The Delta Flyers - Nothing Human

Episode Date: April 18, 2022

The Delta Flyers is a weekly Star Trek: Voyager rewatch & recap podcast hosted by Garrett Wang & Robert Duncan McNeill. Each week Garrett and Robert will rewatch an episode of Voyager starting at the very beginning. This week’s episode is Nothing Human. Garrett and Robbie recap and discuss the episode, and share their insight as series regulars.Nothing Human:The Doctor, at a loss on how to treat Lt. Torres, consults the holographic re-creation of a Cardassian war criminal; Torres learns the identity of this exobiology specialist, and refuses treatment, causing The Doctor to experience a moral quandary.We want to thank everyone who makes this podcast possible, starting with our Executive producers Megan Elise & Rebecca McNeillAnd a special thanks to our Ambassadors, the guests who keep coming back, giving their time and energy into making this podcast better and better with their thoughts, input, and inside knowledge: Lisa Klink, Martha Hackett, Robert Picardo, Ethan Phillips, Robert Beltran, Tim Russ, Roxann Dawson, Kate Mulgrew, & Brannon BragaAdditionally we could not make this podcast available without our Co-Executive Producers: Stephanie Baker, Philipp Havrilla, Kelton Rochelle, Liz Scott, Eve England, Sab Ewell, Sarah A Gubbins, Jason M Okun, Luz R., Marie Burgoyne, Chris Knapp, Utopia Science Fiction Magazine, Courtney Lucas, Matthew Gravens, Elaine Ferguson, Brian Barrow, Captain Jeremiah Brown, Heidi Mclellan, Rich Gross, Mary Jac Greer, John Espinosa, James Zugg, Deike Hoffmann, Mike Gu, Anna Post, Shannyn Bourke, Vikki Williams, Kelly Brown, Lee Lisle, Mary Beth Lowe, William McEvoy, Sarah Thompson, Mike Devlin, Samantha Hunter, Holly Smith, KMB, Dominic Burgess, Ashley Stokey, Amber Eason, Mary Burch, Nicholaus Russell, Dominique Weidle, Lisa Robinson, Joseph Michael Kuhlmann, Darryl Cheng, Alex Mednis, AJ Freeburg, Elizabeth Stanton, Kayla Knilans, Barbara S., Tim Beach, Ariana, Meg Johnson, Victor Ling, Marcus Vanderzonbrouwer, Nathan Walker, Shambhavi Kadam, John Mann, James H. Morrow, Christopher Arzeberger, Megan Chowning, Tae Phoenix, Nicole Anne Toma, Donna Runyon, Nicholas Albano, Daniel O’Brien, Bronwen Duffield, Brandon May, Jeremy Mcgraw, & Jason BonnettAnd our Producers:Jim Guckin, James Amey, Katherine Hendrick, Eleanor Lamb, Richard Banaski, Ann Harding, Ann Marie Segal, Charity Ponton, Chloe E, Kathleen Baxter, Craig Sweaton, Nathanial Moon, Carole Patterson, Warren Stine, Mike Schaible, AJ Provance, Captain Nancy Stout, Claire Deans, Matthew Cutler, Maxine Soloway, Joshua L Phillips, Barbara Beck, Aithne Loeblich, Caryn Mellom, Dat Cao, Cody Crockett, Scott Lakes, Stephen Riegner, Debra Defelice, Tara Polen, Jenna Appleton, Jason Potvin, Cindy Ring, Andrei Dunca, Jason Wang, Gabriel Dominic Girgis, Amber Nighbor, Amy Tudor, Jamason Isenburg, Mark G Hamilton, Rob Johnson, Kevin Selman, Maria Rosell, Michael Bucklin, Lisa Klink, Justin Weir, Normandy Madden, Mike Chow, Michael "Klink" Klinckhardt, Rachel Shapiro, Eric Kau, Megan Moore, Melissa A. Nathan, Captain Jak Greymoon, David Wei Liu, David J Manske, Roxane Ray, Amy Rambacher, Jessica B, E.G. Galano, Cindy Holland, Craig M. Nakashian, Julie McCain, Will Forg, Max Wilson, Estelle Keller, & Carmen Puente-GarzaThank you for your support!“Our creations are protected by copyright, trademark and trade secret laws. Some examples of our creations are the text we use, artwork we create, audio, and video we produce and post. You may not use, reproduce, distribute our creations unless we give you permission. If you have any questions, you can email us at [e-mail].”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 as we journey through episodes of Star Trek Voyager. Your two hosts along this journey are my fellow Star Trek Voyager series regular, Robert Duncan McNeil, and myself, Garrett Wong. So remember, you can get the full version of this podcast by signing up to become a patron at patreon.com. the Delta Flyers. Hello, Robby. Hello, sir. How are you?

