Podcast appearances and mentions of fred freiberger

Who better to see us safely into the new year than Moonbase Alpha's security guard, Jack Klaff? Jack's had a fascinating career and life and is full of stories about both. Plus, he tells us all about how he landed his part on Space 1999, impressing producer Fred Freiberger with his pronunciation of a certain word...Meanwhile, Jamie has some hints about things to come in the Gerry Anderson News, while the Randomiser takes Chris and Richard back to a simpler time...00:27 Welcome to the Gerry Anderson Podcast! 02:29 The Gerry Anderson News!07:53 Jack Klaff - Part 136:17 The Voice Of The Podsterons45:13 The Randomiser58:02 Wrapping things up! Links MentionedGuest LinksNews LinksNever Miss An EpisodeJoin the Podsterons Facebook groupSubscribe wherever you get your podcastsThe Randomiser with Chris DaleHelp The ShowLeave us a review on Apple PodcastsTweet about it! Use the hashtag #GerryAndersonPodcast@ImJamieAnderson / @RichardNJames / @ChrisDalekJoin the Anderson Insiders for Extra ContentStay In TouchEmail Podcast AT GerryAnderson.comJoin the Email Newsletter

Fred Freiberger appears in the flesh to reign terror over the production in order create another hilariously terrible episode. Featuring Abraham Lincoln

We start two new seasons at once! Kenny talks about the bold mission statement that is Ambush. Aspen talks about individualizing the clones. We both talk about The Clone Wars - chronological order versus release order.And Kenny introduces listeners to Fred Freiberger and sets Aspen up for a new season-long arc._________________Get early, extended episodes on our Patreon at https://www.patreon.com/trekwarspodTheme by Tosin AwofesoSocial Media:https://www.instagram.com/trekwarspodhttps://bsky.app/profile/trekwarspod.bsky.socialWant to ask us questions? Email us at trekwarspod@gmail.com .And leave us a review! https://bit.ly/leave-a-review-trek-wars

A complete look at Korg 70,000 B.C. airing on ABC's 1974-75 Saturday morning lineup. Produced by Hanna-Barbera. Starring Jim Malinda, Bill Ewing, Naomi Pollock, Christopher Man, Charles Morteo, and Janelle Pransky. Created by Fred Freiberger. Buy Korg 70,000 B.C. on DVD SUPPORT FORGOTTEN TV ON PATREON! Support Forgotten TV with Paypal Buy Me a Coffee! More at Forgotten TV Amazon links are affiliate, and Forgotten TV earns royalties from qualifying purchases made at no additional cost to you. Please support Forgotten TV while doing your regular Amazon shopping. Original audio clips included are for the purposes of historical context, review, commentary, and criticism only and are not intended to infringe. Sound effects/some music used under license from Epidemic Sound. If you need music for your podcast or YouTube channel, please visit Epidemic Sound.  Timeless Expanse By Dreamstate Logic is used under an Attribution-NonCommercial-ShareAlike 3.0 Unported Creative Commons License. Forgotten TV is not affiliated with or authorized by any production company or TV network involved in the making of any TV show or film mentioned.  Korg 70,000 B.C. is the copyright and property of Hanna-Barbera, Warner Bros., and possibly additional rights holders. Copyright 2024 Forgotten TV Media

