ Sue Uram: Patrick Stewart at the Helm , in: Cinefantastique No. 2/1990 (21st vol.), Pp. 48-50
  47. Rauscher 2003, pp. 168 ff., 181
  48. a b Nemecek 1995, p. 86
  49. Nemecek 1995, p. 175
  50. Mark A. Altman: Chain of Command , in: Cinefantastique No. 3, 4/1993 (24th year), pp. 39-41
  51. HOW THE SOUL IS SOLD , in: The New York Times, May 28, 1995, accessed April 22, 2015
  52. Nemecek 1995, p. 185
  53. Cinefantastique No. 2, 3/1992, p. 86
  54. a b c d e Stardate Revisited: The Origin of Star Trek: The Next Generation . Documentary included in the bonus material of the German Blu-ray edition of the first season
  55. Nemecek 1995, pp. 11, 12, 41
  56. Nemecek 1995, p. 65
  57. Mark A. Altman: Building for the Future , in: Cinefantastique No. 2, 3/1992 (23rd year), pp. 84-85
  58. Cinefantastique No. 3, 4/1993, p. 84
  59. In conversation with the equipment department , documentary film, German Blu-ray box, season 4, released on Sep 19. 2013
  60. a b c Nemecek 1995, p. 99
  61. Nemecek 1995, p. 21
  62. Nemecek 1995, p. 25
  63. Nemecek 1995, p. 179
  64. Nemecek 1995, p. 149
  65. Malte Kirchner: DSi review: Star Trek: The Next Generation Season 1 on Blu-ray (HD) , in: German StarTrek Index ( ISSN  1437-3637 ) from July 31, 2012, accessed on October 9, 2013
  66. Jeff Kleist: Star Trek: The Next Generation, Season One (Blu-ray) , in:, accessed March 7, 2015
  67. Full cast and crew for "Raumschiff Enterprise - The next century" , in: IMDb , accessed on September 18, 2013
  68. a b c d e Glenn Campbell, Donna Trotter: Special Effects - The Next Generation . In: cinefex No. 37 (February 1989), pp. 4-21
  69. Nemecek 1995, p. 59
  70. Nemecek 1995, p. 11 f.
  71. a b Memory Alpha - Enterprise models
  72. Nemecek 1995, p. 147
  73. ^ Markus Heuger, Christoph Reuter: Future music? Science fiction soundtracks and ideas about future musical life: The Star Trek example , accessed on September 27, 2013. Originally published in: Bernd Enders, Joachim Stange-Elge (Ed.): Music in virtual space. Music and New Technology. Lectures and reports from the 4th international KlangArt Congress 1997 , Volume 3, Rasch, Osnabrück 2000, pp. 207–225
  74. Under tension! Season 2 technical update . Documentary, German Blu-ray box, season 2, released on December 6, 2012
  75. Nemecek 1995, p. 123
  76. ^ Sound Design of Star Trek , in:, circa 1997, accessed July 9, 2013
  77. a b "Star Trek: The Next Generation" appears on Blu-Ray , in: Focus online from August 29, 2012, accessed on April 29, 2015
  78. The Next Generation Blu-rays Launch in 2012 , in: (CBS Entertainment) on September 28, 2011, accessed on September 23, 2013
  79. Adam B. Vary: 'Star Trek: The Next Generation' season 1 coming to Blu-ray: Details on the release - EXCLUSIVE VIDEO , in: Entertainment Weekly of April 30, 2012, accessed on September 20, 2013
  80. Star Trek: The Next Generation 25th Anniversary Event , in: AMC Theaters website , accessed on April 25, 2015
  81. Randy Miller: Star Trek: The Next Generation - Season Four (Blu-ray) , in: DVD Talk of July 28, 2013, accessed on September 3, 2013
  82. Randy Miller: Star Trek: The Next Generation - Season Six (Blu-ray) , in: DVD Talk from June 17, 2014, accessed on July 23, 2014
  83. a b Sue Uram: Worf Unmasked! In: Cinefantastique , Vol. 22, No. 2, Oct. 1991, pp. 20-21
  84. Nemecek 1995, p. 54
  85. Gregory 2000, p. 48
  86. Nemecek 1995, p. 64
  87. Jump up ↑ Starship Enterprise - The Next Century. In: German synchronous index , accessed on December 21, 2012 .
  88. a b Spaceship Enterprise - The Next Century. In: German synchronous index , accessed on December 21, 2012 .
