Несостоявшийся сериал «Звёздный путь: Фаза II»

Un aired television program
the fanfilm series briefly known as Star Trek: Phase II

Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after several failed attempts to create a feature film based on the property, coupled with plans for a Paramount Television Service (PTS) as a fourth broadcast television network in the United States. Both PTS and the Star Trek revival were announced in early June 1977, with PTS to debut as one evening of programming each Saturday night and to gradually expand to other nights; a strategy successfully employed by the Fox Broadcasting Company a decade later. Star Trek: Phase II was to be the flagship show, and be broadcast at 8pm EST, followed by a movie of the week starting at 9pm. The initial order was for a two hour pilot, followed by 13 hour long episodes. With the exception of Leonard Nimoy as Mr. Spock, who had ongoing disputes with Roddenberry and Paramount, the entire regular and recurring cast of The Original Series were contracted to return, notably William Shatner as Captain Kirk. Three new and younger regular characters were created, science officer Lt. Xon, navigator Lt. Ilia, and ship's executive officer Willard Decker. Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation, and two of the scripts written for Phase II would be re developed for use in that series. Behind the cameras, Roddenberry recruited Trek novices Harold Livingston and Robert Goodwin as producers. Veterans of The Original Series were few, and included costume designer William Ware Theiss and illustrator Mike Minor. Art director Matt Jefferies was otherwise employed and brought in as a "technical advisor" and to update the design of the starship USS Enterprise. Special effects (on set) were to be by Jim Rugg. Science fiction novelist Alan Dean Foster received the assignment to write the story outline for the two hour pilot, but, with a looming production deadline and unable to find a suitable writer to develop this story into a teleplay, Harold Livingston took on the writing job himself. Of the remaining 12 script assignments handed out, about half were to veterans of The Original Series. Pre production began in earnest, with the emphasis on what would be the standing sets of the Enterprise, which differed radically in layout, design and detailing from those for The Original Series. Many costumes and props, too, were designed. Ultimately, Paramount's plans for its network and Star Trek's TV return faltered, as the low anticipated advertising revenues for the Paramount Television Service indicated that it was not viable, and the Paramount Pictures parent company Gulf and Western's chairman, Charles Bluhdorn, refused to back the plan, resulting in the eventual exit of Paramount chief executive officer Barry Diller. In August 1977 Paramount president Michael Eisner announced—internally—that the two hour pilot script was to be the long sought after feature film story. However, In order to prevent negative publicity, the "cancellation" of the series and network was not immediately disclosed and development of the series and its scripts continued for a further five months, during which time tests were filmed on the incomplete Enterprise sets in widescreen format a clear indication that whatever Star Trek would be, it would not be a TV movie. On March 28, 1978, any illusions that Star Trek would be returning to television were ended when Paramount announced that instead of a series it would be producing what became the big budget film titled Star Trek: The Motion Picture (1979), which was itself a massive reworking of the "In Thy Image" two hour pilot script. Preproduction work on the series did not entirely go to waste. The standing Enterprise sets would be extensively reworked for the film (and its eventual sequels), and an unfinished admiral's office set's walls became part of the Enterprise cargo deck. However, the visual effects people hired for the feature film decided that the miniatures under construction were not up to the standards of a post Star Wars feature, and all were scrapped. Director Robert Collins, who had been hired to direct the pilot, and promised he was to direct the feature, was replaced by Robert Wise. The concept of a "Paramount Network" led by a flagship Star Trek series finally came to fruition in January 1995 when Paramount launched the United Paramount Network (UPN) and the Star Trek: Voyager series.

Star Trek: The Original Series was cancelled in 1969, following three seasons on NBC. Afterward, it saw success in broadcast syndication, resulting in science fiction conventions being held for the fans of the show. Influenced by this success, Paramount Pictures soon sought to create a new film from the series. Series creator Gene Roddenberry told the Associated Press in March 1972 that NBC wanted a Star Trek television film as pilot for a new series. Barry Diller, the chief executive officer of Paramount Pictures between 1974 and 1984, later explained that Arthur Barron, the chief financial officer at the time, was pushing for renewing Star Trek as a low budget film, and that any suggestions that Paramount's owner Charles Bluhdorn had some involvement were untrue. In May 1975, Roddenberry signed a contract with Paramount for Star Trek: The God Thing, with a budget of $5 million. However, his contract was terminated in August of the same year after inviting several writers to pitch story ideas for the film. Paramount instead placed Jerry Isenberg in charge of the project as executive producer in July 1976. Chris Bryant and Allan Scott were hired to write a script, which they entitled Star Trek: Planet of the Titans. Bryant and Scott turned in their script on March 1, 1977, which was rejected by Paramount. The duo left the project, citing conflicts in the film's scope between Roddenberry and director Philip Kaufman. Shortly before the scheduled release of Star Wars on May 25, the Star Trek film was cancelled on May 9. Kaufman claimed that Paramount attributed this to the idea that science fiction fans would not go see two films released so close together.