 If you grew up in the '60s, '70s, or '80s,you will love StarPodTrek! On this exciting episode of StarPodTrek, we consider the Star Trek and science contents of Starlog magazine in issues 39 and 40 from 1980.Read along with your personal issue from your collection or for free here:https://archive.org/details/starlog_magazine-039Bob Turner and Kelly Casto discuss Bjo Trimble's commentary about women in fandom. Check out the '70s Trek podcast!https://m.facebook.com/1742040886071290/Stewart Foley joins in to reminisce about the Star Trek mail order items that were available in the 1980 merchandise guide. Follow his YouTube channel, Trekyards:https://youtube.com/c/TrekyardswebseriesDan Shahin and Larry Young reflect on the career of Fred Freiberger. Check out Dantron's YouTube channel and show, Serious Star Trek:https://youtube.com/c/ComicBookNewswithDanShahinJose Cepeda and Rob Lopez discuss the fascinating life of Gene Roddenberry. Check out their webseries Nature's Hunger:https://youtube.com/user/Peanutman1954Plus, Carl Sagan's Cosmos, Nova, the Star Trek Maps and Technical Manual by New Eye Photography and more on this episode of StarPodTrek!Don't forget to join our Facebook group:https://m.facebook.com/profile.php?id=469912916856743&ref=content_filterLove Starlog magazine?Join the Facebook group:https://m.facebook.com/profile.php?id=303578380105395&ref=content_filterSuscribe to our YouTube Channel “StarPodLog and StarPodTrek”:https://www.youtube.com/channel/UCgE_kNBWqnvTPAQODKZA1UgJoin us in STARFLEET International! https://sfi.org/Find us on Twitter and Instagram: @StarPodLog Reddit: u/StarPodTrek Visit us on Blogger at https://starpodlogpodcast.blogspot.com/ or iTunes or Spotify or wherever you listen to fine podcasts!Music used with permission by Five Year Mission. If you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Star Trek producer Fred Freiberger gives Gene Roddenberry an update on scripts for the 1968 season of Star Trek. What's revealed is just as relevant to production today, and we welcome back Assistant Director and longtime Trek insider Michael DeMeritt to shed some light behind the scenes. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Star Trek producer Fred Freiberger gives Gene Roddenberry an update on scripts for the 1968 season of Star Trek. What's revealed is just as relevant to production today, and we welcome back Assistant Director and longtime Trek insider Michael DeMeritt to shed some light behind the scenes. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Star Trek producer Fred Freiberger gives Gene Roddenberry an update on scripts for the 1968 season of Star Trek. What's revealed is just as relevant to production today, and we welcome back Assistant Director and longtime Trek insider Michael DeMeritt to shed some light behind the scenes. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

If you feel like this episode reminds you an awful lot of last week's episode, you're not alone! Many elements of our previous discussion and detail seep up here in a second week with Fred Freiberger at the helm writing it all. Hurray? And our regular reminder, we are going through Space: 1999 in the […]

It's ghost planets and undead beauty queens this week as we contemplate "That Which Survives"!Author and critic Darren Mooney returns to the show to discuss an episode of Star Trek: The Original Series that continues the show's third season's themes of death and decay. The Enterprise has found a planet that should not be, but when the landing party attempts to explore it, the ship is thrown nearly 1000 light-years away. Now, Spock with have to race the Enterprise back before a beautiful and deadly woman delivers Kirk a touch of death!The third season of Star Trek was beset by many behind-the-scenes crises and is often thought of as the show's worst and most off-brand effort. But in fact, much of what we think of when we think "Star Trek" is present in the third season, and the repeated themes of infection, loss, and decay reflect not only the show's immanent cancellation, but also the social upheaval and turmoil that was the societal backdrop of the late 1960s. On this episode, we talk about the brain drain present in TOS's third season roster, the perhaps unfairly maligned Fred Freiberger, the development of Trek's utopia in its third year, the show's frequent cynicism about contemporary counterculture, the third season's obsession with preserving order and status quo, how Trek presaged the depressing sci-fi or the '70s, and why the Original Series wasn't quite as progressive as its reputation suggests.We also discuss pitching Michael B. Jordan, Viking samurai bikers, the Curse of Michaels Richards, jerkass Spock, double dates and Communism, TOS kids vs. TNG kids, Kirk and JFK, Spock's calculator, comics as a building material, upping the sex factor, and a SPOOKY ghost planet!For the world is hollow and Catwoman touched this guy!Follow Darren on Twitter, listen to his podcast, read his blog, and check out his work on the Escapist!https://twitter.com/Darren_Mooneyhttps://twitter.com/thetwofiftyhttps://them0vieblog.com/https://www.escapistmagazine.com/v2/author/darren-mooney/Get your hands on Darren's books!Opening The X-Files: A Critical History of the Original Serieshttps://amzn.to/3dmDiPQChristopher Nolan: A Critical Study of the Filmshttps://amzn.to/3jZouYMLearn the story behind your favorite Trek episodes with BackTrekking!http://www.twitter.com/backtrekkingCorrect us on Facebook and Twitter and the Just Enough Trope Discord!http://www.facebook.com/eistpodhttp://www.twitter.com/eistpodhttps://discord.gg/WVvCHVWqzfBuy us a shovel on Patreon and Ko-Fi!http://www.patreon.com/eistpodhttps://ko-fi.com/E1E01M2UASubscribe to the show on iTunes!https://itunes.apple.com/us/podcast/enterprising-individuals/id1113165661?mt=2

