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Star Trek: The Original Series. ) " The Cage " is the first pilot episode of the American television series Star Trek. It was completed on January 22, 1965 (with a copyright date of 1964). The episode was written by Gene Roddenberry and directed by Robert Butler. It was rejected by NBC in February 1965, and the network ordered another pilot ...
- Overview
- Summary
- Memorable quotes
- Background information
- Links and references
When the Enterprise answers a distress call, Capt. Pike encounters manipulative aliens. (Original pilot)
It is 2254, two weeks after a battle on Rigel VII that left seven crew members injured and took the lives of three USS Enterprise crewmen, including Captain Christopher Pike's yeoman, the ship encounters a space distortion on a collision course, according to helmsman José Tyler. It turns out to be an old radio distress signal, "keyed to cause interference and attract attention." The crew says it was sent eighteen years earlier from the Talos star group, but first officer Number One notes they have no Earth colonies or vessels that far out. Pike declines to investigate without any indication of survivors but proceeds to the Vega colony to care for the crew's own injuries.
Pike calls the Enterprise's chief medical officer, Dr. Boyce, to his quarters but Boyce instead fixes Pike a martini to induce Pike to talk about the battle on Rigel VII. Pike has been thinking of resigning, burdened with making lethal decisions, but Boyce counsels against it. The science officer Spock interrupts on the intercom that a follow-up message from Talos IV indicates there are eleven survivors. Pike returns to the bridge and orders the ship to Talos, at "time warp, factor seven." He encounters a comely young woman, J.M. Colt. The ship's first officer, a woman named Number One, says Colt is the captain's replacement yeoman. Pike expresses discomfort with "a woman on the bridge," assuring Number One that she is an exception, as she's "different, of course."
Pike leads a landing party to the surface of Talos IV and finds the makeshift campsite of a disheveled group of male scientists from the crashed survey ship SS Columbia. The scientists identify themselves as an expedition of the American Continent Institute and Lieutenant Jose Tyler describes technological advances while they have been marooned, particularly in the time barrier being broken. A beautiful young woman approaches them. She is Vina, born almost as the group crash-landed on the planet. Vina strangely tells Pike he is a "prime specimen" – as three aliens with huge, pulsating heads watch the landing party through a viewing screen.
Boyce provides his medical report to Pike and reports that the survivors are in good health, "almost too good." The scientist Theodore Haskins offers to show Pike their "secret," and Vina leads him away from the others. Vina suddenly vanishes, along with the scientists and their camp. Talosians render Pike unconscious and abduct him through a doorway in the rock. The landing party fires laser pistols at the door to no avail and Spock advises the ship via his communicator that this "is all some sort of trap. We've lost the captain. Do you read?"
Pike wakes up without his jacket, communicator, and laser, inside an underground cell with a transparent wall, through which he sees several creatures of different species in nearby cells. Several Talosians arrive and make callous scientific observations about him, which he perceives not through sound but telepathy. They note that Pike is more adaptable to his new surroundings and prepare to begin "the experiment."
The Talosians intend to make Pike experience illusions based on his memories, in order to interest him in Vina. The first illusion returns Pike to Rigel VII, with the new task of saving Vina. Pike is not interested in participating, telling Vina he is "not an animal performing for its supper," but he is interested in learning the parameters of the illusions and of his captivity. Nevertheless, he manages to survive the illusory attack from the Kalar and is returned, with Vina, to his cell.
"Check the circuit."
"All operating, sir."
"It can't be the screen then."
- Spock and Tyler, speaking the first lines in Star Trek history
"Records show the Talos star group has never been explored. Solar system similar to Earth; eleven planets. Number four seems to be… class M. Oxygen atmosphere."
"Then they could still be alive even after eighteen years."
