The Delta Flyers - Future's End Part 1

Episode Date: April 12, 2021

The Delta Flyers is a weekly Star Trek: Voyager rewatch and recap podcast hosted by Garrett Wang and Robert Duncan McNeill. Each week Garrett and Robert will rewatch an episode of Voyager starting at the very beginning. This week’s episode is Future’s End, Part 1. Garrett and Robbie recap and discuss the episode, and share their insight as series regulars.Future’s End, Part 1:After encountering a Federation timeship from the future, Voyager is sent back to 20th century Earth.We want to thank everyone who makes this podcast possible, starting with our Executive producers Megan Elise and Rebecca McNeill, and our Post Producer Jessey Miller.Additionally we could not make this podcast available without our Co- Executive Producers: Stephanie Baker, Philipp Havrilla, Kelton Rochelle, Liz Scott, Sarah A Gubbins, Jason M Okun, Marie Burgoyne, Chris Knapp, Michelle Zamanian, Utopia Science Fiction Magazine, Matthew Gravens, Brian Barrow, Rich Gross, Mary Jac Greer, Megan Hurwitt, James Zugg, Mike Gu, Anna Post, Shannyn Bourke, Vikki Williams, William McEvoy, Holly Smith, Jesse Noriega, Dominic Burgess, Amber Eason, Lucas Shuck, PJ Tomas, Nicholaus Russell, Darryl Cheng, Alex Mednis, and Elizabeth StantonAnd our Producers:Chris Tribuzio, Jim Guckin, Steph Dawe Holland, James Amey, Katherine Hedrick, Eleanor Lamb, Richard Banaski, Eve England, Ann Harding, Laura Swanson, Ann Marie Segal, Luz R, Charity Ponton, Chloe E, Kathleen Baxter, Craig Sweaton, Nathanial Moon, Warren Stine, Mike Schaible, Kelley Smelser, AJ Provance, Captain Nancy Stout, Claire Deans, Matthew Cutler, Maxine Soloway, Joshua L Phillips, Barbara Beck, Elaine Ferguson, Mary O'Neal, Aithne Loeblich, Captain Jeremiah Brown, Heidi Mclellan, John Espinosa, Dat Cao, Cody Crockett, Stephen Riegner, Debra Defelice, Cindy Ring, Andrei Dunca, Daniel Owen, Jason Wang, Gabriel Dominic Girgis, Amber Nighbor, Ming Xie, Mark G Hamilton, Rob Johnson, Kevin Selman, Heather Choe, Justin Weir, Joseph Michael Kuhlmann, Kevin Hooker, Matthew Osborne-Graham, and Michelle Maroney Thank you for your support!Our Sponsors:* Check out Mint Mobile: https://mintmobile.com/TDFSupport this podcast at — https://redcircle.com/the-delta-flyers/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hey, everyone, welcome to the Delta Flyers with Tom and Harry. I am your host, Deer Wong, and your other host is Mr. Robert Duncan McNeil. Robbie. Hello there. Hi. Hello. Hey, hey, hey, hey, I want to bring up something from the last episode. So in our last episode, when we recapped Sacred Ground, you talked about not having a single

line. And I said, there's no way. And you're like, nope, I didn't have one. So I did go back and I rewatched. You did not have a single line. I didn't think I did. But see, when you said you didn't have one when we recorded the last episode, you kind of sounded a little bummed out about that. And I was thinking like, wait a minute, are you, were you really upset about that? Because I was thinking that was this because they knew you were directing and they thought we're going to make it easy on him we're not even going to give him any lines was that part of it you think i don't think so i i don't think so but maybe maybe okay but i don't know i don't think it was because i was directing i think one of the reasons they decided to let me direct is it was definitely an episode where

i didn't have a lot to do and i think that gave them more confidence that i could just focus on the directing for the first time and by the way I was thrilled you know that I had one scene I think on the bridge that was it correct and I had no lines in that scene so I was thrilled that I didn't have to stress out or worry about a big story as an actor I'm trying to remember if any of the ones I directed I think someone to watch over me which I directed later down the line I did have a story in that it wasn't I wasn't the main story but I was like a big part of the doctor's story and the doctor was teaching seven you know about um you know dating and things like that and i had a lot of scenes with the doctor or a number of scenes with big speeches and all

of that but by that time i think you know i directed a little bit more i think that was my third episode that i directed so i was very comfortable doing both and uh i always felt like when i directed i was more connected to the acting side of things it didn't really add stress honestly ultimately it It was really easy. Maybe that's something I should have asked Lisa Klingk when we had her, you know, just to see. But whether it was intentional or not, you know. Yeah. Clearly it played into them making the decision to ask you because they probably were looking

saying, wait a minute, he's really not in this script that much. Yeah. But then that makes me, then that makes me ask you this question because you see film and TV projects all the time where, like, for instance, Mel Gibson and Braveheart, Kevin Costner and dances with wolves, they directed their film. And they were the lead in almost every single scene. So can you just tell our listeners out there and our viewers what happens when you are in almost every single scene and you're directing? Who's watching the, you know, the ship?

Yeah, I guess I would say, you know, most movies have playback, what they call video playback. After the take, the actors and the director, or at least the director and the cinematographer, they may gather after the take and look at the playback to make sure that they got it in the television world i've only done one show that ever had playback on set as a regular rule and they got rid of it after a couple of years and that was uh the tv series las vegas and that's just because james con was a movie actor and he was used to playback and he demanded it wanted it oh i wanted to go look at his takes and take a look at it so in television playback is not that popular my point is i bet costner those guys had playback on the movies they were doing

so they could do the take, they could go back and look at it. They probably also had a team of people around them that they trusted the DP or an assistant or whoever screenwriter maybe to give them feedback and things like that. Maybe it had an acting coach, all those things, I don't know. And the other interesting thing, talking about

that, on stage nine, back in the old Paramount movie studio days when it was, you know, the studio system was alive and well, Jerry Lewis was a contract player for Paramount Pictures. And Jerry Lewis, a lot of times the stars would have their stages. I may have mentioned this before, but they would have their stages that they were, they made all their movies on. You know, they'd make a

movie and then they'd, they had offices close by. It was just the comfortable. It was a good luck spot for them if they were big stars. Jerry Lewis, stage nine was one of his stages. And he was the one that invented video playback because Jerry Lewis started directing and because he had such physical comedy and was really a workaholic and a very hardcore about it. He was, wanted to look at what he had filmed. And he was the very first person on stage nine to invent video playback. So yeah, actors directing themselves has a long history at Paramount Studios. It has a long history going back to Jerry Lewis on stage nine. So anyway. Okay, just to be a little bit more specific, the video playback, what exactly is that a feed of? Back in the days of Jerry Lewis,

there was no digital. It was 35 millimeter that they shot on, right? So they shot on film stock. So how are they seen? What's the technology behind that? Well, the way film cameras worked is you had your camera body, the mechanism that pulled the film. The film sat on top of that in a magazine. The lens attached to the body and between the body and the lens was something called the gate where the film was fed through. So there were mirrors, right?

