star trek original intro text

Star Trek Theme Song Lyrics

Star Trek opening title sequences

Primary title screen for seasons 1 and 2

The opening title sequences for Star Trek: The Original Series featured the USS Enterprise flying through space and past planets , narrated by William Shatner : " Space: the final frontier. These are the voyages of the starship Enterprise . Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. "

As ITV is a commercial channel, the advert break for Star Trek: The Original Series featured a still screenshot of James T. Kirk, Spock, Montgomery "Scotty" Scott, Pavel Chekov, Christine Chapel, Uhura, Dr. Leonard "Bones" McCoy and Hikaru Sulu are all sitting inside USS Enterprise . Also, there's no music.

As Robert H. Justman explained to Star Trek: The Magazine , footage of the Enterprise for the opening titles was expected to be produced by the Howard Anderson Company in Summer 1966 . By August 1966 , Gene Roddenberry and Justman were running out of time to get the footage, and insisted on a viewing, where most shots "jiggled and joggled" to the point of being nearly unusable. Roddenberry and Justman took what they had, along with footage from the two pilots (" The Cage " and " Where No Man Has Gone Before ") and cobbled together the sequence. Justman considered his major contribution to be the suggestion that the Enterprise "deliver" the cast credits as the ship zoomed by, rather than the names just pop on the screen as suggested by Roddenberry. ( Star Trek: The Magazine  Volume 1, Issue 1 , pp. 10-11)

• Main Title Theme (Season 1)  file info (composed by Alexander Courage )
• Main Title Theme (Season 2-3)  file info (composed by Alexander Courage )

Gene Roddenberry wrote lyrics for the " Theme from Star Trek " in order to secure a partial writer's credit for the song. These lyrics were never recorded as part of the original theme song, and thus were never aired. ( citation needed • edit )

The opening tagline of Star Trek includes a split infinitive : " To boldly go where no man has gone before. " This fact was memorably highlighted by Cambridge-educated sci-fi writer and satirist Douglas Adams who wrote in his Hitchhiker's Guide to the Galaxy that, " all dared to brave unknown terrors, to do mighty deeds, to boldly split infinitives that no man had split before, and thus was the Empire forged. " The pilot episode of Star Trek: Enterprise , " Broken Bow ", has Zefram Cochrane delivering that phrase without the split infinitive as "to go boldly." The English rule forbidding split infinitives appeared in the mid-19th century; however, modern reference books do not include this rule, and the "to boldly go" from Star Trek is a prime example of where a split infinitive is perfectly acceptable. ( citation needed • edit )

• 1 Daniels (Crewman)

The evolution of William Shatner’s opening dialogue on Star Trek

By rachel carrington | jan 25, 2022.

Star Trek debuted in 1966 with a voice over by William Shatner for the opening theme

Every Star Trek fan is familiar with William Shatner’s voice over during the theme of The Original Series . Space. The final frontier. Most of us can quote it. But this simple opening didn’t come so easily. It was created over the course of a little over a week the summer before the series was set to premiere in September 1966, and it was rough going with several cooks in the kitchen, so to speak.

On August 1, 1966, Robert Justman, who was one of the producers of Star Trek, urged Gene Roddenberry to compose the standard opening narration for Shatner, and that it should run about fifteen seconds in length. Then came a flurry of rough drafts, that you can read here at  library.ucla.edu , none of which met with Roddenberry’s approval.

Certain words were deemed important for the Star Trek narration

Drafts bounced back and forth with words like adventures, galaxy patrol, and United Space Ship  taking center stage until producer John Black stepped in and came up with the first four words that became the opening. Space. The final frontier. He also provided the ending “where no man has gone before,” inserting the title of the second pilot.

Then Justman sent another note, mostly eradicting what Black had written, to Roddenberry telling him “these are the words you should use.”

"“This is the story of the starship Enterprise. It’s mission: to advance knowledge, contact alien life, and enforce intergalatic law…to explore the strange new worlds where no man has gone before.”"