Title
•The title of this episode was changed during production from "The Cage" to "The Menagerie". However, when the two-part episode "The Menagerie, Part I" and "The Menagerie, Part II" (which reused almost all the footage from this episode) went into production, the title of this installment reverted to "The Cage". (The Star Trek Compendium, 4th ed., p. 10; ) •Although the episode has a title, and is universally referred to as "The Cage", no episode title actually appears on screen, with the only title used in the credits being "Star Trek".
Story and script
•The genesis of this episode was the first of twenty-five proposed stories in Gene Roddenberry's series outline Star Trek is.... The description of the plot concept that became this episode (initially titled "The Next Cage") read, "The desperation of our series lead, caged and on exhibition like an animal, then offered a mate." •During an early May 1964 meeting wherein Gene Roddenberry and Herbert F. Solow pitched the series to television network NBC, Jerry Stanley – NBC Program Development Vice President – asked to hear more about the idea for the series' pilot episode. Solow later reflected, "I asked Gene to explain. He did, very succinctly describing the premise of 'The Menagerie'." Neither Grant Tinker – who was also present at the meeting and was, at the time, NBC Vice President of Programs, West Coast – nor Jerry Stanley was convinced to agree to a series deal with Roddenberry and Solow. Just as Roddenberry was about to leave the room, Solow made a last-ditch attempt to persuade the NBC executives, stating, "If you give us a commitment for a ninety-minute script instead of one hour, and we make the pilot, you can always run it as a TV special and recoup your investment if it doesn't sell as a series. Besides, I'm not leaving this room until you give us a script order." This was enough to sway NBC's stance and the executives agreed to make a deal. (Inside Star Trek: The Real Story, pp. 6, 19-20) •This episode's premise was not the only concept that NBC considered for the series' pilot. Herb Solow explained, "They wanted to hear more stories before one of them was chosen for the pilot script. We had more meetings, and Gene gave them more stories." (Inside Star Trek: The Real Story, p. 20) •This episode's narrative style was selected after Oscar Katz, the president of Desilu Television at the time, personally pitched four different narrative approaches to the NBC executives. Whereas the first two-story types primarily focused on events aboard the Enterprise and the third option featured a planet whose inhabitants were much like Humanity of either the past or the future, the fourth type involved a planet that was highly different from Earth and was inhabited by people who were likewise very different from Humans. NBC chose the fourth type, the hardest to produce, as they wanted to challenge Desilu by making it as hard as possible for that studio to prove the series was doable. Explained Katz, "I tried to talk them out of it, because I knew it was going to be expensive and, even more, I felt that it might not be representative of the series. But they couldn't be talked out of it." (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 11) •The plot idea for this episode underwent further development in early May 1964, after NBC vice-president Mort Werner provided Gene Roddenberry with US$20,000 in development money to write three different story outlines based on the Star Trek format. (The Making of Star Trek, pp. 41-42; The Star Trek Compendium, 4th ed., p. 10) With so much at stake over the trio of episode outlines, Roddenberry diligently labored away at them, obsessing over each page and every word. He spent a month writing the outlines as well as several weeks revising them, after which he finally turned the pages over to NBC. (Star Trek Memories, p. 33) The outlines had been forwarded to the network by the end of June 1964 and the particular outline for this episode was dated 29 June (The Making of Star Trek, pp. 45 & 47). The other two candidates were "The Perfect World" aka "Visit to Paradise" (which became "The Return of the Archons") and "The Women" (which became "Mudd's Women"). (These Are the Voyages: TOS Season One, 1st ed., p. 34) Following the submission of the outlines, NBC took several days before announcing their choice of "The Cage" as the pilot-to-be. (Star Trek Memories, p. 33) •The episode's story outline consisted of 26 pages. In