document_title: Star Trek: The Next Generation

question_text: when did star trek the next generation come out

question_tokens: when did star trek the next generation come out

text: Star Trek: The Next Generation

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
26
September 28, 1987 (1987-09-28)
May 16, 1988 (1988-05-16)

2
22
November 21, 1988 (1988-11-21)
July 17, 1989 (1989-07-17)

3
26
September 25, 1989 (1989-09-25)
June 18, 1990 (1990-06-18)

4
26
September 24, 1990 (1990-09-24)
June 17, 1991 (1991-06-17)

5
26
September 23, 1991 (1991-09-23)
June 15, 1992 (1992-06-15)

6
26
September 21, 1992 (1992-09-21)
June 21, 1993 (1993-06-21)

7
26
September 20, 1993 (1993-09-20)
May 23, 1994 (1994-05-23)

text: The series follows the adventures of a space-faring crew on board the Galaxy Class starship USS Enterprise (NCC-1701-D), the fifth Federation vessel to bear the name and registry and the seventh starship by that name. (See Starship Enterprise for other ships with the name and/or registry). The series is set about 70 years after the final mission of the original Enterprise crew under the command of James T. Kirk.[6] The Federation has undergone significant internal changes in its quest to explore and seek out new life, adding new degrees of complexity and controversy to its methods, especially those focused on the Prime Directive. The Klingon Empire and the United Federation of Planets have ceased wartime hostilities and become galactic allies, while more sinister foes such as the Romulans and the Borg take precedence on the series.

text: The Enterprise is commanded by Captain Jean-Luc Picard and is staffed by first officer Commander William Riker, second officer/operations manager Data, security chief Tasha Yar, ship's counselor Deanna Troi, chief medical officer Dr. Beverly Crusher and her son Wesley Crusher, conn officer Lieutenant Geordi La Forge, and junior officer Lieutenant Worf. The death of Lieutenant Yar in the twenty-third episode of the first season (1987-1988) of the series prompts an internal shuffle of personnel, making Worf official chief of security. In season two, La Forge is promoted to chief engineer and Katherine Pulaski briefly takes over for Beverly Crusher.

text: The series begins with the crew of the Enterprise-D put on trial by an omnipotent being known as Q, who became a recurring character. The god-like entity threatens the extinction of mankind for being a race of savages, forcing them to solve a mystery at nearby Farpoint Station to prove their worthiness to be spared. After successfully solving the mystery and avoiding disaster, the crew officially departs on its mission to explore strange new worlds.

text: Subsequent stories focus on the discovery of new life and sociological and political relationships with alien cultures, as well as exploring the human condition. Several new species are introduced as recurring antagonists, including the Ferengi, the Cardassians, and the Borg. Throughout their adventures, Picard and his crew are often forced to face and live with the consequences of difficult choices.

text: The series ended in its seventh season with a two-part episode "All Good Things...", which brought the events of the series full circle to the original confrontation with Q. An interstellar anomaly that threatens all life in the universe forces Picard to leap from his present, past, and future to combat the threat. Picard was successfully able to show to Q that humanity could think outside of the confines of perception and theorize on new possibilities while still being prepared to sacrifice themselves for the sake of the greater good. The series ended with the crew of the Enterprise portrayed as feeling more like a family and paved the way for four consecutive motion pictures that continued the theme and mission of the series.

text:
Episodes by Season (1-4)

Season 1
Season 2
Season 3
Season 4

"Encounter at Farpoint" (Two-part episode)

"The Naked Now"
"Code of Honor"
"The Last Outpost"
"Where No One Has Gone Before"
"Lonely Among Us"
"Justice"
"The Battle"
"Hide and Q"
"Haven"
"The Big Goodbye" (Peabody Award Winner)
"Datalore"
"Angel One"
"11001001"
"Too Short a Season"
"When the Bough Breaks"
"Home Soil"
"Coming of Age"
"Heart of Glory"
"The Arsenal of Freedom"
"Symbiosis"
"Skin of Evil"
"We'll Always Have Paris"
"Conspiracy"
"The Neutral Zone"

"The Child"
"Where Silence Has Lease"
"Elementary, Dear Data"
"The Outrageous Okona"
"Loud as a Whisper"
"The Schizoid man"
"Unnatural Selection"
"A Matter of Honor"
"The Measure of a Man"
"The Dauphin"
"Contagion"
"The Royale"
"Time Squared"
"The Icarus Factor"
"Pen Pals"
"Q Who"
"Samaritan Snare"
"Up the Long Ladder"
"Manhunt"
"The Emissary"
"Peak Performance"
"Shades of Gray"

"Evolution"
"The Ensigns of Command"
"The Survivors"
"Who Watches the Watchers"
"The Bonding"
"Booby Trap"
"The Enemy"
"The Price"
"The Vengeance Factor"
"The Defector"
"The Hunted"
"The High Ground"
"Déjà Q"
"A Matter of Perspective"
"Yesterday's Enterprise"
"The Offspring"
"Sins of the Father"
"Allegiance"
"Captain's Holiday"
"Tin Man"
"Hollow Pursuits"
"The Most Toys"
"Sarek"
"Ménage à Troi"
"Transfigurations"
"The Best of Both Worlds" (Part 1)

"The Best of Both Worlds" (Part 2)
"Family"
"Brothers"
"Suddenly Human"
"Remember Me"
"Legacy"
"Reunion"
"Future Imperfect"
"Final Mission"
"The Loss"
"Data's Day"
"The Wounded"
"Devil's Due"
"Clues"
"First Contact"
"Galaxy's Child"
"Night Terrors"
"Identity Crisis"
"The Nth Degree"
"Qpid"
"The Drumhead"
"Half a Life"
"The Host"
"The Mind's Eye"
"In Theory"
"Redemption" (Part 1)

text:
Episodes by Season (5-7)

Season 5
Season 6
Season 7

"Redemption (Part 2)
"Darmok"
"Ensign Ro"
"Silicon Avatar"
"Disaster"
"The Game"
"Unification" (Two-part episode)

"A Matter of Time"
"New Ground"
"Hero Worship"
"Violations"
"The Masterpiece Society"
"Conundrum"
"Power Play"
"Ethics"
"The Outcast"
"Cause and Effect"
"The First Duty"
"Cost of Living"
"The Perfect Mate"
"Imaginary Friend"
"I, Borg"
"The Next Phase"
"The Inner Light"
"Time's Arrow" (Part 1)

"Time's Arrow" (Part 2)
"Realm of Fear"
"Man of the People"
"Relics"
"Schisms"
"True Q"
"Rascals"
"A Fistful of Datas"
"The Quality of Life"
"Chain of Command" (Two-part episode)

"Ship in a Bottle"
"Aquiel"
"Face of the Enemy"
"Tapestry"
"Birthright" (Two-part episode)

"Starship Mine"
"Lessons"
"The Chase"
"Frame of Mind"
"Suspicions"
"Rightful Heir"
"Second Chances"
"Timescape"
"Descent" (Part 1)

"Descent" (Part 2)
"Liaisons"
"Interface"
"Gambit" (Two-part episode)

"Phantasms"
"Dark Page"
"Attached"
"Force of Nature"
"Inheritance"
"Parallels"
"The Pegasus"
"Homeward"
"Sub Rosa"
"Lower Decks"
"Thine Own Self"
"Masks"
"Eye of the Beholder"
"Genesis"
"Journey's End"
"Firstborn"
"Bloodlines"
"Emergence"
"Preemptive Strike"
"All Good Things..." (Two-part episode)

text: Production[edit]

text: Background[edit]

text: By 1986, 20 years after Star Trek's debut on NBC, the franchise's longevity amazed Paramount Pictures executives. Chairman Frank Mancuso Sr. and others described it 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,[8] and the Harve Bennett-produced Star Trek films did well at the box office.[9] William Shatner and Leonard Nimoy's salary demands for Star Trek IV: The Voyage Home (1986) caused the studio to plan for a new Star Trek television series, as it had thought to do in 1977 with Star Trek: Phase II before making the films. Paramount executives worried that a new show could hurt the demand for the films, but decided that it would increase their appeal on videocassette and cable,[8] and that a show with unknown actors would be more profitable than paying the films' actors' large salaries.[10] 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,[6] and its cast in May 1987.[11]

text: Paramount executive Rick Berman was assigned to the show at Roddenberry's request. Roddenberry hired a number of Star Trek veterans, including Bob Justman, D. C. Fontana, Eddie Milkis, and David Gerrold.[12] Early proposals for the series included one in which some of the original series cast might appear as "elder statesmen",[8] 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 (NCC-1701).[13] 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.[10] According to series actor Patrick Stewart, Berman was more receptive than Roddenberry to the show addressing political issues.[14]

text: 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.[6] 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.[15] Part of the transporter room set in TNG was used in the original Star Trek's transporter set.[15] Many production details, such as LCARS computer interfaces and starship design, were carried through in the production of subsequent spin-offs.

text: A major focus of the show is the faster-than-light starship visiting exoplanets, which, although some had speculated to exist, were still in the realm of science fiction when show started in the 1987. However, by the early 1990s more claims were coming out including for PSR B1257+12, and a year after the show ended there was a more definitive detection of planets around 51 Pegasi. Another example is the ubiquitous use of hand-held tablet computers, at the time a fictional technology props for the actors but became a more practical and common computing device by the 2010s

text: Syndication and profitability[edit]

text: 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. That the Big Three television networks treated Paramount's most appealing and valuable property as they would any other series offended the studio. 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.[8][13]

text: Paramount increased and accelerated the show's profitability by choosing to instead broadcast it in first-run syndication[16][10][17]:123–124 on independent stations (whose numbers had more than tripled since 1980) and Big Three network affiliates.[8] The studio offered the show to local stations for free as barter syndication. The stations sold five minutes of commercial time to local advertisers and Paramount sold the remaining seven minutes to national advertisers. Stations had to commit to purchasing reruns in the future,[16] and only those that aired the new show could purchase the popular reruns of the original series.[18]:222[19]

text: 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.[16][20] 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."[20] TNG helped stations like WZZM in Grand Rapids, Michigan, who made a decision show The Next Generation.[20]

text: The new show indeed performed well; the pilot's ratings were higher than those of many network programs,[20] 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;[16] by 1992, when the budget for each episode had risen to almost $2 million,[21] the studio earned $90 million from advertising annually from first-run episodes, with each 30-second commercial selling for $115,000 to $150,000.[22][23] 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 did not need overseas sales to be successful.[22]

text: Season one[edit]

text: The Next Generation was shot on 35mm film,[24] and the budget for each episode was $1.3 million, among the largest for a one-hour television drama.[16] While the staff enjoyed the creative freedom gained by independence from a broadcast network's Standards and Practices department,[18]:222 the first season was marked by a "revolving door" of writers, with Gerrold, Fontana, and others quitting after disputes with Roddenberry.[25] Roddenberry "virtually rewrote" the first 15 episodes because of his "dogmatic" intention to depict human interaction "without drawing on the baser motives of greed, lust, and power". Writers found the show's "bible" constricting and ridiculous and couldn't deal with Roddenberry's ego and treatment of them. It stated, for example, that "regular characters all share a feeling of being part of a band of brothers and sisters. As in the original 'Star Trek,' we invite the audience to share the same feeling of affection for our characters."[10]

text: 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."[26] Other targets of criticism included poor special effects and plots being resolved by the deus ex machina of Wesley Crusher saving the ship.[27][28] However, Patrick Stewart's acting skills won praise, and critics noted that characters were given greater potential for development than those of the original series.[26][27] Both actors and producers were unsure whether Trekkies loyal to the original show would accept the new one,[29][30] 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".[31]

text: While the events of most episodes of season one were self-contained, many developments important to the show as a whole 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.[10]

text: 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 in episodes in subsequent seasons. "Coming of Age" dealt 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' most enduring villains: the Romulans, making their first appearance since the Original Series, and, through foreshadowing, the Borg.