The way that you could look in an eye piece and it would show you the mirror of the lens was seen. Correct. One of those mirrors also went to something that was coming up to the eyepiece called a video tap. And it was a little sensor that the mirrors would also reflect an image, the same image that was going on to the film. It would reflect that up into the eyepiece. And right attached to the eyepiece was the sensor that would then go out by cable to a monitor and or a recording device of some kind. And that's how they would. So it was kind of this very complicated mirror. reflection of what you were seeing through the lens, what the lens was actually capturing on the gate. Yeah, and it was Jerry Lewis that came up with that. That's amazing. And sometimes, if you remember, looking at our monitors back in the day,

you'd look at the monitor, but then there would be some lines on the monitor. Correct. Right? And the lines would actually show you where the film image was being recorded. And the reason for that difference because the mirrors that would reflect the image up to that video tap,

signal were slightly larger than the gate that the film went through. They had to put lines on the monitor to say, yeah, your video is showing you this much, you know, this much. But right on the inside of that, there was a line in our image that would say the film is actually only going this far. Which is really crucial because you need to know where the edge of frame is, clearly, for your image, you know, if they didn't have those lines, you'd have a lot of finished projects that really were cutting people's heads off and parts of their bodies, right? Or you would have the boom. You know, sometimes the boom would dip in, yeah.

For sound, they would dip the boom in. And so you would look at the lines and you could say, oh, yeah, I saw the boom, but it wasn't inside, you know, it was in video safe. I guess they used to call it, you know, it was in that space. That's actually a hobby for some people, Robbie. They actually look at film and TV projects to see when the boom, you know, dips into frame by mistake. And that's, that's, that's, that's joy for certain people to catch these little glitches that happen. Thank you for that little lesson there. It was fun. I hadn't thought about

all those issues in years. And just to announce, the, uh, the Voyager documentary actually surpassed the Frank Zappa documentary crowdfunding number to become the number one crowdfunded documentary of all time. So it made it. I'm wearing a Delta Quad space tour shirt right now. But congratulations to the Voidoc. All right. So this week's episode is part one of Future's End. I think that we should go watch this. All right.

See you guys. Stay tuned for your bonus content, Patreon, Patrons. Hey, guys, we're back from watching Futures End. Yes, we are. My goodness, goodness, goodness. What an epic. There's a lot of stuff going on in this episode. Absolutely.

Written by Brandon Braga and Joe Minoski, directed by David Livingston. Now, even though I've always said haikus are easier than the limerick, I struggled this time, and I actually have two endings. So we know, you know, a haiku is 17 syllables, five-syllable, seven-syllable, five-syllable, five-syllable. So my first two lines are the same, but I came up with two different endings. I love this. There's an alternate ending hyacu. Well, give me the original and then read it from the beginning with the alternate ending. Okay.

Voyager is home. It's the 90s in L.A. Time is inside out. Oh, I like that one. That was my first. You could have left it with that one. There was another thing in this episode that was very important. Okay.

Let's hear it. Let's hear it. Here we go. Alternate ending. Voyager is home. It's the 90s in L.A. Neelix watches soaps. Because I was on a soap opera.

He loved his stories. When you're a soap watcher, you will call him your stories. Yes. And I got to be honest with you, in that B story where Neelix is watching the soap operas, I kept thinking, I thought about you and I thought about, God, why didn't they just take a scene from your actual soap opera when you were on? You know what I'm saying? so we could hear your voice.

What was your character on the soap again? Charlie Brent on all my children. Okay. So, you know, and then for Neelix to go, like, I don't know what Charlie's going to do in this situation. And he's totally referring to your actual character that you played would have been even better. Here's my limerick.

Let's hear the limerick. Here we go. Future timeship causes trouble. Right place, wrong time in a bubble. Chess match with Henry. No one would envy. Will Mother Earth live or crumble? nice yeah you got a lot in there you got a lot in that limerick I really did but I still feel very

unsettled doing limericks I feel like my natural poetic self is a hycution is okay that's my natural expression so I'm gonna like I said before I'm gonna pass it back to you at some point whether it's season four or five I'm not sure yet but I I will pass it back to you. Okay. I want to open up this throwback scene. Yes. With an ASMR.

Can I just do it ASMR style? Yes, please do. We haven't done this in a while, ASMR. No. Okay, here we go. We open with a throwback scene from 1967, set in the high sierras with Ed Begley's character on a solo camping trip. He sits cross-legged as he plays the drums on his canteen and metal pot.

His drum routine is interrupted by the sound of a sonic boom. a lone spacecraft hurdles towards the densely wooded mountain range the luminous glow from the crash time ship lights up Henry's face he can't believe what he is seeing the only words he can muster are far out

nice that was very dramatic was that Ed Begley in the makeup for that scene I think it was that was Ed Begley that was Ed Begley in the 60s hippie makeup yes but I made a note later and I'm going to say it that I really wished Ed Begley was given a dark wig, you know, to further just distance himself

from his current character later than you see him with the short hair. Maybe with the darker wig, you know, or something. Because they do do that sort of premonition of showing the tattoo on his wrist, right, when he's camping. And then that later shows up again. I didn't, I forgot about that. That was the reveal. And I'm like, why are we really making a thing out of this? I didn't catch it in the first scene. So there you go. Yeah. Did you also catch when he has his transistor radio on before it gets distorted by the time shift coming through? Yes. There's a news report talking about an anti-war student protest at UC Santa Cruz. And the significance of this is that Brandon Braga went to college at University of California at Santa Cruz. So he utilized this news report

on this transistor radio that Ed Begley's character is listening to as a new news report about his college, you know, back from 1967, which is pretty cool, I think. That's very cool. The very first image that you see in this episode is a painting of the lake, and it's kind of reddish. Correct. I've got to say, I thought it looked a little fake. Like, I was like, ah, that's too bad.