  89. Nemecek 1995, p. 252 f.
  90. Jump up ↑ Star Trek Generations. In: German synchronous index , accessed on May 10, 2015 . Star Trek - The first contact. In: German synchronous index , accessed on May 10, 2015 . Star Trek - The Uprising. In: German synchronous index , accessed on May 10, 2015 . Star Trek - Nemesis. In: German synchronous index , accessed on May 10, 2015 .

  91. a b Teitelbaum 1991
  92. a b Christoph Hauptmann: All good things come to an end. The last space flight of the USS Enterprise NCC-1701-D at Sat1 , in: Der Tagesspiegel from July 27, 1994, accessed online from GBI-Genios on February 6, 2015
  93. Hillenbrand and Höhl 2006, p. 131
  94. a b broadcast dates on Tele 5 , in:, accessed on February 11, 2015
  95. Pearson and Davies 2014, p. 48 ff.
  96. a b c Weinstein 1988
  97. ^ Judith and Garfield Reeves-Stevens: Star Trek: Deep Space Nine. The realization of an idea . From the American by Ralph Sander . Heyne, Munich 1996, ISBN 3-453-10982-1 , p. 49
  98. ^ A b Daniel Cerone: Action, Adventure, Aliens ... Ratings? : Syndication is going where the action was , in: Los Angeles Times, November 1, 1992, accessed May 9, 2015
  99. a b c d e Schmuckler 1994
  100. Robb 2012, p. 128
  101. a b The 25 most powerful TV shows of the past 25 years , in: The Week of October 24, 2012, accessed on May 9, 2015
  102. a b Cinefantastique No. 6, 1 from 1994 (25th and 26th vol.), P. 44
  103. Pearson and Davies 2014, p. 46
  104. Jim Rutenberg: Claiming 'Star Trek' , in: The New York Times, October 10, 2001, accessed May 9, 2015
  105. Höhl and Hillenbrand 2008, p. 115 ff.
  106. Publication dates determined by search query ( memento from April 9, 2015 in the Internet Archive ) at Tower Video on September 19, 2013
  107. Jump upStar Trek: The Next Generation on VideoDisc and subpages , in: Blam Entertainment Group, accessed May 9, 2015
  108. Entry in the LaserDisc Database, accessed on May 9, 2015
  109. ^ Entry in the OFDb , accessed on May 9, 2015
  110. CS Strowbridge: Blu-ray Sales: Star Trek's Next Generation Debut , in: The Numbers, August 7, 2012, accessed May 9, 2015
  111. Star Trek: TNG - Season 6 + 7 (Blu-ray) - appropriate high-quality German audio track - qualitatively appropriate German audio track , in: , accessed on May 9, 2015
  112. Star Trek: The Next Generation 25th Anniversary Event Hits Cinemas , in: NCM Fathom Events from June 6, 2012, accessed on May 19, 2018
  113. Star Trek: The Next Generation journeys to Canadian cinemas , in: FilmJournal International, July 12, 2012, accessed May 9, 2015
  114. TNG In-Theater Events Set For Australia, Canada , in:, June 26, 2012, accessed May 9, 2015
  115. "Star Trek: The Next Generation: A Celebration of Season 2" Event Hits US Movie Theaters ( Memento of the original from March 31, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , in: IGN Entertainment on Nov. 12, 2012, accessed May 9, 2015 @1@ 2Template: Webachiv / IABot /
  116. Scott Collura: Star Trek: The Next Generation's "The Best of Both Worlds" Coming to the Big Screen , in: IGN Entertainment, April 15, 2013, accessed May 9, 2015
  117. The Best Of Both Worlds Set For Canada, Too , in:, March 22, 2013, accessed May 9, 2015
  118. Netflix USA shows TNG in HD quality , in: German StarTrek Index from Aug. 24, 2015, accessed on Sep. 1. 2015
  119. "Star Trek": Netflix secures extensive rights , in: rtv from July 19, 2016, accessed on June 26, 2018
  120. a b Anke Kapeis: With pullovers in space , in: Die Zeit No. 42 of October 12, 1990, accessed on August 2, 2013
  121. quoted from Nemecek 1995, p. 22
  122. John J. O'Connor: TV Review; New 'Star Trek' Series Is Set in Post-Kirk Era , in: The New York Times, October 5, 1987, accessed August 30, 2013
  123. Gregory 2000, p. 47
  124. Gregory 2000, pp. 53-55
  125. McMillan 2015
  126. Robb 2012, p. 147
  127. McMillan 2012, original quote: “hokey or even dull”
  128. Marilynne S. Mason: Today's Problems Tomorrow , in: The Christian Science Monitor of March 2, 1993, accessed April 24, 2015, original quotations: “a bit too neat”, “the usual human messiness”
  129. Melinda Snodgrass: Boldly Going Nowhere? , in: Omni , December 1991, p. 52. Retrieved online March 7, 2015, citation: “stodgy, self-righteous Reagan-Bush New World Order”
  130. Cinefantastique No. 2/3 from 1992 (23rd year), p. 62, citations from Rick Berman: “nonsense”, “more cynical than the Kennedy Camelot years”
  131. Richards 1998, p. 23
  132. Richards 1998, p. 71
  133. a b Drew Fitzpatrick: The Best of Star Trek: The Next Generation - DVD Review , in: Cinefantastique online May 6, 2009, accessed November 15, 2013