text: 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.[6] "The Big Goodbye" also won a Peabody Award, the first syndicated program[16] and only Star Trek episode to do so.

text: The top episodes for Nielsen ratings were "Encounter at Farpoint" with 15.7, and the next highest was "Justice" with 12.7.[32]

text: Debuted 1987-1988

text: Season two[edit]

text: 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. Another change was in the opening theme, wherein at the end is a short fanfare. 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.

text: Nevertheless, season two as a whole was widely regarded as significantly better than season one.[33] 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.[10] The plots became more sophisticated and began to mix drama with comic relief. Its focus on character development received special praise.[33] 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.[34] Hurley wrote the acclaimed episode "Q Who", which featured the first on-screen appearance of the Borg, TNG's most popular villain. Season two focused on developing the character Data, and two highly regarded episodes from the season, "Elementary, Dear Data" and "The Measure of a Man", featured him prominently.[35] 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 well-regarded episodes such as "A Matter of Honor" and "The Emissary", which introduced Worf's former lover K'Ehleyr.[36] 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.[6]

text: Debuted 1988-1989

text: Season three[edit]

text: Before the production of the third season in the summer of 1989, some personnel changes were made. Head writer Maurice Hurley was let go and Michael Piller took over for the rest of the series. Creator and executive producer Gene Roddenberry took less of an active role due to his declining health. Roddenberry gave Piller and Berman the executive producer jobs, and they remained in that position for the rest of the series' run, with Berman overseeing the production as a whole and Piller being in charge of the creative direction of the show and the writing room. Doctor Crusher returned from her off-screen tenure at Starfleet Medical to replace Doctor Pulaski, who had remained a guest star throughout the second season. An additional change was the inclusion of the fanfare that was added to the opening credits of the second season, to the end of the closing credits. Ronald D. Moore joined the show after submitting a spec script that became "The Bonding". He became the franchise's "Klingon guru",[6] meaning that he wrote most TNG episodes dealing with the Klingon Empire (though he wrote some Romulan stories, as well, such as "The Defector"). Writer/producer Ira Steven Behr also joined the show in its third season. Though his tenure with TNG lasted only one year, he later went on to be a writer and showrunner of spin-off series Star Trek: Deep Space Nine.[37] Six third-season episodes were nominated for eight Emmys. "Yesterday's Enterprise" won for Outstanding Sound Editing for a Series and "Sins of the Father" won for Best Art Direction for a Series.[6] After a chiropractor warned that the cast members risked permanent skeletal injury, new two-piece wool uniforms replaced the first two seasons' extremely tight spandex uniforms.[38] The season finale, the critically acclaimed episode "The Best of Both Worlds", was the first season-ending cliffhanger, a tradition that continued throughout the remainder of the series.

text: Debuted 1989-1990

text: Season four[edit]

text: Brannon Braga and Jeri Taylor joined the show in its fourth season. The fourth season surpassed the Original Series in series length with the production of "The Best of Both Worlds, Part II". A new alien race, the Cardassians, made their first appearance in "The Wounded". They later were featured in Star Trek: Deep Space Nine. The season finale, "Redemption", was the 100th episode, and the cast and crew (including creator Gene Roddenberry) celebrated the historic milestone on the bridge set. Footage of this was seen in the Star Trek 25th-anniversary special hosted by William Shatner and Leonard Nimoy which aired later in the year. Seven fourth-season episodes were nominated for eight Emmys. "The Best of Both Worlds, Part II" won for both Outstanding Sound Editing in a Series and Outstanding Sound Mixing for a Series.[6] Character Wesley Crusher left the series in season four to go to Starfleet Academy. "Family" was the only Star Trek episode not to have a bridge scene during the entire episode and is the only TNG episode where Data does not appear on-screen.

text: Debuted 1990-1991

text: Season five[edit]

text: The fifth season's seventh episode, "Unification", opened with a dedication to Star Trek creator Gene Roddenberry (though the prior episode, "The Game", aired four days after his death). Roddenberry, though he had recently died, continued to be credited as executive producer for the rest of the season. The cast and crew learned of his death during the production of "Hero Worship", a later season-five episode. Seven fifth-season episodes were nominated for eight Emmys. "Cost of Living" won for Outstanding Individual Achievement in Costume Design for a Series and Outstanding Individual Achievement in Makeup for a Series, and "A Matter of Time" and "Conundrum" tied for Outstanding Individual Achievement in Special Visual Effects. In addition, "The Inner Light" became the first television episode since the 1968 original series Star Trek episode "The City on the Edge of Forever" to win a Hugo Award for Best Dramatic Presentation.[6] Season five had the introduction of a jacket for Picard, worn periodically throughout the rest of the show's run. The observation lounge set was altered with the removal of the gold model starships across the interior wall and the addition of lighting beneath the windows. Recurring character Ensign Ro Laren was introduced in the fifth season. The season 5 finale cliffhanger includes a cameo by Stephen Hawking (Part I of "Descent").

text: Debuted 1991-1992

text: Season six[edit]

text: The sixth season brought a new set of changes. Rick Berman and Michael Piller's time was split between the newly created Star Trek: Deep Space Nine and The Next Generation. Three sixth-season episodes were nominated for Emmys. "Time's Arrow, Part II" won for both Outstanding Individual Achievement in Costume Design for a Series and Outstanding Individual Achievement in Hairstyling for a Series, and "A Fistful of Datas" won for Outstanding Individual Achievement in Sound Mixing for a Drama Series.[6] The highest rated episode of Season 6 for Nielsen ratings was "Relics", with a rating of 13.9.[39] which featured Scotty played by original series veteran James Doohan.

text: NASA astronaut Mae Jemison plays in Lt. Palmer the Season 6 show "Second Chances".[40][41]

text: Debuted 1992-1993

text: Season seven[edit]

text: The seventh season was The Next Generation's last. The penultimate episode, "Preemptive Strike", concluded the plot line for the recurring character Ensign Ro Laren and introduced themes that continued in Star Trek: Deep Space Nine and Star Trek: Voyager. The Next Generation series finale, "All Good Things...", was a double-length episode (separated into two parts for reruns) that aired the week of May 19, 1994, revisiting the events of the pilot and providing a bookend to the series. Toronto's SkyDome played host to a massive event for the series finale. Thousands of people packed the stadium to watch the final episode on the stadium's JumboTron. Five seventh-season episodes were nominated for nine Emmys, and the series as a whole was the first syndicated television series nominated for Outstanding Drama Series. To this day, The Next Generation is the only syndicated drama to be nominated in this category. "All Good Things..." won for Outstanding Individual Achievement in Special Visual Effects, and "Genesis" won for Outstanding Individual Achievement in Sound Mixing for a Drama Series. "All Good Things..." also won the second of the series's two Hugo Awards.[6] "All Good Things.." also achieved the highest Nielson rating for all of Season 7, with a rating of 17.4.[42]

text: The TNG cast went on to make 4 films after the conclusion of Season 7. Between 1994 and 2002 the main Cast of the show went on to star in Generations, First Contact, Insurrection, and Nemesis. Meanwhile, on TV, DS9 continued with some of the prior TNG cast including Worf and O'Brien, and later in Fall of 1994 Frakes (TNG's Riker) guest starred on Deep Space Nine's "Defiant" (S3E9). In January 1995 the new Star Trek TV series Voyager show launched. and the aforementioned Generations movie had hit theaters in November 1994. Even with the loss of the franchise's guide and visionary, Roddenberry, Star Trek: The Next Generation had launched a golden era of new Trek media which would last well into the 21st century. In the finale of Enterprise, over ten years later Frakes and Sirtis reprising their roles as Riker and Deanna appear on television one last time. In the 2010s a project would be undertaken to convert all of TNG to 1080p High-Definition, and by 2015 it was all released on Blue-Ray, TV, and HD internet steaming services.

text: Debuted 1993-1994

text: Legacy[edit]

text: Although the cast members were contracted for eight seasons,[43] Paramount ended The Next Generation after seven, which disappointed and puzzled some of the actors, and was an unusual decision for a successful television show. Paramount then made films using the cast, which it believed would be less successful if the show were still on television.[44] Season eight also would likely have reduced the show's profitability due to higher cast salaries and a lower price per episode when sold for stripping. The show's strong ratings continued to the end; the series finale was ranked number two among all shows that week, between hits Home Improvement and Seinfeld.[43]

text: Star Trek: The Next Generation finale in Season Seven was watched by over 30 million viewers when it concluded in early 1994.[4] TNG would provide the high-water mark in terms of viewership, with a peak of 11.5 million during its 5th Season prior to the launch of DS9, and between 1988 and 1992 it picked up half a million to a million additional viewers per year.[5]

text: Adjusted Nielson Ratings for Star Trek TV[5]

text:
Fall 1987 - Spring 1988: 8.55 Million TNG S1
Fall 1988 - Spring 1989: 9.14 Million TNG S2
Fall 1989 - Spring 1990: 9.77 Million TNG S3
Fall 1990 - Spring 1991: 10.58 Million TNG S4
Fall 1991 - Spring 1992: 11.50 Million TNG S5
Fall 1992 - Spring 1993: 10.83 Million TNG S6 (DS9 S1 Debuted in Spring 1993)
Fall 1993 - Spring 1994: 9.78 Million TNG S7 + DS9 S2
Fall 1994 - Spring 1995: 7.05 Million DS9 S3 + VOY S1
Fall 1995 - Spring 1996: 6.42 Million DS9 S4 + VOY S2
Fall 1996 - Spring 1997: 5.03 Million DS9 S5 + VOY S3
Fall 1997 - Spring 1998: 4.53 Million DS9 S6+ VOY S4
Fall 1998 - Spring 1999: 4.00 Million DS9 S7 + VOY S5 (Voyager also had two more seasons)

text: High-Definition Project[edit]

text: In the 2010s, Star Trek: The Next Generation was re-produced in high-definition (1080p) with a format of 4:3 (1.33:1).[45] Many thought would not be possible, but CBS managed to do it and major work was done at CBS Digital.[45] TNG was shot on 35 mm film, which meant the film could be re-scanned to a higher resolution, however, many of the special effects had to be re-produced.[46] Also a 7.1 DTS-HD Master Audio sound option was created.[46]

