Σταρ Τρεκ: Η επόμενη γενιά Too Short a Season (1987–1994) watch online HD

Michael Pataki, who plays Karnas in this episode, also appeared in Star Trek (1966) as a Klingon named Korax in Star Trek: The Trouble with Tribbles (1967). Scenes in which he appeared in 1967 were also used in Star Trek: Deep Space Nine: Trials and Tribble-ations (1996), so in a way, he appeared in three Star Trek series in three different decades

Karnas has a phaser from Star Trek II: The Wrath of Khan (1982), a phaser from Star Trek III: The Search for Spock (1984), a modified Klingon disruptor rifle and Portal 63's staff from Star Trek: The Next Generation: The Last Outpost (1987) hanging on his wall behind his desk.

D.C. Fontana's script for the episode was heavily rewritten by Gene Roddenberry's lawyer, Leonard Maizlish. Fontana quit the show in protest of this and lodged a complaint with the Writer's Guild of America. The incident also convinced producer Maurice Hurley that Roddenberry no longer knew what he was doing, and so Hurley pressured Roddenberry into handing control of the writing staff over to him.

Although the episode was supposed to focus on Clayton Rohner's character, the regular cast felt that Rohner did not work in the ensemble manner very well. Director Rob Bowman felt that the show was too verbose, more words than action. Rohner's makeup during the earlier parts of the show was a source of disappointment, being described as "sub-par" and ineffective.

A set extension painting in the background of the underground installation during the phaser fight is a reuse of the Mega Maid set extension from Spaceballs (1987). The same painted background was reused in Star Trek: The Next Generation: Legacy (1990).

Rob Bowman recalled, "That was a show with a lot of dialogue. I considered it sit and tell, rather than show and tell, and I prefer to show the audience. I believe in the word, but one of your tools in making movies is visual aspects, and just as there is verbal dialogue, there is visual dialogue. One without the other can get very monotonous. But, the real treat for me was working with Clayton Rohner. He and I got together on weekends, and I think that's the most I ever spent with an actor off the clock, developing a character. We just decided to do it, and it was pretty much his episode, with all of them reacting to him. It was a solid episode, with lots of makeup challenges, special FX and a wheelchair that never worked."

Admiral Jameson's state-of-the-art twenty-fourth century wheelchair was a problem. It cost the prop department ten thousand dollars but it did not even move well enough to be anything more than a hindrance, and Bowman simply had to shoot around it. Property master Joe Longo referred to the wheelchair as a "big albatross". Learning from the fiasco, the production crew opted for a much simpler chair when one was required for _Melora_.

This episode marks the first appearance of a uniformed Starfleet admiral in The Next Generation, although Q wore an admiral's dress uniform in Star Trek: The Next Generation: Hide and Q (1987).

During the bridge scene where Admiral Jameson takes the conn, the console to Commander Riker's right has been removed to accommodate his wheelchair, while the console on Counselor Troi's side is still there as Dr. Crusher needed somewhere to sit. The shooting schedule featured the note for the art department to put "Riker guest bench out/in".

In this episode, Admiral Jameson sits in the command chair while Picard is seen occupying the first officer's chair. This is one of three episodes where Picard sits in Riker's chair - the other two being Star Trek: The Next Generation: The Naked Now (1987) and Star Trek: The Next Generation: All Good Things... (1994).

Make-up supervisor Michael Westmore had previously used makeup to age DeForest Kelley in the season premiere Star Trek: The Next Generation: Encounter at Farpoint (1987), but this proved a unique challenge as four stages of make-up were required to show Admiral Jameson de-aging. The initial stage to show Jameson at his oldest, involved Clayton Rohner wearing a bald-cap and wig plus latex prosthetics applied to his eyes, forehead, throat and jowls. That stage took up to four hours to apply to the actor. Westmore found himself worn out by the volume of work during this episode, as at the time the make-up team on the series included just him and Werner Keppler. On the second day of shooting the first stage make-up, Westmore arrived after Rohner had been in make-up for three hours only to find that he was only half finished. Keppler and Westmore rushed to get him so as not to delay the filming of the episode. Rob Bowman later criticised the make-up used on Rohner, describing it as sub-par. Westmore said that "if I was working on a film, and had several months to test Clayton's make-up beforehand, it probably would have turned out more to my liking. With less than a week to work with, I don't think it turned out too badly."

The "arms for hostages" element of the story was inspired by the Iran-Contra affair.

The title of this episode is very similar to that of a play for television written by Gene Roddenberry - The Kaiser Aluminum Hour: So Short a Season (1957).

The bird sculptures seen in Karnas' office were also featured in Q's court room in the pilot episode Star Trek: The Next Generation: Encounter at Farpoint (1987) and in the final episode Star Trek: The Next Generation: All Good Things... (1994) and in the bar on Qualor II in Star Trek: The Next Generation: Unification II (1991).

This takes place in 2364.

Wil Wheaton does not appear in this episode.

This episode marked the last time a cityscape would be built as a model for the show until Star Trek: The Next Generation: Birthright, Part I (1993). They were instead replaced with matte paintings.

Mark and Anne Jameson were married in 2314.

Mark Jameson was born in 2279.

When this episode airs Marsha Hunt who plays Anne Jameson was 41 years older than Clayton Rohner who plays Admiral Mark Jameson.

The episode was filmed between Thursday 8 October 1987 and Friday 16 October 1987 for seven days on Paramount Stage 6, 9, and 16.

In Michael Michaelian's original script, Jameson does not die, but reverts to the age of fourteen, and does not remember his wife. He helps Governor Zepec and his rival, a high priest in their negotiations. In this story Jameson was responsible for moving Commander Riker away from the Enterprise-D to command his own ship and being promoted to captain. At the end, the fourteen year old Jameson received a tour of the Enterprise-D by Wesley Crusher.