We over at Applause Books have partnered with Erie Gay News to give away a copy two of our books. From November 17 to December 8 you have a chance to enter to win Mark Clark’s book, Star Wars FAQ. And starting today you can enter for a chance to win A Chorus Line FAQ by Tom Rowan! The contest for A Chorus Line FAQ ends on Friday, December 11, 2015 so make sure to enter before it’s too late!
The ultimate treasure trove of information, A Chorus Line FAQ presents history and fun facts, including: the unique workshop process through which the show was developed and written, the stories of its creators, the record-breaking Broadway run and numerous touring productions, and the captivating movie version. The book also features all-new chapters on the Broadway revival, the two London productions, and notable regional productions around the country. In addition to a chapter on A Chorus Line cultural history – with a guide to all the pop cultural references in the show – the book includes extensive photos as well as biographical information on the casts of the major productions. There are also chapters on recordings, previous books on the topic, and the landmark show’s influence on subsequent Broadway musicals and films.
In his foreword to Star Wars FAQ Everything Left to Know About the Trilogy That Changed the Movies, Alan Dean Foster, critically acclaimed author of more than a hundred science fiction and fantasy novels, sums up what the Star Wars FAQ is all about: “Reading a book like Star Wars FAQ is a bit like strolling the streets of London without a guidebook. You know where Big Ben is, but stumbling across the first public drinking fountain in Britain is apt, in its own more modest way, to be even more enchanting.”
Star Wars FAQ offers an original analysis of the series’ enduring appeal and cultural impact. In the process, author Mark Clark tells a story as thrilling and action-packed as the movies themselves, with bold characters facing apparently insurmountable odds.
Mark Clark, author of Star Wars FAQ: Everything Left to Know About the Trilogy That Changed the Movies, with Mr. Media recently to talk about “the trilogy that changed the movies.” Check out the video below to see more of what they had to say! Let us know your thoughts in the comments below!
In his foreword to Star Wars FAQ: Everything Left to Know About the Trilogy That Changed the Movies, Alan Dean Foster, critically acclaimed author of more than a hundred science fiction and fantasy novels, sums up what the Star Wars FAQ is all about: “Reading a book like Star Wars FAQ is a bit like strolling the streets of London without a guidebook. You know where Big Ben is, but stumbling across the first public drinking fountain in Britain is apt, in its own more modest way, to be even more enchanting.”
Star Wars FAQ offers an original analysis of the series’ enduring appeal and cultural impact. In the process, author Mark Clark tells a story as thrilling and action-packed as the movies themselves, with bold characters facing apparently insurmountable odds.
Featuring 38 chapters, such as Echo Base: Homage in Star Wars, New Hope: Assessing Episode IV, and Far, Far Away: Production of Star Wars, Star Wars FAQ introduces the reader to early screenplays drafts that were never filmed and to short biographies of many people who made key contributions to the movies’ success. Star Wars FAQ details every aspect of the original Star Wars Trilogy (Star Wars, The Empire Strikes Back, and Return of the Jedi). Along the way it unearths under-reported stories and illuminating minutiae often skimmed over or completely ignored in other histories of the legendary film series.
Visit Mr.Media’s webpage here to learn more about this interview.
Tomorrow marks the fourth annual installment of Star Wars Reads Day! We over at Hal Leonard can’t wait to celebrate with one of our published books, Star Wars FAQ. It has gotten great reviews and the online blog, The Bearded Trio, has even said:
“One thing I’ve learned since 1977 — you can ever know too much about Star Wars, and there will always be something you don’t know. I’m constantly (and pleasantly) surprised when I run across a fact or image that is new to me, and Star Wars FAQ did not disappoint on this count. Highly recommended!”
Read the full review here.
To prepare you for a day that is sure to become more and more popular each year, below is an excerpt of Mark Clark’s, Star Wars FAQ Everything Left to Know About the Trilogy That Changed the Movies. Enjoy!
Even before George Lucas had completed his Star Wars screenplay he was faced with finding actors to portray his still-evolving characters. Auditions began in late August 1975, while Lucas was finishing the fourth draft of the script. While not quite as excruciating a process as writing the film (see Chapter 4), casting soon became another protracted ordeal—both for Lucas and for the actors under consideration for major roles.
