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18 Epic Facts About Dances With Wolves

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The prevailing logic in Hollywood 25 years ago was that Westerns, while long on history and sometimes successful, were not a genre moviegoers were clamoring to see. Any filmmaker who did get the green light would need to keep the project within budget, under two hours, and, of course, keep all the dialogue in English. Dances With Wolves defied all of that.

Directed by and starring Kevin Costner, the 1990 epic about a disillusioned Civil War lieutenant who travels west and befriends a tribe of Sioux Indians clocked in at three hours long, came in millions of dollars over budget, and included a cast full of unknown Native American actors speaking a language most audiences had never heard. In the end, the film—“a journey movie,” as Costner has called it—won seven Academy Awards (including Best Picture) and grossed more than $400 million. On the 25th anniversary of its release, here are a few things you might not know about Dances With Wolves.

1. IT STARTED AS A NOVEL THAT NOBODY WANTED TO PUBLISH.

Inspired by books he’d read about the Plains Indians, screenwriter Michael Blake (who died earlier this year) pitched Costner on the idea for Dances with Wolves. Costner told Blake, whom he’d met in a Los Angeles acting class, to write a novel instead of a screenplay, reasoning that a novel could generate studio interest more effectively than a cold script. So Blake spent months writing and sleeping on friends’s couches (including Costner’s). “I wrote the entire book in my car, really,” Blake said in a behind-the-scenes feature. Once finished, Blake submitted Dances with Wolves, to numerous publishers, all of whom passed on his manuscript. Finally, after more than 30 rejections, a small publisher called Fawcett accepted it.  

2. IT BECAME THE FILM THAT NO STUDIO WANTED TO FINANCE.

Turned down by American studios, Costner looked abroad for help, eventually securing startup funds from a handful of foreign investors. With only a fraction of the movie’s $15 million budget secured, he began filming. Orion Pictures eventually stepped in with $10 million, but Dances with Wolves ended up going more than $3 million over budget. Costner covered the overage out of his own pocket.

3. COSTNER AND HIS SCREENWRITER HAD A COMPLICATED RELATIONSHIP.

Before Blake began working on Dances with Wolves, Costner tried to get work for his friend by arranging numerous interviews with studio representatives. But as Costner told Tim Ferriss on a recent podcast, Blake spoiled every opportunity by arguing with the reps. “I really started to lose patience with him,” Costner said. The two became increasingly at odds, culminating in a physical confrontation that had Costner pinning Blake against a wall. “I said, ‘Quit pretending you want to be in Hollywood,’” Costner told Ferriss.

Blake stayed with Costner while writing Dances with Wolves, all the while pestering Costner to read his work in progress. Costner refused, and Blake quickly wore out his welcome. He eventually moved down to Arizona, where he washed dishes at a Chinese restaurant for $3.35 an hour. He called Costner asking for money, so Costner mailed him a sleeping bag and a portable stove. Blake pestered Costner again to read the book, which he’d since finished. After months of refusing, Costner finally gave in and was stunned. “It was the clearest idea for a movie that I’d ever read,” Costner recounted.

4. COSTNER TRIED TO FIND ANOTHER DIRECTOR BEFORE TAKING THE JOB HIMSELF.

After deciding to go ahead with the project, Costner gave the script to three prominent directors (he won’t name names, unfortunately), hoping that one of them would be a good fit. But each of them had parts they wanted to cut that Costner considered crucial. “Some wanted to get rid of the opening Civil War sequence,” Costner told Tim Ferriss. “Some thought it was too long. Somebody thought it shouldn’t be a white [love interest], that that would be cliché.” So the actor decided to step in and do the job himself.

5. A COMMUNITY COLLEGE TEACHER SERVED AS THE FILM’S DIALOGUE COACH.

More than a quarter of Blake’s script had to be translated into the Sioux Lakota dialect. This was admirable, considering most Westerns made Native American actors spout their lines in English. But there was one problem: Few people could speak Lakota, much less translate it. Costner heard about a teacher at South Dakota’s Sinte Gleska University named Doris Leader Charge, who taught the Lakota language and culture. He sent the script to her and got it back three weeks later, fully translated.

“I’d never even seen a script before then,” the then-60-year-old teacher said in the behind-the-scenes feature. Since none of the actors spoke Lakota, Costner brought Leader Charge onto the set for further guidance and even offered her a speaking role as Pretty Shield, the wife of Ten Bears. Leader Charge initially declined, saying she needed to return to work. So Costner called up the president of the college and got her stay extended.  

6. THE LOGISTICS WERE DAUNTING.

In addition to filming at more than 30 locations throughout South Dakota and Wyoming, the shooting script called for 3500 buffalo, three dozen teepees, 300 horses, two wolves, and a small army of Native American extras. Add in budget headaches and complications with the weather, which ranged from 20 degrees to over 100 degrees across the July-to-November shoot, and it’s a wonder the film got made at all.

7. THE BUFFALO HUNT WAS PARTICULARLY COMPLICATED.

There were no trick shots or CGI wizardry behind the film’s centerpiece: That really is a herd of 3500 buffalo storming across the prairie. The crew got only one shot at filming the stampede each day, since the animals had to first be rounded up and then, once they started running, would go for miles before stopping. “The trucks began herding the buffalo at five o’clock in the morning in hopes that they would be in position by 11,” producer Jim Wilson told Entertainment Weekly. Capturing the sequence took eight days and involved 20 wranglers, a helicopter, and 10 pickup trucks with mounted cameras.

8. NEIL YOUNG AND OREOS HELPED COMPLETE THE SEQUENCE.

Filming required a few domesticated buffalo for close-up shots. So the crew turned to singer Neil Young, who loaned them “Mammoth,” and to a South Dakota meat manufacturer, whose mascot “Cody” played the buffalo that charged a young brave who had fallen off his horse. To get Cody to run at the camera, his handler enticed him with his favorite treat: Oreos. “You could be 100 yards away, pull out an Oreo, and he’d take off like a bullet straight for you,” Wilson told Entertainment Weekly.