those pages, the name of the Enterprise's captain was Robert April (as it was in the series outline Star Trek is…). He was the only one of his crew whose name was to be changed, as the episode continued to evolve. Also, the Talosians were crab-like aliens (their species remaining unnamed, though they were commonly referred to as "crab-creatures"), and their planet was "Sirius IV". The outline is fully transcribed in The Making of Star Trek (pp. 47-65). •Some of Gene Roddenberry's initial thoughts for the episode's illusory scenarios had to be altered or scaled back due to production and budgetary realities. ("The Menagerie, Part II" text commentary) •Hours after NBC greenlighted the pilot (a duration that Gene Roddenberry and Herb Solow spent ironing out some of the "twists, turns, and bends in the plot"), Gene Roddenberry set to work on writing the teleplay. (Star Trek Memories, p. 36; Inside Star Trek: The Real Story, pp. 20-21) As he wrote the first draft script, he spared no thought for the practicalities of producing what he was writing about, such as the episode's laser cannon, instead leaving such realistic considerations until later. Noted Herb Solow, "The network draft wasn't for shooting, the network draft was for selling. When we got the order for the pilot film, then we'd face the budget problem head on." (Inside Star Trek: The Real Story, pp. 20-21) •Gene Roddenberry did, however, care about the believability of the script. To this end, he initiated a period of intensive scientific research and began an acquaintance with Harvey P. Lynn, a physicist from the RAND Corporation who served as Roddenberry's unofficial technical adviser on the pilot. (The Making of Star Trek, pp. 74, 76-77) •During the remainder of the summer and into the early autumn of 1964, major effort was invested in the development of the shooting script, the intention being that it was to later be submitted to NBC for approval. (The Making of Star Trek, p. 78) The first script draft was dated 8 September 1964. (The Star Trek Compendium, 4th ed., p. 11) In that version of the episode, the captain's name was still Robert April, though both the Talosians and their homeworld of Talos IV received their eventual names. (The Making of Star Trek, pp. 91-95) •It was also the initial draft of the episode's teleplay that changed the Talosians from resembling crabs to becoming small and slim humanoids with elongated heads. (The Making of Star Trek, p. 93) This alteration was made because the production staff realized the aliens might seem too much like the bug-eyed monsters of "1950s horror movies," the antithesis of what Gene Roddenberry wanted the more intellectually-minded Star Trek to be. Depicting the extraterrestrials as crab-like creatures would have not only run a good chance of making them look unconvincing but also would have been prohibitively expensive, two deciding factors in the adjustment of their form. (Star Trek: The Original Series 365, p. 008) •According to Majel Barrett, the first character introduced in the script was Number One. "That was the first character Gene wrote into the script," Barrett stated. "Captain April was not an afterthought because he knew he had to have a captain, but the first character that was described was Number One." (Star Trek Monthly issue 27, p. 43) •The episode's first draft script had an opening scene in the hangar bay where Captain April, whose character at this stage was a tad older than Captain Pike was later written, is inspecting new crew members. He remarks disapprovingly to the doctor, at one point, about the young age of some of these officers. "Something," Roddenberry later wrote in a memo, "that Jim Kirk, the boy wonder of the Academy, never would have done." In this same scene, April sees a number of badly-wounded crewmen off the ship, onto a space shuttle or taxi from the Human colony of Antares. Among these departing officers is an uninjured former navigator named Crowley who April is sending back in disgrace, because he fired on friendly aliens. The officer argues that they were monstrous in appearance and asks how he could have known that they were intelligent enough to have weapons. These protests are met by a stern but subdued dismissal from the captain, who quietly orders, "Get off my ship, mister." (The Making of Star Trek; The Star Trek Compendium, 4th ed., pp. 11-12) •While scripting the episode, Gene Roddenberry developed a habit of being somewhat possessive