  134. Richards 1998, p. 119
  135. Krauss 2007, p. 196
  136. Krauss 2007, p. 222 f.
  137. Scott Collura: Star Trek: The Next Generation - Season Two Blu-ray Review , in: IGN Entertainment online on Dec. 3, 2012, accessed on April 24, 2015
  138. Star Trek - The Next Generation: Mission Farpoint in the Lexicon of International FilmsTemplate: LdiF / Maintenance / Access used
  139. Oliver Rahayel: Star Trek - The First Contact , in: Filmdienst No. 26/1996, accessed on January 4, 2014 from the Munzinger archive using the online service of the Dresden City Libraries
  140. Höhl and Hillenbrand 2008, p. 121 ff.
  141. Höhl and Hillenbrand 2008, p. 117 ff.
  142. Höhl and Hillenbrand 2008, p. 146 ff.
  143. Primetime Emmy® Award Database , in:, accessed May 26, 2015
  144. Awards for "Raumschiff Enterprise - The next century" , in: IMDb , accessed on May 26, 2015
  145. TV Guide Names Top 50 Shows , in: CBS News, April 26, 2002, accessed August 28, 2015
  146. The 50 Greatest TV Shows of All Time. Star Trek: The Next Generation , in: Empire Online , circa 2008, accessed May 26, 2015
  147. 101 Best Written TV Series , in: Writers Guild of America , accessed May 19, 2018
  148. Stoppe 2014, p. 200, footnote 567
  149. Stoppe 2014, pp. 195 ff.
  150. Robb 2012, p. 145
  151. Sebastian Stoppe: "Tea, Earl Gray, hot." - Star Trek and the technological society , in: Jan A. Fuhse (Ed.): Technology and Society in Science Fiction . Series Culture and Technology , Volume 9. LIT Verlag, Berlin 2008, ISBN 978-3-8258-1585-1 , pp. 94–111, here: pp. 106 f.
  152. Götz 2012, p. 259
  153. Johnson-Smith 2005, p. 59
  154. Rauscher 2003, p. 175
  155. Mark A. Altman: Jonathan Frakes Actor / Director , in: Cinefantastique No. 2/1991 (22nd year), p. 47
  156. Amy H. Sturgis: If This Is the (Final) Frontier, Where Are the Natives? , in: Nancy R. Reagan (Ed.): Star Trek and History . John Wiley & Sons, Hoboken 2013, ISBN 978-1-118-16763-2 , pp. 125–142, here: pp. 131 ff.
  157. Gregory 2000, p. 54
  158. Geraghty 2009, p. 79
  159. a b Ott and Aoki 2001, p. 396 f.
  160. Oliver Gross: Star Trek - Visions for a Peaceful Future? , in: Christian Wagnsonner and Stefan Gugerel (eds.): Star Trek for foreign deployments? Conflict strategies and approaches to solving real problems in science fiction ( memento of the original from June 10, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (Contributions to the seminar “Star Trek for Foreign Deployments”, November 17-19, 2009, Seminar Center Iselsberg), Institute for Religion and Peace (Ethica Topics), Vienna 2011, ISBN 978-3-902761-12-5 , p. 121 –130, here: p. 123 @1@ 2Template: Webachiv / IABot /
  161. Mark A. Altman: Ron Moore and Brannon Braga , in: Cinefantastique No. 3/4 of 1993 (24th year), p. 60 f., Quotation p. 61: “the 24th century is the perfect place where humans have transcended the pettiness that leads to heinous acts, but they haven't lost their shadows, dark sides. "
  162. Gregory 2000, p. 194 f.
  163. Stoppe 2014, p. 111
  164. Nemecek 1995, p. 5
  165. ^ A b Tilmann P. Gangloff: Modern scientists influenced by "Star Trek" , in: Augsburger Allgemeine, May 24, 2013, accessed on August 29, 2013
  166. Metin Tolan: Science or Fiction? STAR TREK as reflected in physics and technology yesterday, today and tomorrow , in: Rogotzki et al. 2012, Volume 1, pp. 77-104, here: pp. 90 f.