9. COSTNER DID MOST OF HIS OWN STUNTS.

Wilson estimates that Costner did 95 percent of his own riding, shooting, fighting and wolf-dancing in the film. All of which was impressive, but also kept the crew on edge. During the buffalo hunt sequence, a rider veered in front of Costner’s horse, throwing the star from his mount. “I was in the copter and all I heard was ‘Kevin’s down, Kevin’s down,’” Wilson recounted. While the crew held their breath, the star got up, dusted himself off, and hopped on his stunt double’s horse to finish the scene.

10. THE WOLVES WERE DIFFICULT TO WORK WITH, NATURALLY.

The crew employed two wolves—Buck and Teddy—to play Two Socks, the wolf that Costner’s Dunbar befriends. But even with trainers, so called “trained” wolves are notoriously temperamental. Lots of patience and meat scraps were required to get Buck and Teddy to cooperate. The filmmakers weren’t above humiliating themselves to get the shots they needed, either. Behind-the-scenes footage shows Wilson and Costner trying to get the wolves to howl by belting out their own calls of the wild.

11. COSTNER WANTED AN ACTRESS “WITH LINES ON HER FACE” TO PLAY STANDS WITH A FIST.

Going against the trend of pairing a leading man with a much younger love interest, Costner said he wanted a mature, more experienced actress to play Stands With a Fist, the white woman adopted by the Sioux tribe as a child who helps John Dunbar integrate with her people, and eventually falls in love with him. They handed the role to Mary McDonnell, a then-37-year-old stage actress who learned her Lakota lines quickly and deftly handled her character’s re-learning English. Her performance garnered an Oscar nomination—plus lots of compliments about her wind-blown hair.

12. HOLLYWOOD INSIDERS REFERRED TO IT AS “COSTNER’S LAST STAND.”

Hollywood insiders smelled blood after hearing about the film’s production difficulties. Some called the risky bet  “Costner’s Last Stand,” while others dubbed it “Kevin’s Gate,” in reference to Michael Cimino’s wildly over-budget Western flop Heaven’s Gate. In the end, they were all humbled by the film’s nearly $425 million box office haul.

13. THE STUDIO TAILORED SEPARATE MARKETING CAMPAIGNS TO MEN AND WOMEN.

Part of Dances With Wolves’ success was due to its appeal to both male and female moviegoers. To stoke interest, Orion took a unique step at the time by cutting separate trailers and print ads that played up different aspects of the film. The female-focused marketing played up the movie’s love story, while the male-focused campaign emphasized the gun-slinging, Wild West elements of the film.

14. IT BECAME THE HIGHEST-GROSSING WESTERN OF ALL TIME.

Over the course of six months in wide release, Dances with Wolves took in $184 million domestically, rocketing it past Young Guns, Silverado, and other Westerns to become the highest grossing film in the genre. Twenty-five years later, it’s still at the top of the chart, just ahead of 2010’s True Grit. Interestingly, in all its weeks in theaters, Dances With Wolves never topped the box office charts.

15. THE MOVIE GAVE ORION PICTURES A TEMPORARY BOOST.

The company that distributed RoboCop, Platoon, and Caddyshack rolled out a string of poor performers in the late 1980s. By the time Dances With Wolves came to theaters, Orion’s stock was down 50 percent and the company was $500 million in debt. “We needed a hit,” David Forbes, Orion’s president of marketing and distribution, told Entertainment Weekly. Unfortunately, not even the combined success of Dances with Wolves and Silence of the Lambs (which came out the following year) was enough to recoup Orion’s losses. A year later, the company filed for bankruptcy, emerging briefly in the mid-1990s before MGM bought it. In 2014, MGM released The Town That Dreaded Sundown under the Orion label.

16. THE FILM HAS ITS CRITICS.

More than a few reviewers wrote that the film was overly sentimental and romanticized the lives of the Sioux Indians. David Sirota, writing for Salon, recently called Dances With Wolves an example of a “white savior film” that tells a familiar story about a white hero who swoops in to save a helpless tribe from destruction. Native American actor and activist Russell Means, meanwhile, called the film Lawrence of the Plains, meant as a derogatory reference to Lawrence of Arabia, and pointed out that the film’s Lakota dialect is almost all wrong. “The odd thing about making that movie is, they had a woman teaching the actors the Lakota language,” Means told High Times. “But Lakota has a male-gendered language and a female-gendered language. Some of the Indians and Kevin Costner were speaking in the feminine way. When I went to see it with a bunch of Lakota guys, we were laughing.”

17. THE SIOUX NATION ADOPTED COSTNER AS AN HONORARY MEMBER.

Criticism aside, the Sioux were pleased with a portrayal that focused on the peaceful, day-to-day life of their tribe. So they honored Costner with official membership. The induction ceremony included tying an eagle feather in his hair and giving him a hand-woven quilt. A few years later, though, Costner lost some of those good vibes when he bought several hundred acres in South Dakota’s Black Hills—a land considered sacred by the Sioux—and announced plans to build a resort. Development proved difficult, however, and Costner finally abandoned the plan in 2013.

18. THERE’S A SEQUEL.

A sequel to the book, that is. In 2001, Blake published The Holy Road, which continues the story of John Dunbar, now a full-fledged Sioux warrior, as he tries to protect his tribe from encroachment by white settlers. Critics praised the novel for the ways it portrayed westward expansion and the plight of Native Americans without coming off heavy-handed. There have been rumblings about a possible miniseries, but nothing is confirmed at this time.

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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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