TVC 477.3: Greg and Ed discuss the many differences in style and tone between the second season of Space: 1999 and the first season, including a new producer, Fred Freiberger, and the reason why Barry Morse did not return to the show. Both seasons of Space: 1999 are now available on Blu-ray through Shout! Factory. Destination: Moonbase Alpha by Robert Wood is available through Amazon.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Sürgősségi vészjelzéssel riasztja a K-7 űrállomásra Kirk kapitány legénységét a Föderáció mezőgazdasági megbízottja, hogy az Enterprise erőforrásaival őriztesse az állomáson tárolt gabonát. Míg Kirk a riadó miatt neheztel a feletteseire, egy simlis kereskedő agresszíven nyomuló seftelése kontrollálhatatlan tribbliszaporulatot eredményez az Enterprise és az állomás fedélzetén, miközben a kikapcsolódni vágyó klingon látogatók is feszültséget és kocsmai zavargásokat gerjesztenek. Aktuális adásunk témája a ’Szőrös veszedelem’ című epizód. Rövid hírszekció: • A Voyager 25. évfordulójára keményfedeles könyv és Janeway életrajz érkezik. Hogyan képzeljük el a sorozat méltó megünneplését? • Kitekintésképpen a The Mandalorian előzeteséről is beszélgetünk: a sorozat új lehetőségeket nyit meg Star Wars a franchise számára? • A Ronald D. Moore nevével fémjelzett űrversenyes sci-fi sorozat, a For All Mankind első 3 része már megtekinthető. A kibeszélő tartalmából: • Az epizód népszerűsége ellenére Bob Justman (rendezőasszisztens, később producer) és Fred Freiberger (a harmadik évad producere) nem szerették ezt az epizódot: szerintük a karakterek önmaguk paródiái lesznek, a harsány humor pedig az életszerűség rovására megy, a Star Trek egyszerűen nem vígjáték. Roddenberry maga is komolyabb irányba szerette volna terelni a franchise-t. • Az epizódhoz 500 darab tribbli készült, némelyik motorizált volt, hogy mozoghasson. Később a gyűjtők elkapkodták őket, bár néhányan még hosszú ideig kallódtak a díszletek között. • Az epizód alapját képező forgatókönyv David Gerrold első professzionális munkája, amelyet értékesített. Mivel a Star Trek Joseph Pevney szavaival “halálosan komoly” lett a későbbiekben, Gerrold csak a rajzfilmsorozatban tudta megvalósítani a folytatást. • A tribblik és az epizódban szereplő karakterek későbbi megjelenéséről is beszélgetünk, emellett pedig a klingon ügynök kevésbé vígjátékba illő eredetére és hátterére is kitérünk.

With the third season of Star Trek starting in a few months, new producer Fred Freiberger updates Gene Roddenberry on the status of developing scripts. Paramount exec and friend of the show Dave Rossi joins us this week to explore the many pitfalls (and triumphs) of TOS's final season. See the document: http://facebook.com/thetrekfiles

With the third season of Star Trek starting in a few months, new producer Fred Freiberger updates Gene Roddenberry on the status of developing scripts. Paramount exec and friend of the show Dave Rossi joins us this week to explore the many pitfalls (and triumphs) of TOS's final season. See the document: http://facebook.com/thetrekfiles

With the third season of Star Trek starting in a few months, new producer Fred Freiberger updates Gene Roddenberry on the status of developing scripts. Paramount exec and friend of the show Dave Rossi joins us this week to explore the many pitfalls (and triumphs) of TOS's final season. See the document: http://facebook.com/thetrekfiles