Lucas wanted to hire young, unknown performers for the picture’s leading roles, as he had for American Graffiti. This was in part a cost-containment strategy, but he also believed that actors not already associated with other characters would be more effective in the fantasy context of Star Wars. It was one thing to ask viewers to accept Wookiees, lightsabers, and the Force, but something else again to ask viewers to accept someone like, say, Ron Howard as Luke Skywalker. To assist with the talent search, Lucas again relied on casting director Fred Roos, who had served marvelously on Graffiti. At the beginning of the process, Lucas, Roos, and several assistants worked twelve-hour days, seeing as many as 250 actors per day. After three grueling weeks of this, to save time and money Lucas joined forces with another young director, Brian De Palma, who was looking for a group of young unknowns to star in his film Carrie (1976). Lucas and De Palma took the unusual step of hosting joint auditions. Hundreds more actors were invited to come in and try out for both films. Lucas’ demeanor during this process was so low-key that some of the would-be cast members mistook him for De Palma’s assistant.
Nevertheless Lucas had definite ideas about what he wanted and placed a premium on chemistry between his leads. During callbacks (without De Palma), he screen-tested actors as ensembles to see how various would-be Leias, Lukes, and Hanses worked in concert with one another. Early on, Lucas wanted to hire legendary Japanese actor Toshiro Mifune to play Ben Kenobi, but Mifune declined. “If I’d gotten Mifune, I would’ve used a Japanese princess, and then I would have probably cast a black Han Solo,” said Lucas in J. W. Rinzler’s The Making of Star Wars. One of the trios in contention for the leading roles featured newcomer Will Seltzer as Luke, former Penthouse centerfold Terri Nunn as Leia, and a young Christopher Walken
Jodie Foster was given serious consideration as Princess Leia. She was screen-tested but not hired because she was only thirteen years old at the time, and casting a minor would introduce restrictions on the shooting schedule. (De Palma declined to cast her in Carrie for the same reason.) Other performers in the running for major roles included John Travolta, Amy Irving (both eventually hired for Carrie), Nick Nolte, Tommy Lee Jones, and Lawrence Hilton-Jacobs (later “Boom Boom” Washington on Welcome Back, Kotter)—a potential Han Solo. Ultimately, of course, Lucas settled on Mark Hamill, Harrison Ford, and Carrie Fisher for the leads; a pair of distinguished British actors for key supporting parts; and four performers with specialized talents (and physiques) for the remainder of the primary cast.
None of their lives would ever be the same.
As most of you may have heard, the Star Wars Battlefront (Beta) is set to come out in early October for PS4 users. Star Wars video games have certainly come a long way since the first licensed video game was released in 1982. In his new book, Star Wars FAQ, Mark Clark talks about the first ever video game that Star Wars licensed and how these video games slowly, but surely, gained popularity. Read about it below!
Custom, homemade Star Wars computer games have been around as long as Star Wars fans have owned home computers. But the first licensed, Lucasfilm-authorized electric game was Parker Brothers’ Star Wars: The Empire Strikes Back (1982), created for the Atari 2600 system. A year later, a version was issued for Mattel’s Intellivision platform. Star Wars: The Empire Strikes Back was a simplistic, scrolling shooter game with primitive graphics. The player flew a snowspeeder and attacked AT-AT walkers, as seen in the Hoth snow battle from the film. The player won the game by destroying five walkers; if the Walkers reached Echo Base and destroyed it, the player lost.
Although sales of Star Wars: The Empire Strikes Back were not spectacular, the game performed well enough to encourage the development of more product. Parker Brothers issued Return of the Jedi: Death Star Battle and Return of the Jedi: Jedi Arena in 1983. In Death Star Battle, produced for the Atari 5200 and Atari XE platforms, players piloted the Millennium Falcon through a squadron of TIE fighters to destroy the second Death Star. In Jedi Arena, made for the Atari 2600 only, players battle one another with lightsabers. A third game, Return of the Jedi: Ewok Adventure, was prototyped but never released.
The first Star Wars arcade game, produced by Atari and simply named Star Wars, also appeared in 1983. This was a sophisticated (by early 1980s standards) first-person shooter/flight simulator featuring color 3-D vector graphics. The player relived the climax of Star Wars, taking part in the assault on the Death Star from within the cockpit of an X-Wing fighter. Successful players cleared three levels—overcoming an initial engagement with TIE fighters; then destroying turret guns on the surface of the space station; and finally zooming through a trench and firing a torpedo into the exhaust port to destroy the Death Star. Players continued to be harassed by TIE fighters throughout the second and third levels. The game featured sound effects and snippets of dialogue from the film—including the voices of Mark Hamill, Harrison Ford, James Earl Jones, and Sir Alec Guinness. Star Wars was sold as a stand-up console and in a deluxe, sit-down cockpit version. In either configuration, it was a massive hit and remained in production for five years. It became a fixture at many arcades in the United States and the United Kingdom, and fans set video game endurance records (authenticated by the Guinness Book of World Records) playing it.