Well, that certainly wasn’t to Roddenberry’s liking. A long week went by before, on August 10, 1966, Justman sent another reminder note to Roddenberry, telling him it was “absolutely imperative” that a narration be recorded as soon as possible.

That same date, the final dialgue for the narration was approved. Gone were words referencing aliens, replaced by new life, and there was, of course, no mention of advancing knowledge or enforcing intergalatic law. So Justman’s “should words” were jettisoned, replaced with the best opening narration in the history of television.

dark. Next. Why Gene Roddenberry wrote lyrics to Star Trek: The Original Series theme song

• More to Explore
• Series & Movies

Published Jul 10, 2016

TOS Original Scripts

Authentic scripts from Star Trek: The Original Series are great collectibles. In addition to them being historic pieces, they make fascinating and educational reading. With regards to this latter aspect, since different drafts exist of the scripts for the produced and unproduced episodes, you can learn about the Trek s that almost happened but didn’t. Furthermore, since genuine scripts are sometimes peppered with handwritten notes from the cast or crew, it’s possible to find nuggets of undocumented, inside information in them.

So, with that TEASER, let’s FADE IN on this article about the original scripts of TOS . Our ACTS here will present an overview of the types of scripts that were written and, consequently, the types that are available today. Our discussion in this STORY will also include the context in which the scripts were produced to help illustrate the relationship between the various drafts as well as some other characteristics of the scripts. However, before DOLLYING IN, we want to point out that our exposition will focus on scripts that were written in TOS’ s era. The process today, and the physical appearance of the resulting scripts, are a bit different. CUT TO:

Scripts, by the Numbers

As you know, TOS had 79 episodes and two pilots, which meant that it had to have at least 80 scripts (the two-part “ The Menagerie ” only had one script). We use the words “at least” on purpose because, if you count the first story outlines (which are technically not scripts, but for the purposes of this article we'll include them), the first drafts, the second drafts, the final drafts, the revised final drafts and so on, you’ll quickly discover that there were hundreds of different scripts prepared for the series. At this late date, it’s difficult to know exactly how many, but there were a lot. And when you realize that Gene Roddenberry, Fred Freiberger, Bob Justman, Gene Coon, Dorothy Fontana and the rest of the production company were cranking out episodes on a weekly basis, it’s no surprise that TOS had both good and bad episodes… like most television shows and movies.

The Outline

A potential episode of TOS started with an idea, of course, which was then committed to paper as a story outline. These outlines were typically short, from 2-25 pages, and were generally structured using TEASERS (the part before the opening narration designed to hook you) and ACTS (the four long parts in the middle of the episode separated by commercials). At this early stage, there were usually no scenes or dialogue in the outlines, but the stories were complete from beginning to end, and set and location changes were often indicated.

The physical form of the story outlines for TOS was pretty simple. They were typed on plain white paper or onion skin, had no formal covers and were usually stapled in the upper left-hand corner.

(Here are two pages from “The Aurorals,” an unproduced TOS story outline written by Frank Paris. Please note that we’ve joined the pages together vertically for ease of reading.)

Early Drafts

After an outline was approved, which meant that the production company, studio and network were okay with it (more on that in a moment), a writer – usually the writer of the outline, but not always – was tasked to write the first draft of the script using the outline as a guide. This first draft was usually 50-80 pages long, had cast and set lists, and scenes that were consecutively numbered, fully described and contained dialogue. The script was bound in a yellow cardstock cover using two brads. (A picture of the cover of a first draft script is presented towards the end of this article.)

Following the completion of the first draft, it was read by the principal cast members, department heads, studio and network, so that a decision could be made as to whether the basic story would work for TOS – e.g., that it would fit the format and could be done on budget – and the writer could do a good job. Everyone realized that this initial attempt was just a first shot and revisions would be necessary – no one expected it to be immediately shootable.

At this point in the process, the writer was frequently given extensive notes on the script and asked to make revisions. S/he went back to the typewriter (yep, no computers in the late 1960’s) and, if all went well, produced a final draft. It was not unheard of, however, for the writer to be asked to write a second draft, and then maybe a third draft, before proceeding to a final draft. Those second and third draft scripts, incidentally, also had yellow covers.