It feels very old-fashioned. Once we went to the live, you know, the film and the scene itself, it actually, oddly enough, we shot it in our cave set, but it had this amazing interactive light of the spaceship coming over his head. It was very well done by Marvin Rush's team. Everything was good, but I was surprised at that first opening shot, that sort of establishing shot of the lake. It just looked like, it looked cartoony or something. I don't know. I agree. I agree. It didn't bother me as much as later. When we get to that, I'll talk about the cartoony image that I saw later. You're right. It was a little like, they could have done a better job at that just a little bit, right?

We move on to Janeway's Ready Room where she's practicing her serve with that futuristic tennis ball, which was really just a ball that had had springs attached to it on the outside all around. I remember that prop. I remember seeing that on set. And I remember going, this is super cool. This is cool, yeah, because you can bounce it because of the springs, right? Which I thought, oh, this is amazing.

They've really gone to the next level of envisioning what a futuristic tennis ball would look like. But you know what's funny? I remember holding that and thinking it was a super cool prop. Yeah. But I also think that they bought that. I think that's it was a thing. I don't think they made it. I think it was a thing that they found a ball that someone has created or did create at the time.

That was kind of looking. Yeah. I think that was a made thing. I don't think we created. Okay. Okay. But I thought it was strange that, you know, the captain is practicing tennis in her office. Like, where's she going to hit the ball? Yeah. I mean, that was immediately my first thought was, why aren't you on the holodeck on a tennis court doing this? Why are you doing this, right? And she said that she played in a tournament and lost in the tournament or something like that. Well, she said she played in high school, which is not believable because I did play high school tennis.

But if you watch Jane Wayne, she's not holding the racket. properly. It's where you would hold it if you were five years old and you couldn't handle the weight of the racket. It needs to be further. And it was an odd looking racket. It almost looked like, what do you call that paddle ball that you play at the beach? Yeah. Yeah, like a paddle ball racket. Mixed with the tennis racket, right? Yeah. Yeah. Like a hybrid. She said she played in high school, but she hadn't played in 19 years. Yeah. Which I think is interesting to like, is that since high school? So is that how old we're saying Captain Janeway was at this point? Or? Well, if you add 18 to 19, what do you get?

You're at 37 right now, right? So she's a 37-year-old captain. Does that seem correct to you? Seems a little young. Yeah, I think it's a little young. I do. But she said she hasn't played in 19 years and that she lost a novice tournament on the holodeck.

So she was determined to get back into it. But anyway, I thought it was weird that she's practicing that because we never, that I can remember, we don't ever see her play tennis. again. And I think that would have been really interesting. I would have loved that. If that had been her holodeck instead of the romance novel, I would have loved it. Like she became a pro tennis player. We do establish one thing. We establish one fact. Tuvok has fast reflexes. Oh, yes, he does. He just catches that ball like nothing. He's really, really, he's very physically impressive in this episode, right? I mean, this is one of his cool things that he does in this episode. We'll talk about

the other one later. So we're basically called onto the bridge. Janeway asked for a report and there's some sort of spatial rift that is opened up right in front of Voyager and Kim's very first techno babble of the episode in answering Janeway's line analysis is it's a distortion in the space time continuum, but it's got a graviton matrix. It's being artificially generated. So now we're wondering, what is this? And we see Braxton's time ship appear for the very first time. He didn't say anything. All he does is he starts firing at us, a subatomic disruptor. Well, they do say this. They say it's a federation.

Kim says it's federation. Yeah. So we're like, hey, he's going to help us get back home, right? And I'm sure, you know, when you're watching this episode for the first time, you're thinking, this is great. This is how they, this is how they're going to figure out how I get back. And then that guy starts firing at us. So we're wondering what is happening. Now, this is where I see the other cartoony image.

when Braxton fires the subatomic disruptor at Voyager, you see a graphic of a circular sort of, it honestly looks cartoony, anime-ish, and frankly, it reminded me of the Adam West era Batman TV series whenever you see, bam, pow, kapoo, you know, it was like that to me. Interesting. I thought it was a little unusual because of the time element,

you know, the time travel, time ship element. I thought that's where I went with it. I thought it was just a different look to the weapon things. Yeah. Although I did notice in his timeship, by the way, this is pre-Delta Flyer. Tom Paris has not designed the Delta Flyer yet, but he does later on, and it looks a lot like this timeship, if you think about it. There is similarity there.

There's some similarities there in the Delta Flyer shuttle to this time ship, which was 29th century, right? So he contacts us and he says that he's a Federation time ship and his mission is Voyager's destruction. Yeah. And that Voyager was responsible for this temporal explosion that destroyed the entire solar system. Huge accusation that a piece of the ship was found afterwards and that he's sent to stop Voyager from destroying the solar system. It's crazy. You notice how Janeway respond. She's like, I'm going to need a little bit more facts than that. And then he screams, no time, which reminded me of the caretaker from the original episode when we're thrown across the galaxy.

He always says, you know, no time as well. So there's this no time reference once again. He asked the Voyager to disengage their deflector pulse and let him destroy the vessel, but she says absolutely not and responds with force. And eventually Voyager overpowers this time ship. Braxton loses control of it. and the Graviton field starts to collapse, and it sucks Braxton ship back into it,

and it sucks Voyager into it, and we sort of wake up and disoriented. We kind of look around, and outside the window is Earth. And this is the moment where I was like, oh God. Janeway says something like, where are we? And I turn around and I say, home

with the smile. No, you say it's home. You say it's home is what you're saying. It's home. Now here's what I got to say. I know, see, you didn't experience this much. Nobody else did because they didn't sit in front of the view screen. But we never

did the view screen shots when we were filming the scene. That would require us to put the wall in with the view screen, light the green screen and turn around. And so we would always just shoot the scenes with a camera looking at all the actors and we would always save those green screen shots for weeks, sometimes months.

Sometimes like a month or two later that we would film a list of a bunch of second unit shots of the view screen. I was always there by myself. Yeah. And I was doing with no one to act off of. And I'm doing multiple episodes where it's like, okay, now from episode 306, do this line.

And I'm like, what was that again? What, where? It's impossible to track, clearly, because you don't remember anything. You can look at my hair in that shot. And it's a totally different hair cut. The same hair, yeah. Nothing looks the same about me or anything. The lighting is different.

And I turn around and clearly had no context. So I was like, I don't remember what was happening. I don't, you know. And by the way, there was rarely a director there. So there was usually Doug Knapp and me and maybe Dan Curry. Okay. Who's doing a bunch of shots. And so nobody to really say, yeah, you were coming out of this intense moment before.