Parker Brothers released a scaled-down home version in 1984 for Atari and Coleco game systems, and the Commodore 64 computer. In 1987 and ’88, it was reconfigured for nine more game systems and reissued. Readers of the website Killer List of Video Games, an online community of video game enthusiasts and preservationists, voted Star Wars the fourth-best coin-operated video game of all time (trailing only Pac-Man, Donkey Kong, and Galaga). Atari introduced a second Star Wars arcade game, Return of the Jedi, in 1984. It featured more lifelike raster graphics and included four levels, some replicating the speeder bike chase scene and others the climactic Death Star battle. A home version was also produced. The true follow-up to the Star Wars arcade game was Atari’s The Empire Strikes Back, released in 1985. It was another 3-D vector graphics first-person shooter/flyer based, like Star Wars: The Empire Strikes Back, on the Hoth AT-AT/snowspeeder battle. Neither of Atari’s sequels proved as popular as the original Star Wars arcade game.
Japanese game maker Namco released an adventure game titled simply Star Wars in 1987, created for Nintendo’s early Famicom console. The designers of this game seemed completely unconcerned with fidelity to the source material. In it, Luke Skywalker pilots the Falcon to various planets to rescue Ben Kenobi, Princess Leia, Han Solo, Chewbacca, and the droids. Each planet is protected by a different Darth Vader, some of which transform into various creatures (a shark, a scorpion, a Wampa, and a dinosaur). Luke has black hair and Chewbacca speaks English. A year later, Mastertronic released a computer game, Droids: Escape from Aaron, based on the Star Wars: Droids cartoon. This was an adventure game in which Threepio and Artoo escape from the clutches of the Hutt-like Fromm criminal gang. The events depicted in the game did not derive from the TV show but were in keeping with the continuity of the program.
During the 1980s, Lucasfilm simply sold Star Wars licenses to various game manufacturers and wasn’t always able to exert quality control over the end product. Fed up with the scattershot quality of these games, George Lucas revamped his Lucasfilm Games division to form LucasArts, which designed and manufactured games in-house. Initially, LucasArts partnered with Atari to produce games based on Labyrinth (1986) and Indiana Jones and the Last Crusade (1989). Later, on its own, LucasArts created original adventure games such as the long-running Monkey Island series (1990–2011) for various game systems and computer platforms. Perhaps waiting until Lucas was certain LucasArts had hit its stride, the company didn’t release a Star Wars game until 1993, but it was worth the wait. Star Wars: X-Wing—a combination flight simulator and adventure game, with players battling imperial forces in a trusty rebel fighter—was a smash, spawning multiple expansion packs, collector’s editions, and sequels.
More than twenty more Star Wars video games were issued prior to the release of The Phantom Menace in 1999, including Star Wars: TIE Fighter (the first game set from the perspective of the Empire) in 1994, Star Wars: DarkForces in 1995, Shadows of the Empire in 1996 (part of a multimedia event, see previous chapter), and Star Wars: Rogue Squadron (1998), all of which proved very successful. Star Wars games have remained the primary focus of LucasArts since the mid-1990s.
In more recent years, the company has expanded into the realms of realtime strategy, role-playing (RPG), and, finally, massively multiplayer online role-playing games (MMORPG) with Star Wars Galaxies (2003), Star Wars: Clone War Adventures (2010), and Star Wars: The Old Republic (2012). LucasArts spent a then-record $200 million developing The Old Republic, a pay-to-play download that allows players to interact together online. The game collected one million subscribers within three days of its launch. All three Star Wars MMORPG releases were multimedia events, with novel, comic book, and toy tie-ins.
Mark Clark, author of two Star Trek books for the Applause FAQ series, pays tribute to both Leonard Nimoy and his most famous role.
I knew it was coming. Leonard Nimoy was 83 years old and had been in declining health, suffering from chronic pulmonary disease. He had officially retired from the screen years ago, although he continued to make occasional cameo appearances, including in the two J.J. Abrams-directed Star Trek movies. Nevertheless, when word of the actor’s death arrived this afternoon, I was stunned. It seemed unreal, impossible. How could immortal face of one of the greatest entertainment franchises in history, a source of comfort and inspiration for millions of fans, really be gone? Wasn’t there some way to ship his body to the Genesis Planet for regeneration?