He is an unsung hero from The Original Series. Associate producer Bob Justman was a key figure in keeping the production side of Star Trek functioning on time ...and on budget. He came to Star Trek in 1965 and started at the beginning, working on the first pilot, The Cage. Justman stayed until 1968, working on 14 of the 24 shows in the third season. Like Gene Coon, Bob Justman had a real impact on the show while he was there. He was a major player in getting Star Trek off the ground and functioning as a production. On this episode of 70s Trek, co-hosts Bob Turner and Kelly Casto tell you about Associate Producer Bob Justman. Show Notes          Robert "Bob" Harris Justman was born July 13, 1926 in Brooklyn          ⁃        As a boy he really liked Science Fiction          ⁃        His father Joseph Justman was in the produce business. He and his partners did very well.          ⁃        In 1944, Bob signed up for the draft. He didn’t get drafted so he went to the draft board and asked why he wasn’t drafted. They said he wasn’t needed. He told them he wanted to go so they sent him the PE building in LA for a physical. He failed due to his eye sight. He protested so they sent him to Ft MacArthur to get a real physical and made it.          ⁃        While Bob was in the Navy during WW II his father, Joseph, founded the Motion Picture Center studio          ⁃        He rented it to Lucille Ball and Desi Arnaz and in 1950 they bought. The studio became part of Desilu Studios.          ⁃        When Bob returned from the navy he worked at the produce firm. He didn’t get paid very well so when his dad asked him to come to LA to work in the motion picture business he decided to leave the produce firm and go to LA.          ⁃        He hung around the studio for a time until his money ran out. He then went to one of the producers and asked for a job. This landed him his first job working on the film “Three Husbands” as a production assistant Justman had quite a career in film and TV as a Production Assistant and Assistant director prior to TOS          ⁃        Production assistant on such films as          ⁃        1951's          ⁃        The Scarf (featuring Celia Lovsky),          ⁃        New Mexico (featuring Jeff Corey and John Hoyt)          ⁃        M (featuring Norman Lloyd and William Schallert)          ⁃        He Ran All the Way (also with Norman Lloyd),          ⁃        1952's          ⁃        Japanese War Bride (with George D. Wallace),          ⁃        Red Planet Mars          ⁃        Abbott and Costello Meet Captain Kidd (with Leonard Mudie)          ⁃        1953's          ⁃        The Moon Is Blue - made in 2 version an english version and a german version          ⁃        The Moonlighter.          ⁃        Assistant Director and producer          ⁃        To be an assistant director you had to be in the Director’s Guild. At the time, to get in the Guild you had to be either the son of a member or be nominated by a studio which was only allowed one nomination a year. He didn’t have either but he requested to be accepted anyway. After waiting an agonizing 30 minutes for an answer the president of the Assistant Directors Counsel, Bob Aldrich, went to him, shook his hand and said, “Welcome brother”          ⁃        everyone starts as a 2nd assistant director. It only took Justman about a year to become 1st assistant director which was unheard of          ⁃        After Superman Justman was approached to be 1st assistant director on a series of 3 films called “The Americans” which never saw the light of day          ⁃        As an assistant director, Justman worked with director Bob Aldrich on several projects.          ⁃        They first worked together on the 1952-53 NBC series The Doctor, - This was his first AD job          ⁃        after which they collaborated on such films as Kiss Me Deadly (1955) and          ⁃        Attack (1956, featuring William Smithers).          ⁃        Justman's other films where he was assistant director included;          ⁃        The Big Combo (1955, featuring John Hoyt and Whit Bissell),          ⁃        Blood Alley (1955, starring Paul Fix),          ⁃        While the City Sleeps (1956, with Celia Lovsky)          ⁃        Director - Fritz Lang          ⁃        Noticed Justman looking at his set plans and Lang spent time to explain the plans to him even though Justman was the 2nd AD          ⁃        This was technics that Justman used in the future          ⁃        Lang had issues with John Drew Barrymore          ⁃        Barrymore looked to his wife for direction instead of Lang which did not make him very happy          ⁃        Green Mansions (1959, starring Nehemiah Persoff), and          ⁃        1962's Mutiny on the Bounty (featuring Antoinette Bower, Torin Thatcher and stunts by Paul Baxley).          ⁃        Justman was also an assistant director on television shows such as          ⁃        The Adventures of Superman (1953-58, 78 ep)          ⁃        associate producer for all 78 episodes and          ⁃        assistant director on the classic series during its 1954-55 season.          ⁃        Justman says that George Reeves was a trooper given what he was put thru          ⁃        One time the wire broke and he dropped down to the cement          ⁃        Justman learned early to schedule certain shots very carefully. As an example he tells a story about how Reeves would drink his lunch so when he would do the spring-board jump out the window he sort of missed and hit his knees on the window sill          ⁃        The Thin Man (1958-59, 31 ep)          ⁃        Northwest Passage (1958-59, 13 ep)          ⁃        Philip Marlowe (1959-60, 26 ep)          ⁃        Alcoa Presents One Step Beyond (1959-1961)          ⁃        Produced at the same time as the more well-known The Twilight Zone (1959)          ⁃        Some stars included Cloris Leachman, Warren Beatty, Jack Lord, Christopher Lee, Elizabeth Montgomery, Donald Pleasence, and William Shatner,          ⁃        Dr. Kildare (1961-66, 6 ep)          ⁃        Was asked by the President of MGM TV if Justman new any composers. Justman had heard some of Jerry Goldsmith’s scores and recommended him. As we talked about in Episode XXX This was one of Goldsmith’s breakout opportunities.          ⁃        Justman and Goldsmith have never met          ⁃        The Outer Limits (1963-65, 20 ep)          ⁃        He served as the assistant director for all 20 episodes and a Production Manager in 1964          ⁃        Appeared in the 1964 episode "A Feasibility Study" (directed by Byron Haskin, written by Joseph Stefano, and starring David Opatoshu)          ⁃        Worked with Shatner on “Cold Hands, Warm Heart” (1964)          ⁃        Sally Kellerman, James Dohan          ⁃        Lassie (1965-66, 4 ep)          ⁃        My Friend Flicka (1956-57)          ⁃        While the City SleepsFritz Lang          ⁃        In Oct 1964 Justman met GR at Desilu to talk to him about Associate Producer role for the first TOS pilot “The Cage”. Justman recommended Byron Haskin saying that he (Justman) did not have enough post production experience          ⁃        first to call Gene Roddenberry "The Great Bird of the Galaxy," drawn from a throwaway line from the original series episode "The Man Trap" That takes us to October 1964. Gene Roddenberry was in pre-production for Star Trek’s first pilot, The Cage and he needed an associate producer. An Associate Producer’s job is to do the dirty work on a show. This person makes sure both the production and post-production phases are running smoothly for every episode. They are also responsible for making sure each episode doesn’t run over budget. So with a show as complicated as Star Trek was going to be, Gene needed an experienced hand. He asked James Goldstone who had worked with Gene on The Lieutenant if he had any suggestions. He recommended Bob Justman. Justman met with Gene for about 30 minutes and Gene offered him the job. While Justman really wanted it, he turned down Roddenberry’s offer. He felt Star Trek’s post-production needs would be great, and he was afraid he didn’t have the experience to get the job done. But they also needed an experienced assistant director. Justman was, at the time, working on The Outer Limits. But Desilu’s Executive in Charge of Production, Herb Solow, called and asked if Justman could work for Star Trek temporarily, just 6 weeks. And that was it. The deal was done and Justman came to Star Trek. Now the original position that Justman had interviewed for, associate producer, went to Byron Haskin. He was an experienced producer, but was hard to get along with. And as work started on The Cage, he and Roddenberry butted heads a lot. Rodenberry would want a certain effect on a shot, and Haskin would tell him it couldn’t be done. Period. He gave Gene no alternative ideas. Often times, Justman was in the middle of these disputes trying to nudge Haskin to come up with something Work on The Cage finished, and NBC rejected it. But invited Roddenberry to try again. When Star Trek was offered to do the second pilot, Gene asked Justman back. This time, though, he gave him the job of associate producer. Gene had had enough of Haskin. Because of the budget on the 2nd pilot, when post-production finished on it, so did Justman’s job. This was the summer of 1965. But Desilu had attracted a number of pilot projects that needed produced. So Solow decided to make Justman the associate producer on all of them. This way he could stay at Desilu and be close by if Star Trek was picked up. Some of the work he did included Desilu’s other big show, Mission Impossible. Star Trek was picked up by NBC in March 1966. And Justman’s first task was to move the starship sets from the soundstage where the 2nd pilot was shot, to a new soundstage that would be its home for the series. This was actually a monumental task. Each section had to be removed, crated and put back into place on the new soundstage in exactly the same configuration. The move resulted in some of the sets being redesigned, and reworked for the series. One of those sets was the bridge that got a big make over. As the show started production, it was Justman’s job to make sure all the little details were taken care of. Some of this work included analyzing scripts and establishing production budgets for them, Making sure production on one episode, production and post production on a 2nd were all moving forward simultaneously and on schedule. Any issues for any shows in any of these stages, were Justman’s to work out. Along with his day-to-day duties, Justman also acted in one episode of the series, though he is not creditied for it, He is the voice of a security guard in the episode Conscience of the King. He also found time to come up with a story idea. He came up with the basic story for the episode Tomorrow is Yesterday. In fact, he laid that story out in a memo to Gene on April 12, 1966. When he didn’t hear anything for 8 months, he sent a reminder to Gene about the idea. At that point, the show was hungry for scripts, so Roddenberry approved of the idea and assigned Dorothy Fontana to write the screenplay. But in his second memo, you cans ee a little of Justman’s wit. He wrote at the end, “Please let me hear from you at your earliest convenience, as otherwise I feel I shall be forced to sell this story idea to “Time Tunnel.” ” That’s just one example of Justman’s wit, and it is pretty legendary. He would often let his sarcastic sense of humor and dry wit fly in memos. An example of his humor can actually be seen in the closing credits of the show. For Herb Solow’s credit, Justman intentionally chose a picture of the Balok dummy from