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15 Fascinating Facts About Candyman

PolyGram Filmed Entertainment
PolyGram Filmed Entertainment

Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.

1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. IT COULD HAVE STARRED SANDRA BULLOCK.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. ITS OPENING SHOT WAS GROUNDBREAKING.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. THERE WAS AN ACTUAL CANDYMAN KILLER.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

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12 Things You Might Not Know About MAD Magazine
Mad Magazine
Mad Magazine

As fast as popular culture could erect wholesome depictions of American life in comics, television, or movies, MAD Magazine was there to tear them all down. A near-instant success for EC Comics upon its debut in 1952, the magazine has inspired generations of comedians for its pioneering satirical attitude and tasteful booger jokes. This month, DC Entertainment is relaunching an "all new" MAD, skewering pop culture on a bimonthly basis and in full color. To fill the gaps in your knowledge, take a look at these facts about the Usual Gang of Idiots.

1. NO ONE KNOWS WHO CAME UP WITH ALFRED E. NEUMAN.


Jamie, Flickr (L) // Boston Public Library, Flickr (R) // CC BY 2.0

MAD creator Harvey Kurtzman was in the offices of a Ballantine Books editor discussing reprints for the fledging publication when he noticed a grinning, gap-toothed imbecile staring back at him from a bulletin board. The unnamed figure was ubiquitous in the early 20th century, appearing in everything from dentistry ads to depictions of diseases. A charmed Kurtzman adopted him as MAD’s mascot beginning in 1954. Neuman later become so recognizable that a letter was delivered from New Zealand to MAD’s New York offices without an address: the envelope simply had a drawing of Alfred.  

2. THEY HAD TO APOLOGIZE ALMOST IMMEDIATELY.

MAD was conceived during a particularly sensitive time for the comics industry, with parents and watchdog groups concerned over content. (It didn't switch to a magazine format until issue #24.) Kurtzman usually knew where the line was, but when he was laid up with acute hepatitis in 1952, publisher William Gaines and others had to step in for him. Gaines thought it would be funny to offer a fictional biography of himself that detailed his father’s Communist leanings, his past as a dope dealer “near nursery schools,” and bouts of pyromania. When wholesalers were shocked at the content and threatened to boycott all of his titles, Gaines was forced to write a letter of apology.  

3. THEY PREDICTED JOHN F. KENNEDY'S ELECTION IN 1960.

But it was a cheat. In the run-up to the 1960 Presidential election, MAD printed a cover that featured Neuman congratulating Kennedy on his victory with a caption that read, “We were with you all the way, Jack!” But the issue was shipped long before votes had been tabulated. The secret? It was a dual cover. Flip it over and Neuman is celebrating Richard Nixon’s appointment to office. Stores were told to display the “right” side of the magazine depending on the outcome.

4. ALFRED BRIEFLY HAD A GIRLFRIEND.


MAD Magazine

A character named Moxie Cowznofski was introduced in the late 1950s as a female companion for Alfred. She made only a handful of cover appearances, possibly due to the fact she looked alarmingly like her significant other.

5. THEY DIDN'T RUN ANY (REAL) ADS FOR 44 YEARS.

From the beginning, Gaines felt that printing actual advertisements next to the products they were lampooning would not only dilute their edge but seem more than a little hypocritical. After some back-and-forth, MAD cut ads starting in 1957. The decision was a costly one—most print publications survive on such revenue—but led to the magazine’s keeping a sharp knife against the throat of seductive advertising, including cigarettes. Faced with dwindling circulation in 2001, Mad finally relented and began taking ads to help pay for a switch to color printing.

6. "SPY VS. SPY" WAS CREATED BY A SUSPECTED SPY.