  167. ^ Susan L. Schwartz: Introduction. The Religions of Star Trek . In: RS Kraemer, W. Cassidy and SL Schwartz (eds.): Religions of Star Trek . Westview Press, Boulder 2003, ISBN 978-0-8133-4115-6 , pp. 1-13
  168. Richards 1998, p. 181 f.
  169. Barrett and Barrett 2001, p. 61
  170. Peterson 1999, p. 69 f.
  171. Barrett and Barrett 2001, p. 19
  172. Peter Ohler, Gerd Strohmeier: Conceptions of the lifeworld in Star Trek: Political science and psychological analyzes , in: Rogotzki et al. (2003), Volume 1, pp. 177-201, here: p. 185
  173. ^ Katrina G. Boyd: Cyborgs in Utopia. The Problem of Radical Difference in Star Trek: The Next Generation , in: Harrison et al. 1996, pp. 95-113
  174. Sebastian Stoppe: A Transhumanist Leviathan? The Borg as an emotionless dystopia in Star Trek , in: Working title - Forum for Leipzig PhD students , ISSN  1869-9073 , Volume 3, No. 2/2011, Ed .: Meine Verlag , Magdeburg. Pp. 69–82, accessed online on May 2, 2015
  175. Richards 1998, p. 64
  176. Rauscher 2003, p. 252
  177. Rauscher 2003, p. 227 ff.
  178. ^ Vande Berg 1996
  179. Rauscher 2003, pp. 235-237
  180. Stoppe 2014, p. 220 f.
  181. Gregory 2000, p. 168 f.
  182. Maguire 2013, p. 75 f.
  183. Bernardi 1998, chapter 4 (pp. 105-136)
  184. Holger Götz: Specism as a metaphor for racism in The Next Generation. In: Rogotzki et al. 2012, Volume 1, pp. 244-267
  185. a b Götz 2012
  186. Denise A. Hurd: The Monster Inside: 19th Century Racial Constructs in the 24th Century Mythos of Star Trek , in: Journal of Popular Culture No. 1/1997 (31st vol.), Pp. 23-35, here: p 29
  187. Gonzalez 2015, pp. 60-71, 120
  188. Mehdi Achouche: “You will be assimilated”. Multicultural Utopianism in the 24th Century. In: Lee 2018, pp. 60–73, here: pp. 70 f.
  189. Bernardi 1998, p. 122
  190. a b Götz 2012, p. 250
  191. Götz 2012, p. 248
  192. Götz 2012, p. 261
  193. ^ Steven F. Collins: "For the Greater Good". Trilateralism and Hegemony in Star Trek: The Next Generation , in: Harrison 1996, pp. 137–156, here: p. 138
  194. Janet McMullen: Star Trek: Myth or Missed Opportunity , in: National Communication Association (Ed.): The Review of Communication No. 2.2 (April 2002), pp. 223-238; Quote from p. 234: “glorified mechanic” (Pounds), Quote from p. 235: “pitiful character” (McMullen)
  195. Nemecek 1995, p. 15
  196. Mark A. Altman: The Importance of Being Data , in: Cinefantastique , Vol. 21, No. 2, Sep. 1990, pp. 36, 37, 59
  197. Rauscher 2003, pp. 208 f., 217
  198. Gregory 2000, p. 63
  199. Richards 1998, p. 120
  200. Rauscher 2003, p. 208
  201. Martin Kasprzak: Man in the machine. Data as a clown and creature , in: Hellmann and Klein 1997, pp. 154–165
  202. Klemens Hippel: The most human of us all: The figure of the android data in Star Trek , in: Rogotzki et al. (2012), Volume 2, pp. 50–63, here: pp. 58 f.