the Corbmite Maneuver and positioned Solow’s credit just under the glaring eyes of Balok. Justman later wrote in the Book Inside Star Trek, “I thought it a fitting tribute, as did Herb, who thanked me profusely, thereby depriving me of some heavy-duty gloating. I still have the original credit and display it in my office at home, suitably framed in the cheapest, junkiest frame I could find.” And there’s another incident that speaks to Justman’s humor. The show was shooting a script that was still being written by Roddenberry. The last shot was about to be completed, and if they didn’t get the new pages for the next scene, they would be forced to shut down production. That costs money! So Justman went to Gene’s office. Roddenberry kept writing away, and didn’t acknowledge Justman. Justman waited a few minutes and finally asked, him, “How much longer Gene?” Roddenberry ignored him and kept writing. Justman waited some more. At one point Gene looked up, thinking about something, ignored Justman, and went back to work. Justman later wrote, “He shouldn’t have done that. I climbed up onto his desk and stood there, looking down at him. ‘That’ll teach him to ignore me, I thought.” After a few minutes more, Gene finally ripped the pages free of the typewriter, finished scribbling on them, and without looking at Justman, reached up and handed them to him. Without saying anything, Justman jumped down and went to the set. This became a standard routine through the 1st and 2nd seasons of the show. Whenever Gene was still writing, Justman would jump up on his desk and wait for the pages. But there’s a little addendum to this story. There came a time when Justman tried to get in Gene’s office and the door was locked. He realized that there was an electronic latch on the door that, when Justman entered the outer office, Gene’s secretary would activate. Not to be out done, Justman waited until the secretary left on an errand. Found the switch and unlocked Gene’s door. Then without saying a word, he entered Roddenberry’s office, walked past Gene who was busy writing, and exited through another door at the other end of the office. Justman wrote, “We never discussed it, not even in later years. It was our own private joke and it helped cement an already close friendship.” The 2nd year of Star Trek was by far its best. It’s when all the right people were active in the right positions. Speaking of positions, Justman told Roddenberry at this time that he wanted to move up to a full producer’s position for Star Trek’s third season, and Gene agreed it was probably time. With the letter writing campaign at the end of the 2nd year, Star Trek’s third season was guaranteed. But it wasn’t going to go the way anyone thought it would. NBC first told Roddenberry that Star Trek would be on at 7:30 on Monday. Then it changed the position to Friday at 8:30. But, it finally settled on Fridays at 10pm, a time when Star Trek’s core audience would not be home watching TV. It was this move by NBC that prompted Roddenberry to move out of his producer role and become the Executive Producer of the show. That position is further up the chain of command, and has nothing to do with the day-to-day operations. Roddenberry had, in effect, quit Star Trek. As pre-production for the third season began, the show had no story editor. So Justman jumped in and started reading and analyzing stories and scripts. Then he would forward his thoughts to Gene. Roddenberry never responded and seldom read Justman’s reports. To make matters worse, there was no one to rewrite scripts. Justman urged Roddenberry to hire someone. Gene finally got back to him and said, “Good news Bob, Star Trek’s going to have a new producer this year.” Justman thought gene was about to say, “It’s you.” Instead, Roddenberry said, “Fred Freiberger’s coming in as our new producer…” Hustman was stunned. “Gene, I thought I would be producer.” “You will,” said Roddenberry. “You’ll be a co-producer.” The new studio, Paramount, and NBC wanted an experienced hand at the help of such a complicated show. Justman was viewed as a nuts and bolts guy, and Roddenberry didn’t fight for him. Justman’s attitude toward Star Trek never recovered. In fact the morale of the entire cast and crew began to sink. Star Trek was not a fun place to work anymore. Gene was now gone. Frieberger had to labor to understand the show. And the bulk of the daily chores fell on Justman. He later wrote, “I was alone, struggling against insuperable odds.” Without Roddenberry, the writing process was no longer about good stories. It was now just budget-driven. Justman wrote, “There were no highs and no lows---just a boring in-between…The Star Trek I knew, and was proud to be a part of, was no more.” He expressed his concerns to paramount’s head of TV, Doug Cramer. Cramer asked Justman to stay and promised him his pick of future pilots to work on if he did. Justman said he’s love to do a pilot for Cramer, but he wanted out of his contract. Paramount came back and offered more money, but that wasn’t what Justman wanted. Justman was burned out. That’s when Herb Solow called. He was now the head of MGM Television and he offered Justman a full producers job on the pilot for “Then Came Bronson.” He quit Paramount the next day and, according his own words, became persona non grata at Paramount for the next 18 years. After Star Trek, Justman went on to work on shows like Search and Man from Atlantis. In 1987, he rejoined Gene Roddenberry and others from The Original Series on Star Trek The Next Generation. He served as Supervising Producer for 17 episodes in the first season. In 1996, he and Herb Solow published their book, Inside Star Trek: The Real Story. If you haven’t read this one, it is a very captivating look at what was going on behind the scenes at Star Trek. Bob Justman died of Parkinson’s Disease in 2008.