text: Season 1 achieved 95,000 units in its launch week in 2012.[47] (further information Blu-Ray releases) In addition to the Blu-Ray packages, the HD was sold to many online streaming TV providers such as Netflix.[48] The Netflix version included some additional special effect changes.[48] The Blu-ray sets include many special features and videos, such as a 1988 episode of Reading Rainbow where Levar Burton (on TNG he is cast as Chief Engineer Geordi) documents the making of a Star Trek: The Next Generation episode.[46]

text: In June 2016 a 41-disc set was released with over 8000 minutes of TNG-content, including the entire show in 1080p (4:3).[49]

text: Cast[edit]

text:
Patrick Stewart as Captain Jean-Luc Picard is the commanding officer of the U.S.S. Enterprise. Stewart also played the character in the pilot episode of Deep Space Nine and all four TNG theater films
Jonathan Frakes as Commander William Riker is the ship's first officer. The Riker character was influenced by concepts for first officer Willard Decker in the Star Trek: Phase II television series.[6] Decker's romantic history with helmsman Ilia was mirrored in The Next Generation in the relationship between Riker and Deanna Troi.[6] Riker also appears in an episode each of Star Trek: Voyager and Star Trek: Enterprise. In addition to William Riker, Frakes played William's transporter-created double, Thomas, in one episode each of The Next Generation and Star Trek: Deep Space Nine.
LeVar Burton as Geordi La Forge was initially the ship's helmsman, but the character became chief engineer beginning in the second season. Burton also played the character in an episode of Voyager.
Denise Crosby as Tasha Yar is the chief of security and tactical officer. Crosby left the series at the end of the first season, and the Yar character was killed. Yar returns in alternate timelines in the award-winning episode "Yesterday's Enterprise" and the series finale, "All Good Things...". Crosby also played Commander Sela, Yar's half-Romulan daughter.
Michael Dorn as Worf is a Klingon. Worf initially appears as a junior officer fulfilling several roles on the bridge. When Denise Crosby left at the end of the first season, the Worf character succeeded Lieutenant Yar as the ship's chief of security and tactical officer. Dorn reprised the role as a regular in seasons four through seven of Star Trek: Deep Space Nine and also played another Klingon, also named Worf, in Star Trek VI: The Undiscovered Country; with 282 on screen appearances, Dorn has the most appearances of any actor in the Star Trek franchise.[50]
Gates McFadden as Doctor Beverly Crusher is the Enterprise's chief medical officer. As a fully certified bridge officer, Dr. Crusher had the ability to command the Enterprise, if circumstances required her to do so. She also, on occasional, commanded night-watch shifts on the ship's main bridge to stay on top of starship operations. McFadden was fired after the first season, but was rehired for the third season[51] and remained for the remainder of the series.
Diana Muldaur as Doctor Katherine Pulaski was created to replace Dr. Crusher for the show's second season. Muldaur, who previously appeared in two episodes of the original Star Trek, never received billing in the opening credits; instead, she was listed as a special guest star during the first act.
Marina Sirtis as Lieutenant Commander Deanna Troi is the half-human, half-Betazoid ship's counselor. Starting in the season-seven7 episode "Thine Own Self", Counselor Troi, having taken and completed the bridge-officer's test, is later promoted to the rank of commander, which allowed her to take command of the ship, and also perform bridge duties other than those of a ship's counselor. The character's relationship with first officer Riker was a carry-over from character ideas developed for Phase II.[6] Troi also appeared in later episodes of Voyager and in the finale of Enterprise.
Brent Spiner as Lieutenant Commander Data is an android who serves as second officer and operations officer. Data's "outsider's" perspective on humanity served a similar narrative purpose as Spock's in the original Star Trek.[6] Spiner also played his "brother", Lore, and his creator, Noonien Soong. In Enterprise, Spiner played Noonien's ancestor, Arik, and contributed a brief voiceover (heard over the Enterprise-D's intercom) in the Enterprise finale.
Wil Wheaton as Beverly Crusher's son Wesley becomes an acting ensign, and later receives a field commission to ensign, before attending Starfleet Academy. After being a regular for the first four seasons, Wheaton appeared sporadically as Wesley Crusher for the remainder of the series.

text: In addition to the series regulars, other recurring characters include:

text:
Majel Barrett as Lwaxana Troi is Deanna Troi's mother and Betazoid ambassador for the United Federation of Planets. She reprised her role in three episodes of Deep Space Nine. Barrett, married to Star Trek creator Gene Roddenberry, previously appeared in the original Star Trek. She also voiced the computer in The Next Generation and other spinoffs.
Brian Bonsall as Alexander Rozhenko is Worf's son. Jon Paul Steuer played Alexander in the character's first appearance, and James Sloyan played an older, time-traveling version of Alexander in another episode. Marc Worden played the character for his appearances in Deep Space Nine.
Rosalind Chao as Keiko O'Brien is Miles O'Brien's wife and a botanist. She also made recurring appearances in Deep Space Nine.
John de Lancie as Q is an omnipotent antagonist from the Q Continuum. de Lancie continued playing the Q character in both Deep Space Nine and Voyager.
Whoopi Goldberg as Guinan is the El-Aurian bartender in the ship's Ten Forward Lounge.
Michelle Forbes as Ensign Ro Laren is a Bajoran helmsman, who is later promoted to the rank of lieutenant in season seven. That same season, however, she resigns from Starfleet to become a member of a group of renegade federation colonists known as "the Maquis". Forbes' character was considered for use in Deep Space Nine, although producers eventually developed a new character, Kira Nerys.[52]
Colm Meaney as Miles O'Brien is an unnamed helmsman in the show's pilot, and appears several times in other positions during the first season. The character was eventually given a rank of Chief Petty Officer, and developed into the transporter chief. Meaney portrayed O'Brien for seven seasons as a series regular on Deep Space Nine.
Robert O'Reilly as Gowron is leader of the Klingon High Council. O'Reilly also appeared as Gowron in Deep Space Nine. O'Reilly appeared in an episode of Enterprise as a different character.
Dwight Schultz as Lieutenant Reginald Barclay is a technician and engineer who also plays a prominent role in the later seasons of Voyager.
Patti Yasutake as Ensign Alyssa Ogawa is a nurse in Dr. Crusher's sickbay.

text: There were certain big changes for regular characters, the major one was that Tasha Yar is only in season one, and Wesley left for Starfleet Academy in Season 4. In Season 2 the doctor is Pulaski not Crusher, but Crusher does come back and remains the ship's doctor thereafter (In All Good Things it is revealed she eventually marries Picard and has her own starship command, thus becoming the new Captain Picard, as he retired to tend a vineyard). In many cases the characters, or at least the actors, come back to act in some role on the show. There are many reoccurring characters, some of them have actually more appearances in episodes than Tasha. (See List of Star Trek: The Next Generation cast members#Appearances for a more in-depth table)

text:
Enterprise-D Characters Season 1-7 (examples)

Character
Season 1
Season 2
Season 3
Season 4
Season 5
Season 6
Season 7

Captain Picard
Yes
Yes
Yes
Yes
Yes
Yes
Yes

William Riker
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Geordi La Forge
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Worf
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Data
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Deanna Troi
Yes
Yes
Yes
Yes
Yes
Yes
Yes

Beverly Crusher
Yes
No
Yes
Yes
Yes
Yes
Yes

Guinan
No
Yes
Yes
Yes
Yes
Yes
No

Wesley Crusher
Yes
Yes
Yes
Yes
2 ep.
No
2 ep.

Tasha Yar
Yes
No
1 ep.
No
No
No
1 ep.

Katherine Pulaski
No
Yes
No
No
No
No
No

text: The character Q is very famous, and appeared in the first and last duologies, but overall only appeared in 8 shows

text: Notable guest appearances[edit]

text: The Next Generation included several guest characters who appeared in other iterations of Star Trek, and also introduced characters who appeared in later spinoffs and films. James Doohan, DeForest Kelley, Mark Lenard, and Leonard Nimoy appeared as the original Star Trek characters Montgomery Scott, Leonard McCoy, Sarek, and Spock, respectively. Merritt Butrick, Robin Curtis, Judson Scott, David Warner, and Paul Winfield played characters in various Star Trek films and later had roles in The Next Generation. Additionally, Alexander Siddig and Armin Shimerman played their Deep Space Nine characters, Julian Bashir and Quark, in episodes of The Next Generation. Before being cast in Deep Space Nine, Shimerman had played several Ferengi characters in The Next Generation. Jennifer Hetrick (Vash), Barbara March (Lursa), Richard Poe (Evek), and Gwynyth Walsh (B'Etor) reprised their Next Generation characters on Deep Space Nine.

text: Several actors who appeared in Star Trek: The Next Generation later played other roles within the franchise. These include Robert Duncan McNeill, Ethan Phillips, and Tim Russ, who played Tom Paris, Neelix, and Tuvok, respectively, on Voyager. Salome Jens and James Sloyan appeared in episodes of The Next Generation before landing recurring roles in Deep Space Nine. Suzie Plakson and Tony Todd also appeared in The Next Generation, and they later played roles in both Deep Space Nine and Voyager. Marc Alaimo, who depicted one of the franchise's first Cardassians in The Next Generation, later played the Cardassian Dukat throughout Deep Space Nine's seven seasons. Like Armin Shimerman, Max Grodénchik played a Ferengi in The Next Generation before being cast as a recurring Ferengi, Rom, in Deep Space Nine. Emmy Award-winner James Cromwell appeared twice in The Next Generation, and he played Zefram Cochrane in the second Next Generation film, First Contact.

text: Other notable guest actors in the show include Erich Anderson, Billy Campbell, Nikki Cox, Ronny Cox, Olivia d'Abo, Kirsten Dunst, Mick Fleetwood, Matt Frewer, Walter Gotell, Kelsey Grammer, Bob Gunton, Teri Hatcher, Stephen Hawking (as himself), Famke Janssen, Mae Jemison, Ken Jenkins, Ashley Judd, Sabrina Le Beauf, Christopher McDonald, Bebe Neuwirth, Terry O'Quinn, Michelle Phillips, Joe Piscopo, Gina Ravera, Jean Simmons, Paul Sorvino, Brenda Strong, James Worthy, Tracey Walter, Liz Vassey, David Ogden Stiers, Ray Walston, Ray Wise, and John Tesh.

text: Story arcs & themes[edit]

text: Star Trek had a number of story arcs within the larger story, and oftentimes different episodes contributed to two or more different story or character arcs. These could be grouped in different ways, and one way was by the aliens they were interacting with, for example TNG introduced the Borg and the Cardassians. The Klingons and Romulans had been introduced in the original series (1966–69); however, the Klingons were somewhat re-booted with "turtle-head" look, although a retcon was given for this in an Enterprise episode. Another way to group them is by a certain character such as Q or Ro Laren or by a technology like the holo-deck, and there were many other alien encounters (usually funny foreheads, face-paint, or no-body). Often the plot for alien encounters involved some eccentric alien nature that caused tensions, revealed at the end

text: The Borg:

text:
Q Who (May 8, 1989) - introduces Borg also a Q-show
The Best of Both Worlds, Part I & Part II (June 18, 1990 & September 24, 1990) - Major Borg diptych