The Paramount Television Service was announced on June 10, 1977. Seven days later, Roddenberry announced that Star Trek would be returning to television on the new service, saying that "Hopefully it will be even superior" to The Original Series and that casting would include "as many of the old faces as possible, as well as an infusion of new ones". Diller and his assistant Michael Eisner had hired Jeffrey Katzenberg to manage Star Trek into production, with a television film due to launch the new series at a cost of $3.2 million – which some claimed would have made it the most expensive television movie ever made to date. Roddenberry said that the show would continue to cover modern themes in a science fiction way as had the first series, saying that these could include hijacking, nationalism, and radicalization of both individuals and groups. He also wanted to show 23rd century Earth for the first time, and said that this had been the answer to Paramount executives asking him if there had been anything he wanted to do on The Original Series but could not. A further change was to be the number of female cast members, as NBC had a requirement of a maximum of one third, and Roddenberry wanted to have them appear in authority positions. Only a few former Star Trek crew members were recruited. Costume designer William Ware Theiss began working on new designs for the Starfleet uniforms, some based on his creations for The Original Series, others being a radical departure. Michael Minor—who had created set decorations and props for The Original Series' third season—was brought in as a production illustrator, working with Lee Cole in the Art Department under Jennings. Other creations that were updated included the phaser, which were built to the same design as in the previous series, but were built out of aluminium instead of the fiberglass resin props used before. The battery packs were detachable, and contained actual batteries that activated strobe lighting on the main body of the prop. Technical advisers were recruited, such as Marvin Minsky, of Massachusetts Institute of Technology, and his wife Gloria Rudisch. Set production was underway by the start of August, with stage 8 on the Paramount lot designated as the "planet set", while stage 9 was where the Enterprise sets were located. By August 9, the foundations of the bridge set was built, with a plaster mould used to produce fiberglass "skins" for the various prop consoles and walls. By August 16, Livingston had held pitch meetings with more than 30 writers who were interested in scripting episodes of Phase II. Some of these, such as Theodore Sturgeon, David Gerrold and Norman Spinrad, had previously written episodes of The Original Series. Also pitching to write an episode was Star Trek actor Walter Koenig. In order to have the scripts delivered in an efficient manner, Roddenberry decided that he wanted all the scripts for the first batch of episodes completed prior to filming began on the pilot. He was confident that because of The Original Series, that the writers would not have difficulty in writing new scenes with already established characters. However, Livingston and the writers did not know how the new characters would relate to the original ones. Despite this, Roddenberry claimed at the time that the relationships between the characters would take time to be built over the course of several episodes, and that fan reaction to certain characters and events would define how frequently they would appear. David Gautreaux was cast as Xon on September 26, after approaching the casting director himself, having no agent. He had heard about the part, as he was dating the employee of an agent at the time. The final audition for the role had eight actors, including Gautreaux, of various ages and sizes. Gautreaux later said that the one thing they all had in common was a slightly alien appearance. He was hired to a $15,000 fee for the pilot, a guaranteed payment for the 13 episodes whether or not they were filmed, and a six year option on his contract. Despite this, he was required to return for a further audition within a couple of weeks. Majel Barrett was due to return as Christine Chapel, this time as a doctor, and the actress was concerned that the romantic chemistry she shared with Nimoy might not work with a younger actor. She instead wanted an older British actor to play the role. Gautreaux, now with an agent, secured a further $2,500 fee to return and audition again, since it would cause him to miss out on a guest appearance for the same fee on the television series Fantasy Island. He retained the part, saying that the other actor was "absolutely abominable". It was only after this further audition that he was told what few others knew at the time: that Phase II had already been cancelled, and they were instead going to make a feature film. Following announcements of Gautreaux's Xon replacing Nimoy's Spock, Gautreaux began to receive threatening fan mail suggesting that he was going to be poisoned or dosed with LSD. Gautreaux was subsequently called in for an interview with Nimoy during the early work on Star Trek III: The Search for Spock. The pair started talking about the impact that Nimoy's return to Star Trek had made on Gautreaux, with the latter telling Nimoy that he had treated it as a play that had been cancelled on the first night of the performance, which had not made a major impact on his career. The idea of a young male Vulcan scientist was once again proposed early in the work on Star Trek II: The Wrath of Khan, which was attributed by later reviewers to the influence of Xon from Phase II. The gender of this character was subsequently changed to female, and called Saavik. She was played by Kirstie Alley in that film, and later by Robin Curtis in The Search for Spock and Star Trek IV: The Voyage Home. Several minutes of test footage, including a view of the redesigned Engineering Room, costume tests with crew, screen test footage of Gautreaux as Xon and costume test footage of Khambatta as Ilia, were included in a featurette on the DVD release of the Director's Edition of Star Trek: The Motion Picture. The presence of a second five year mission, as would have been shown in Phase II, was included in the Star Trek timeline in the Star Trek Chronology book by Michael and Denise Okuda in 1993. This would have taken place after the events of The Motion Picture. A book based on the production of the series, Star Trek Phase II: The Lost Series was published in 1997 by Pocket Books. It was written by Judith and Garfield Reeves Stevens, and went into detail about the conception of the planned and later aborted series, looking at several aspects of production, with behind the series information, color artwork, storyboards, blueprints, technical information and photos. It also contained two full scripts from the planned series. James Cawley purchased the costumes that would have been used in Phase II, and later repurposed them for his fan series Star Trek: New Voyages. He felt that they represented the step between those seen in The Original Series and the uniforms in The Motion Picture. The series also made other references to Phase II, as Xon was added in the episode "Blood and Fire", which was based on an unused script for Star Trek: The Next Generation. In New Voyages, Xon was played by Patrick Bell. In February 2008, Cawley announced that New Voyages would be re titled Phase II in reference to the abandoned 1970s series. The change was reverted following an announcement by Cawley on June 9, 2015.