That’s when I realized that I was confusing Nimoy with his most famous character.
I was hardly the first to do this. Even Nimoy struggled to keep his personality separate from that of his Vulcan alter-ego, as evidenced by his two memoirs, one titled I Am Not Spock and a second titled I Am Spock. The confusion is understandable. Nimoy was not Spock, but Spock is Nimoy. Although created by Gene Roddenberry, the half-human, half-Vulcan first officer was animated by Nimoy’s personality – intelligent, unflinching, analytical, yet approachable. The actor improvised many of Spock’s trademark expressions and gestures, including the FSNP (“Famous Spock Nerve Pinch”) and the split-fingered Vulcan salute (derived from a rabbinic gesture of blessing); the character’s indomitable spirit was Nimoy’s too. And Spock, more than any other character, came to embody the essence of Star Trek.
Although Nimoy is gone, Spock remains. He stands as an eternal testament to Nimoy’s ability to craft a complex, nuanced, believable character.
However, Spock is far from the only testament. I wrote extensively about Nimoy’s life and career in my books Star Trek FAQ: Everything Left to Know About the First Voyages of the Starship Enterprise and Star Trek FAQ 2.0: Everything Left to Know About the Next Generation, the Movies, and Beyond. As I noted there, although none of them earned him fame, Nimoy authored several remarkable performances in television roles prior to Star Trek (on shows like M Squad, Combat!, and The Lieutenant) and he did the same in later, non-Trek movies like Invasion of the Body Snatchers (1978). He also had a successful career as a writer, producer, and director, helming Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home, along with the comedy smash Three Men and a Baby, among other pictures. Nimoy declined the opportunity to create what became Star Trek: The Next Generation due to the demands of his feature film career. And movies were only one of Nimoy’s pursuits. He was a restless, polymorphously creative individual who also enjoyed careers as a recording artist, poet, and fine art photographer.
The pressures that arrived with fame led him to alcoholism during the making of the original Star Trek series. But he eventually found sobriety, and in later years always seemed to have a smile and a handshake ready for fans and castmates alike – even his onetime rival, William Shatner, with whom he belatedly developed a deep and abiding friendship. I confess that it brings a smile to my face to picture Nimoy being reunited, somewhere, with DeForest Kelley.
Surely Spock must be embarrassed by the outpouring of emotions displayed by fans and colleagues today, following Nimoy’s passing. But Nimoy, I’m certain, welcomes and appreciates all the affection.
The Wrath of Khan offers everything its predecessor promised but failed to deliver. It’s a thrilling, fast-paced sci-fi adventure rich in both sustained suspense and character exploration. The story wades into meaningful thematic currents on the way to a powerful emotional payoff. Not only is Khan a worthy successor to the television series, but in some respects it represents an improvement on the classic program. Not only is the movie far superior in all technical aspects (sets, costumes, special effects), as almost any feature film would be, but it’s also better scripted, directed, and performed than the vast majority of the seventy-nine original episodes.
Although piecing it together was a painful process, the film’s dramatic structure is masterful, with early scenes (especially those involving Khan) providing the initial thrust and events steadily gaining momentum as the story progresses. The dialogue is crisp and often witty, supplying both amusing bons mot (such as McCoy asking Kirk, as young Saavik steers the Enterprise out of space dock, “Would you like a tranquilizer?”), a Spock-McCoy verbal joust, and some eminently quotable ethical observations (including Spock’s assertion that “The needs of many outweigh the needs of the few, or the one”). Best of all, where the classic series often settled for heavy-handed moralizing (and The Motion Picture came off as ponderous and self important), The Wrath of Khan almost effortlessly addresses weighty, timeless concerns, such as aging and death. It also provides the franchise’s definitive statement about the self-destructive folly of seeking revenge, a theme also present in a handful of classic episodes.
Meyer’s direction is a model of narrative precision and clarity. While not renowned for his visual style, he includes several deep-focus compositions that greatly enhance the unfolding drama, particularly during Spock’s funeral, as the black torpedo-coffin slowly glides toward the camera, flanked on either side by mourning crewmates.
Keep reading this excerpt on Bookgasm.com!
