IMDb > "Star Trek: The Next Generation" Code of Honor (1987)

"Star Trek: The Next Generation" Code of Honor (1987)

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Star Trek: The Next Generation: Season 1: Episode 3 -- Kidnapped by aliens known as Ligonians, Lieutenant Tasha Yar battles for her freedom and the welfare of a diseased Federation planet.


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Gene Roddenberry (created by)
Katharyn Powers (writer) ...
View company contact information for Code of Honor on IMDbPro.
Original Air Date:
10 October 1987 (Season 1, Episode 3)
When the leader of an alien culture takes a romantic interest in Lt. Yar, he claims her for his own, to the dismay of his own wife, who, in turn, challenges Tasha in a fight to the death. Full summary » | Add synopsis »
User Reviews:
Anti Imperialism See more (9 total) »


 (Episode Cast) (in credits order)

Episode Crew
Directed by
Russ Mayberry 
Les Landau (uncredited)
Writing credits
Gene Roddenberry (created by)

Katharyn Powers (writer) &
Michael Baron (writer)

Produced by
Rick Berman .... supervising producer
D.C. Fontana .... associate producer
Maurice Hurley .... producer
Robert H. Justman .... supervising producer
Peter Lauritson .... associate producer
Robert Lewin .... co-producer
Gene Roddenberry .... executive producer
Herbert Wright .... co-producer
Original Music by
Fred Steiner 
Cinematography by
Edward R. Brown (director of photography)
Film Editing by
Randy Roberts 
Casting by
Junie Lowry-Johnson 
Production Design by
Herman F. Zimmerman  (as Herman Zimmerman)
Art Direction by
Sandy Veneziano 
Set Decoration by
John M. Dwyer  (as John Dwyer)
Costume Design by
William Ware Theiss 
Makeup Department
Nancy J. Hvasta Leonardi .... makeup artist
Werner Keppler .... makeup artist
Richard Sabre .... hair stylist supervisor
Michael Westmore .... makeup supervisor
Joy Zapata .... hair stylist
Production Management
Brooke Breton .... post-production supervisor
David Livingston .... unit production manager
Second Unit Director or Assistant Director
Brenda Kalosh .... second second assistant director
Les Landau .... first assistant director
Babu Subramaniam 'T.R.' .... second assistant director (as Babs Subramaniam)
Art Department
Joe Longo .... property master
Richard McKenzie .... set designer
Michael Okuda .... scenic artist
Andrew Probert .... consulting senior illustrator
Charles Russo .... assistant property master
Al Smutko .... construction coordinator
Rick Sternbach .... illustrator
Michael W. Moore .... props (uncredited)
Sound Department
Alan Bernard .... sound mixer
Alfred T. Ferrante .... adr/foley mixer
Mace Matiosian .... sound editor
Bill Wistrom .... supervising sound editor
James Wolvington .... sound editor
Special Effects by
Dick Brownfield .... special effects
Visual Effects by
Robert Legato .... visual effects coordinator
Ronald B. Moore .... visual effects coordinator
Gregory Jein .... model maker (uncredited)
Fred Raimondi .... compositor (uncredited)
Camera and Electrical Department
Patric J. Abaravich .... electrician
John Earl Burnett .... first assistant camera: Additional Photography/VFX Unit
Richard Cronn .... chief lighting technician
Brian Mills .... first company grip
Maricella Ramirez .... key first assistant camera
Lowell Peterson .... camera operator (uncredited)
Casting Department
Helen Mossler .... casting executive
Music Department
Tom Boyd .... oboe soloist
Alexander Courage .... composer: main title theme
Jerry Goldsmith .... composer: main title theme
John La Salandra .... music editor (as John LaSalandra)
Norman Ludwin .... musician
Transportation Department
Alan Kaminsky .... driver generator operator
Other crew
Johnny Dawkins .... story editor
Cosmo Genovese .... script supervisor
David Gerrold .... program consultant
Kim McLaren .... first assistant accountant
Betty McNeeley .... production secretary (as Betty Mcneeley)
Diane Overdiek .... production coordinator
Susan Sackett .... production associate
William Ware Theiss .... executive consultant
Tracy Tormé .... executive story editor
Gene Roddenberry .... showrunner (uncredited)