Family (October 1, 1990) - Aftermath of BoBW

I, Borg (May 10, 1992) - Introduces Hue
Descent, Part I & Part II (June 21, 1993 & September 20, 1993) - Another Borg diptych

text: Certain episodes go deeper into the Klingon alien saga, which are famous for having an actual Klingon language made for them in the trekiverse. The Klingon stories usually involve Worf, but not all Worf-centric shows are focused on Klingons. The famous Duras sisters, a Klingon duo Lursa and B'Etor, were introduced on TNG in 1991 on Redemption (S5-S5 bridge) and they later appeared in the film Generations

text: Klingon stories (examples) :

text:
"Heart of Glory" (S1E20)
"A Matter of Honor (S2E8) - Riker on a Klingon vessel
"Sins of the Father" (S3E17) (introduces Worf's brother Kurn)
"Redemption" (S4-S5 cliffhanger and bridge, two parts) (Explores Klingon politics and homeworld)
"Birthright" (S6E16 & S6E17, two-part episode)
"Rightful Heir" (S6E23) - Introduces Kahless
"Firstborn" (TNG S7E21) (Alexander-Worf focused episode)

text: The Klingon saga established by TNG was significantly continued on the Deep Space Nine tv show, which continued the Worf character for another 4 seasons

text: Reginald Barclay (played by A-Team veteran Dwight Schultz) stories:

text:
Hollow Pursuits
The Nth Degree
Realm of Fear
Ship in a Bottle

text: Barclay's character also has several important episodes Star Trek Voyager TV show such as Projections (Star Trek: Voyager).

text: Lore is an android like Data, and is played by the same actor. Lore was introduced in S1E13 .

text:
Datalore (January 18, 1988)
Brothers (October 8, 1990)
Descent, Part II (September 20, 1993)

text: Q

text:
"Encounter at Farpoint" diptych
"Hide and Q"
"Q Who?"
"Déjà Q"
"Qpid"
"True Q"
"Tapestry"
"All Good Things..." diptych
Also the 1996 computer game Star Trek: Borg includes video segments with actor John de Lancie as Q

text: A thematic grouping is also possible, and a number of TNG dabbled in softcore terror/horror

text:
Night Terrors (March 18, 1991)
Schisms (October 19, 1992)
Chain of Command, Part I & Part II (December 14, 1992 & December 21, 1992)
Frame of Mind (May 3, 1993)
Sub Rosa (January 31, 1994)
Genesis (March 21, 1994)

text: Reception[edit]

text: The Next Generation's average of 20 million viewers often exceeded both existing syndication successes such as Wheel of Fortune and network hits including Cheers and L.A. Law. Benefiting in part from many stations' decision to air each new episode twice in a week, it consistently ranked in the top ten among hour-long dramas, and networks could not prevent affiliates from preempting their shows with The Next Generation or other dramas that imitated its syndication strategy.[21][17]:124Star Trek: The Next Generation received 18 Emmy Awards and, in its seventh season, became the first and only syndicated television show to be nominated for the Emmy for Best Dramatic Series. It was nominated for three Hugo Awards and won two. The first-season episode "The Big Goodbye" also won the Peabody Award for excellence in television programming.

text: In 1997, the episode "The Best of Both Worlds, Part I" was ranked No. 70 on TV Guide's 100 Greatest Episodes of All Time.[53] In 2002, Star Trek: The Next Generation was ranked #46 on TV Guide's 50 Greatest TV Shows of All Time list,[54] and in 2008, was ranked No. 37 on Empire's list of the 50 greatest television shows.[55]

text: On October 7, 2006, one of the three original filming models of the USS Enterprise-D used on the show sold at a Christie's auction for USD $576,000, making it the highest-selling item at the event.[56] The buyer of the piece was Microsoft co-founder Paul Allen, owner of the Museum of Pop Culture in Seattle. The piece is on display within the Science Fiction Museum.

text: In 2012, Entertainment Weekly listed the show at No. 7 in the "25 Best Cult TV Shows from the Past 25 Years", saying, "The original Star Trek was cult TV before cult TV was even a thing, but its younger, sleeker offspring brought, yes, a new generation into the Trekker fold, and reignited the promise of sci-fi on television."[57] Although TNG did develop a cult following, it was noted for its prime-time general audience viewership also.[5]

text: The flute from "Inner Light" was valued at only a few hundred to perhaps 1000 USD when it went to auction, but was sold for over 40,000; in this case the auctioneers admitted they had underestimated the appeal of the prop.[58][59][59]

text: In the days leading up to the auction, Denise Okuda, former Trek scenic artist and video supervisor, as well as co-writer of the auction catalog, said: "That's the item people say they really have to have, because it's so iconic to a much-beloved episode."[60]

text:
"All Good Things..." (1994), the finale achieved a rating of 17.4[42]
"Encounter at Farpoint" (1987), rating of 15.7[61]
"Unification" (1991), 15.4, a duology featuring Leonard Nimoy as Spoc in Part II brought in the highest Nielsen ratingsof that Season, and the one of the highest known for TNG except for the pilot and finale.[39]
"Aquiel" (1993), 14.1 [39] (Featured Guest star Renée Jones as Aquiel)
"A Matter of Time" (1991), 13.9 (Featuring guest star Matt Frewer as a time traveler)
"Relics" (1992), 13.9 (This one featured James Doohan as Scotty)
"Time's Arrow, Part II" (1992), 13.8 (S6 opener and conclusion of the Time's Arrow duology)
"Tapestry" (1993), 13.8[39] (Q-show)

text: DS9's "The Emissary", which came out half-way through season 6 of TNG achieved a Nielsen rating of 18.8.[62] Star Trek's ratings went into a steady decline starting with Season 6 of TNG, and the second to last episode of DS9 achieved a Nielsen rating of 3.9.[63]

text: Computer and video games[edit]

text: Examples of video games based on The Next Generation TV series, movies, and characters include:

text:
Star Trek: The Next Generation (1993)
Star Trek: The Next Generation: Future's Past (1993), for the SNES

Star Trek: The Next Generation: Echoes from the Past (1993) a port of Futures Past for the Sega Genesis

Star Trek Generations: Beyond the Nexus (1994), for Nintendo Game Boy or Sega Game Gear
Star Trek: The Next Generation – A Final Unity (1995), for MS-DOS or Macintosh

A Final Unity sold 500,000 copies by 1996.[64]

Star Trek: Borg (1996) (Includes live action segments directed by James L. Conway and acting by John de Lancie as Q)
Star Trek Generations (1997), for IBM PC
Star Trek: The Next Generation: Klingon Honor Guard (1998), for Mac and Windows 95 and 98
Star Trek: Hidden Evil (1999), for Windows 95 and 98
Star Trek Invasion (2000), for the PlayStation
Star Trek Armada (2000),[65] for Microsoft Windows 98
Star Trek: Armada II (2001)
Star Trek: Bridge Commander (2002)
Star Trek: Conquest (2002) (Wii, PlayStation 2)

text: The Enterprise and its setting is also in other Trekiverse games like Star Trek: Armada (2000), by which time it was common to have a game set in the time and place inhabited by TNG, but also occupied by two more television shows and the films. For example, in Star Trek: Armada voice actors from The Next Generation contributed to their characters in the game including Patrick Stewart reprised the roles of Jean-Luc Picard and Locutus, Michael Dorn voiced Worf, Denise Crosby reprised Sela, and J. G. Hertzler[66] voiced Chancellor Martok. Several other voice actors who had been previously unaffiliated with Star Trek also voiced characters in the game, among them was Richard Penn.[67]

text: Star Trek: Armada II was set in the Star Trek: The Next Generation era of the Star Trek universe.[65]

text: Star Trek: Hidden Evil, which came out in 1999 not only included voice acting by Brent Spiner as Data and Patrick Stewart as Picard,[68] but the story was a follow-on from the ninth Star Trek movie, Star Trek: Insurrection.[68]

text: Films[edit]

text: Four films feature the characters of the series: Star Trek Generations (1994), Star Trek: First Contact (1996), Star Trek: Insurrection (1998), and Star Trek: Nemesis (2002).

text: Worf played by Dorn also appeared in Star Trek VI: The Undiscovered Country.[69]

text: ``I think it was kind of an honor they had my character be sort of the link between the two series. It was wonderful to be working with the other cast (from the original Star Trek series). It was kind of a fantasy because who would have thought when I was watching the original show that I`d be working in the movie? Beyond that, it`s like professionalism takes over and you just kind of do the best you can and not make yourself look bad

text: Gross with TNG-cast ST films (not-inflation adjusted)[70]

text:
Star Trek VI: The Undiscovered Country

$74,888,996
Released 12/6/91

Star Trek: Generations (also has some TOS cast)

$75,671,125
Released 11/18/94

Star Trek: First Contact

$92,027,888
Released 11/22/96

Star Trek: Insurrection

$70,187,658
Released 12/11/98

Star Trek: Nemesis

$43,254,409
12/13/02

text: Lenard Nimoy as Spock also had some TNG episodes (e.g. Unification (Star Trek: The Next Generation) and was featured in the re-boot Star Trek film in 2009

text: Starting with First Contact, they get a new ship the Enterprise-E with a similar but modified designed as the D-model featured in TV and in Generations

text: Release history[edit]

text: VHS[edit]

text: All episodes of Star Trek: The Next Generation were made available on VHS cassettes, starting in 1991. The entire series was gradually released on VHS over the next few years during the remainder of the show's run and after the show had ended.

text: The VHS for TNG were available on mail-order usually two episodes per VHS cassette.

text: LaserDisc[edit]

text: Paramount published all episodes on the LaserDisc format from October 1991 using an extended release schedule that concluded in May 1999. Each disc featured two episodes with Closed Captions, Digital Audio, and CX encoding. Also published were four themed "collections", or boxed sets, of related episodes. These included The Borg Collective, The Q Continuum, Worf: Return to Grace, and The Captains Collection.[71]

text: There was a production error with episode 166, "Sub Rosa", where a faulty master tape was used that was missing 4½ minutes of footage. Though a new master copy of the episode was obtained, no corrected pressing of this disc was issued.[71]

text: Star Trek: The Next Generation was also released on LaserDisc in the non-US markets Japan and Europe. In Japan, all episodes were released in a series of 14 boxed sets (two boxed sets per season), and as with the US releases were in the NTSC format and ordered by production code. The European laserdiscs were released in the PAL format and included the ten two-part telemovies as well as a disc featuring the episodes Yesterday's Enterprise and Cause And Effect. The pilot episode, Encounter At Farpoint, was also included in a boxed set called Star Trek: The Pilots featuring the pilot episodes from Star Trek: The Original Series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager.

text: DVD[edit]

text: The first season of the series was released on DVD in March 2002. Throughout the year the next six seasons were released at various times on DVD, with the seventh season being released in December 2002. To commemorate the 20th anniversary of the series, CBS Home Entertainment and Paramount Home Entertainment released Star Trek: The Next Generation – The Complete Series on October 2, 2007. The DVD box set contains 49 discs. Between March 2006 and September 2008, "Fan Collective" editions were released containing select episodes of The Next Generation (and The Original Series, Deep Space Nine, and Voyager) based on various themes. The individual episodes were chosen by fans voting on StarTrek.com. In total, six "Fan Collectives" were produced, along with a boxed set containing the first five collectives. In April 2013 all seven seasons of Star Trek: The Next Generation were re-released in new packaging featuring a silhouette of a different cast member on each box. However, the discs contained the identical content that was previously released in 2002.