Phase II would prove influential on The Next Generation, whose creation began just over seven years later. The characters of Xon, Decker and Ilia were used as the basis for the creation of Data, William Riker and Deanna Troi. However, the series was allowed to be different in tone from the planned Phase II, for the feature films that had come before it had changed the audience expectations of what Star Trek was. It was originally proposed in Gerrold's The Worlds of Star Trek to have the second in command leading the away team, and it was anticipated that this would be included in Phase II – it was instead first introduced in The Next Generation. Owing to the 1988 Writers Guild of America strike, work on the second season of The Next Generation was delayed. The producers sought scripts that could be put into production as quickly as possible once the strike was lifted, and so "The Child" from Phase II was picked as one that could be used in the new series with Ilia's place in the script swapped out in favor of Troi. A further Phase II script was adapted later in the series, when "Devil's Due" was converted for The Next Generation in the fourth season. Certain elements of Klingon culture, such as the Emperor, and a general influence of Japanese culture with honor at the forefront, were first explored with the script for the two part "Kitumba". Writer John Meredyth Lucas said that "I wanted something that we had never seen before on the series, and that's a penetration deep into enemy space. I started to think of how the Klingons lived. Obviously for the Romulans we had Romans, and we've had different cultures modeled on those of ancient Earth, but I tried to think of what the Klingon society would be like. The Japanese came to mind, so basically that's what it was, with the Sacred Emperor, the Warlord and so on." While the episode itself was later filmed for the fan production Star Trek: New Voyages, Star Trek first visited the Klingon homeworld in The Next Generation episode "Sins of the Father", and the themes would be revisited through the series.

Judith and Garfield Reeves Stevens described Voyager as the "conceptual cousin" of Phase II, in that it was used to launch the United Paramount Network (UPN) in January 1995. This was the fifth network, as Diller had moved to the Fox Entertainment Group in the years between Phase II and Voyager, where he launched the fourth network, the Fox Broadcasting Company. They hypothesised that Phase II would have seen a similar decline in ratings as seen by Voyager during the course of the first season, except this decline would have resulted in the cancellation of Phase II at the time of first broadcast in 1970s. While they felt this would not have been the end of the franchise, they suggest it would have resulted in a more immediate reboot with the entire crew re cast.