about story ideas, to such a degree that Herb Solow considered this quality to be excessive. "As Gene completed the first-draft pilot script," Solow remarked, "he unfortunately became overly protective of his new baby." Furthermore, Roddenberry began to frequently lay claim to the input of others. "A new side of Gene slowly appeared: ownership of ideas," commented Solow. "If a good story or series point came from anyone, be it NBC, [Desilu's agent] Ashley-Famous, or Desilu, Gene Roddenberry appropriated it." (Inside Star Trek: The Real Story, p. 21) •A copy of the episode's first draft script was sent from Gene Roddenberry to Harvey P. Lynn, shortly prior to 14 September 1964. On that date, Lynn responded with correspondence of his own – a letter that included many comments on the script draft. Concerning the docking scene, Lynn proposed a theoretical docking method and a suggestion that the name Antares, since it refers to a sun unsuitable for the habitation of Humans, be substituted with "a more vague name" such as Tycho, Fabricus, or even Lynnicus (the latter name clearly being offered as an in-joke). Additionally, Lynn took the liberty of suggesting that the shuttle or taxi might be from a ship similar to the Enterprise and that that vessel had recently departed from Earth, which Lynn observed would correlate well with the introductions of both Tyler and Yeoman Colt. (The Making of Star Trek, pp. 90-92) The docking scene was excised from the script in a revised draft, and Roddenberry notified Lynn of the scene's exclusion in a letter sent on 24 September. (The Making of Star Trek, pp. 96-97) •Though the first script draft referred to Talos IV as being located at the "edge of the universe" and stated that Earth was "at the other end of this galaxy," Harvey P. Lynn rejected these notions, advising Gene Roddenberry that traveling from one end of the galaxy to the other would take an impossibly long time and encouraging him to switch the latter reference to "far away in this galaxy." (The Making of Star Trek, pp. 92, 94) Evidently, Roddenberry ultimately minimized the references to the far distance between Earth and Talos IV; of the two such references, the first was deleted while the second remained. •Harvey P. Lynn recommended that Talos IV be stated to be in either Sigma Draconis, Eta Cassiopeiae, or HR 8832 (aka Gliese 892), owing to both their proximity to our solar system and the fact that it is unknown whether any of them have any Earth-type planets. Other astral names that Lynn requested be changed were Epsilon VII, Orion, and Rigel 113, which he suggested substituting with Draconis, HR 8832, and Vega 113, respectively. A similar idea that he presented was changing Orion traders to Centaurian traders. (The Making of Star Trek, pp. 92, 95) In his reply on 24 September, Roddenberry expressed an interest in having the names of the stars in this episode be ones that were familiar to the audience. "This is why I've avoided such terms as 'HR8832,' etc," he explained. On the other hand, he conceded that the continued use of Rigel and Orion could still be substituted, in the final shooting script, with names such as Vega, admitting that such names – while being more appropriate from a scientific perspective – were also possibly just as familiar. (The Making of Star Trek, p. 97) Comparing the second revised final draft script (dated 20 September 1964) to the episode's final draft indicates that Roddenberry ultimately replaced Rigel 113 with Rigel VII. Neither the same script draft nor the actual episode contain reference to Epsilon VII, though they also evidence that Roddenberry ultimately excluded not only HR 8832 but also Draconis and Vega 113. •Due to Harvey P. Lynn's influence, the SS Columbia is said to have been lost in the same "region" as the Talos star group, rather than the same "quadrant" as that star system, and the gravity of Talos IV was altered from "1.3 of Earth" to less than Earth's gravity. Lynn submitted the latter suggestion on the basis of the Talosians' appearance and proposed that Talos IV have a gravity that was 85% as powerful as Earth's. (The Making of Star Trek, p. 92) In the episode's final version, it is said to be "0.9 of Earth." •The character of Geologist was known as Astroscientist in the first draft script, but this was also changed on the recommendation of Harvey P. Lynn, who opted for "Geologist" because he believed it was a more specific title. (The Making of Star Trek, p. 