text: Blu-ray[edit]

text: The original show was shot on high-quality 35 mm film, but had to be downscaled before editing and postprocessing to standard '80s and '90s TV resolution (video quality) for broadcast. The show's final visual effects (e.g. all exterior shots of the starship Enterprise, phaser fire or beaming fade-ins and -outs) were also composed only in standard resolution video. All previous home video and DVD releases used this severely downscaled version. To include such footage on Blu-ray, using only upscaling, would have resulted in a larger but blurred image, so CBS decided to use a more detailed approach to bring the show to high definition. They also opted to adhere to the show's original 4:3 aspect ratio.

text: A news release on the official website announced on September 28, 2011, in celebration of the series' twenty-fifth anniversary, that Star Trek: The Next Generation would be completely re-mastered in 1080p and 4k high definition from the original 35 mm film negatives (consisting of almost 25,000 reels of original film stock). All the visual effects for each episode would be digitally recomposed from original large-format negatives and newly created CGI shots. The release would be accompanied by 7.1 DTS Master Audio.

text: An initial disc featuring the episodes "Encounter at Farpoint", "Sins of the Father", and "The Inner Light" was released on January 31, 2012 under the label "The Next Level". The six-disc first season set was released on July 24, 2012.[72] The remaining seasons were released periodically thereafter, culminating in the release of the seventh season on December 2, 2014.

text: The entire re-mastered series is available on Blu-ray as individual seasons, and as a 41-disc box set titled The Full Journey. Eventually, all remastered episodes will also be available for television syndication and digital distribution.[73] Mike Okuda believes this is the largest film restoration project ever attempted.[74]

text:
Season
Release date[75]
Special features

Season One
July 24, 2012
Documentaries "Energized!" (about the VFX remastering) and "Stardate Revisited" (Origin)

Season Two
December 4, 2012
Extended version of "The Measure of a Man", Reunification: reunion interview with entire TNG cast.

Season Three
April 30, 2013
Inside the Writer's Room, Resistance is Futile: Assimilating TNG, A Tribute to Michael Piller

Season Four
July 30, 2013
In Conversation: The Star Trek Art Department, Relativity: The Family Saga of Star Trek TNG, Deleted scenes

Season Five
November 19, 2013
In Conversation: The Music of TNG, Requiem: A Remembrance of TNG, Deleted scenes

Season Six
June 24, 2014
Beyond the Five Year Mission- The Evolution of Star Trek: The Next Generation, Deleted scenes

Season Seven
December 2, 2014
The Sky's the Limit – The Eclipse of Star Trek: The Next Generation, In Conversation: Lensing Star Trek: The Next Generation, deleted scenes

text: Standalone episodes[edit]

text: When TNG was re-made into 1080p, several episodes were released as stand-alone single show Blu-Ray products.[76]

text: This includes[76]

text:
"The Best of Both Worlds”
“Redemption”
“Unification”
“Chain of Command”
“All Good Things...”

text: The Measure of a Man HD extended cut[edit]

text: A famous episode, "The Measure of a Man ", which broke-out of entertainment into academia was released in HD in 2012 with an extended cut.[77] The extended version includes an extra 13 minutes of footage as well as recreated special effects.[78] It was released as part of the Season 2 collection set.

text: Spin-offs and the franchise[edit]

text: Star Trek: The Next Generation spawned a lot of media set in its science-fiction vision, which was primarily the 2370s but set in the same universe as first Star Trek TV shows of the 1960s. This included the aforementioned films, computer games, board games, theme parks etc. In the 2010s there was still discussion about a Captain Worf spin-off, the Bridge officer that debuted on TNG and was also featured in the TNG spin-off show Deep Space Nine, which itself had quite a following.[79]

text: Star Trek TNG-era Novels (examples):

text:
Balance of Power (Star Trek)
The Children of Hamlin
Dark Mirror (Star Trek novel)
Death in Winter
The Devil's Heart
I, Q
Immortal Coil
Imzadi
The Peacekeepers
Planet X (Star Trek)
Star Trek: The Q Continuum
Q-in-Law
Rogue (Star Trek)
Rogue Saucer
Star Trek: The Lost Era
Star Trek: Typhon Pact
Star Trek: Stargazer
Strike Zone
Survivors (Star Trek)
Star Trek: A Time to...
Star Trek: Titan
Vendetta (Star Trek)

text: These Are The Voyages... (2005)[edit]

text: In 2005, the last episode of "Enteprise" called "These Are the Voyages..." (S4E22) featured a holodeck simulation on the USS Enterprise (NCC-1701-D) from Star Trek: The Next Generation during the events of the episode "The Pegasus" and the return of Commander William Riker (Jonathan Frakes) and Counselor Deanna Troi (Marina Sirtis).[80] It was written by Berman and Braga, who noted "... this was a very cool episode because it has a great concept driving it".[81]

text: Star Trek: Enterprise was TV show launched following Star Trek: Voyager conclusion, and was set 100 years before TOS and 200 years before TNG, in addition to including some soft re-boot elements with an all new cast. Some episodes connected to TNG directly including guest stars by Brent Spiner and connections to the events in TNG's fictional universe. The three-episode story arc consisting of "Borderland", "Cold Station 12", and "The Augments", with a Soong ancestor portrayed by The Next Generation regular Brent Spiner provides some backstory to Data's back-story. Also Affliction (Star Trek: Enterprise) also helps explain the smooth-headed Klingons that sometimes appeared, a theatrically presented retcon and backstory that helped explain this varying presentation between TOS, TNG, and Films

text: Star Trek would not return to television as a show for over 12 years, until the debut of Star Trek:Discovery on CBS, but thereafter exclusively available on the internet service CBS All Access (Neflix Internationally) at that time. The film franchise was rebooted under the Kelvin timeline was quite successful, with several blockbusters from 2009 and featuring scenes with Spock

text: Context[edit]

text: This infographic shows the first-run production timeline of various Star Trek franchise shows and films, including Star Trek: The Next Generation

text: The re-production of TNG into HD was done in the 2010s.


document_title: Social Security Act

question_text: the social security act which was part of the new deal legislation

root

text: Social Security Act

text: Background[edit]

text: In the Second New Deal, the Social Security Act was signed into law by President Franklin D. Roosevelt on August 14, 1935. The act laid the groundwork for the modern welfare system in the United States, with its primary focus to provide aid for the elderly, the unemployed, and children. Industrialization and the urbanization in the 19th Century created many new social problems, and transformed ideas of how society and the government should function together because of them. As industry expanded, cities grew quickly to keep up with demand for labor. Tenement houses were built quickly and poorly, cramming new migrants from farms and Southern and Eastern European immigrants into tight and unhealthy spaces. Work spaces were even more unsafe.[2] In 1890, Jacob Riis wrote that “the quick change of economic conditions in the city…often out paces all plans of relief.”[citation needed]

tag: p

text: Contents[edit]

text: The Social Security Act has been amended significantly over time, but contains ten major titles.

text: Title I, old age[edit]

text: Title I is designed to give money to states to provide assistance to aged individuals

text: Title III, unemployment[edit]

text: Title III concerns unemployment insurance

text: Title IV, child aid[edit]

text: Title IV concerns Aid to Families with Dependent Children.

text: Title V, child welfare[edit]

text: Title V concerns Maternal and Child Welfare.

text: Title VI, public health[edit]

text: Title VI concerns public health services.

text: Title X, blindness[edit]

text: Title X concerns support for blind people.[3]

text: This section needs expansion. You can help by adding to it. (September 2016)

tag: table

text: Constitutional litigation[edit]

text: In the 1930s, the Supreme Court struck down many pieces of Roosevelt's New Deal legislation, including the Railroad Retirement Act. The Court threw out a centerpiece of the New Deal, the National Industrial Recovery Act, the Agricultural Adjustment Act, and New York State's minimum-wage law. President Roosevelt responded with an attempt to pack the court via the Judicial Procedures Reform Bill of 1937. On February 5, 1937, he sent a special message to Congress proposing legislation granting the President new powers to add additional judges to all federal courts whenever there were sitting judges age 70 or older who refused to retire.[4] The practical effect of this proposal was that the President would get to appoint six new Justices to the Supreme Court (and 44 judges to lower federal courts), thus instantly tipping the political balance on the Court dramatically in his favor. The debate on this proposal lasted over six months. Beginning with a set of decisions in March, April, and May 1937 (including the Social Security Act cases), the Court would sustain a series of New Deal legislation[5] Chief Justice Charles Evans Hughes played a leading role in defeating the court-packing by rushing these pieces of New Deal legislation through and ensuring that the court's majority would uphold it.[6]

text: In March 1937, Associate Justice Owen Roberts, who had previously sided with the court's four conservative justices, shocked the American public by siding with Hughes and the court's three liberal justices in striking down the court's previous decision in the 1923 case Adkins v. Children's Hospital, which held that minimum wage laws were a violation of the Fifth Amendment's due process clause and were thus unconstitutional, and upheld the constitutionality of Washington state's minimum wage law in West Coast Hotel Co. v. Parrish. In 1936, Roberts joined the four conservative justices in using the Adkins decision to strike down a similar minimum wage law New York state enforced in Morehead v. New York ex rel. Tipaldo[7] and his decision to reverse his previous vote in the Morehead decision would be known as the switch in time that saved nine. In spite of widespread speculation that Roberts only agreed to join the court's majority in upholding New Deal legislation, such as the Social Security Act, during the spring of 1937 because of the court packing plan, Hughes wrote in his autobiographical notes that Roosevelt's court reform proposal "had not the slightest effect on our [the court's] decision" in the Parrish case[8]:419 and that the delayed announcement of the decision created the false impression that the Court had retreated under fire.[8]:419 Following the vast support that was demonstrated for the New Deal through Roosevelt's re-election in 1936,[8]:422–23 Hughes persuaded Roberts to no longer base his decisions on political maneuvering and side with him in future cases that involved New Deal legislation[8]:422–23

text: Records show Roberts had indicated his desire to overturn the Adkins decision two days after oral arguments concluded for the Parrish case on December 19, 1936.[8]:413 During this time, however, the court was divided 4-4 following the initial conference call because Associate Justice Harlan Fiske Stone, one of the three liberal justices who continuously voted to uphold New Deal legislation, was absent due to an illness;[8]:414 with this even division on the Court, the holding of the Washington Supreme Court, finding the minimum wage statute constitutional, would stand. As Hughes desired a clear and strong 5–4 affirmation of the Washington Supreme Court judgment, rather than a 4–4 default affirmation, he convinced the other justices to wait until Stone's return before both deciding and announcing the case.[8]:414

text: US Supreme Court cases[edit]

text: Two Supreme Court rulings affirmed the constitutionality of the Social Security Act.