In the 1980s and ’90s, Star Trek rose from the ash heap of network cancellation and soared to the peak of its popularity with a series of blockbuster feature films and the smash sequel series Star Trek: The Next Generation. Star Trek FAQ 2.0 picks up where the original Star Trek FAQ left off, chronicling the historic comeback of the “failed” series and its emergence as a pop culture touchstone. The book provides accounts of the production of every Star Trek movie (including creator Gene Roddenberry’s struggle to retain control of the franchise) and every episode of The Next Generation (and the conflicts that roiled its writing staff). It also offers profiles of the actors, directors, writers, producers, and technicians whose excellence fueled the franchise’s success, and explores often overlooked aspects of the Star Trek phenomenon, including unofficial, fan-made productions. Star Trek FAQ 2.0represents the final frontier of Trek scholarship. This book is not endorsed, sponsored, or affiliated with CBS Studios Inc., Paramount Pictures, or the “Star Trek” franchise.
Trivia time! Be the first to answer all four questions correctly and you’ll receive a free copy of Mark Clark’s Star Trek FAQ . Make sure to include your email so that we can contact you if you win.
1. Who played Khan in Star Trek II: Wrath of Khan?
2. Name three civilizations that feature in Star Trek.
3. What is Warp Drive?
4. Who played the original Spock and Captain Kirk?
Very soon, Applause Books will publish my latest work, Star Trek FAQ 2.0: Everything Left to Know About the Next Generation, The Movies and Beyond (Unofficial and Unauthorized). This volume picks up where my previous book, Star Trek FAQ: Everything Left to Know About the First Voyages of the Starship Enterprise, left off, and continues the story of the franchise up to now. Or rather, up to last fall, when the manuscript was completed. The book concludes with the impending release of Star Trek into Darkness, about which little was known at the time. Since Star Trek FAQ 2.0 covers (among many other things) all the other films in the series, I felt compelled to share my thoughts about the latest Trek movie here. Consider this an addendum to the book proper. Feel free to print this out, fold it up and slip it into Star Trek FAQ 2.0 between Chapter 40 and the bibliography. No extra charge.
For the sake of brevity, I’m going to dispense with any plot summary and assume anyone reading this article has already seen the film. (If you haven’t, what are you waiting for?) Warning: Spoilers ahead!
The bottom line is simply that if you liked producer-director J.J. Abrams’ 2009 re-boot, then you will adore Star Trek into Darkness. If you didn’t enjoy the previous film, then you probably won’t go for this one, either. All the flaws from Abrams’ first Trek outing return, but so do all the strengths – and the good stuff is much better this time around. Like the last one, Into Darkness is handsomely mounted, impeccably performed, thrilling and often hilarious. The story moves at warp speed and is overstuffed with dazzling action and visual effects sequences, including the most spectacular space battles and white-knuckle chase scenes of any Trek film. And once again, the film is strewn with inside jokes and references to classic Trek people, places and things, including a tribble in sick bay. But, as before, the frenetic pace disguises gaping holes in story logic and faulty science (for a hilarious rundown of these gaffes, visit http://io9.com/star-trek-into-darkness-the-spoiler-faq-508927844). For me, the only really bothersome lapse was that exploding 72 photon torpedoes inside a starship would not only vaporize the vessel and everyone onboard, but would also obliterate everything else in the vicinity and possibly rip a whole in space. But Abrams’ biggest mistake was casting Peter Weller as Admiral Marcus. While the actor’s work is fine, the presence of Weller – who hasn’t played a sympathetic character since the Robocop films, and already portrayed a two-faced Star Trek villain in a memorable Enterprise two-parter (“Demons”/“Terra Prime”) – telegraphs the “twist” that Federation power brokers are up to no good. This plot point would have been far more effective with someone warm and likeable (for instance, avid Trekker Tom Hanks) cast against type as Marcus.