93) •In the first draft script, the illusory Columbia survivors had more dialogue than they do in the episode's final edit. For instance, it was established that the survivors' distress call had been a directional beam. Harvey P. Lynn, however, proposed that it would be more likely for the survivors' signal to have been a broadcast beam, owing to the increased probability that such a beam would be intercepted. Solar batteries were mentioned by at least one of the survivors too, but Lynn opposed this by suggesting that the illusory Human instead say, "After we could no longer use the ship's power, we switched to automatic batteries and started praying." (The Making of Star Trek, p. 93) This dialogue was evidently later cut or omitted entirely. •Harvey P. Lynn also made some notes on the specifics of several elements that were intended to continue to be featured in the forthcoming series (such as lasers, for which he submitted four alternative names, though Gene Roddenberry maintained that he wanted the name to stay as it was, due to the high odds that it would be recognizable to viewers). (The Making of Star Trek, pp. 94, 97) •Executives at Desilu were also included in the revision process. Herb Solow explained, "Finally, all the top executives received copies of our pilot [script] to read, review with others, and comment on. I personally walked the Star Trek pilot script into [Desilu president and actress] Lucy [Ball]'s dressing room and handed it to her. 'Lucy, this is the Star Trek pilot script. There'll be lots of changes, so if you have any comments, let me have them, because there'll be ample time to implement them.' Lucy never mentioned the script […] I know Oscar [Katz] read his copy of the pilot script, but he never offered any comments [either]." (Inside Star Trek: The Real Story, p. 22) •The second revised final draft script of the "The Cage" indicates, as does the episode, that Spock, José Tyler, and others had been wounded in the fighting on Rigel VII – events which took place just prior to the action in "The Cage". The script includes stage directions for Spock to be limping and for Tyler to have a bandaged hand. •As late as 20 November 1964 (in the second revised final script), the captain's name was James Winter. •Even though Gene Roddenberry was open to some of Harvey P. Lynn's suggestions, his possessiveness over plot ideas affected his interactions with NBC. (Inside Star Trek: The Real Story, p. 21) The script's final draft was ready to send to the network by the end of September 1964 and the proposed shooting script was submitted to NBC in the last week of September. (The Making of Star Trek, pp. 90, 99) Herb Solow offered, "Gene and I met with NBC to get their script comments. He took offense at most of them, at times unnecessarily so. Some ideas were really good." (Inside Star Trek: The Real Story, p. 21) However, Roddenberry was pleased with the network's general reaction to what he had written, the major stumbling block between them, at this point, being a specific dream sequence that Roddenberry had scripted. NBC warned against overly focusing on the sequence, wary that the message concerning what is reality might be lost on the audience. Numerous other, minor alterations were requested, but NBC more-or-less gave their approval for the episode to be filmed. (The Making of Star Trek, p. 99) •By the time this episode's script was completed, Gene Roddenberry's initial concept for the installment had been greatly changed by suggestions from Desilu and NBC. (Inside Star Trek: The Real Story, p. 22) The teleplay also reflected the input of the numerous scientific advisers who Roddenberry had consulted. (The Making of Star Trek, p. 90) Having finished writing the script, Roddenberry asked Robert Butler to read it. Butler later remembered his reactions to the teleplay; "I remember thinking it was a terrific yarn, but that it was somewhat obscured because it was such a showcase script. 'The Cage' showcased such solid, good and fascinating science-fiction disciplines, examples and events, that it was, I thought, a little obscure. The story was somewhat remote." (Starlog, issue 117, p. 55) •By the time filming began, the name of the Enterprise's commanding officer had finally been changed to Christopher Pike. (The Making of Star Trek, p. 115)
Cast
