Season 3 of ST:TOS was pretty awful and I've heard Freiburger had a LOT
to do with that. Still, the man has *some* skills. I was watching the
first season of Beverly Hillbillies a few weeks back on YouTube and was
surprised to see that he had writing credits on some of the episodes
late in the first season. They weren't bad episodes either. Maybe he
should have stayed in comedy....
I just had a glance at his mini-bio in IMDB and it is somewhat less
harsh about Freiburger than fans typically are:
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Fred Freiberger was born and raised in New York's Bronx. For a while,
he worked in advertising. During World War II he joined the 8th Air
Force as a navigator, was shot down and spent 22 months as a POW in
Germany. Upon his repatriation he briefly studied at the Institute of
Film at Pace University and eventually made his way to Hollywood on his
Air Force back pay. Hoping to obtain a job as a publicist, Freiberger
found himself sidelined by an industry strike, remaining unemployed and
without funds. While waiting for the strike to be resolved he began to
write. He managed to sell his first story to Comet Productions which was
owned by Mary Pickford. This was followed by his first science-fiction
effort for an anthology TV series, The Clock (1949). Free-lancing during
the next few years, he co-wrote the script for the cult classic The
Beast from 20, 000 Fathoms (1953) and developed the original story for a
superior outdoor western, Garden of Evil (1954), which starred Gary
Cooper and Susan Hayward. During the next ten years, Freiberger became
one of the most prolific writers of western teleplays in the business,
working on such popular fare as Cheyenne (1955), Rawhide (1959) and
Laramie (1959).
Freiberger's first significant contribution to science fiction was as
producer of The Wild Wild West (1965), for which he was brought in to
devise ingenious cliffhangers and off-beat futuristic gadgets. This
necessitated bigger budgets and brought about creative clashes with CBS
executives who failed to grasp the show's concept. Freiberger was sacked
after ten episodes. Because of a planned European vacation, he then
spurned an offer by Gene Roddenberry to produce Star Trek: The Original
Series (1966) from the onset. However, in 1968, he took up the option to
produce the show in its final season. By then, severe budgetary cuts
(which resulted in many 'bottle show' episodes and lower quality
scripts), the exodus of top creative talent and the take-over of Desilu
by Paramount all had detrimental effects on a series which (despite its
ever-loyal following) had not seen an increase in ratings since season
one. Freiberger often butted heads with writers and directors and was
criticised for overemphasizing action at the expense of character
development. In the end, many people laid blame for the cancellation of
"Star Trek" firmly at Freiberger's feet. Not everybody, including
William Shatner and Robert H. Justman, agreed. Moreover, NBC's
unreasonable re-slotting of "Star Trek" to the Friday 'hour of death'
(10 P.M.) was definitely a chief contributing factor to the show's demise.
After "Star Trek", Freiberger managed to get Space: 1999 (1975) to be
picked up for a second season. He created new characters (dashing Tony
Verdeschi and shape-shifting Maya, played by Catherine Schell) in an
effort to boost ratings. He also penned three episodes himself under nom
de plume Charles Woodgrove. However, the series did not survive and
Freiberger's subsequent unhappy association with the final season of The
Six Million Dollar Man (1974) put him again in the public mind as a
scapegoat, earning him in some quarters the unkind, and certainly
undeserved sobriquet 'the series killer'.
The first interracial kiss on U.S. television (between Kirk and Uhura in
the episode "Plato's Stepchildren") took place on his watch, though the
praise went to Roddenberry who was not in any way associated with the
episode.
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Food for thought....
--
Rhino