Nobody to tell you what was the moment right before. No context. The director's job. The director's job is to help, you know, to have continuity in the acting. And without a director there to tell Robbie what he's supposed to be doing, it's literally a crapshoot what he comes up with, you know, what he says. So are you trying to tell. tell me that your comment, it's home sounded off? It was horrible. It was maybe one of the worst

line readings I've had in this entire series so far. It was so wrong. It was like, what? Okay, well, I just want you to know that in my video reactions, I basically recreate you doing that scene. And then instead of saying, it's home, I turn around and I go, it's the home. Because I throw the in there as a joke so that so I'm so sorry that you felt that it was the worst line reading and I'm going to say right now I did not think that I did not think that's good I think it's still played I think it's still played but you know you know that it could have been better clearly so yeah it just didn't feel connected to the rest of the I hear you as the flow yeah but we do find out that there's earth and we find out that it's 1996 yes Kim discovers uh using astrometric readings he discovers

is 96, but we also know because Tuvac has been picking up a multitude of narrow band EM signals, so all different types of communications, right? To avoid being detected by surveillance satellites, because I think maybe even Paris says, you know, back then, because of his 20th century hobby knowledge that he had, which is clearly imperfect as we find out later on. But he says they had surveillance satellites at this point. So we should get out of here. So we back off a little.

But then we also find out that there's subspace frequencies that we detect. And I think Tuvok or someone says subspace technology wouldn't shouldn't be invented for another hundred years. I think you said that. Did I say that? Yeah. Somebody said that. Somebody did.

Yeah. Subspace technology. I just wrote down that, that line because that's a big what's going on moment for all of us. Yeah. We're like something doesn't fit here. Right. And that predicates the away mission, right? And you were chosen for the away mission because you are a 20th century affixionado according to Janeway.

And Janeway says as we get into the turbo lift, she's like, how are we going to pass? And my response is simple, nice clothes, fast cars, and lots of money, lots of money, which is interesting in the scheme of Starflea because there is no money. Correct. That's very foreign to all. of us it is as Starfleet and 24th century you know beings yeah that the federation we don't there's no money there's replicators and every all of our needs are taken care of so that's a completely foreign concept for all of everyone except for you you understand it because you've been studying 20th century right Janeway um when she says to Kim like you know you have the bridge Kim is so excited

Kim's just like, yes, ma'am, like he's so like, dun ta-da-da-da-da-da. Well, dude, you'd take over that bridge pretty hardcore for this episode. I do, but actor Garrett Wong was, I do not want to be on this bridge. I want to be on the Santa Monica Pier with Robbie and Tim Russ and Beltran, and none of that happened. So in the next scene, we're in Los Angeles.

We're down on the boardwalk, on the pier, on the by the pier, we see all these wacky people we see people and we see a guy by the way with a boom box and a headband with speakers and I was like what I've never seen that like did we get that for this show?

Yes and motorcycles coming down the boardwalk I'm like no motorcycles don't go down the boardwalk in 1996 No you know what I wrote down Robbie I wrote down I said there seems to be something a little bit off with each background actor. Starting with a young man, rollerblading with a boom box strapped around his neck. There's something a little bit off is that he has two portable speakers strapped to his head, which no one does. No one ever did.

I've never seen that before. No. And then you look a little past the rollerblading guy. You see a young woman with a bikini on and high heels. Now, at the beach, nobody wears high heels. They wear flip-flops, you know, sandals. That's typical beach wear, right? So that was a little off there.

Then you have a girl sitting on a skateboard, playing the guitar. Then a young lady walks in with two Rottweilers. Well, they clearly were trying to amplify the kukiness of Venice Beach and the beach, you know, the Los Angeles beach culture. And they went way over the top. They went over the top. And then the crane goes up to us, you know, Tuvok and Paris and Janeway and Chakotay up on the pier, looking down at all this craziness. Tuvok says, we could have worn our Starfleet uniforms.

I doubt that anyone would have noticed, Tuvok says. Well, I want to ask you, did you notice that the guy on the Harley, he's not dressed like a Harley, like a Harley motor, he's not dressed like a motorcycle rider. He's dressed like a hippie. He's like the Harley hippie guy, which you don't see that combination very often, right? The Asian tourist with the camera, and he's got, instead of black socks, white socks with sandals. Nobody wears white socks. So that was the weird thing there.

There was a lot of. I want to ask you, I know when you're on Venice, there's all these vendors selling sunglasses and whatnot. At the Santa Monica Pier, are there also those vendors like that? No, they sort of brought for our show, they brought the Venice Beach culture up to the Santa Monica. To Santa Monica is what they do.

Exactly. Because they're really the same neighborhoods, but I think they were trying to combine that culture by the pier. I do remember, by the way, when we were filming this, I feel like it was in July. It was really hot. Yeah, it would have been, I think, late July or August maybe, but it was hot, even though it's the beach and there's breezes and stuff. And they had put this like blue, light blue tank top and shirt on me.

But I remember I kept having to switch out the tank top because I would start sweating and just getting these sweat marks all over it. And I'd have to sweat out. Yeah. Yeah. You don't really see it in the. cut the show itself a little bit now and then, but it was hot. Yeah, it's not noticeable.

They obviously got all of that sweat marks out of there. But let's just talk about the wardrobe, okay, of you guys. Let's just start. Like, I'm looking at Chikotie and Janeway, and they honestly look like a revised version of Crockett and Tubbs from Miami Vice. Yeah, Miami Vice, totally. Which is the old 80 TV show. That's what they look like.

Tuvok with his do-rag, and I don't know what else is going on. He's got a lot of stuff going on. And then what on earth is Paris wearing? He's got a Hawaiian shirt. He's got dad jeans. You're wearing these work boots. You know those work boots that everyone used to wear. And it's just, it's almost like they took three different styles and put it into one person, into Paris.

You know, it was so confusing. Yeah, it was confusing. I was like, what is happening? The dad jeans were the biggest tragedy. Oh, I'm sorry. They were just horrible genes. But Janeway sends you guys down to check the shoreline. Okay.