The famous Vulcan IDIC made its debut in "Is There in Truth No Beauty," but if Gene Roddenberry had his way, we would have seen it much earlier. In this memo from July 1968, Gene sends new executive producer Fred Freiberger a suggestion for how to end season three's premiere episode and work in Spock's medallion. See the document: facebook.com/thetrekfiles

The famous Vulcan IDIC made its debut in "Is There in Truth No Beauty," but if Gene Roddenberry had his way, we would have seen it much earlier. In this memo from July 1968, Gene sends new executive producer Fred Freiberger a suggestion for how to end season three's premiere episode and work in Spock's medallion. See the document: facebook.com/thetrekfiles

The famous Vulcan IDIC made its debut in "Is There in Truth No Beauty," but if Gene Roddenberry had his way, we would have seen it much earlier. In this memo from July 1968, Gene sends new executive producer Fred Freiberger a suggestion for how to end season three's premiere episode and work in Spock's medallion. See the document: facebook.com/thetrekfiles

With production on the third season of Star Trek fast approaching, newly-hired Executive Producer Fred Freiberger sent a memo to Gene Roddenberry about the status of developing scripts. "Spock's Brain" and "And The Children Shall Lead" are there... and so is "Shore Leave 2." While we're at it, how about room for a couple of Gene Roddenberry scripts too? Doug Drexler joins The Trek Files to talk about Star Trek behind the scenes. See the original document: http://facebook.com/thetrekfiles

With production on the third season of Star Trek fast approaching, newly-hired Executive Producer Fred Freiberger sent a memo to Gene Roddenberry about the status of developing scripts. "Spock's Brain" and "And The Children Shall Lead" are there... and so is "Shore Leave 2." While we're at it, how about room for a couple of Gene Roddenberry scripts too? Doug Drexler joins The Trek Files to talk about Star Trek behind the scenes. See the original document: http://facebook.com/thetrekfiles

With production on the third season of Star Trek fast approaching, newly-hired Executive Producer Fred Freiberger sent a memo to Gene Roddenberry about the status of developing scripts. "Spock's Brain" and "And The Children Shall Lead" are there... and so is "Shore Leave 2." While we're at it, how about room for a couple of Gene Roddenberry scripts too? Doug Drexler joins The Trek Files to talk about Star Trek behind the scenes. See the original document: http://facebook.com/thetrekfiles