(The below excerpt is from the first draft script of “The Cage” written by Gene Roddenberry.)

Final Drafts

Final draft scripts weighed in at around 65 pages and were close to what the production team hoped to put before the cameras. Their format was similar to the first draft scripts, except their cover colors were gray; a few had blue covers, however, but these were the exceptions. The change of color on the cover signified that the script was locked for production, which meant that the various departments could start their serious planning and budgeting discussions. This did not mean, however, that changes weren’t made to the scripts. In fact, many were altered after they went to gray cover due to a variety of reasons, and any changes were handled through the use of colored pages to make sure that everyone could easily identify them. These colored “change pages” had dates at the top – called revision slugs – and each successive change was denoted by a different color. Their colors followed the standard scheme which started with white pages in the initial draft followed by blue, pink, yellow, green, etc. However, this scheme was not set in stone in TOS and we’ve seen exceptions to it.

(Shown below are examples of colored change pages from “ The Man Trap ” and “ Miri .”)

We should note that when significant changes were made to the script that required a lot of change pages, the script version was incremented to the next one, e.g., a final draft became a revised final draft, a revised final draft became a 2nd revised final draft and so on. Additionally, the cover color was often changed to red.

Finally, when the last revision of the script was as “done” at it could be, the episode was ready to be shot. If all went well, this final version was completed before the first day of filming. However, there are a few instances where the script was revised while the episode was filmed. Two examples of this situation include “ Mudd’s Women ” and “ The Enemy Within .”

We mentioned earlier that the scripts were written fast. To give you an idea of the speed at which they were, an average first draft script typically was turned into a final draft in 2-3 weeks and a final draft script (or higher revision) typically went before the cameras in 5-18 days following its completion.

(The below shows examples of authentic, production-used scripts – a yellow first draft, two gray finals, and one red revised final. Note the information on the covers, including the large “STAR TREK” written in shadow block font and the blue machine-stamped script number in the upper right-hand corner.)

Lincoln Scripts

Before concluding this article, we want to comment on the scripts sold by the mail-order company Lincoln Enterprises. We’ve examined many that were purchased from them and can attest that quite a few were production-used; they contained colored change pages and had crew names written on their covers. Others, the majority, were reproductions, some of which were high quality and similar to the studio scripts, while others were not. The higher quality reproductions were printed on mimeograph machines and collated with two brads to mimic what was done by the studios. These copies were also done in red cover cardstock with nearly identical printing as the originals. At some point though – we believe in the mid-to-late 70’s – Lincoln discontinued the red cardstock covers and used other colored, non-cardstock paper. However, all of these Lincoln copies contained all white pages with differing revision dates at the top, a clear indicator, one of several, that the scripts were reproductions. Additionally, the scripts that Lincoln sold were not always the “shooting drafts” as they advertised – they were whatever versions they got access to.

(An assortment of Lincoln Enterprises reproduction scripts, sold through the years, is shown below. Their covers are generally plain relative to the original scripts, and the words “STAR TREK” are written in a variety of different font styles. Also, the script numbers were most often written by hand, but some early ones were machine stamped in black ink.)

And with that, we’ll FADE OUT and say THE END. Until next time.

Biographical Information

David Tilotta is a professor at North Carolina State University in Raleigh, NC and works in the areas of chemistry and sustainable materials technology. You can email David at [email protected]. Curt McAloney is an accomplished graphic artist with extensive experience in multimedia, Internet and print design. He resides in a suburb of the Twin Cities in Minnesota, and can be contacted at [email protected]. Together, Curt and David work on startrekhistory.com. Their Star Trek work has appeared in the Star Trek Magazine and Star Trek: The Original Series 365 by Paula M. Block with Terry J. Erdmann.

Get Updates By Email

We will keep fighting for all libraries - stand with us!

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

Star Trek - Original Series - Theme Song

Audio with external links item preview, share or embed this item, flag this item for.

• Graphic Violence
• Explicit Sexual Content
• Hate Speech
• Misinformation/Disinformation
• Marketing/Phishing/Advertising
• Misleading/Inaccurate/Missing Metadata

plus-circle Add Review comment Reviews

1,415 Views

DOWNLOAD OPTIONS

In collections.