Now, this begins what I think is some of the funniest stuff in this episode is the whole Tuvok Paris banter interaction. You two would have made an excellent buddy cop team. Okay? I mean the straight by the book cop, Tuvok, and the rebellious kind of maverick cop. So you guys are really the revised version of Murtaugh and Riggs, played by Danny Glover and Mel Gibson in the 80s blockbuster film

series Lethal Weapon. That's what you guys are, right? In my estimation, okay? I love those scenes with you and Tuvok. So far, of all the pairings of different series regulars, this one is now my favorite. I like it a lot. Yes. Yeah, we were pretty wack. We were kind of goofy. Oh, my God. Take a shirt off. You tell Tuvok,

take your shirt off. Come on, take a shirt off. Funny. Tuvok says he does not want risk exposing himself to dermal dysplasia. And I say, don't be a hypochondriac. Janeway talked about Los Angeles had sunk underwater during the Hermosa quake of 2047. Yeah. So there is no. Hermosa Beach is one of the neighborhoods in Los Angeles. The Hermosa quake of 2047. Well, that's not that far away, Garrett. So is it 2027 or 2047? 2047, but I'm just saying like it's coming up it's that seemed like you know lifetimes away from us when we made this and now I'm like 2047 that's not that far away kind of around the corner

we also see chakotay and janeway and they're talking about subspace readings coming from a homeless guy so they start to follow this homeless guy so they go follow him and that's kind of curious and we meet sarah silverman for the first time her character rain robinson um I loved at as they introduced her the slow pan across all the monster movies and the kind of fandom stuff that's everywhere. I thought it was great. The monster movie posters were awesome. I like the set design. Definitely. Yeah. The old tech. By the way, I have a feeling I thought about it as we panned across some of those controls, the tech controls and things. Sure. Those things were rented from a place called modern props. It was a prop house

in Los Angeles. And they had a lot of this old controls for technology, you know, old stuff. I bet you, this would be a challenge for the fans, I bet you if you look at the stuff that was in front of Rain Robinson in this episode, I bet you can find those same things in the Captain Proton episode when they rented the old looking tech for Dr. Chaotica's fortress of doom and things like that. I bet you it's the same prop house. I bet you they rented the same kind of stuff.

But I thought, yeah, it was a great, great looking set they designed for Rain Robinson. Is the alliteration intentional? You know, Sarah Silverman, both beginning with S, Rain Robinson both beginning with R. I wonder if this is something that Brandon was just like, hey, you know what, let's just call her by a name that has the same. I wonder if they had cast her or thought of her

as they developed this show, this episode, or if they wrote it and then, you know picked her to play the role interesting i don't remember how she got cast on sure the other thing i noticed when they when they looked at the monitors themselves and you see some of the the playback on the monitor you know the the data on the on the monitor screen yeah that was an actual uh playback meaning that they were playing that video live as we filmed it usually on the bridge on our show we would do what's called a burn in you know we would film like up by your console on the bridge. We would film a section of that, but we would burn in the graphics that would be created

later. This was playback on a real monitor, which was very rare for us. And also it was graphics in the style of what was current at that time in 1996. And as I looked at it, I was like, oh my God, this reminds me in my first computer, which was an Atari ST. That was my first computer. and the Atari SD had graphics that looked just like that but so did the Apple computer you know it had very similar graphics it just it reminded me of how primitive the graphics were in 1996 of what we were looking at in those days why do you think they didn't use a burn in that particular day I think because it was a it was a current monitor that you know the kinds of monitors that we used because we were in 1996 oh it was a use a use a usable one. Yeah. Okay. It was a working monitor. Okay. Yep. That makes sense. Whereas on the bridge, we have these sort of, you know, blank spaces and places to put graphics that aren't real monitors. I love when she was like, no way. And then she looks a little longer and she's like, way. Way. We're moving on to Starling's

Chronowork's office, the headquarters. Starling is in a meeting with a semiconductor chip manufacturer, the meeting is interrupted by the voice of a male assistant named Dave that Rayne Robinson is calling in. Now, did you notice that voice sounded a lot like Dave Rossi? Was it Dave Rossi? I'm pretty sure it was Dave Rossi, yes. So Dave Rossi worked in the production office. He eventually became Rick Berman's assistant, but he had started as a PA in the office. He just worked the desks and made coffee and did that sort of thing, worked his way all the way up to Rick Berman's assistant. And I think eventually a producer credit on Enterprise, maybe even on our show. He was a very, very much, you know, important part of getting the show done, making the show.

And that's funny if that was Dave Rossi. I love it. That's awesome. Dave's a great guy. I mean, he definitely was, you know, we all the actors enjoyed interacting with Dave Rossi. so yeah and I'm almost positive that is his voice and I sat there laughing when I heard this I'm like this is crazy then we have the reveal of the tattoo on the inside of Starling's wrist as he pours himself a glass of water and that's you know evidently to tell anybody in the audience who doesn't know this is the same hippie

from the beginning from the opening of this episode a bad bad rain she disobeys starling and transmits the standard setty greeting to the Voyager bridge basically yeah I think it's Just to back up, just a beat, a half a beat there. Yeah. I think it's important because Rain calls, so Dave, perhaps Dave Rossi, call says, you've got this call from a Rain Robinson? And Ed Begley or Starling says, put her through it. So you know, uh-oh.

And she says, hey, Mr. Starling, you know, I know you funded the renovation of the observatory. You funded this. And you kind of told me privately, like, I should let you know. So I'm letting you know. And he's like, don't tell anybody. Right. But you know he's a bad, like, he's, you know, using his money and influence to try to get this information and keep it quiet.

Speaking of Starling, funding the, you know, the renovation of the observatory, in real life, did you know that Leonard Nimoy actually was a major contributor to the remodel of the observatory? I did know that. I thought that was a really cool side fact. When you're watching this whole thing with ChronoWorks, who does Starling remind you of? Like, who would you say Starling is? It's Steve Jobs. Okay.

It's either Microsoft founder or it's either Apple founder, one of the two, you know, is what I was thinking. I don't think it's Bill Gates. I think it's Steve Jobs because Steve Jobs was a hippie. He was kind of a hippie guy. And I don't know, I feel like it's Steve Jobs. Okay. Yeah.

Although he is, he is trying. to release, he says like this new computer is the, I forget I wrote it down, but it's the hyper pro PC, hyper pro PC, which feels more like a Microsoft kind of thing or something. Yeah, maybe it's a hybrid between the two. Maybe it's a hybrid, yeah. Torres and Kim are back on the bridge. They pick up a signal directed towards them and it shows a setty greeting from Robinson, Rain Robinson at the observatory. This could be a bit of trivia there, Robbie. The trivia is, when on Voyager do you see a couple completely nude?