text:
Steward Machine Company v. Davis, 301 U.S, 548[9] (1937) held, in a 5–4 decision, that, given the exigencies of the Great Depression, "[It] is too late today for the argument to be heard with tolerance that in a crisis so extreme the use of the moneys of the nation to relieve the unemployed and their dependents is a use for any purpose narrower than the promotion of the general welfare". The arguments opposed to the Social Security Act (articulated by justices Butler, McReynolds, and Sutherland in their opinions) were that the social security act went beyond the powers that were granted to the federal government in the Constitution. They argued that, by imposing a tax on employers that could be avoided only by contributing to a state unemployment-compensation fund, the federal government was essentially forcing each state to establish an unemployment-compensation fund that would meet its criteria, and that the federal government had no power to enact such a program.
Helvering v. Davis, 301 U.S. 619 (1937), decided on the same day as Steward, upheld the program because "The proceeds of both [employee and employer] taxes are to be paid into the Treasury like internal-revenue taxes generally, and are not earmarked in any way". That is, the Social Security Tax was constitutional as a mere exercise of Congress's general taxation powers.

tag: ul

text: Other cases[edit]

text:
Flemming v. Nestor, 363 US 603 (1960) upholding §1104, allowing Congress to itself amend and revise the schedule of benefits. Further, however, recipients of benefits had no contractual rights to them.
Goldberg v. Kelly 397 US 254 (1970) William Brennan, Jr. held there must be an evidentiary hearing before a recipient can be deprived of government benefits under the due process clause of the Fourteenth Amendment.
Weinberger v. Wiesenfeld (1975) held that a male widower should be entitled to his deceased wife's benefit just as a female widow was entitled to a deceased husband's, under the equal protection and due process clauses of the Fourteenth Amendment.


document_title: List of Cincinnati Bengals seasons

question_text: when was the last time the cincinnati bengals were in the playoffs

text: List of Cincinnati Bengals seasons

text: Legend[edit]

text:
Finish
Final position in league, division, or conference

Conference Champions

Division Champions

Wild Card Berth

text: Season records[edit]

text:
Season
Team
League
Conference
Division
Regular season
Postseason results
Awards
Head coaches

Finish
Wins
Losses
Ties

1968
1968[2]
AFL

Western
5th
3
11
0

Paul Robinson (OROY)
Paul Brown

1969
1969[3]
AFL

Western
5th
4
9
1

Paul Brown (COY)
Greg Cook (OROY)
Paul Brown

1970
1970[4]
NFL
AFC
Central
1st
8
6
0
Lost Divisional Playoffs (at Colts) 0–17
Paul Brown (COY)
Paul Brown

1971
1971[5]
NFL
AFC
Central
4th
4
10
0

Paul Brown

1972
1972[6]
NFL
AFC
Central
3rd
8
6
0

Paul Brown

1973
1973[7]
NFL
AFC
Central
1st
10
4
0
Lost Divisional Playoffs (at Dolphins) 16–34

Paul Brown

1974
1974[8]
NFL
AFC
Central
2nd
7
7
0

Paul Brown

1975
1975[9]
NFL
AFC
Central
2nd
11
3
0
Lost Divisional Playoffs (at Raiders) 28–31
Ken Anderson (WPMOY)
Paul Brown

1976
1976[10]
NFL
AFC
Central
2nd
10
4
0

Bill Johnson

1977
1977[11]
NFL
AFC
Central
3rd
8
6
0

Bill Johnson

1978
1978[12]
NFL
AFC
Central
4th
4
12
0

Bill Johnson (0–5)
Homer Rice (4–7)

1979
1979[13]
NFL
AFC
Central
4th
4
12
0

Homer Rice

1980
1980[14]
NFL
AFC
Central
4th
6
10
0

Forrest Gregg

1981
1981[15]
NFL
AFC
Central
1st
12
4
0
Won Divisional Playoffs (Bills) 28–21
Won AFC Championship (Chargers) 27–7
Lost Super Bowl XVI (vs. 49ers) 21–26
Ken Anderson (MVP, OPOY, CBPOY)
Forrest Gregg

1982
1982[16][a]
NFL
AFC

3rd
7
2
0
Lost First Round (Jets) 17–44

Forrest Gregg

1983
1983[17]
NFL
AFC
Central
3rd
7
9
0

Forrest Gregg

1984
1984[18]
NFL
AFC
Central
2nd
8
8
0

Sam Wyche

1985
1985[19]
NFL
AFC
Central
2nd
7
9
0

Eddie Brown (OROY)
Sam Wyche

1986
1986[20]
NFL
AFC
Central
2nd
10
6
0

Reggie Williams (WPMOY)
Sam Wyche

1987
1987[21][b]
NFL
AFC
Central
4th
4
11
0

Sam Wyche

1988
1988[22]
NFL
AFC
Central
1st
12
4
0
Won Divisional Playoffs (Seahawks) 21–13
Won AFC Championship (Bills) 21–10
Lost Super Bowl XXIII (vs. 49ers) 16–20
Boomer Esiason (MVP)
Sam Wyche

1989
1989[23]
NFL
AFC
Central
4th
8
8
0

Sam Wyche

1990
1990[24]
NFL
AFC
Central
1st
9
7
0
Won Wild Card Playoffs (Oilers) 41–14
Lost Divisional Playoffs (at Raiders) 10–20

Sam Wyche

1991
1991[25]
NFL
AFC
Central
4th
3
13
0

Anthony Muñoz (WPMOY)
Sam Wyche

1992
1992[26]
NFL
AFC
Central
4th
5
11
0

Carl Pickens (OROY)
Dave Shula

1993
1993[27]
NFL
AFC
Central
4th
3
13
0

Dave Shula

1994
1994[28]
NFL
AFC
Central
3rd
3
13
0

Dave Shula

1995
1995[29]
NFL
AFC
Central
2nd
7
9
0

Dave Shula

1996
1996[30]
NFL
AFC
Central
3rd
8
8
0

Dave Shula (1–6)
Bruce Coslet (7–2)

1997
1997[31]
NFL
AFC
Central
4th
7
9
0

Bruce Coslet

1998
1998[32]
NFL
AFC
Central
5th
3
13
0

Bruce Coslet

1999
1999[33]
NFL
AFC
Central
5th
4
12
0

Bruce Coslet

2000
2000[34]
NFL
AFC
Central
5th
4
12
0

Bruce Coslet (0–3)
Dick LeBeau (4–9)

2001
2001[35]
NFL
AFC
Central
6th
6
10
0

Dick LeBeau

2002
2002[36]
NFL
AFC
North
4th
2
14
0

Dick LeBeau

2003
2003[37]
NFL
AFC
North
2nd
8
8
0

Jon Kitna (CBPOY)
Marvin Lewis

2004
2004[38]
NFL
AFC
North
3rd
8
8
0

Marvin Lewis

2005
2005[39]
NFL
AFC
North
1st
11
5
0
Lost Wild Card Playoffs (Steelers) 17–31

Marvin Lewis

2006
2006[40]
NFL
AFC
North
2nd
8
8
0

Marvin Lewis

2007
2007[41]
NFL
AFC
North
3rd
7
9
0

Marvin Lewis

2008
2008[42]
NFL
AFC
North
3rd
4
11
1

Marvin Lewis

2009
2009[43]
NFL
AFC
North
1st
10
6
0
Lost Wild Card Playoffs (Jets) 14–24
Marvin Lewis (COY)
Marvin Lewis

2010
2010[44]
NFL
AFC
North
4th
4
12
0

Marvin Lewis

2011
2011[45]
NFL
AFC
North
3rd
9
7
0
Lost Wild Card Playoffs (at Texans) 10–31

Marvin Lewis

2012
2012[46]
NFL
AFC
North
2nd
10
6
0
Lost Wild Card Playoffs (at Texans) 13–19

Marvin Lewis

2013
2013[47]
NFL
AFC
North
1st
11
5
0
Lost Wild Card Playoffs (Chargers) 10–27

Marvin Lewis

2014
2014[48]
NFL
AFC
North
2nd
10
5
1
Lost Wild Card Playoffs (at Colts) 10–26

Marvin Lewis

2015
2015[49]
NFL
AFC
North
1st
12
4
0
Lost Wild Card Playoffs (Steelers) 16–18

Marvin Lewis

2016
2016[50]
NFL
AFC
North
3rd
6
9
1

Marvin Lewis

2017
2017[51]
NFL
AFC
North
3rd
7
9
0

Marvin Lewis

Totals
W
L
T

344
408
4
All-time regular season record (1968–2016)[52]

5
14
0
All-time postseason record (1968–2016)[52]

349
422
4
All-time regular season and postseason record (1968–2016)[52]

2 conference championships, 9 divisional championships

text: Footnotes[edit]

text:
a The 1982 season was a strike-shortened season so the league was divided up into two conferences instead of its normal divisional alignment.
b The strike of 1987 reduced the regular season schedule from 16 to 15 games.


document_title: War for the Planet of the Apes

question_text: who played the colonel in war for the planet of the apes

text: War for the Planet of the Apes

text: Plot[edit]

text: Two years have passed[9] since the human-hating bonobo Koba attacked the human survivors in San Francisco. Since then, Caesar and his tribe of intelligent apes have been forced against a rogue U.S. military faction known as Alpha-Omega. Led by a ruthless Colonel, Alpha-Omega employs many apes formerly loyal to Koba, derogatorily called "donkeys".

text: An Alpha-Omega platoon launches an attack on an ape outpost, but it fails and four soldiers, including one named Preacher and a "donkey" gorilla named Red, are captured. Caesar releases the soldiers, hoping the display of mercy will show the Colonel that the apes are not savages; Red escapes by injuring the albino gorilla Winter. Later, Caesar's eldest son Blue Eyes and lieutenant Rocket return from a long journey. Blue Eyes reports that they found a place across the desert that is ideal for the apes. Despite an uneasy Winter asserting that the apes should leave immediately, Caesar decides they need to prepare first. That night, the Colonel leads a team of soldiers in infiltrating the apes' home, where he kills Blue Eyes and Caesar's wife Cornelia. Upon discovering this, Caesar attempts to prevent the Colonel's escape but fails. Afterward, the apes are unable to find Winter, who they believe betrayed them out of fear.

text: In the morning, the tribe gathers to journey to safety. Leaving his youngest son, Cornelius, in the care of Blue Eyes' wife Lake, Caesar departs to exact revenge while serving as the decoy for the other apes. Accompanied by Rocket, his orangutan adviser Maurice, and his gorilla lieutenant Luca, the apes enter a seemingly abandoned village, where they come upon a soldier who deserted the Colonel's army. Caesar kills him in self-defense. They then discover a mute girl, who Maurice befriends and adopts, giving her a small rag doll. They then find Winter at a beachside military camp, having become a "donkey". They confront Winter, who tells Caesar that the Colonel departed for the border, to meet more soldiers. Winter then attempts to call out for help, but the other apes restrain him, and Caesar accidentally suffocates him. While following the military, the apes discover soldiers who have been shot and left for dead. Their examination of a surviving soldier reveals that he is mute like the girl. Caesar then kills him in an act of mercy.