Series Crew
These people are regular crew members. Were they in this episode?
Writing credits
(in alphabetical order)
Gene Roddenberry  created by

Makeup Department
Allan A. Apone .... makeup artist
R. Christopher Biggs .... special makeup effects artist
Dean Jones .... makeup artist
Michael R. Jones .... makeup artist
Nina Kent .... makeup artist
Michael Key .... makeup artist
Mike Smithson .... makeup artist
Rick Stratton .... makeup artist
Second Unit Director or Assistant Director
Ron Dempsey .... dga trainee
Bruce Sears .... dga trainee
Richard 'Dub' Wright .... assistant director
Art Department
Lloyd A. Buswell .... construction foreman (seasons 1-7)
Sharon Davis .... graphics assistant
Dragon Dronet .... weapons, specialty props and miniatures
Jim Dultz .... assistant art director
Gregory A. Weimerskirch .... assistant art director
Sound Department
Marty Church .... foley mixer
Special Effects by
Edward J. Franklin .... special effects
John Palmer .... special effects coordinator
Robert Cole .... special effects (uncredited)
Visual Effects by
Les Bernstien .... motion control
C.W. Fallin .... motion control operator
Simon Holden .... digital compositor
Bruce Jones .... visual effects producer
Gray Marshall .... motion control operator
Karl J. Martin .... digital artist
Chris B. Schnitzer .... motion control technician (seasons 6 and 7)
Steven J. Scott .... digital compositor
Ken Stranahan .... visual effects
Greg Stuhl .... miniatures: Greg Jein, Inc.
Peter Webb .... digital compositor
Peter W. Moyer .... visual effects compositor (uncredited)
LaFaye Baker .... stunts
Chuck Borden .... stunts
Ericka Bryce .... stunts
John Cade .... stunts
Anthony Cecere .... stunts
Erik Cord .... stunts
Alex Daniels .... stunt creatures
Nick Dimitri .... stunts
Chuck Hicks .... stunts
Terry James .... stunts
Maria R. Kelly .... stunts
Steve Kelso .... stunts
Dan Koko .... stunt double: Jonathan Frakes (1987-1991)
Lane Leavitt .... stunts
Scott Leva .... stunts
Tom Morga .... stunts
John Nowak .... stunt double
Rex Pierson .... stunts
Pat Romano .... stunts
Michael J. Sarna .... stunts
Gary J. Wayton .... stunt performer
Camera and Electrical Department
Howard Block .... director of photography: second unit
Brian S. Cooper .... electrician
Adam Glick .... set lighting technician
Frederick Iannone .... first assistant camera: "a" camera
Editorial Department
Alan Chudnow .... assistant editor
Tim Tommasino .... assistant editor
Music Department
Scott Cochran .... scoring mixer: advertising music
John Debney .... conductor
Other crew
Gregory Benford .... scientific consultant
Hala Gabriel .... production accountant
Dolores Hundley-Arce .... assistant accountant
Suzie Shimizu .... production accountant
Production CompaniesDistributors

Additional Details

46 min
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

Did You Know?

In this episode, the floor of the holodeck is not yet covered by the familiar pattern of yellow stripes on black background; instead, the floor is covered by grey carpet.See more »
Errors made by characters (possibly deliberate errors by the filmmakers): The substance offered by the Ligonians is alternately referred to as a vaccine and an antidote. A vaccine is something given to someone before they become sick in order to prevent the illness. An antidote is given to someone after a poisonous substance has entered their body to fight it off.See more »
Captain Jean-Luc Picard:Understanding has made friends of many different people. We've had a good beginning, Lutan.See more »
Movie Connections:
Star Trek: The Next Generation Main TitleSee more »


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9 out of 13 people found the following review useful.
Anti Imperialism, 15 September 2008
Author: Robert Schneider from Germany

In this episode there are first attempts of a character development visible as well as setting the focus not only around the leading cast but also trying to include supportive ones in the plot. Data for example is making his first (of many) attempts to cope with human humor and his relation to LaForge is founded. Furthermore Riker more clearly is used as an equally treated character next to the Captain. This marks the first step on the way of splitting up the action between several places which will become common procedure in later Star Trek.