I don't know. From the SETI greeting, the SETI greeting has a depiction of a drawing of a male and a female standing there. Really? Oh, they're completely, oh, they're completely new. Oh, I didn't notice that. So, yeah, that is the, that's the trivia there. But at the end of this, one of the people,

on the bridge, ask, should we respond? And Harry says, absolutely not. Do not respond. That's sort of where we leave that. Okay, so now we're back in Santa Monica. We have Janeway Chikote, Paris, and Tuvok are trailing the homeless man. That's when Janeway received a transmission from Harry Kim, acting captain of the USS Voyager. And the conversation between Janeway and Kim basically that we've been discovered a signal has been sent to the bridge from a location which is the observatory we figure that out yeah and so Janeway asked Harry acting captain of the USS Voyager to beam Tuvac and Paris to the observatory but I then inform the captain that we cannot transporters are down so you know Tuvok in Paris or on

their own. They're going to have to figure out how to get over there. By the way, did you notice that when she gets the incoming transmission from you and that the little noise with the extras in the background, everybody stops and they look at their phones and everybody's. No! Oh yeah. Really? I remember that.

I remember that bit when David Livingston, who was directing, and I think Adele may have been the AD on this, but they were telling all the extras, like, you know, we're going to call, you you know, ring, ring, noise or whatever, and then everybody supposed to look down, like, look at their phones. You have their phones. Funny little. I love that. Yeah.

I love that. Paris then informs the captain that nobody walks in Los Angeles. And they don't have much of a public transportation system here. So we're going to need some wheels. And that's my favorite Paris line. We're going to need some wheels in this entire episode. Now, when you said nobody walks in Los Angeles, did you immediately think about the 80s song by missing persons walking in L.A.? No, I did not, but that's a good one.

We need some wheels, and she basically says, do what you got to do. She basically told me to go steal a car, all right? She did not say that. You interpreted it as stealing a car. The captain said, do what you got to do. How else am I going to get a car? Fine. So she's encouraging car theft, auto theft.

Okay, we'll go with that. And Chikotia and Janeway follow Braxton to an alley where his homeless shelter is located. By the way, that alley was filmed at Paramount Studios. Oh, so that was not in Santa Monica. Okay. By the way, I did drive down to Santa Monica that day when you guys filmed all those scenes. Yep. And I got there in time to see them loading the trucks.

So you guys had all been released. And I was, you know, part of me, I was sitting there lounging around, not having to work. I was up in my house up in the hills. and I'm sitting there going, hmm, I think I want to go visit Robbie and, and, and the gang and see what's going on. And so I get there. And I'm just seeing some, some grips loading equipment into a truck. And I go, what? I go, you guys wrapped already? They go, yeah, we wrapped. I'm telling you, it was hot. Everybody wanted to get out of there. We started very early because we had to be on the, on the boardwalk. I remember that. It was really early in the morning so that we could have

the boardwalk without real civilian people. Correct. And just use their extras. So yeah, I think that was an unusually short day for us. We didn't normally have short days like that. They're at the guy's homeless shelter and, well, he thinks basically

that they are social workers trying to ask him questions until he recognizes it's Janeway. And then she realizes it's Captain Braxton. And Braxton informs Janeway that the future disaster slash explosion was caused by someone flying his time ship into the future without recalibrating the temporal matrix.

This is important information. Now we realize Voyager did not cause this accident. It was the time ship that caused it. And that's where we find out that it's Starling that has it. Realize it's Starling because we see a comm badge in his homeless clothes. That's right. That's right. He has a con badge at Janeway finds.

But we also realized that he didn't go down with the crashing ship. He did an emergency beam out. And that's why he couldn't find this ship. and that's why Starling found it so quickly because he happened to be there at the time that it crashed. They were interrupted because the LAPD show up and that's where Braxton calls the cop,

the officer, the police officer, a quasi-cardassian totalitarian, which then reminded me of the controversial NWA song, F-bomb the Police, if you remember that. That was a huge thing that they sang that song. And Robbie, if you and I were to start, our own Voyager rap group, our release of our controversial song could be entitled, F, the quasi-Cardacian totalitarians. That could be our rap song. That would be a very wordy rap song, yeah.

A little verbose in that title. Yes, a little verbose. All right, Chronowork's headquarters, Starling discovers that Rain has disobeyed him and told others, specifically a person, a friend at JPL, who then informed a professor at Caltech about the emissions. so that he orders Dunbar to retrieve the data and get rid of brain. Get rid of her. Rid of her. He says you may have to use the weapon. The weapon, yes.

Just like the Voyager, there's the weapon. So, you know they've got tech from the 29th century. So they're going to have something like phasers or some version of that. Yeah. Paris and Tuvok are at the observatory outside. There's another great exchange of banter between Paris and Tuvok. Now, by the way, okay, so they, they drive up in this stolen Dodge Ram pickup and there's you hear some dialogue in this crane shot you hear some dialogue in the car and then they get out they have a couple of words they start walking towards the observatory and they have more banter but I'm telling you I believe that most of that banter was ADR meaning it was not scripted I don't think we said very much at all I think we pulled up we had like two or three two lines maybe and then we walked towards the thing but they wanted to cover

to add some more um interesting dialogue so that they could stay in the shot longer where there wasn't any dialogue so it was all added dialogue additional dialogue added after the fact and again witty banter it was enjoyable to listen to you guys go back and forth you borrowed it is what you said because you guys were test driving the truck had a dealership and you just kept on driving is what you did right which was cute they go in the lab i loved that paris picks up the snow globe and he sort of looks at it real close and he shakes it and kind of smile he's a 20th century aficionado so he's probably heard about these snow globes but it felt to me like that's someone who sees a thing from the past yes that he recognizes from his

hobby but he's never seen one in person and he sort of enjoys it for a month do you recall what was in the snow globe i feel like it was a florida it was i think it was an alligator and something with Florida or something like that? I can't remember. This is something that I forgot to talk about fun facts earlier, but evidently, the Snow Globe has Gorn. The character Gorn. Really?