text: Later, the apes give chase after a hooded figure who stole one of their horses and are surprised to discover he is an intelligent ape from another zoo, named Bad Ape. While camping with Bad Ape, they discover that he knows where the border is and he hesitantly agrees to lead them there. The group reaches the border, where they see a quarantine facility. While attempting to get a closer look, Luca is killed protecting Caesar from some soldiers. An angered Caesar decides to proceed alone rather than continue to endanger his allies. While there, however, Caesar learns that Alpha-Omega captured his tribe and are forcing them to build a wall without food or water. Caesar is then captured by Red, who brings him to the Colonel. He is forced to work with the other apes, and when he inspires them to stop working, the Colonel threatens to kill Caesar to get the apes to continue.

text: Caesar deduces that the Colonel is barricading the facility to fend off other military forces who are against him for killing his own soldiers. The Colonel informs Caesar that the Simian Flu virus had mutated, and the human carriers subsequently became mute and devolved into a primitive state. He then has Caesar tortured with starvation to force the other apes to work. The mute girl, named Nova by Maurice, sneaks into the facility to give Caesar food, water, and her rag doll. To prevent her from being discovered, Rocket allows himself to be captured as a diversion. The next day, the Colonel comes to see if Caesar is still alive, and confiscates the doll upon discovering it. Together, Caesar and Rocket are able to work out a means of escape via an underground tunnel leading out of the facility. Though the plan is successful, Caesar remains behind to confront the Colonel as the facility comes under attack by the army of dissenting soldiers. However, he finds the Colonel infected by the virus via contact with Nova's doll. Caesar chooses not to kill the Colonel, instead watching him commit suicide.

text: The escaping apes are caught in the crossfire between the two armies while Red watches uncertainly. Caesar attempts to blow up a large fuel tank to take out the Alpha-Omega forces from behind, but he is shot with a crossbow by Preacher. Red then uses a grenade launcher to kill Preacher and save Caesar's life before he is shot dead by a soldier. Caesar succeeds in blowing up the tank and escapes the facility as it is consumed in a cascade of explosions, which then triggers an avalanche that wipes out the dissenting soldiers. The apes, carrying Nova, all survive by climbing nearby trees. They then cross the desert to find an oasis. While the other apes celebrate their new home, Maurice discovers Caesar's fatal wound. He promises to tell Cornelius who his father was and what he did for the apes. Caesar then dies peacefully while Maurice mourns his death and the other apes look on.

text: Cast[edit]

text: Apes[edit]

text:
Andy Serkis as Caesar, an intelligent common chimpanzee who is leader to a tribe of genetically enhanced apes.[10]
Steve Zahn as "Bad Ape", a common chimpanzee who lived in a zoo before the Simian Flu outbreak, and was a hermit before joining Caesar's group.[11][12]
Karin Konoval as Maurice, a Bornean orangutan who is Caesar's adviser.[10]
Terry Notary as Rocket, a common chimpanzee who is Caesar's brother-figure.[13]
Ty Olsson as Red, a Western lowland gorilla who was once a follower of Koba, now serving the Colonel to defeat Caesar. Olsson previously played Chief Hamill in Rise.[14]
Michael Adamthwaite as Luca, a Western lowland gorilla in Caesar's tribe. Luca was previously played by Scott Lang in Dawn.[15]
Toby Kebbell as Koba, a bonobo who had previously waged war against the humans in Dawn; he now appears in Caesar's hallucinations.
Judy Greer as Cornelia, Caesar's wife.[10]
Sara Canning as Lake, a common chimpanzee in Caesar's tribe, who is also Blue Eyes' mate and later Cornelius's caretaker.[16]
Max Lloyd-Jones as Blue Eyes, Caesar and Cornelia's oldest son.[17]
Devyn Dalton as Cornelius, Caesar and Cornelia's youngest son, and Blue Eyes' younger brother. Dalton previously played Cornelia in Rise.
Aleks Paunovic as Winter, an albino Western lowland gorilla in Caesar's tribe who sided with the Colonel out of fear.[18]

text: Humans[edit]

text:
Amiah Miller as Nova, a mute orphan whom Maurice befriends and cares for.[19][20]
Woody Harrelson as The Colonel, the leader of the paramilitary organization Alpha-Omega, who is obsessed with wiping out Caesar and his tribe to preserve humans as the dominant species.[21][22] His full name was revealed in the film's screenplay as Colonel J. Wesley McCullough.[23]
Gabriel Chavarria as Preacher, a human soldier working under the Colonel in Alpha-Omega.[24]

text: Production[edit]

text: Development[edit]

text: After seeing his cut of Dawn, 20th Century Fox and Chernin Entertainment signed Matt Reeves to return as director for a third installment of the reboot series. In January 2014, the studio announced the third film, with Reeves returning to direct and co-write along with Bomback, and Peter Chernin, Rick Jaffa and Amanda Silver serving as producers.[25][26] During an interview in mid-November 2014 with MTV, Andy Serkis said they did not know the next film's setting. "...It could be five years after the event. It could be the night after the events of where we left 'Dawn.'"[27] In May 2015, the title was first given as War of the Planet of the Apes.[28] By October 2015, it had been retitled as War for the Planet of the Apes.[11]

text: When director Reeves and screenwriter Bomback came on board to helm Dawn, the film already had a release date, which led to an accelerated production schedule. However, with the third installment, Fox wanted to give the duo plenty of time to write and make the film. Taking advantage of this, the two bonded with each other more than before.[29]

text: In interviews for Dawn, Reeves talked about the inevitable war Caesar would have with the humans: "As this story continues, we know that war is not avoided by the end of Dawn. That is going to take us into the world of what he is grappling with. Where he is going to be thrust into circumstances that he never, ever wanted to deal with, and was hoping he could avoid. And now he is right in the middle of it. The things that happen in that story test him in huge ways, in the ways in which his relationship with Koba haunts him deeply. It’s going to be an epic story. I think you’ve probably read that I sort of described it where in the first film was very much about his rise from humble beginnings to being a revolutionary. The second movie was about having to rise to the challenge of being a great leader in the most difficult of times. This is going to be the story that is going to cement his status as a seminal figure in ape history, and sort of leads to an almost biblical status. He is going to become like a mythic ape figure, like Moses."[30]

text: Toby Kebbell, who portrayed Koba in Dawn, had expressed interest in reprising his role or performing as other characters.[31] Plans to include Koba in a larger role in the film were abandoned early, with Bomback saying, "If you stayed until the very end of Dawn of the Planet of the Apes, you hear Koba’s breathing. We did that to give us a tiny crack of a possibility that we could revive Koba if we wanted to. Very early on in spitballing, we realized there was nothing more to do with Koba – certainly nothing that would exceed what he had done in the last story. But we knew we wanted to keep him alive as an idea. In playing out the reality of what happened at the end of the last film, Caesar would be traumatized by having to kill his brother. That would have resonance, and we wanted to make sure that did not get lost. So the answer was that we could go inside Caesar’s mind at this point and revisit Koba that way."[32]

text: Casting[edit]

text: In August 2015, Deadline reported that Gabriel Chavarria had been cast as one of the humans in the film.[33] In September 2015, The Hollywood Reporter announced that Woody Harrelson had been cast as the film's antagonist, and that Chavarria's role was supporting.[21] In October 2015, TheWrap reported that Steve Zahn was cast as a new ape in the film.[11] It was also announced that actress Amiah Miller was cast as one of the film's humans, with Judy Greer and Karin Konoval reprising their roles as Cornelia and Maurice,[10][19] while Aleks Paunovic and Sara Canning were cast as new apes.[18][16]

text: Filming[edit]

text: Principal photography on the film began on October 14, 2015 in the Lower Mainland in Vancouver, under the working title Hidden Fortress.[34][35] Filming was expected to take place there until early March 2016.[36] Parts of the film were expected to shoot for up to five days in the Kananaskis in late January and early February.[37] In March, Serkis confirmed that he had finished shooting his portions.[38]

text: Visual effects[edit]

text: As with Rise and Dawn, the visual effects for War were created by Weta Digital; the apes were created with a mixture of motion-capture and CGI key-frame animation, as they were performed in motion-capture technology and animated in CGI.

text: Influences[edit]

text: At New York Comic-Con 2016, Reeves explained that he and Bomback were influenced by many films before writing. He said, "One of the first things that Mark and I did because we had just finished Dawn was that we decided to watch a million movies. We decided to do what people fantasize what Hollywood screenwriters get to do but no one actually does. We got Fox to give us a theater and we watched movie after movie. We watched every Planet of the Apes movie, war movies, westerns, Empire Strikes Back... We just thought, 'We have to pretend we have all the time in the world,' even though we had limited time. We got really inspired."[39]

text: Additionally, during production, Reeves and Bomback sought broader inspirations from films like The Bridge on the River Kwai and The Great Escape. Feeling that there was a need to imbue Biblical themes and elements, they also watched Biblical epics like Ben-Hur and The Ten Commandments. The influences and inspirations were made evident in the relationship between Caesar and Woody Harrelson's Colonel, a military leader with pretensions toward godhood. Reeves has compared their relationship to the dynamic between Alec Guinness's British Commander and Sessue Hayakawa's prison camp Colonel in Bridge on the River Kwai. Another comparison is in Caesar's journey to find the Colonel, flanked by a posse of close friends – a situation Reeves explicitly tied to Clint Eastwood's war-weary soldier in The Outlaw Josey Wales.[29] Influences from the film Apocalypse Now, notably Harrelson's character and his Alpha-Omega faction being similar to Colonel Kurtz's renegade army, were also noted by several journalists.[40][41][42] Harrelson has also acknowledged the similarities and inspiration.[43]

text: Soundtrack[edit]

text:
War for the Planet of the Apes

Soundtrack album by Michael Giacchino

Released
July 7, 2017 (Digital)
July 21, 2017 (Physical)

Recorded
2017

Genre
Film score

Label
Sony Masterworks

Michael Giacchino film scores chronology

Spider-Man: Homecoming
(2017)Spider-Man: Homecoming2017
War for the Planet of the Apes
(2017)
Coco
(2017)Coco2017

text: On October 17, 2015, it was confirmed that Michael Giacchino, the composer and writer of the soundtrack for Dawn, would return to compose War's score.[44] The soundtrack was digitally released to iTunes and Amazon on July 7, 2017,[45] and in its physical form by Sony Masterworks on July 21, 2017.

