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| Starlog | |
|---|---|
| Title | Starlog |
| Frequency | Monthly |
| Category | Science fiction magazine |
| Firstdate | 1976 |
| Finaldate | 2009 |
| Country | United States |
| Language | English |
Starlog was an American monthly magazine devoted to science fiction films, television, literature, and fandom. Founded in the mid-1970s, it documented and influenced popular awareness of genre works from franchises, studios, creators, and conventions. Covering production, criticism, and fan culture, the magazine featured interviews, behind-the-scenes reporting, and photo features tied to prominent creators and corporations.
The magazine emerged in 1976 amid a resurgence of interest in speculative fiction following releases such as Star Wars, Close Encounters of the Third Kind, and Silent Running. Founders included figures associated with Fangoria-adjacent publishing and members of the burgeoning science fiction fandom who had ties to conventions like Worldcon and Comic-Con International. Early issues profiled works by directors such as George Lucas, Steven Spielberg, and Ridley Scott and intersected with publications like Omni (magazine) and The Magazine of Fantasy & Science Fiction. In the 1980s the magazine negotiated access with studios including Universal Pictures, 20th Century Fox, and Paramount Pictures while covering television from networks like NBC, CBS, and ABC and cable outlets such as HBO.
Regular departments combined coverage of film franchises like Alien (franchise), Star Trek, and Doctor Who with features on authors including Isaac Asimov, Arthur C. Clarke, and Philip K. Dick. The magazine ran behind-the-scenes pieces on production companies such as Industrial Light & Magic, Hammer Film Productions, and Amblin Entertainment and interviews with effects houses including Weta Workshop and Rick Baker Studios. Columns addressed fandom events including San Diego Comic-Con, Dragon Con, and New York Comic Con along with profiles of collectors connected to auctions at Christie's and Sotheby's. Special issues examined novelizations, tie-ins, and expanded universes like those from Del Rey Books, Bantam Books, and Tor Books.
Writers and photographers contributing to the magazine included journalists associated with The New York Times, Los Angeles Times, and The Washington Post as well as critics linked to The Village Voice and Rolling Stone. Interviews featured filmmakers such as James Cameron, Tim Burton, John Carpenter, and Joss Whedon; actors including Harrison Ford, Sigourney Weaver, William Shatner, and Patrick Stewart; and authors like Ray Bradbury, Ursula K. Le Guin, and Neal Stephenson. Technical discussions brought in effects artists like Stan Winston, Phil Tippett, and Dennis Muren and composers such as John Williams, Jerry Goldsmith, and Ennio Morricone. Coverage extended to franchise showrunners like J. Michael Straczynski and producers from Lucasfilm and Bad Robot Productions.
Designed as a glossy magazine, it featured color photography, set stills, and concept art from studios such as Warner Bros., Columbia Pictures, and Miramax. Layouts echoed contemporary periodicals including Rolling Stone and Time (magazine), with cover lines promoting exclusives on projects like Blade Runner, The Terminator, and Back to the Future. The publication worked with illustrators influenced by comic book artists from Marvel Comics and DC Comics and collaborated with typographers who had worked on books from Penguin Books and HarperCollins. Special poster inserts and foldouts tied to properties from Hasbro and Kenner (company) were occasional promotional features.
At its peak the magazine circulated nationally and internationally with newsstand distribution alongside titles such as Entertainment Weekly and Empire (film magazine). It was reviewed or cited in outlets like The Guardian, Los Angeles Times, and Variety (magazine) and was a resource for academics at institutions including UCLA, NYU, and MIT studying media franchising. The magazine influenced fan discourse on forums that evolved into platforms such as AOL message boards and later communities around Reddit and Facebook groups devoted to franchises like Star Wars and Star Trek. Its reporting shaped collector markets at events affiliated with Comic-Con International and dealer networks at conventions like WonderCon.
Transition challenges mirrored those faced by periodicals including Newsweek and Time (magazine) as digital competition from sites such as Ain't It Cool News and IMDb eroded print advertising from studio advertisers and retailers like Toys "R" Us and Target. Ownership changes involved companies in the magazine and specialty publishing sectors similar to Bonnier and IDG Communications; financial pressures coincided with shifts in distribution tied to Barnes & Noble and Borders (bookstore). The magazine published its final regular issues in the late 2000s amid broader industry contractions experienced by titles like Fangoria and Starburst (magazine).
Archives and back issues are held in collections referenced by Smithsonian Institution, Library of Congress, and university libraries including University of California, Los Angeles and University of Minnesota. Alumni of the magazine went on to work for outlets such as Wired, Vulture (website), and The Hollywood Reporter while contributors joined production teams at Lucasfilm, Bad Robot Productions, and Marvel Studios. Revival attempts included fan-led projects and digital relaunches inspired by crowdfunding platforms like Kickstarter and media incubators connected to VICE Media and Vox Media. Retrospectives have appeared in documentaries about fandom screened at festivals such as Sundance Film Festival and Tribeca Film Festival.
Category:Science fiction magazines Category:American magazines