On balance, however, the film’s assets far outweigh its liabilities. If Abrams isn’t very good with precise, logical plots, he excels at understanding audience expectations and playing off them. Evoking The Wrath of Khan enables Abrams and screenwriters Damon Lindelof, Roberto Orci and Alex Kurtzman to toy with fans’ preconceived ideas; the film delivers everything viewers think they see coming, but never quite as anticipated. At times Into Darkness stands Wrath of Khan on its head, with suspenseful or amusing results. Among the most refreshing of these inversions is the sight of Spock, rather than Kirk, starring in a major action/chase sequence. Considering that Vulcans are supposed to be physically stronger and more agile than humans, this should have happened before. Abrams also has a gift for eliciting fine performances from his cast, and Chris Pine, Zachary Quinto, Karl Urban, Simon Pegg and Bruce Greenwood shine again as Kirk, Spock, McCoy, Scotty and Captain Pike. One of the major differences between this Trek and the original is that Abrams and company don’t even attempt to recreate the Kirk-Spock McCoy chemistry of the classic series. This is a Kirk-Spock bromance, with McCoy, Uhura and Scotty as supporting characters and Chekov and Sulu for window dressing. This is intended merely as an observation, not necessarily a criticism. It’s probably smart, since I don’t believe Pine, Quinto and Urban (or anybody else) could duplicate the rapport of William Shatner, Leonard Nimoy and DeForest Kelley. Similarly, while Benedict Cumberbatch’s performance as Khan Noonien Singh has garnered much well-deserved praise, his icy take on the character couldn’t be more different from Ricardo Montalban’s alluring, romantic performance.
In Star Trek FAQ 2.0, I wrote the following about the 2009 film: “Although fans may disagree with some of the choices made by Abrams and Orci and Kurtzman, the reality is that after Nemesis and Enterprise, the franchise had been written into a corner. Abrams and his compatriots simply did what was necessary to break out of that trap, while crafting a livelier, more sensational and more emotional Star Trek with wide appeal beyond the Trekker faithful. The film may or may not mark the passing of the previous, statelier version of the franchise, but its success has assured that Trek will continue, in some form or another, for years to come.” Star Trek into Darkness only confirms that verdict. Although its opening weekend box office fell slightly below expectations (due largely to competition from Iron Man 3 and Baz Luhrmann’s The Great Gatsby), Into Darkness has all the markings of major hit, and figures to keep Star Trek in business for the foreseeable future.
At the conclusion of Into Darkness, Pine’s Kirk has finally begun to mature into something closer to Shatner’s version of the character, and the USS Enterprise is set to embark on its famous five-year mission. The galaxy is wide open. The most interesting question now becomes, where does the franchise go next? And who – with Abrams busy making a new Star Wars trilogy – will lead it? Look for musings on those topics in a future blog entry.
Star Trek FAQ 2.0: Everything Left to Know About the Next Generation, The Movies and Beyond (Unofficial and Unauthorized)
This book is not endorsed, sponsored, or affiliated with CBS Studios Inc., Paramount Pictures, or the “Star Trek” franchise. In the 1980s and ’90s, Star Trek rose from the ash heap of network cancellation and soared to the peak of its popularity with a series of blockbuster feature films and the smash sequel series Star Trek: The Next Generation. Star Trek FAQ 2.0 picks up where the original Star Trek FAQ left off, chronicling the historic comeback of the “failed” series and its emergence as a pop culture touchstone. The book provides accounts of the production of every Star Trek movie (including creator Gene Roddenberry’s struggle to retain control of the franchise) and every episode of The Next Generation (and the conflicts that roiled its writing staff). It also offers profiles of the actors, directors, writers, producers, and technicians whose excellence fueled the franchise’s success, and explores often overlooked aspects of the Star Trek phenomenon, including unofficial, fan-made productions. Star Trek FAQ 2.0represents the final frontier of Trek scholarship.
Onstage and Backstage podcast from Hal Leonard is available on iTunes and Libsyn. Each episode authors and their guests have a chat about the topics of their books. Today, Mark Clark, author of Star Trek FAQ and the forthcoming Star Trek FAQ 2.0, chats with Patrick Phillips, host of The Patrick Phillips Show. Re-posted here with Patrick’s permission.
Star Trek FAQ tells the complete story of Star Trek, from the before the beginning (the books, films, and TV shows that inspired producer Gene Roddenberry to create Star Trek) until after the end (when the show emerged as a cultural phenomenon in syndication), and including dramatic behind-the-scenes stories (e.g., Leonard Nimoy’s struggle with alcoholism and actress Grace Lee Whitney’s controversial firing) often omitted from “authorized” histories of the program. Along with in-depth looks at the pre- and post-Trek careers of the show’s iconic leads, Star Trek FAQ includes profiles of guest stars and “redshirt” extras alike, as well as the many writers, technicians, and artisans whose efforts enabled Star Trek to take flight. The book also explores the show’s unprecedented resurgence in the 1970s with chapters devoted to early Star Trek fiction, merchandising, and the short-lived animated series. Combining a wealth of fascinating information about every facet of the show’s production with original analysis of Star Trek‘s enduring appeal and cultural influence, Star Trek FAQ goes where no Star Trek book has gone before.