text: Release[edit]

text: The film was initially set for a July 29, 2016, release. However, in January 2015, Fox postponed the film's release date to about a year later on July 14, 2017.[46][5]

text: Marketing[edit]

text: Special behind-the-scenes footage for the film was aired on TV on November 22, 2015, as part of a contest announcement presented by director Matt Reeves and Andy Serkis.[47] The footage aired during The Walking Dead on AMC.[48][49] The announcement allowed winners to wear a performance-capture suit and appear in a scene as an ape.[50] The announcement was released on 20th Century Fox's official YouTube page later the same day.[51]

text: At a New York Comic Con special event on October 6, Reeves, Serkis and producer Dylan Clark debuted an exclusive look at the film.[52]

text: Serkis has also mentioned that the film would be accompanied by a video game, for which he performed motion capture.[53] Titled Planet of the Apes: Last Frontier, the game was released for the PlayStation 4, Xbox One and PC in fall 2017.[54]

text: Home media[edit]

text: War for the Planet of the Apes was released on Digital HD on October 10, 2017, and on Blu-ray and DVD on October 24, 2017 by 20th Century Fox Home Entertainment.[55]

text: Reception[edit]

text: Box office[edit]

text: War for the Planet of the Apes grossed $146.9 million in the United States and Canada and $343.8 million in other territories for a worldwide total of $490.7 million, against a production budget of $150 million.[4]

text: In North America, the film was projected to gross $50–60 million in its opening weekend,[56] however, given its acclaimed status and strong word-of-mouth, rival studios believed the film had the potential to debut as high as $70–80 million.[3][57][58] War was closely monitored by analysts while the summer was witnessing a decline in ticket sales, a situation that they blamed on franchise fatigue for an overabundance of sequels and reboots (such as Pirates of the Caribbean: Dead Men Tell No Tales, Transformers: The Last Knight and The Mummy). However, box office analysts noted that well-reviewed films have tended to perform in-line with estimates (Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man: Homecoming).[59][60][61] The film grossed $5 million from Thursday night previews at 3,021 theaters, up 22% from the $4.1 million earned by its predecessor, and $22.1 million on its first day. It went on to debut to $56.3 million, topping the box office, albeit with a 22% drop from Dawn's $72.6 million debut.[62][63] In its second weekend, the film grossed $20.9 million (a drop of 62.9%, more than the 50.4% fall Dawn saw), finishing 4th at the box office.[64] In its third weekend, the film made $10.5 million (dropping another 49.9%), finishing 6th at the box office. It was lower than the third weeks of both Rise ($16.1 million) and Dawn ($16.8 million).[65]

text: Outside North America, War for the Planet of the Apes received a scattered release in a span of three months (July–September). The film began its release in about a third of the marketplace on July 14, albeit only in two major markets, and was projected to have an opening of $50–60 million, with the potential to go higher if smaller Asian markets over-perform, as they have for recent tent poles.[3] The film ended up having an international debut of $44.2 million, including $9.27 million in the United Kingdom.[66]

text: Critical response[edit]

text: War for the Planet of the Apes received praise for the cast's performances (particularly Serkis), Reeves's direction, visual effects, musical score, cinematography and its morally complex storyline.[67] On review aggregator site Rotten Tomatoes, the film has an approval rating of 93% based on 296 reviews, with a rating average of 8.1/10. The website's critical consensus reads, "War for the Planet of the Apes combines breathtaking special effects and a powerful, poignant narrative to conclude this rebooted trilogy on a powerful – and truly blockbuster – note."[68] On review aggregator Metacritic, which assigns a weighted average rating to reviews, the film has a score of 82 out of 100, based on 50 critics, indicating "universal acclaim".[69] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score earned by its two immediate predecessors.[62]

text: Scott Collura of IGN awarded the film a score of 9.5 out of 10, saying: "War for the Planet of the Apes is an excellent closing act to this rebooted trilogy, but also one that does enough world-building that the series can potentially continue from here – and it’s a rare case where, after three movies, we’re left wanting more."[70] A.O. Scott of The New York Times said of the film, "“War for the Planet of the Apes,” directed by Matt Reeves, is the grimmest episode so far, and also the strongest, a superb example — rare in this era of sloppily constructed, commercially hedged cinematic universes — of clear thinking wedded to inventive technique in popular filmmaking," and lauded Andy Serkis's performance in the film, stating that "Andy Serkis’s performance as Caesar is one of the marvels of modern screen acting."[71]

text: Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars, and said that Serkis performed "with a resonant power and depth of feeling that's nearly Shakespearean. Oscar, get busy: Serkis deserves the gold," and went on to say that "War for the Planet of the Apes – No. 9 in the simian cinema canon – is the best of the Apes films since the 1968 original."[72] Eric Kohn of Indiewire gave the film a B+ rating, and praised Matt Reeves's directing, saying "It’s a given that an expensive 21st century sci-fi movie with talking animals, exploding tanks, and jarring machine guns would look and sound great, but Reeves applies these effects with such a measured strategy that they’re always working in service of a greater narrative agenda." Kohn went on to applaud the visuals and musical score, stating that "The breathlessly paced montage of flying bullets and angry monkeys raining down on terrified men, aided by Michael Giacchino’s vibrant score, is a strong indicator of the next-level craftsmanship that distinguishes these movies from so many cacophonous Hollywood spectacles; not only is the action easy to follow, but you care for the motion-captured characters at the center of it, while the humans cower in fear."[73]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Golden Trailer Awards
June 6, 2017
Best Motion/Title Graphics
War for the Planet of the Apes: 20th Century Fox, Wild Card
Nominated
[74][75]

Best Summer 2017 Blockbuster TV Spot

Hollywood Film Awards
November 5, 2017
Hollywood Visual Effects Award
Dan Barrett, Dan Lemmon, Joe Letteri, and Erik Winquist
Won
[76][77]

Hollywood Post Alliance
November 16, 2017
Outstanding Visual Effects - Feature Film
Dan Barrett, Anders Langlands, Dan Lemmon, Joe Letteri, Luke Millar, Erik Winquist, and Weta Digital
Won
[78][79]

Teen Choice Awards
August 13, 2017
Choice Movie: Summer
20th Century Fox
Nominated

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Andy Serkis
Won
[80]

Best Motion Capture Performance
Steve Zahn
Nominated

San Francisco Film Critics Circle
December 10, 2017
Best Actor
Andy Serkis
Won
[81][82]

Best Original Score
Michael Giacchino
Nominated

San Diego Film Critics Society
December 11, 2017
Best Visual Effects
War for the Planet of the Apes
Won
[83]

Chicago Film Critics Association
December 12, 2017
Best Original Score
Michael Giacchino
Nominated
[84]

Seattle Film Critics Society
December 18, 2017
Best Original Score
Michael Giacchino
Nominated
[85][86]

Best Visual Effects
Joe Letteri, Dan Lemmon, Dan Barrett, and Joel Whist
Won

Utah Film Critics Association
Best Actor
Andy Serkis
Won
[87]

Los Angeles Online Film Critics Society
December 19, 2017
Best Animated / Visual Effect Performance
Andy Serkis
Won
[88][89][90]

Best Score
Michael Giacchino
Nominated

Best Action / War
War for the Planet of the Apes
Nominated

Best Blockbuster
Nominated

Best Visual Effects
Won

Phoenix Film Critics Society
Best Visual Effects
War for the Planet of the Apes
Won
[91]

North Carolina Film Critics Association
December 29, 2017
Best Special Effects
War for the Planet of the Apes
Won
[92]

Columbus Film Critics Association
January 4, 2018
Actor of the Year (for an exemplary body of work)
Woody Harrelson
Runner-up
[93]

Golden Tomato Awards
January 3, 2018
Best Sci-Fi/Fantasy Movie 2017
War for the Planet of the Apes
2nd Place
[94]

Houston Film Critics Society
January 6, 2018
Best Actor
Andy Serkis
Nominated
[95][96]

Best Original Score
Michael Giacchino

Best Visual Effects
War for the Planet of the Apes

Critics' Choice Movie Awards
January 11, 2018
Best Action Movie
War for the Planet of the Apes
Nominated
[97]

Best Visual Effects
Won

Georgia Film Critics Association
January 12, 2018
Best Actor
Andy Serkis
Nominated
[98]

Best Original Score
Michael Giacchino
Nominated

Screen Actors Guild Awards
January 21, 2018
Outstanding Performance by a Stunt Ensemble in a Motion Picture
War for the Planet of the Apes
Nominated
[99][100]

Art Directors Guild
January 27, 2018
Excellence in Production Design for a Fantasy Film
James Chinlund
Nominated
[101]

Annie Awards
February 3, 2018
Outstanding Achievement for Character Animation in a Live Action Production
Daniel Barrett, Sidney Kombo-Kintombo, Emile Ghorayeb, Luisma Lavin Peredo, and Alessandro Bonora
Won
[102]

Satellite Awards
February 10, 2018
Best Film Editing
William Hoy
Won
[103]

Best Original Score
Michael Giacchino
Nominated

Best Sound
War for the Planet of the Apes
Nominated

Best Visual Effects
Nominated

Visual Effects Society Awards
February 13, 2018
Outstanding Visual Effects in a Photoreal Feature
Joe Letteri, Ryan Stafford, Daniel Barrett, Dan Lemmon, Joel Whist
Won
[104]

Outstanding Animated Character in a Photoreal Feature
Eteuati Tema, Aidan Martin, Florian Fernandez, Mathias Larserud for "Bad Ape"
Nominated

Dennis Yoo, Ludovic Chailloleau, Douglas McHale, Tim Forbes for "Caesar"
Won

Outstanding Created Environment in a Photoreal Feature
Chris McLaughlin, Ryan Salcombe, Seungjin Woo, Francesco Dell'Anna for "Hidden Fortress"
Nominated

Phillip Leonhardt, Paul Harris, Jeremy Fort, Thomas Lo for "Prison Camp"
Nominated

Outstanding Effects Simulations in a Photoreal Feature
David Caeiro Cebrian, Johnathan Nixon, Chet Leavai, Gary Boyle
Won

Outstanding Compositing in a Photoreal Feature
Christoph Salzmann, Robin Hollander, Ben Morgan, Ben Warner
Won

British Academy Film Awards
February 18, 2018
Best Special Visual Effects
Daniel Barrett, Dan Lemmon, Joe Letteri, and Joel Whist
Nominated
[6]

Golden Reel Awards
February 18, 2018
Outstanding Achievement in Sound Editing – Dialogue / ADR
Supervising Sound Editors: Douglas Murray, Will Files; Supervising Dialogue Editor: R.J. Kizer; Vocal Editors: Kim Foscato, P.K. Hooker, Doug Jackson, Lindsay Alvarez; ADR Editors: Laura Graham, and Jim Brookshire
Won
[105][106]

Outstanding Achievement in Sound Editing – Effects / Foley
Supervising Sound Editors: Douglas Murray, Will Files; Sound Effects Editors: David Grimaldi, Jack Whittaker, Ken McGill, P.K. Hooker, Doug Jackson, Lindsay Alvarez; Foley Editors: John Morris, Matthew Harrison, Thom Brennan, Willard Overstreet; Foley Artists: Dan O'Connell, and John T. Cucci
Nominated

International Film Music Critics Association Awards
February 22, 2018
Score of the Year
Michael Giacchino
Nominated
[107][108]

Best Original Score for a Fantasy/Science Fiction/Horror Film
Michael Giacchino
Won

Film Music Composition of the Year
"End Credits" from War for the Planet of the Apes by Michael Giacchino
Won

Academy Awards
March 4, 2018
Best Visual Effects
Daniel Barrett, Dan Lemmon, Joe Letteri, and Joel Whist
Nominated
[109]

Saturn Awards
June 2018
Best Science Fiction Film
Peter Chernin, Dylan Clark, Rick Jaffa and Amanda Silver
Pending
[110]

Best Director
Matt Reeves
Pending

Best Actor
Andy Serkis
Pending

Best Special Effects
Joe Letteri, Dan Lemmon, Daniel Barrett and Joel Whist
Pending

text: Future[edit]

text: In October 2016, it was reported that a fourth Planet of the Apes film was being discussed.[111][112]