I'm okay. Okay, good, good. What's new in the hood? What's new? Well, my son had his baby. Ooh. And yeah, she was born last Saturday. Her name is Sky.

Congrats. On March 12th. Yeah, just so excited for him and for his wife, Noga. And we're really happy. So you're a grandma? now. I am a grandpa. How do you feel about that? How do you feel about that? I don't feel old enough to have a grandchild. I decided whatever my nickname is, it's got to be something without a grand or a grand anything. Okay. It's got to be like, you want papaw? You want that? Pea Paul. Pee Paul or Papa Robbie.

Well, in the south, did you guys say me, ma'am and papaw in Georgia? No. In North Carolina. Okay, that's in Tennessee. I know me mom and papal is in Tennessee. fantasy. That sounds like Appalachian Maybe. Yeah. Maybe. So you want something, you don't want grand anywhere in that name. I don't think so. I want to be like, I don't know. I don't know. Boppy or Bobbi. Bebaw. I want to be some weird. Yeah,

I got to come up with some weird. Maybe we should take a like some kind of survey. A survey amongst all of our wonderful listeners. a weird, odd grandfather name without grand anything. Okay. I'm going to call you boop-boop.

Be-boop. Be-boop. Okay. Yeah, something like that. Okay. How's everything for you? Everything's good. Getting ready to head out to Europe

to do the zero-g flight on... Oh, yeah. For the European... Yeah, with the European Space Agency, the documentary will be showcasing my zero G flight, which I'm nervous. I am nervous. I'll be perfectly honest with you. I mean, this is, yeah, I mean, I will have an injection of motion sickness medicine

that is injected, which is evidently much more hardcore than just standard oral medication pills. So I'm going to go with the hardcore. Go for it. Yeah, you want to be sick. No, that's just going to be just. It's going to be horrible if I get sick on that flight. So that's my big fear that even with that medicine, I may still.

So I think the goal is not to eat a lot of breakfast, really, just to have maybe some water and maybe a pastry or something, like a continental breakfast. Nothing big. Not a lot of sugar. Don't have a lot of sugar. No, I'm okay. I'm okay vomiting a Danish shop, but I don't want to vomit eggs and, you know, like a whole. Nice. No.

Yogurt. A smoothie. No. Okay. This week's episode, are you ready for it? I think so. Nothing Human is the title of this week's episode. So let us go watch this, Robbie.

Let us come back and give us our two cents on this episode. So thank you, everyone, for tuning in this week. We will be right back with our recap and discussion of the episode Nothing Human. Hey, everybody. We are back from watching Nothing Human. Yes, we are. Well, our guesses on who the director was, was incorrect yet again. We should always just pick David Livingston.

That's it. At this point in our show, I feel like David was directing every other episode. Well, what's interesting is that didn't he direct the episode right before this? So they must have moved something around. They moved. Yes, correct. Because as we know, one director cannot direct two episodes back to back. It doesn't work that way.

Exactly. in our show. So this was a juggled episodic order, clearly, because David gets another one. Unbelievable. Let's start off with our poetry synopsis. Yes, we must first get into the art and poetry of Star Trek. I don't think there's any other podcast that turns Star Trek into poetry. I don't think it's ever been done before, and I don't think it's going to be done after. And I'm going to say there is no, you know, there are other other podcasts done by actors, series regulars from other shows, such as the office ladies for the office. Yeah. Community has one, I think. So there's a few out there, but none of them do poetry synopsis.

No. No. You're getting a very highbrow experience here at the Delta Flyers. You know, it's unparalleled. This is the best podcast experience. I hope that our poetry inspires people. Actually, I'm kind of not joking now. I'm going to pause for a second and say, say it. When we started doing the poetry synopsis, I started writing some haikus just for fun. I know.

