Roddenberry, Maurice Hurley, Rick Berman, Michael Piller, and Jeri Taylor served as executive producers at various times throughout its production. The series was broadcast in first-run syndication with dates and times varying among individual television stations. Stewart's voice-over introduction during each episode's opening credits stated the starship's purpose:

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

Star Trek The Next Generation Season 1 Download

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Due to the original series' popularity in syndication, Paramount Pictures began to consider making a Star Trek film as early as 1972. However, with 1977's release of Star Wars, Paramount decided not to compete in the science fiction movie category and shifted their efforts to a new Star Trek television series. The Original Series actors were approached to reprise their roles; sketches, models, sets and props were created for Star Trek: Phase II until Paramount changed its mind again and decided to create feature films starring the Original Series cast.[7][8]

By 1986, 20 years after the original Star Trek's debut on NBC, the franchise's longevity amazed Paramount Pictures executives. Chairman Frank Mancuso Sr. observed that "The shelf life in this business is usually three days. To flourish for 20 years..." He and others described Trek as the studio's "crown jewel", a "priceless asset" that "must not be squandered". The series was the most popular syndicated television program 17 years after cancellation,[9] and the Harve Bennett-produced, Original Series-era Star Trek films did well at the box office.[10] William Shatner and Leonard Nimoy's salary demands for the film Star Trek IV: The Voyage Home (1986) caused the studio to plan for a new Star Trek television series. Paramount executives worried that a new series could hurt the demand for the films, but decided that it would increase their appeal on videocassette and cable,[9] and that a series with unknown actors would be more profitable than paying the films' actors' large salaries.[11] Roddenberry initially declined to be involved, but came on board as creator after being unhappy with early conceptual work. Star Trek: The Next Generation was announced on October 10, 1986,[12] and its cast in May 1987.[13]

Paramount executive Rick Berman was assigned to the series at Roddenberry's request. Roddenberry hired a number of Star Trek veterans, including Bob Justman, D. C. Fontana, Eddie Milkis and David Gerrold.[14] Early proposals for the series included one in which some of the original series cast might appear as "elder statesmen",[9] and Roddenberry speculated as late as October 1986 that the new series might not even use a spaceship, as "people might travel by some [other] means" 100 years after the USS Enterprise.[15] A more lasting change was his new belief that workplace interpersonal conflict would no longer exist in the future; thus, the new series did not have parallels to the frequent "crusty banter" between Kirk, Spock, and Leonard McCoy.[11] According to series actor Patrick Stewart, Berman was more receptive than Roddenberry to the series addressing political issues.[16]

The series' music theme combined the fanfare from the original series theme by Alexander Courage with Jerry Goldsmith's theme for Star Trek: The Motion Picture (1979). Some early episodes' plots derived from outlines created for Star Trek: Phase II.[12] Additionally, some sets used in the Original Series-era films were redressed for The Next Generation, and in turn used for subsequent Original Series films.[17] Part of the transporter room set in TNG was used in the original Star Trek's transporter set.[17]

Despite Star Trek's proven success, NBC and ABC only offered to consider pilot scripts for the new series, and CBS offered to air a miniseries that could become a series if it did well. Paramount executives were offended that the Big Three television networks treated their most appealing and valuable property like any other series. Fox wanted the show to help launch the new network, but wanted it by March 1987, and would only commit to 13 episodes instead of a full season. The unsuccessful negotiations convinced the studio that it could only protect Star Trek with full control.[9][15]

The studio's strategy succeeded. Most of the 150 stations airing reruns of the original Star Trek wanted to prevent a competitor from airing the new show; ultimately, 210 stations covering 90% of the United States became part of Paramount's informal nationwide network for TNG.[18][22] In early October 1987, more than 50 network affiliates pre-empted their own shows for the series pilot, "Encounter at Farpoint". One station predicted that "Star Trek promises to be one of the most successful programs of the season, network or syndicated".[22] Special effects were by Industrial Light and Magic, a Division of Lucasfilm.[23] The new show indeed performed well; the pilot's ratings were higher than those of many network programs,[22] and ratings remained comparable to network shows by the end of the first season, despite the handicap of each station airing the show on a different day and time, often outside prime time. By the end of the first season, Paramount reportedly received $1 million for advertising per episode, more than the roughly $800,000 fee that networks typically paid for a one-hour show;[18] by 1992, when the budget for each episode had risen to almost $2 million,[24] the studio earned $90 million from advertising annually from first-run episodes, with each 30-second commercial selling for $115,000 to $150,000.[25][26] The show had a 40% return on investment for Paramount, with $30 to $60 million in annual upfront net profit for first-run episodes and another $70 million for stripping rights for each of the about 100 episodes then available, so they did not need overseas sales to be successful.[25]