The surfboard that we see earlier from one of the extras has McCoy on it. The black and white photo of Nixon and Starling shaking hands in his office is actually retouched photo of Elvis Presley and Richard Dixon. I think that is true. From December of 1970. Yeah. Janeway refers to the late 20th. century technology is stone knives and bear skins, a remark which echoes Spock's appraisal of 1930s

technology relative to the 23rd century and TOS is the city on the edge of forever. Also in this episode, Tom Paris and Tuvac X of the observatory, I'm jumping ahead a little bit, when Tuvok says, what does it mean? Groovy, which is a very similar question to Spock asking James T. Kirk when they're ejected from busts in the Star Trek 4 voyage home, what does it mean? Exact change. So there's another, there's a, you know, there's a parallel there. And also in this episode, Voyager's crew discovers that they are in the past because they cannot pick up Starfleet signals, but are receiving radio transmissions, which is the same occurrence that helps Captain Kirk and his crew determine that they're in the past, in the episode of tomorrow is yesterday

from the original series. Wow. The final one is Janeway says, for all I know, she could be my great, great, great, great, grandmother. This is when she's on the beach and they get bumped into by that's right yeah and dr crusher um has a line in star trek next generation a matter of time episode 1991 she says anyway i could be your great great great great grandmother both lines say great four times so wow interesting just off of those fun facts i would say watching this that it was one of my favorite episodes so far in our entire series it reminded me of star trek two was it the movie Star Trek, when they saved the whales, was that Star Trek 2? That's four. That's four.

Four. Star Trek four. Yeah, it reminded me of that. It reminded me of a classic Star Trek situation where it's sort of just using really smart and clever science fiction premises to, you know, comment on our current world. And it did it in such a fun. It was really watchable. It was funny. You know, the sci-fi part of it felt great.

It just, I don't know. It had great production value. I really love this episode so far. I know we're only halfway or partially. No, and I agree. And it really was. It's a lot of echoes of Star Trek for The Voyage Home, which was a supremely popular film directed by Leonard Nimoy.

And this would be a good episode for someone who's trying to get their spouse or somebody who's not into Star Trek to watch a Star Trek episode, just to give them sort of like, oh, okay, you have a reference of a frame. of reference of modern day, well, 1996, as modern as that can be now, but still, it's not the future, right? So, yes, I agree with you. This is definitely a great episode. It's great. Do you remember being so messy and tossing those readout reports all over the place? I don't remember that, but it was a nice detail. And there's Chewock saying we have to leave the place exactly as we found it. Very prime directive of him and smart. I love when Rain walks in

with her pizza boxes and Paris says, yeah, this lab's pretty groovy. It's like you got, it's like you know 20th century, but you're mixing up decades in the 20th century, right? And then he says, throwing groovy up. Yeah, yeah, exactly. And then he says something about the orgy of the walking dad that he really loves it. And I was like, whoa, that's kind of kinky. Tom Perez says to rain. He goes, you know, your curves don't look so good. Right. So an example of like, he's not really up to date on, you you know, slang and what he is kind of saying. He doesn't even realize what he said. He doesn't get it, no.

But I love that you're flirting with her with science in order for Tuvok to kind of maneuver behind her to use his tricorder to download the data. When he started walking behind her, my first thought was, wait a minute, does he Vulcan nerve pinch rain and, you know, make her unconscious? But no, he's doing the whole tricorder downloading bit. But this whole interaction was a little bit awkward for me because you guys are at the door and she's like, nice meeting you. And then you guys are both basically written off by rain.

Like she's like, okay, bye guys. And yet you still walk up and you introduce yourself. And I just wish that there was a little bit more organic way of showing how she starts to trust you. You know what I'm saying? Because she seems very sort of like, you know, who are you strangers? Who are you strangers? And then all of a sudden out of the blue, she's like, hey, come to my show. of my, you know, on Tuesday or whatever.

I think it was when he says, you know, your curves don't look so great. And then he starts talking science. And she's like, wow, you know a lot about science. And then Tom Parris goes, yeah, well, I graduated from Starfleet Academy or something. You know, she asked very much school. Where's that college at? Yeah, you're like, that's on the East Coast. Yeah, exactly.

That's East Coast school, yeah. That works for me because truly the Left Coast never really knows what the East Coast is up to. the east coast doesn't know what the left the west coast is up to i just called it the left coast but you know you know where i'm coming from i do um but i guess the interaction was weird awkward when when you guys are leaving kind of and then you come back into introduce yourself like that to me i felt like maybe the script could have been different or something i don't know the blocking i've just i just felt like that was the only thing that bothered me about that scene i the one thing i liked about that scene is is tom's leaving you know and this is before he and boulana

to become a couple. So it felt like it was actually a sincere sort of interest in this girl reign from Tom Parrott. He really was, thought she was funky and funny and all those things in a way that the first couple of seasons, most of his interactions romantically or with, with women were manipulative or, I mean, and he's also being manipulative here in trying to, you know, accomplish his mission. But he's sort of accidentally getting intrigued. by this human, this person that he's just met. And I thought it was sincere. It was, I thought it was nicely, I was happy with the way I played it.

I would like the way the scene was structured and scripted. And I like, I like the way that we kind of left. And then we go out to the truck and she runs out and she's like, yeah, wait a minute, my computer's all broken and what did you do? Yeah. And right on the heels of that, you know, Paris says, Red Alert, because the bad guy's coming out and they have their little shootout. The fatal system error message that pops up on her screen with the skull and crossbones, what did that remind you of?

I don't know. What? The movie Independence Day, when Jeff Goldblum's character uploads a virus to the alien mothership and the computer system has a similar error message that pops up on screen. Really? I'm being so nerdy right now. You are such a nerd. Right? And I remember, I made a note right before a bad guy comes out and the phaser fight starts.

I love when Sarah Silverman says to Tuvac, what is that thing in your pants? Yeah, yeah. What's that? Does she say, what's that little thing in your pants? I don't know, I don't know. It was very funny. What's that thing in your pants? Oh, and then Tuvok in that shootout displays his superior reflexes and his marksmanship.

He shoots the deadgum phaser out of the guy's hand. And I think that was a stunt double that did the fourth. Ford roll or was that Tim? You were there that day. I think that was Tim. Tim did the Ford roll. Yeah. Oh. Yeah. He rolls and he loses his bandana and then he puts the thing back on to cover because he covers Vulcan ears. And we get Rain's her van. Her VW van. Yeah. And then the van is kind of screeching around the corner as Tuvok jumps inside. Now that was a stunt. That was stunt doubles. Okay. That was not only was that Tuvok stunt. double. That was a pair of stunt double driving and a rain stunt double inside. I think my stunt

driver was a stunt man named Merritt Yonka, who eventually became our stunt coordinator on Chuck for many years. And Merritt did it. And Merritt just passed away last year. So I just want to give a shout out to Merritt, who I think did that driving in that scene. I think Tuvok stunt double got injured. Did you notice when he jumped? Yeah, when he jumped into the van, the van hits, oh, hits him really square on the side of his hip or maybe his, uh, his, his stunt double. lower torso. It looked painful. It looked like, oh, that didn't look good. All right. So we see Voyager's now in orbit, and we hear a voiceover of Kim saying operations officers log supplemental. That's the very first time that Kim has made an officer's log. Yeah. He has been, yeah, he's ordered

Neelix and Kest to monitor all the media broadcast to see if anyone else has knowledge of Voyager being there. Neelix is mesmerized by soap operas. And not only could he have been watching your soap He could have watched Kate's soap opera. Kate Mulgrip. Mary Ryan. Ryan's Hope. That would have been wonderful if you said, I found this soap opera called Ryan's Hope. I thought it was interesting that Cass and Neelix talk about their love for linear narrative.