Uploaded by PurpleSym on February 7, 2019

SIMILAR ITEMS (based on metadata)

Wednesday 28 August 2013

The star trek opening monologue.

15 comments:

Beuatiful photographs! Amazing find, Laura.

Thank you, Abbie!

Jaw-dropping pics, indeed! And I like the comparison of the two Star Trek opening lines, "no man"/"no one"!

They are from a 1963-Harper's-Bazaar edition. Thank you for your feedback, Derek.

@ opening lines: this is the small yet impressive difference. Truly smashing photos!

... "small yet impressive", yes, absolutely. Thanks for your comment, Tim.

Space goddesses invade!! Sorry, I was so enthusiastic about the photos ;) Lovely posting, thanks.

Hahaha, lovely!

Thank space goddess for this very blog! Keep going with the flow!

And thank you so much for commenting!

How true, words create reality.

That is exactly the sentence I had in mind writing this post. Thank you, Kenneth!

Lovely thoughts :-)

Thanks, Macy ;-)

Picard does not say a "five year mission". He says a "continuing missing".

Den of Geek

Which Star Trek Opening Sequence Is The Best?

A totally unbiased opinion...

• Share on Facebook (opens in a new tab)
• Share on Twitter (opens in a new tab)
• Share on Linkedin (opens in a new tab)
• Share on email (opens in a new tab)

The discussion of which  Star Trek series is the best  Star Trek series is a contentious debate. Even when I am the only one in the discussion, I have a hard time coming to a firm conclusion. ( The Next Generation …  No!   Deep Space Nine … Forget it. I can’t decide.) 

This is when I turn my mind to a much easier debate: which  Star Trek series has the best opening sequence. Sure, it’s still a tough, emotionally-complex question, but the stakes are much lower. 

Just like in the discussion of favorite  Star Trek TV series, we all have different things we prioritize and look for in our opening sequences. Are you a sucker for the song? Do you look for an intro that best reflects the values and interests of the series it represents? Or do you shamelessly just pick the opening sequence for your favorite of the TV shows? 

Whatever your criteria (and you know you have a biased one), one thing is certain: All of these  Star Trek opening sequences are pretty great…

6. Star Trek: The Animated Series

Confession? I find the opening sequence for  The Animated Series pretty adorable. The way the animated Enterprise moves horizontally across the screen as if its mom is in the front row telling it what to do? So cute.

Ad – content continues below

However, when it comes down to it,  The Animated Series opening is really just a re-tread of  The Original Series opening. This makes sense, given the timing of the show and the fact that it shared so many of the same cast. But it’s nothing to captain’s-log home about.

5. Star Trek: Deep Space Nine

Sorry,  Deep Space Nine. You know I love you, but your opening sequence is just, well, fine. Sure, you have a great first five seconds as we follow a rogue comet through the blackness of space only to come upon a little space station on on its own in the middle of space-nowhere. Then, you lose your momentum a little with shot after shot of the stationary space station doing what it does best: just sort of floating there.

Don’t feel too bad,  Deep Space Nine . Between you and me, you can stand to lose this opening intro contest — because, unlike some of the other series ranked higher on this list, you are in the running to be the best series of  Star Trek when it comes to narrative. And, really, isn’t that the contest you would rather win?

4. Star Trek: The Next Generation

As someone who both grew up on  Star Trek: The Next Generation and who loves Patrick Stewart’s voice, it pains me to rank  The Next Generation ‘sopening sequence so low on this list. Hearing this theme song still wakes a giddy childish inside of me.  However,  it just doesn’t have the ambition to beat out most of the inspired  Star Trek openings.

The Next Generation   opening sequence has some good moves: Stewart’s killer delivery of “The final frontier…” spiel as if it were a Shakespearian monologue. Some shots of some beautiful space wonders. The Enterprise zipping past the screen in-between cast members, just like in The Original Series’ introduction. It’s all good, it’s just not going to make me sign up to the trip to Mars or anything.