Cuban cartoonist Antonio Prohias was disenchanted with the regime under Fidel Castro when he began working on what would become “Spy vs. Spy.” Because Prohias’ other newspaper illustrations were critical of Castro, the Cuban government suspected him of working for the CIA. He wasn’t, but the perception had him worried harm might come to his co-workers. To get out of the situation, Prohias came to America in 1960. With his daughter helping translate, he stopped by Mad’s New York offices and submitted his work: his sneaky, triangle-headed spies became regulars.

7. THERE WAS ONE FOLD-IN THEY WOULDN'T RUN.

Artist Al Jaffee, now 94, has been with Mad almost from the beginning. He created the famous Fold-In—the back cover that reveals a new picture when doubled over—in 1964 after seeing the fold-outs in magazines like National Geographic, Playboy, and Life. Jaffee has rarely missed an issue since—but editors backtracked on one of Jaffee’s works that referenced a mass shooting in 2013. Citing poor taste, they destroyed over 600,000 copies.  

8. THEIR MOVIE WAS A DISASTER.

With the exception of Fox’s successful sketch series, 1994’s MAD TV, attempts to translate the MAD brand into other media have been underwhelming: a 1974 animated special didn’t even make it on air. But a 1980 film venture, a military school spoof directed by Robert Downey, Sr. titled Mad Presents Up the Academy, was so awful William Gaines demanded to have their name taken off of it. (Renamed Up the Academy, the DVD release of the movie still features someone sporting an Alfred E. Neuman mask; Mad parodied it in a spoof titled “Throw Up the Academy.”)

9. THE APRIL 1974 COVER HAD PEOPLE FLIPPING.


MAD Magazine

MAD has never made a habit of good taste, but a depiction of a raised middle finger for one issue in the mid-’70s caused a huge stir. Many stores wouldn’t stock it for fear of offending customers, and the company ended up accepting an irregular number of returns. Gaines took to his typewriter to write a letter of apology. Again. The relaunched #1, out in April 2018, pays homage to this cover, though it's slightly more tasteful: Neuman is picking his nose with his middle finger.

10. THEY INVENTED A SPORT.

MAD writer Tom Koch was amused by the convoluted rules of sports and attempted to one-up them in 43-Man Squamish, a game he invented for the April 1965 issue. Koch and artist George Woodbridge (“MAD’s Athletic Council”) prepared a guide that was utterly incomprehensible—the field was to have five sides, positions included Deep Brooders and Dummies, “interfering with the Wicket Men” constituted a penalty—but it amused high school and college readers enough to try and mount their own games. (Short on players? Try 2-Man Squamish: “The rules are identical,” Koch wrote, “except the object of the game is to lose.”) For the less physically inclined, Mad also issued a board game in which the goal is to lose all of your money.  

11. WEIRD AL WAS A GUEST EDITOR.

In what must be some kind of fulfilled prophecy, lyrical satirist “Weird” Al Yankovic was named as a guest editor—their first—for the magazine’s May 2015 issue. Yankovic told Entertainment Weekly that MAD had put him on “the dark, twisted path to becoming who I am today … I needed to pollute my mind with that kind of stuff.” In addition to his collaborations with the staff, Yankovic enlisted Patton Oswalt, Seth Green, and Chris Hardwick to contribute.

12. FRED ASTAIRE ONCE DANCED AS ALFRED E. NEUMAN.

In a scene so surreal even MAD’s irreverent editors would have had trouble dreaming it up, Fred Astaire decided to sport an Alfred E. Neuman mask for a dance number in his 1959 television special, Another Evening with Fred Astaire. No one seems to recall why exactly Astaire would do this—he may have just wanted to include a popular cultural reference—but it was no off-the-cuff decision. Astaire hired movie make-up veteran John Chambers (Planet of the Apes) to craft a credible mask of Neuman. The result is … well, kind of disturbing. But it’s a fitting addition to a long tradition of people going completely MAD.

Additional Sources:
Harvey Kurtzman: The Man Who Created Mad and Revolutionized Humor in America.