You posted some of those. And I started doing some of those as well. I will answer people on Twitter with a haiku. And you were doing that on Instagram, I think, is where you're putting. Yeah, but I think it's a really creative way to. pause to kind of meditate a little bit, open up your mind. So I encourage people out there. I know we were joking before, but it actually, working on some little simple poetry is a good exercise for mental health. Yes. There you go. All right. Here's my haiku. My haiku for nothing

human. Torres gets a hug. The alien won't let go. Doctors save her life. Oh, you see the plural doctors? Ew, she gets a hug. And I made you laugh about that one. You know, I saw you have a little smile in your face. Because I kept thinking, how am I going to say, you know, she gets, you know, face clamped or neck clamped by this thing? I had no idea. And it doesn't.

And I only get five syllables in the beginning. So Torres gets a hug. It's a hug. That's sweet. I hadn't thought of it. See, this is how poetry opens up your mom. mind. It does. Wonderful. Expends your mind. Okay.

Here we go for our limerick poetry synopsis of nothing human. I can't wait. I can't wait. The doc shares a slideshow with charm. When an alien screech sets the alarm. Balana's life must be saved. Should all ethics be waived? But remember, first, you must do no harm. Oh, yeah.

Yeah, look at that. Bam, bam, boom, boom. Just, just, just, you pow-powed that. I'm so excited. Good job, man. You're welcome. Cool. We talked about director David Livingston, which we keep guessing wrong, who directed this.

So we might as well just say David Livingston from now on. Every time, yes. But I want to bring up something else. Jerry Taylor wrote the screenplay. Yes. And this is the very last script that Jerry Taylor is credited with writing. So I just want to pause and say. say one of the creators of our show. This was her last episode. And I think she was fairly happy with it.

I think it's a, you know, classic Star Trek moral dilemma kind of story. And for Jerry to have written this, I just think that's awesome that she was still around, still working with us. You know, and a lot of TV shows, the creators of the show, the people that start there are not there a few years later. Like on Chuck, we did have Chris Fiedack stick with us the whole time, but Josh Schwartz took off after season two and was kind of doing other projects. So a lot of times, it's very common for showrunners to step away, move on to new projects after a couple years. And Jerry did that, and Michael Pillar did that. But Rick Berman stuck around. And a lot of the writing staff like Ken Biller and Branagh started with a stick around. Who else? Who were the other people that

stuck through it the whole seven years. Joe Manoski was not really on first season, was he? No, he came in later, but he was there until the end once he came in. But he was there until the end once he came in, but I think he came in later. Yeah, I think it was just Berman and Braga that were always there. But anyway, Jerry Taylor wrote the script. Hats off to her for everything she did for the show. Yeah, just when I was like a quick thank you to Jerry Taylor for everything that she did

up until this final, final contribution by her. And we love Jerry. Yeah. So David Clennon was Krell. Yeah. And David Clennon is most known for his Emmy Award winning performance in 30-something, which is where I remember him from. He was like ran the office or something.

Oh, yeah. Everybody worked. I think his very first job, which you know I love to talk about. Yes, you do. was a movie, a classic film called The Paper Chase. Oh, my goodness. That was his first job he ever had. And I know David Clennon is very good friends with Bob Picardo.

Oh, okay. Yeah, in fact, I remember sometime around filming this episode because I got to be in some scenes with David Clennon, and I remember he was such a nice guy, just we had a lot of mutual friends from theater days and all that so uh david clennon was doing a play this kind of weird experimental play and it was in a church not even a church turned into a theater it was a church hmm it was like an environmental play it was like satan argues with somebody i can't even remember where the play was but it was the audience sort of sat in the church and then the play happened all around you in the aisles and up in the in the choir loft and and david clennon was in that i remember meeting uh bob picardo for dinner one

sunday and we went to see a matinee or something of this play that david clennon was in it was great i loved it he was awesome guy it was kind of like theater in the round but in a church like it was happening everywhere yeah in the in the church that's yeah really interesting concept yeah it was really interesting and uh david clennon was awesome he's a wonderful actor and then we have uh i think it's Jad major, major? I think it's major. I think it's Jad major, yeah, I think so. Yeah, Jad was born in 1969. He's from New York City. His very first job was a 1990 film, a thriller called Reversal of Fortune. J.D. Cullen was in that movie as well. And he also was in the biopic, the doors that Oliver Stone

directed. So yeah, interesting actor. He did two episodes with us. He did this one and then he did one in season seven. That's right. Yeah, he's done, yeah, he did two episodes and a good actor. I thought he did a good job

in this episode. Yeah, tough to come in deep in a series like ours and try to be one of the gang. You know, his character was supposed to be, have been there the whole time. But, you know, all of a sudden he's popping up in season five. Yeah, yeah.

