As many paths can tell you, Ein Bornboys created "Star Trek: The Next Generation" and besides. When "Star Trek: The Motion Picture" came out in 1979, it was a big swing, taking a series of science fiction at Rinki-Dink and blew it into a massive, psychedelic, $ 44 million space opera. It was a giant, dangerous space cloud that appeared outside the cosmos and began to descend to Earth, its mission is unknown. The film ended up with human beings joining inexpressible mechanical intelligence outside our understanding. It was tight and great, closer to the spirit to the previous decade "2001: Space Odyssey" from the contemporary "Starwalks War".

But when "Movement image" didn't earn as much money as Paramount wantedBorn Boyer was informally removed from any further involvement in any extensions. The new creative team took over and made three sequels from 1982 to 1986, which were much more successful. Born Birthi opposed the fact that control over his creation was used by him, and decided to use Bigwigs by making a new series "Old Trek" all of his. This time, he will rely even harder in the utopian themes of his first show and - most importantly - to maintain total creative control over it. In 1986

Of course, as described in detail in William Shatner's 2014 documentary "Chaos of the Bridge", the first two seasons of the "next generation" were, well, chaos behind the scenes. Born Borney would regularly write the scripts without the knowledge of other writers, and there were many quarrels about who really should be competent. Born Borni has hit his heads with almost everyone and will micromaniacs everything in oblivion. These tense feelings were reminded abruptly by Ronald D. Moore, one of the most celebrated writers of the "Next Generation" starting in his third season. The A recent episode of "Sakhof Show", Moore said he came to the "next generation" in 1988 in the midst of a lot of animosity and "bad blood".

Most trekkies will also be able to tell you that the first two seasons of "next generation" are a little harsh. Because the show found its way, it fueled some pretty terrible episodes supported by some pretty terrible ideas. "Code of Honor" (October 12, 1987) is often referred to as "racist", while "Angel One" (January 25, 1988) is "sexist". In previous interviewsMoore talked about how he started his start to Star Trek as he toured the set during the second season. He turned to the unwanted script of a friend who worked on the show, and eventually led to getting an agent and hired.

But he essentially came into Bedam. He recalled the constant change of staff members, and the control gender was so intrusive during the series. It was a bad atmosphere and many people hated each other. He does not call anyone by name, but Ne-Trakis may want to look for figures like Morris Charlie and Leonard Maislish, who have contributed to the chaos. As Moore said:

"The play was in turmoil. The early seasons of that show were epic in turmoil.

Much changed when the third season began. Michael Piller took over as a shower, and several new writers were hired, including Moore. The direction of the show changed because it began to focus on singular characters in each episode, rather than the entire ensemble each time.

Moore said expedition and despair are the central principles of the workplace in the Star Trek offices when he came to the ship and that previous show writers became stuck. He described the tone of his new job like this:

"I joined the third season, and several (writers) were veterans of the previous year. And they were cynic." Yes, it's all good until it blows up, kid. Okay, here, we go. But we were also in this job from hand to mouth.

Moore said he had to learn on his feet and that the tone in the workplace was always one of the panic. The whole show seemed to be constantly behind the schedule, and speed did not allow swamps or careful considerations of the story. Moore realized that he was only valued at the beginning because everyone was desperate for greater help. As he said:

"Part of their welcome to me was of the need." We need a body! Can you write? Go write this scene! "And, you will just write it, do it again.

Moore ended up with the series through his seventh and last season, and even co-writes the films "Star Trek: Generations" And "Old Trek: First Contact". He also worked hard on Star Trek: Deep Space Nine and the last two seasons of Star Trek: Voyager. It is clear that the chaos eventually cleared.