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10 Tantalizing Tidbits About Star Trek: The Next Generation
Paramount Pictures
Paramount Pictures

by Kirsten Howard

When Star Trek: The Next Generation debuted in September 1987, no one was quite sure what to expect. After all, this was a new Enterprise with a new crew trying to revitalize a franchise that had only lasted three seasons the last time it was on television. And while the movie series was still bringing in solid box office returns, William Shatner and Leonard Nimoy would play no part in this new Trek.

The Next Generation was a gamble for Paramount, and for the first few seasons, it looked like one the studio was going to lose. But once the series got over some initial behind-the-scenes chaos, it blossomed into one of the most popular sci-fi TV shows of all time. Even as bigger and shinier installments in the franchise continue to come out, this is the definitive Star Trek for countless fans. So lean back in your captain's chair and enjoy 10 facts about Star Trek: The Next Generation.

1. THE SHOW GOT OFF TO A ROCKY START.

Things were tumultuous at best behind the scenes during the first season of the show, as writers and producers clashed with creator Gene Roddenberry over themes, characters, and ideas on a weekly basis. The in-fighting and drama became such a part of the show's legacy that William Shatner himself chronicled all of it in a 2014 documentary called Chaos on the Bridge (which is currently streaming on Netflix). In it, producers, writers, and actors recounted anecdotes about the difficulties they had dealing with Roddenberry's somewhat overbearing mandates, including his infamous rule that there never be any direct conflict between the Enterprise crew members (unless one was possessed by an alien, of course) and his habit of throwing out scripts at the last minute. This led to 30 writers leaving the show within the first season, according to story editor and program consultant David Gerrold.

As Roddenberry’s health began to deteriorate after the first season, his influence over the writers waned, freeing up ideas that were departures from the creator's original vision. He would pass away in 1991, but his presence would never completely leave the series. For years, a small bust of Roddenberry sat on executive producer Rick Berman's desk with a blindfold wrapped over its eyes. "Whenever they come up with a story I don't think Gene would like," Berman said, "I blindfold him when we discuss the story."

2. GENE RODDENBERRY REALLY DIDN’T WANT A BALD CAPTAIN.

'Star Trek' creator Gene Roddenberry
Public Domain, Wikimedia Commons

For years, William Shatner had cast the mold by which all future Star Trek captains would be judged. And it was that image of the confident, swashbuckling James T. Kirk that Roddenberry wanted to preserve when bringing a new captain in for The Next Generation. So when Berman wanted to cast Patrick Stewart as Captain Jean-Luc Picard, the issue was clear: he was no Shatner.

Roddenberry was completely unconvinced that Stewart was right for the role, with Berman saying the Trek creator didn’t like the idea of “a bald English guy taking over.” But after countless auditions with other actors, Berman continued to bring Stewart up to Roddenberry, who eventually caved and agreed to bring him in for a final audition under one condition: he wear a wig. So Stewart had a wig Fed-Exed from London and auditioned for Roddenberry and Paramount Television head John Pike one final time. 

That audition was enough to win Roddenberry over, and Stewart was finally brought aboard as Picard with the wig cast aside. Roddenberry would eventually go on to fully embrace Picard’s follicular shortcomings, and according to Stewart, when a reporter at a press conference once asked him why there wouldn’t be a cure for baldness in the 24th century, Roddenberry responded by saying, “No, by the 24th century, no one will care."

3. ONLY ONE PERSON HAS EVER PLAYED HIMSELF IN STAR TREK HISTORY.

Stephen Hawking was visiting the Paramount lot during the video release of the film A Brief History of Time when he requested a tour of the Next Generation set. After making his way onto the iconic Enterprise bridge, he stopped and began typing into his computer. Suddenly, his voice synthesizer spoke: “Would you lift me out of my chair and put me into the captain's seat?"

Hawking asking to be removed from his chair was basically unheard of, so his wishes were granted immediately. Later, with writers having become aware that he was such a huge Trekkie, Hawking himself was written into the sixth season finale episode “Descent – Part I” by Ronald D. Moore, who would later go on to reimagine the Battlestar Galactica universe.