•Prior to the making of this episode, Gene Roddenberry already knew that he wanted to cast both Majel Barrett – who he had in mind when originally developing the character Number One – and Leonard Nimoy as Number One and Spock, respectively. (Star Trek Memories, p. 23; Star Trek: The Magazine Volume 1, Issue 2, p. 82) All three had previously worked on The Lieutenant, a series that had been produced by Roddenberry and had featured appearances from Barrett and Nimoy. (Star Trek Memories, pp. 43) •Casting director Joseph D'Agosta had also worked on The Lieutenant. At a point after Star Trek had been greenlighted but did not yet have a casting director, Gene Roddenberry called D'Agosta and eagerly invited him to fill that production capacity. (The Star Trek Interview Book, p. 213) •The casting process began at a time when the script revisions were under way and the captain's name was still Robert April. (Star Trek Memories, p. 41; Star Trek: The Magazine Volume 1, Issue 11, p. 26) However, because Joseph D'Agosta was meanwhile at 20th Century Fox, his work on the episode was indirect. "I cast it on the phone," he explained, "by just suggesting films to look at and what actors to see, and I relayed all this through a young man named Morris Chapnick, who was Gene's assistant." (The Star Trek Interview Book, p. 213) Chapnick, yet another production staffer who had worked on The Lieutenant, had first become aware of Star Trek when Roddenberry had told him about this pilot. (The Making of Star Trek, pp. 100-101) •Majel Barrett was cast as Number One before both Leonard Nimoy and Pike actor Jeffrey Hunter were cast in their roles. (Star Trek Memories, p. 23) Alternative actors that were considered include Lloyd Bridges for the Captain Pike role, Martin Landau for the Spock character, and Yvonne Craig for the guest star role of Vina. (Star Trek: The Magazine Volume 1, Issue 11, p. 26; ) DeForest Kelley was considered for the roles of both Dr. Boyce and Spock. (The Star Trek Interview Book, p. 98; Star Trek Memories, p. 44) Even though Leonard Nimoy was always Gene Roddenberry's first choice for the Spock role, he often said that he would have instead approached Martin Landau to play the role, if Nimoy had been unavailable. (Star Trek: The Magazine Volume 1, Issue 11, p. 26) •Robert Butler was involved in many of the casting decisions for the episode, including the selection of Peter Duryea as José Tyler. Butler later recalled, "I was very much in on the casting of the supporting people […] I remember trying to get a freshness and colloquiality in those characters and not have them all be rigid and pasteboard leading men." (Star Trek Monthly issue 6, p. 53) •Robert Butler was happy with the casting of Peter Duryea, Majel Barrett, and Susan Oliver as Vina but had some difficulty with Jeffrey Hunter playing Pike. "I certainly knew of him and found him to be a real co-operative good guy," stated Butler. "He was a little heroic and a little stiff, and I tried to modify that a little bit." (Star Trek Monthly issue 6, pp. 53-54) •In his introduction for the 1986 VHS release of "The Cage" (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he refused to cast his crew what the network dubbed "sensibly," which according to Roddenberry meant "all white." This was indirectly contested by Herb Solow in the book Inside Star Trek: The Real Story, in which he states that Mort Werner deliberately encouraged NBC to show racial diversity and integration in its programs. •In general, the pilot gave its cast a good impression of how good the potentially forthcoming series could be. Laurel Goodwin, who was cast as Yeoman J.M. Colt, remembered, "The whole gang of us knew this show was going to go along wonderfully well. We were all so involved with our characters. There was no doubt in my mind that this would be a successful show if they could just get good stories." (Star Trek: Communicator issue 119, p. 59) •Leonard Mudie, who has one line of dialogue as one of the Columbia survivors, was a veteran of dozens of films dating back to the 1930s. He was 81 when this sequence was filmed, and he died the next year. He was the second-oldest actor ever to appear on the original Star Trek and the first to pass away. •Although male voices were dubbed in for the Talosians, all the Talosian actors were actually women. (This is, unfortunately, not correct. Felix Silla (January 11, 1937 - April 16, 2021) played one of The Keepers; he was not just a background image to show how small they were.) Robert Butler and Gene Roddenberry struck upon using this casting method at about the same time