The episode itself has not much to mention. The script is classically TOS as is the set design and almost everything except the new crew. Lutan is not much of an opponent neither his acting abilities nor his character and Picard and Riker carry the show almost with routine. Troi as usual is the weak spot in the TNG cast and Wesley seems out of place (once again).

The conflict between the prime directive and the need for a vaccine to cure Federation colonists (one of the many Star Trek McGuffins) seems much too artificial, which robs it of the potential of carrying a message. The prime directive of the Federation is a principle quite similar to German philosopher Immanuel Kant's (1724 - 1804) "Kategorischer Imperativ" which in my opinion is characterized by a tremendous lack of flexibility to be applicable. Its intention clearly is to avoid a new colonial age of suppression of other cultures but as to be seen in this episode (rather involuntarily one might guess) its strictness is its greatest weakness. It downright invites other cultures with different moral standards to trick the Federation into a conflict situation to weaken their position. Surely the Federation stresses the importance of diplomacy but diplomacy is a rather uneven ground and every strictly taken principle would ruin it because creativity is the most important point to it. The Prime Directive taken literally would destroy any diplomatic attempts by the Federation because it would make their actions predictable. Whatever Gene Roddenberry may be he is not a philosopher for his concepts aren't thought-ought and with every attempt of making man better he earns so many problems... I mean, what situation is this? Saving hundreds of lives or respecting an archaic culture's code of honor? Would anyone have been harmed if the crew of the Enterprise would have taken the vaccine by force? How many people died which could have been saved, while Picard's hands were bound and the silly fight took place (exposing a crew member to a great risk)? All that doesn't make any sense to me... Conflicts between cultures and different moral systems cannot be solved by one culture always giving in to the other. This would lead to an endless circle of dominance and submission. Tolerance and respect are high values and should be protected whenever possible... But they can't weigh out responsibility for one's own people. Respect has to be earned and should not be mistaken for accepting other people's ways of living. Conflicts only can be solved with decisions which can't always be made by the book. Acceptance and respect, responsibility and tolerance must be weighed out against each other thoroughly but finally the decision has to be made. On a Starfleet vessel it is the Captain's prerogative. He has his staff (all Starfleet academy graduates, trained in Starfleet procedures what includes a set of ethical values) to advise him and his own experience to guide him. That doesn't provide him from making mistakes but that's a different story. If Picard had to be judged on his decisions during this mission his hesitant way of acting surely would not have been highly appreciated. A Captain's responsibility is first of all to his ship and its crew. All other things come second.

The final solution of cheating Lutan could not be called examplary, could it? This would be a much greater sign of disrespect than (for example) having challenged him to fight or threatening him by a demonstration of power. If someone has such a strict and highly regarded code of honor, why not use it against him? In archaic cultures challenge always was an honorable thing to do...

But don't get me wrong, I'm a great fan of Star Trek. Not because I agree with all of its points but because it almost exemplary (and not always voluntarily) shows how complex life, politics and ethics really are. A model society always will be a model society and nothing more. TNG will go on with its naive and often clumsy dealings with highly complex conflict situations for a while and Star Trek in a whole will never really get rid of that. But one thing's clear. You always can learn something from it, even if it means learning how you shouldn't do it. It creates conflicts but the solutions it comes up with were, are and will ever be only few of nearly infinite possibilities. That's my point of Star Trek. It makes people sensitive to philosophical issues and the more Roddenberry got away from responsibility of its execution the more interesting and sometimes even ambivalent it got...

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