4. A WHOLE EPISODE WAS WRITTEN FOR ROBIN WILLIAMS.

Late actor and comedian Robin Williams was also a huge fan of the show and was desperate to appear in it, so an episode of the fifth season—"A Matter of Time"—was drawn up by Berman to allow Williams to shine at the center of a mystery about Professor Berlinghoff Rasmussen, a time-traveling historian from the future visiting the past to observe the Enterprise crew completing an historic mission.

Unfortunately, when it came time to shoot the episode, Williams found himself unavailable to appear in the episode. So Max Headroom star Matt Frewer was cast as Professor Rasmussen instead.

5. PATRICK STEWART APPROACHED BEING TORTURED ON SCREEN VERY SERIOUSLY.

In the episode “Chain of Command, Part II,” Picard has been captured by Cardassians and is subjected to a variety of torture methods by his interrogators. As a member of the human rights organization Amnesty International, Stewart did not want to shy away from the realities of torture, so he watched tapes sent to him that included statements from people who had been tortured and a long interview with a torturer explaining what it was like to be the one inflicting pain on others. Stewart also insisted on being completely nude during the first torture scene, so as not to betray the experiences of those who had undergone similar horrors.

6. THEY USED SOME PRACTICAL EFFECTS.

The transporter effect on the show may look completely computer generated, but in fact it’s all done quite organically. First, a canister is filled with water and glitter and then a light is shone through it. After stirring the liquid briskly, the resulting few seconds of swirling glitter are filmed and then superimposed over footage of the actor standing in the transporter area, with an added “streak down” effect to blur the glitter further.

7. LORE WAS SUPPOSED TO BE A WOMAN.

Android Lieutenant Commander Data had many adventures during the series, on and off the Enterprise, but his evil twin brother, Lore, stands out for many fans as one of the show’s greatest antagonists. Surprisingly, Lore was originally created as a female android character for the show, but the actor who plays Data, Brent Spiner, came up with a different idea: an evil twin nemesis in the shape of a long-lost brother.

8. THERE WAS AN OPEN SUBMISSION POLICY ON SCRIPTS.

When Michael Piller took over as head writer on the show in 1989, an open submission policy was launched where absolutely anyone could submit up to two unsolicited scripts for consideration. Opening up the possibility of writing for TV to people outside of the Writers Guild of America and talent agency pool was unheard of at the time, and over 5000 spec scripts were received a year at one point. "Yesterday’s Enterprise," one of the show’s most popular episodes, was based off a spec script from the open submission policy.

9. SOME SCRIPTS WERE RECYCLED FROM THE SCRAPPED PHASE II.

A still from 'Star Trek: The Next Generation'
Paramount Pictures

A decade before The Next Generation debuted, there was a failed attempt at a revival called Star Trek: Phase II. Though a first season was mapped out, it never saw the light of day, and the movie series was produced in its place. However, the scrapped scripts and concepts lived on in various Trek projects over the years. For the second season premiere of The Next Generation, producers reclaimed the script for "The Child" as a way to get a story quickly into production during the 1988 writer's strike. The season four episode "Devil's Due" was also taken from the backlog of Phase II scripts. 

More elements from Phase II would influence Trek for years, such as the pilot being reworked into Star Trek: The Motion Picture and the now-familiar elements of the Japanese-inspired Klingon culture being introduced in the shelved episode “Kitumba.”

10. THE TRANSPORTER IS THE BEST OF BOTH WORLDS.

In what was either a cost-cutting move or a sly Easter egg (or both), the ceiling of the Enterprise's transporter room in The Next Generation is actually the floor of the transporter room from the original series. That's far from the only recycling that went on between the Trek series. The orbital office complex from Star Trek: The Motion Picture was reused as the Regula I station in The Wrath of Khan, which was then itself reused as a number of different space stations on The Next Generation (plus Deep Space Nine and Voyager).

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