  203. Jennifer M. Santos: Data on Data: Viewer Responses to Star Trek: The Next Generation , in: Participations No. 1/2007 (4th year)
  204. a b Mark A. Altman: Tackling Gay Rights , in: Cinefantastique No. 2/3 of 1992 (23rd year), pp. 71-74
  205. Devon Maloney: Star Trek's History of Progressive Values ​​- And Why It Faltered on LGBT Crew Members , in: Wired, May 13, 2013, accessed April 21, 2015
  206. Lee E. Heller: The Persistence of Difference: Postfeminism, Popular Discourse, and Heterosexuality in Star Trek: The Next Generation , in: Science Fiction Studies No. 72, Part 2, July 1997 (24th year), ed .: DePauw University , Greencastle, Indiana. Retrieved April 21, 2015
  207. Atara Stein: Minding One's P's and Q's. Homoeroticism in Star Trek: The Next Generation ( April 26, 2012 memento on WebCite ), in: Genders No. 27/1998, accessed September 16, 2013
  208. Merzbach 2005, p. 114
  209. Pearson and Davies 2014, p. 50 f.
  210. Pearson and Davies 2014, p. 51
  211. McMillan 2012, original quote: "Star Trek: The Next Generation, somehow, made nerd culture mainstream for the first time."
  212. Scott Thill: Warping Through Star Trek: The Next Generation's 25 Years With Ronald Moore , in: Wired online edition of September 28, 2012, accessed April 28, 2015
  213. Christian Wenger: Beyond the Stars. Community and identity in fan cultures. On the constitution of the Star Trek fandom . transcript Verlag, Bielefeld 2006, ISBN 978-3-89942-600-7 , p. 316 ff.
  214. Frank Patalong: Surf tip: "You assistants will be militated!" , in: Spiegel online / Netzwelt from November 1, 2005, accessed on June 14, 2015
  215. "Star Trek" auction: Once on Kirk's chair sitting , in: Spiegel Online October 8, 2006 Retrieved on October 10, 2013
  216. Elizabeth Howell: Get set to again man 'Star Trek' Enterprise bridge ( January 29, 2014 memento in the Internet Archive ), in: NBC News of April 29, 2013
  217. Madeline Stone: A Chinese gaming company spent nearly $ 100 million to make its HQ look just like the Enterprise from 'Star Trek' , in: Business Insider, May 27, 2015, accessed May 27, 2015
  218. Felix von Leitner: Data abuse? Not with Captain Kirk! , in: Frankfurter Allgemeine Zeitung September 13, 2013, accessed on November 14, 2013
  219. Glenn Greenwald : Inside the mind of NSA chief Gen Keith Alexander , in: The Guardian, September 15, 2013, accessed April 28, 2015
  220. James Hatfield, George Burt: Patrick Stewart: Der neue Captain , Heyne, Munich 1997, ISBN 3-453-12542-8 , pp. 200, 203
  221. Patrick Stewart can't wait for Chichester role , in: The News, April 13, 2010, accessed December 29, 2013
  222. ^ Edward Silver: Special Effects Take on Special Meaning on TV . In: The New York Times, November 11, 1990, accessed December 24, 2013
  223. Schröter 2003, p. 114
  224. Robb 2012, p. 208, original quotations: "very superficial", "very content-free show, not really speaking to the audience"
  225. Uwe Meyer: We only want to be your partners. Star Trek: Enterprise - Political-ideological Dimensions of a TV Series Between Cold War and War on Terror . Lang , Frankfurt am Main 2008, ISBN 978-3-631-56680-0 (Cultural Identities, Volume 3), p. 261 ff.
  226. a b c d e f g h i Robb 2012, pp. 148–167
  227. Euro value converted into US dollars at the annual average rate for 2008 of 1.47 US $ = 1 €, taken from the rate table on the website of the Austrian Chamber of Commerce , accessed on May 11, 2015
  228. a b Höhl and Hillenbrand 2008, p. 169 f., Gross profit of € 10 million
  229. a b Höhl and Hillenbrand 2008, p. 197, gross profit € 13 million
  230. a b Höhl and Hillenbrand 2008, p. 223
  231. Box office / business for Star Trek - Nemesis , in: IMDb, accessed September 4, 2013
  232. a b Höhl and Hillenbrand 2008, p. 255, gross profit € 8 million
  233. Robb 2012, p. 153 f.
  234. Patrick Stewart - Biography , in: IMDb , accessed May 20, 2015
  235. Höhl and Hillenbrand 2008, p. 444
  236. BEST SELLERS: November 17, 1991 , in: The New York Times , accessed April 11, 2015
  237. Ayers 2006, p. 404
  238. Picard in Winter , in: German StarTrek-Index ( ISSN  1437-3637 ) from Dec. 4, 2009, accessed on April 13, 2015
  239. According to the imprint, the year of publication of the 4th edition is 2009, according to the catalog of the German National Library 2011 and 2012.

This article was added to the list of excellent articles on June 18, 2015 in this version .