Mark Bourne of The DVD Journal wrote of season one: "A typical episode relied on trite plot points, clumsy allegories, dry and stilted dialogue, or characterization that was taking too long to feel relaxed and natural."[30] Other targets of criticism included poor special effects and plots being resolved by the deus ex machina of Wesley Crusher saving the ship.[31][32] Patrick Stewart's acting won praise, and critics noted that characters were given greater potential for development than those of the original series.[30][31] Actors and producers were unsure whether Trekkies loyal to the original show would accept the new one but one critic stated as early as October 1987 that The Next Generation, not the movies or the original show, "is the real Star Trek now".[33][34][35]

While the events of most episodes of season one were self-contained, many developments important to the show occurred during the season. The recurring nemesis Q was introduced in the pilot, the alien Ferengi had their sentinel showing in "The Last Outpost", the holodeck was introduced and the romantic backstory between William Riker and Deanna Troi was investigated. "The Naked Now", one of the few episodes that depicted Roddenberry's fascination (as seen in the show's bible) with sex in the future, became a cast favorite.[11]

Later episodes in the season set the stage for serial plots. The episode "Datalore" introduced Data's evil twin brother Lore, who made several more appearances. "Coming of Age" deals with Wesley Crusher's efforts to get into Starfleet Academy while also hinting at the threat to Starfleet later faced in "Conspiracy". "Heart of Glory" explored Worf's character, Klingon culture and the uneasy truce between the Federation and the Klingon Empire, three themes that played major roles in later episodes. Tasha Yar left the show in "Skin of Evil", becoming the first regular Star Trek character to die permanently (although the character was seen again in two later episodes) in either series or film. The season finale, "The Neutral Zone", established the presence of two of TNG's most enduring villains: the Romulans, making their first appearance since the Original Series, and through foreshadowing, the Borg.

The premiere became the first television episode to be nominated for a Hugo Award since 1972. Six of the season's episodes were each nominated for an Emmy Award. "11001001" won for Outstanding Sound Editing for a Series, "The Big Goodbye" won for Outstanding Costume Design for a Series, and "Conspiracy" won for Outstanding Achievement in Makeup for a Series.[12] "The Big Goodbye" also won a Peabody Award, the first syndicated program[18] and only Star Trek episode to do so.

The series underwent significant changes during its second season. Beverly Crusher was replaced as Chief Medical Officer by Katherine Pulaski, played by Diana Muldaur, who had been a guest star in "Return to Tomorrow" and "Is There in Truth No Beauty?", two episodes from the original Star Trek series. The ship's recreational area, Ten-Forward, and its mysterious bartender/advisor, Guinan, played by Whoopi Goldberg, appeared for the first time. Owing to the 1988 Writers Guild of America strike, the number of episodes produced was cut from 26 to 22, and the start of the season was delayed. Because of the strike, the opening episode, "The Child", was based on a script originally written for Star Trek: Phase II, while the season finale, "Shades of Gray", was a clip show.

Nevertheless, season two as a whole was widely regarded as significantly better than season one.[37] Benefiting from Paramount's commitment to a multiyear run and free from network interference due to syndication, Roddenberry found writers who could work within his guidelines and create drama from the cast's interaction with the rest of the universe.[11] The plots became more sophisticated and began to mix drama with comic relief. Its focus on character development received special praise.[37] Co-executive producer Maurice Hurley has stated that his primary goal for the season was to plan and execute season-long story arcs and character arcs.[38] Hurley wrote the acclaimed episode "Q Who", which featured the first on-screen appearance of the Borg. Season two focused on developing the character Data, and two episodes from the season, "Elementary, Dear Data" and "The Measure of a Man", featured him prominently.[39] Miles O'Brien also became a more prominent character during the second season, while Geordi La Forge took the position of Chief Engineer. Klingon issues continued to be explored in episodes such as "A Matter of Honor" and "The Emissary", which introduced Worf's former lover K'Ehleyr.[40] Five second-season episodes were nominated for six Emmy Awards, and "Q Who" won for Outstanding Sound Editing for a Series and Outstanding Sound Mixing for a Drama Series.[12] The season ran from 1988 to 1989. 152ee80cbc

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