3. Star Trek: The Original Series

How could we not put the intro from  The Original Series near the top of this list? After all, it was the opening that started it all — that influenced and shaped so many of the  Star Trek opening sequences that would come after it.

The Original Series’ intro is very much of its time — with the “ahhAHH!”s and the limited special effects — but it also has always had something slightly exciting, fast-paced, and imaginative about it. (Probably the starship doing its damndest to get you pumped up by repeatedly zipping across the screen.) If a TV’s opening sequence is a promise of what’s to come, then Star Trek ‘s promise was to never stop moving forward — both in terms of action and in terms of ideas. To never stop exploring and pushing the limits of what was possible in science fiction TV, and society, of the time.

2. Star Trek: Enterprise

Star Trek: Enterprise may be the quasi-black sheep of the Star Trek universe, but it’s not the fault of its opening sequence, which is is imaginative, inspiring, and filled with optimism. Sure, it has a cheesy pop song as its ballad, but it somehow works when accompanied with images from humanity’s exploration through the years.

It may be a controversial choice to put  Enterprise ‘s theme at the top of this list, but I think it’s well-deserved.  Enterprise might not have always struck narrative gold in comparison to some of the better-considered  Star Trek series, but it wasn’t afraid to take chances and try to do its own thing — as was demonstrated by the opening sequence that, unlike all of the other post-Original Series series, didn’t mimick the space-journey design.

By giving us images of real-life explorations from our past and present,  Enterprise made us believe that a future like the one Star Trek imagines is a possible, tangible outcome of our world in a way that none of the previous Star Trek sequences attempted. For that, this opening sequence will always hold a special place in my Star Trek -loving heart.

1. Star Trek: Voyager

Star Trek: Voyager could have snagged an impressive spot on this list based on its theme song alone. You hear the opening notes of the Jerry Goldsmith classic, you  are  hooked — and it only builds from there.

Though  Voyager didn’t always succeed in its storytelling execution, it had a great premise: a ship lost on the other side of the galaxy, trying to find its way home. And the opening sequence reflected that beautifully (emphasis on the  beautiful ). Sure, Voyager’s mission was daunting and, sometimes, disheartening, but the crew/family of this ship never stopped appreciating the beauty of the galaxy — they never stopped exploring. The opening sequence gets that, and it makes for a magical introduction into each episode, and into the larger  Star Trek universe.

Get the best of Den of Geek delivered right to your inbox!

Your move,  Star Trek: Discovery …

Bonus: Enterprise’s “Mirror Darkly” Opening

Special bonus! This  Enterprise  opening was created specifically for the “In A Mirror, Darkly” episode, which saw mirror-universe versions of Captain Archer and his crew (a la  The Original Series episode “Mirror, Mirror”).

Rather than focusing on images of exploration over human history, the “mirror darkly” sequence instead highlighted militaristic themes. The result is a fun, twisted version of the  Enterprise theme song that  immediately  got you in the mood for this episode, as well as a reminder why  Star Trek is such a great narrative universe — because, unlike so many of the other franchises that have come and gone over the years,  Star Trek values exploration over domination. 

Do you agree with our ranking? Sound off in the comments below…

Read and download the full Den of Geek SDCC Special Edition magazine here!

Kayti Burt | @kaytiburt

Kayti is a pop culture writer, editor, and full-time nerd who comes from a working class background. A member of the Television Critics Association, she specializes…

Screen Rant

Star trek: voyager's original plan would have delayed seven of nine's introduction.

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Every Voyager Character Who Has Returned In Star Trek (& How)

Captain janeway’s star trek: voyager coffee obsession explained (& why she switched to tea), i’m sad how star trek: voyager wasted john rhys-davies.

• Star Trek: Voyager almost ended season 3 with "Year of Hell," delaying Seven of Nine's debut.
• The creative team also considered a doppelgänger storyline for the season 3 finale, which later became the episodes "Demon" and "Course: Oblivion."
• Seven of Nine's introduction in "Scorpion" was crucial, so delaying "Year of Hell" and the doppelgängers made more sense.