as one another, Butler reckoning that it would lend the Talosian characterizations an alien-like androgynous quality. (The Star Trek Interview Book, p. 97) Roddenberry believed that the lighter builds of females might suggest that the Talosians had allowed their bodies to atrophy while instead choosing to concentrate on advanced brain development. ("The Menagerie, Part II" text commentary) Upon searching for suitable performers to play the parts, Roddenberry scoured Hollywood for short actresses with faces that he deemed to be interesting. (The Star Trek Compendium, 4th ed., p. 15) Meg Wyllie was cast as the Talosian Keeper on Butler's recommendation, they having previously worked together. (The Star Trek Interview Book, p. 98) •Clegg Hoyt played the transporter chief, Pitcairn, but his voice was dubbed in by Bob Johnson. Johnson was the voice on the tape (and disc) in the TV series Mission: Impossible. •Leonard Nimoy and Majel Barrett are the only actors to appear in both this episode and the final episode of Star Trek: The Original Series, "Turnabout Intruder", where Barrett played her most regular role, Nurse Chapel. •Malachi Throne (Voice of The Keeper) featured not only in this episode, Leonard Nimoy's first Star Trek appearance, but also appeared during Nimoy's final TV Star Trek appearance, the Star Trek: The Next Generation episode "Unification II". •This is the first of six Star Trek instances in which Leonard Nimoy appeared without William Shatner, the other five being TAS: "The Slaver Weapon", TNG: "Unification I" and "Unification II", and the films Star Trek and Star Trek Into Darkness. •Mike Dugan, who played the illusory Kalar warrior, was actually a stunt performer. ("The Menagerie, Part II" text commentary) •After the crew beams down to the planet surface of Talos IV, Spock is seen limping as he walks toward the singing plants. It has been mistakenly stated that Nimoy had suffered an injury prior to filming. In fact, Nimoy's limp here was feigned, in accordance with the script. (The Making of Star Trek [page number? • edit]) José Tyler similarly appears with a bandage around his hand. Both injuries were meant to reference the recent mission-gone-wrong that Pike speaks to Boyce about. •Because Jeffrey Hunter (who played Pike) was playing a very controlled, internalized character, Nimoy felt the need to bring in some energy and animation onto the set. (Mind Meld: Secrets Behind the Voyage of a Lifetime; et al.)
Starring
•Jeffrey Hunter as Christopher Pike
Guest star
•Susan Oliver as Vina
Co-starring
•Leonard Nimoy as "Mister Spock" •Majel Barrett as Number One •John Hoyt as Phil Boyce •Peter Duryea as José Tyler •Laurel Goodwin as J.M. Colt
Oct 22, 2009 · As any good Star Trek fan knows, NBC passed on this pilot — which starred Jeffrey Hunter and was produced by Desilu — but ordered a second, this one with William Shatner, and picked up the series for the 1966-1967 season. The original pilot was later edited into a two-part episode called “The Menagerie” which aired as part of Star Trek ...
The Cage: Directed by Robert Butler. With Jeffrey Hunter, Susan Oliver, Leonard Nimoy, Majel Barrett. Capt. Pike is held prisoner and tested by aliens who have the power to project incredibly lifelike illusions.
- (7.3K)
- Action, Adventure, Sci-Fi
- Robert Butler
- 1988-10-04
Nov 14, 2017 · This is the first entry in a new Flashback feature series, in which I’ll rewatch each episode of Star Trek: The Original Series (I’ll often abbreviate this as TOS). I’m a lifelong, ardent fan of Star Trek, in each of its forms, and I’m really excited to get started chronicling this journey. I’ll watch each episode according to Netflix ...
Canadian network CTV aired episodes of the first season of Star Trek on Tuesday nights instead of Thursdays and so ran "The Man Trap" on September 6, 1966, two days before NBC. [46] Airing American programs early was a common practice among Canadian broadcasters in order to avoid direct competition for viewers and advertisers with American border stations airing the same program at the same time.
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The age old question. What was the first star trek episode. The three I listed each have a claim to it. The cage, the first pilot with Christopher pike. Where no man has gone before, the second pilot and first episode with Kirk and the TOS normal crew. Also I believe this has the earliest stardate. The man trap, the first episode aired.