That it was almost like a writer's, it was like Brandon Braga had written in here the importance of storytelling like a TV show like Voyager or a soap opera. Like, you know, that, yeah, sure, you know, Harry says, I like the interactive holodeck narratives where you can interact with them. And Kess and he looks like, yeah, but linear narratives are also have a lot of value. Yeah, they're patting themselves on their back right there. We're back to the Corona Works headquarters, Janeway and Chkotiaf snuck into the building after hours, trying to enter a password on the Starling's computer. Janeway calls it stone knives and bear skins. And the question is, Robbie, why didn't Janeway use the tricons?

quarter to interface in the first place. I don't know why she starts typing like that. She's trying to type. And Chikode says, you know, you obviously didn't take typing lessons or something. Right, right. But then, of course, later we see her typing very quickly. So she's adapted very quickly. We go back to the Paris, Tuvac, and Rain scene in the VW.

Was that Melrose Boulevard, Robbie, that you guys are driving now? I can't remember if it was Hollywood Boulevard or Melrose. It might have been Melrose. It looked like Melrose, just right outside of Paramount Studios at all. I don't remember that scene at all. Yeah, it could have been, could have been, or Santa Monica Boulevard, maybe. Or even Venice Boulevard, you know, or Main Street down Venice. Probably was very close. We probably, you know, loaded up on the rigs that they use at the studio. Right. So probably the same day that you guys filmed at the pier. Maybe you went to another location in LA and shot a night. Yeah, we might have done the night work. Maybe. Yeah. I loved how Paris claims. that the signal that they're picking up is probably a KGB satellite from the Soviets, you know, and he's using his memory of, you know, 20th century technology to try to, you know, sound legit. And she's like, the Soviet Union broke up five years ago, dude. So he gets his history off a little bit. No, but your response is great.

You're like, well, as far as you know they broke, I mean, everything she said you had an answer for, which was great. Yeah, that's right. That's what they want you to think. Back in Starling's office, we discover Starling has been reverse engineering the technology from Braxton's timeship. Janeway Chocote discovered that the time ship

is in a hangar bay right next to the office. Starling and Dunbar come back and capture Janeway and Chacote. Kim contacts Janeway and starts basically uploading Starling's entire database. Starling threatens to kill Janeway if Kim doesn't stop. By the way, I love when Janeway was talking about time travel when she was hacking Starling computer and she said she said quote

since my first day on the job as a Starfleet captain I swore I'd never let myself get caught up in one of these godforsaken paradoxes the future is the past and the past is the future and it all gives me a headache yeah and she sort of gestures and uh I love that one yes so when Kim knows that Janeway's life is being threatened that's when he kind of decides to talk to uh to Torres your future love about what to do and Torres is like, it's up to you, you're the acting captain. And so Kim makes the decision to drop lower in altitude and save Janeway and Chakotay.

And we do. Swoop down into Earth's atmosphere, 10 kilometers above the earth's surface so that they can beam them aboard and they beam them aboard just in the nick of time. And Janeway's not mad at me. You'd think she'd be really pissed at me for doing that, but I saved her butt, basically.

But at the meantime, we try to transport the time ship onto Voyager. And then, of course, Starling does something to interrupt the transport, but also uses the beam that we're transporting to download Voyager's database, which I thought, wow, that's a really cool idea. If he is 500 years more advanced, if he has technology from 500 years in the future of Voyager, then yeah, he probably does know how to do crazy things like download our computer and control our ship basically from his computer and really, really start messing, mess things up. So we end that transport entirely to stop him from stealing our database.

But unfortunately, he does steal one thing. He said he got 20%. He says to Janeway that he's got home field advantage because he's got a 29th century technology and we only have 24th century. And then Kess says that the doctor is missing and we cut to suddenly in Starling's office, we see that the doctor is there, which by the way, there are no hollow projectors in Starlink. Like, how did, you know, we don't have the mobile emitter yet. Like, maybe, you know, Starling downloaded the doctor's hollow program,

but the reason the doctor is in sickbay and only sickbay is there are hollow imaging projectors all over sickbay. I'm going to assume that because he has 29th century technology, he does have hollow projectors in his office. I'm going to assume that. That's the only explanation because otherwise the doctor would not been able to have materialized in front of him, right? He would have stayed a program inside the computer. He couldn't have exited and formulated, you know,

formed himself as the doctor. And then we had a message from Nelix who's been monitoring media transmissions and there's a news report showing footage, video footage that someone took from their backyard barbecue of Voyager skimming along, which looked good. I like that graphic. I thought it was very well done. Well done.

Fis effects. Yeah, it felt very legit, very authentic, especially considering we did it in 1996. Yeah, so we go off of Janeway staring at the view screen in shock and knowing that they have been discovered and also that they've altered history. Like, you know, we can't remove ourselves

from the consequences of being discovered. Right. So that's a prime director. The prime directive has been basically violated in a way. whole paradox of, you know, the past is the future and the future is the past. Like now it's all exposed. It's become a reality. Yeah. So that's how this episode ends. It ends on this cliffhanger. What's your theme on this? My theme, I wrote down simply, disrupting time is a bad idea. That's my theme. Whenever you mess with time, things get messy. So that's my theme.

Okay. All right. So yeah, so for me, I guess my theme, would be more of a comical one. Just take all those 90s clothes and burn them. That's the only lesson than I have. You know, get rid of the dad jeans. Take the dad jeans and destroy them forever. And the pattern you made them from. Exactly.

Yes, I like that. Oh, my goodness. It was a fun episode. That was really fun. I can't wait to see part two. So many, so many memories came back watching that episode. Yes. Thank you guys for joining us.

Yes, Ravi and I are super excited about this episode and about the next episode. So stay tuned next week when we review Futures End Part 2. For all of our lovely Patreon patrons, please stay tuned for your bonus material. You know, B. B. B. B.

B. Bhopal, B. B B B, B B.

B You know,