Dissecting Spock's Brain. On this episode of Standard Orbit, we prep for surgery and perform a deep dissection and examination of what Star Trek fans have labeled as the "worst" episode ever in the history of The Original Series, and was even parodied as a stage production in 2004 for a limited run in Irvine, California at the Irvine Improv! William Shatner, in his autobiography Up Till Now, and in his memoirs Star Trek: Memories, called this one of the series' worst episodes; a "tribute" to NBC executives who slashed the show's budget and placed it in a bad time slot. There was a great deal of unrest happening behind the scenes at the beginning of Star Trek's third season. Gene Coon was trying to complete his writing contract and director Marc Daniels felt marginalized by executive producer Fred Freiberger. The show budget was always under pressure which in turn forced co-producer Robert Justman and Fred Freiberger to constantly redirect creative to fit production, increasing tensions between them and the NBC front offices. Did these underlying forces ultimately affect the return The Original Series on September 20th, 1968? Hosts Norman C. Lao and Jeffrey Harlan Guest Ken Tripp Production C Bryan Jones (Executive Producer), Norman C. Lao (Executive Producer), Matthew Rushing (Executive Producer), Charlynn Schmiedt (Executive Producer), Ken Tripp (Editor and Associate Producer), Renee Roberts (Associate Producer), Richard Rutledge (Associate Producer), Richard Marquez (Production Manager), Will Nguyen (Content Manager) Chapters Welcome to Standard Orbit (00:01:10) The Most Hated Episode Ever? (00:02:37) A Changing of the Guard (00:04:45) The Remasters Show Production Stresses (00:08:21) The Two Halves of Spock’s Brain (00:14:50) A Tour DeForest Perfomance (00:23:30) The WORST Episode Ever? (00:30:03) Hailing Frequencies Open (00:46:29) Our Final Thoughts and Thank You (00:50:19) Send us your feedback! Twitter: @trekfm Facebook: http://facebook.com/trekfm Voicemail: http://www.speakpipe.com/trekfm Contact Form: http://www.trek.fm/contact Visit the Trek.fm website at http://trek.fm/ Subscribe in iTunes: http://itunes.com/trekfm Support the Network! Become a Trek.fm Patron on Patreon and help us keep our shows coming to you every week. We have great perks for you at http://patreon.com/trekfm

Marc Cushman on Season Three, Part 1. The third season of Star Trek started with a lot of strikes against it, but not many people appreciate the work that went into making it the best it could have been. In this episode of Standard Orbit, Mike and Drew are joined again by Marc Cushman, author of These Are The Voyages​, to find out what really happened behind the scenes of Season 3. What happens when you have to take the action out of your space action-adventure show, while being told to leave the ship more often but also having a much more limited budget in a time slot no one wanted? You do the best you can, which is exactly what Season 3 producer Fred Freiberger did. Find out more about what he and the others did to keep things running on the Starship Enterprise during the last year of it's mission! Hosts Drew Stewart and Mike Schindler   Guest Marc Cushman   Editor and Producer Drew Stewart   Associate Producer Richard Rutledge, Jr. Production Manager Richard Marquez   Content Coordinator Will Nguyen   Chapters What is TATV? (00:01:45) Opinion of Season 3 (00:04:04) Research Changes Things (00:09:42) The Making of TV (00:14:35) Making A Weekly Show From Nothing (00:20:10) Adding A Twist to Themes (00:23:04) What Could Have Been (00:28:55) Fred Freiberger (00:34:22) Closing (00:41:06)  

Gulp!  We're nearly out of new Doctor Who to watch and debate over!  So sit back and listen with a big hot mug of steaming whatever and see what Paul and Phil thought of The Power of Three!  Does Phil actually enjoy an episode or does he still say "meh!"?  Will Paul ever shake off the "little Ern" tag?  Will their ratings systems collapse in on itself?  Besides that, Phil manages to insult Professor Brian Cox and Sir Alan "Amstrad" Sugar as well as bringing Fred Freiberger into the conversation for which he should be ashamed of himself! And in the news this week, the sad news of Janet Fieldings battle with cancer, the power of Steven Moffat, some Big Finish releases and finally some gift news from the anti-matter universe!