The original plan for Star Trek: Voyager 's season 3 ending would have delayed Seven of Nine's (Jeri Ryan) introduction. Voyager 's season 3 finale/season 4 premiere, "Scorpion, Parts 1 and 2," was a huge episode for the show. Although they had been introduced earlier in season 3, "Scorpion" officially cemented the Borg as the main villain for Voyager 's cast of characters , and kicked off a Borg storyline that would continue for the next four seasons . The Borg became extremely important on Voyager starting in "Scorpion" thanks to the debut of one of the show's more beloved characters: Seven of Nine.

Seven was created to replace Kes (Jennifer Lein), who bowed out of her role in the Star Trek timeline at the start of season 4. Although she was initially brought on for sex appeal, Seven's journey to rediscovering her humanity and coping with the trauma of her time as a Borg turned her into a complex character that became much more than her initial premise . Seven was one of Voyager 's best characters and remains important in the franchise thanks to her time on Star Trek: Picard . However, Seven's first appearance almost didn't happen at the start of season 4.

Star Trek: Voyager's beloved characters have returned in Star Trek: Picard, Star Trek: Lower Decks, and especially Star Trek: Prodigy.

Star Trek: Voyager's Original Season 3 Finale Plan Almost Delayed Seven of Nine's Introduction

Voyager's season 3 finale was almost a different episode.

Voyager originally intended another two-parter, "Year of Hell," to end season 3 and begin season 4, and the change would have seriously delayed Seven's debut. "Yeah of Hell" is considered the best of Voyager 's two-part episodes , focusing on Voyager 's crew in a brutal year-long fight against Annorax (Kurtwood Smith) of the Kremin Imperium. The episode aired in season 4, but was teased as early as season 3, episode 21, "Before and After." Given that the creative team had already conceived of and foreshadowed "Year of Hell," it would have made some sense to use the storyline as season 3's ending .

The storyline in "Scorpion" was necessary to tell before "Year of Hell" could make its entry.

However, the fact that the cast was being shaken up at the start of Voyager season 4 seemingly took precedence over including "Year of Hell" earlier in the series. Voyager 's writers needed to find a way to introduce Seven at the beginning of season 4 so that Kes could depart the show , and ultimately, "Scorpion" was the right way to do this. Although it delayed "Year of Hell," the episode made more sense where it ended up midway through season 4. The storyline in "Scorpion" was necessary to tell before "Year of Hell" could make its entry.

Another Voyager Episode Also Almost Led To Seven of Nine's Intro Being Delayed

Voyager's creative team had a lot of ideas for the season 3 finale.

Interestingly, "Year of Hell" wasn't the only future Voyager episode that almost delayed Seven's introduction. Another initial idea for the season 3 finale was a storyline involving a set of Star Trek: Voyager character doppelgängers reaching Earth before the actual ship and causing chaos when it was discovered that they weren't Voyager 's real crew. The idea was put aside when it became clear that "Scorpion" would be necessary, but with a few tweaks, it was brought back and became the episodes "Demon" and "Course: Oblivion" in seasons 4 and 5.

It's a good thing that both "Year of Hell" and the crew's doppelgänger storylines still got their day in the sun. Both plots were great additions to Voyager 's later seasons and fleshed out the show in a lot of interesting ways. However, "Scorpion" and Seven's first appearance had to happen at the start of season 4. If Star Trek: Voyager had pushed Seven any later in the series, it would have risked her inclusion feeling rushed and less important than the other main characters , which in turn would have hurt the status she has since gained as a franchise icon.

Source: Star Trek Monthly , issue 34, Cinefantastique , Vol. 31

Star Trek: Voyager

*Availability in US

Not available

The fifth entry in the Star Trek franchise, Star Trek: Voyager, is a sci-fi series that sees the crew of the USS Voyager on a long journey back to their home after finding themselves stranded at the far ends of the Milky Way Galaxy. Led by Captain Kathryn Janeway, the series follows the crew as they embark through truly uncharted areas of space, with new species, friends, foes, and mysteries to solve as they wrestle with the politics of a crew in a situation they've never faced before.