Okay, so for the show, for the episode, before we start into the plot, I just want to say that one thing I noticed as I watched it was, you know, actors can have patterns, right, that they sort of fall into, like doing certain habits and things like that. And directors can also have patterns and habits. And we talked about David Livingston directed the show. We've talked about his use of wide-angle. lenses a lot. But there was one pattern in this that I thought was new for David and he was doing

it a lot. And that was these long, steady cam kind of oners that went on and on and the actors moved constantly. And I was trying to figure out why is this such a pattern in this? And as I was looking after I watched it, looking up some some of the research on the episode, I saw David had been quoted as saying he thought it was a lot of exposition this episode was just a lot of like backstory and back talk and so he wanted to keep it visually uh energetic and so he said i think in the quote or something he talked about trying to create a dance with the actors in every scene to never stop moving and i was like of course yeah i saw that yeah this pattern of these constant honors that went on

and the camera kept swirling around and personally I find that interesting as long as it stays motivated enough and I felt like sometimes we weren't motivated. Like we were just moving around for the sake of moving around

and I felt that a lot so that's the pattern I guess I would say that the overall when I watched this episode I was like oh we're just there's there's this decision made that we're going to be moving and so we move whether it's motivated or not. Yeah.

But I think overall it was successful, but sometimes it took me out of it. It was almost too much movement. Okay. So, and also because there may be people who just jump in and listen to our podcast for the very first time on this particular episode, will you please define what a oner is to people,

just in layman's terms? Yeah, typically in film, right, you've got cuts. You start in one shot and then someone stops and you cut into a close. up and then you cut to their point of view or the other characters close up and you cut to an insert of the thing they're touching and, you know, there's a series of cuts in the edit that you make. Multiple shots. Multiple shots. A oneer is one shot that has no cuts that continues. Usually a one or has movement to it. Could be a steady cam, could be a dolly, could be handheld, but it has

some sort of movement. I remember a quote from Rick Berman once he was watching a cut of an episode and he said he stopped in the middle because I used to go watch Rick give notes on yeah during lunch because I was trying to direct and I wanted to know like what he liked what he didn't like and I remember once and I used this quote for years although now I don't think it's quite precisely true but it seemed very wise to me at the time and Rick stopped the episode and he just goes God everybody's just standing there talking he says did anybody tell this director it's motion pictures That means motion. Movement.

And then he goes on to say, either the camera needs to be moving or the actors need to be moving. But they can't both be standing still all the time. And I remember using that quote a lot and thinking of it. Rick, you know, that little quote stuck with me of either the camera should be moving, pushing in or wrapping around or doing something, some dolly move, or the actors should be moving. All right. So our episode, Nothing Human, starts with a holodeck slideshow with the doctor. We cut to the crowd watching, Balana's there, Tom's there, Janeway's there, two bucks there,

a bunch of other of our crew. Not Harry. Not Harry or Chikote. No. And it was interesting because Balana's asleep in the front row. Yeah. Janeway's like got her, you know, heading her hands like just in shock. And Tom is sitting there between them, looking back and forth, like, what are we doing here?

It was very funny. I loved our silent reactions to the doctor just so pleased with himself. And then he pauses at one point and everybody starts to get up. And then he continues on and everybody says, classic comedy. It was very funny. And then the doctor shows a slide of Tom covered in mud. And I got to say, I remember doing this now. remember when i had to take a photo take a bunch of photos yeah a slideshow thing when they put me in a

uniform took me over to the cave set and just dumped mud it was like okay so this was just for this episode this is not taken from another episode i don't think so no i think this was just a photo yeah and i remember it was covered in mud yeah you were covered and they put me in like uh either a plastic or maybe even a baby like a kiddie pool or something so that the water in the mud would collect away yeah go everywhere covered everything yeah then i remember going back to my trailer having to take a shower and i think it's the only time that i took a shower at work in that trailer in your entire seven years it was that the only time well you know part of the reason why we didn't take regular showers is because they had a transport what was the guy larry larry

Larry Dukes. Larry would say, like, he'd come over there. He was like, hey, just so you know, got to be really quick in the showers. We don't have a lot of water in that tank or something like. Right. Yeah, there's like limited amount of water that he would have to top off. So, so you took your one shower and that. I think so to get the mud off. I remember just being a mess. And yeah, I was just like, why me? Why do I have to be the one in the mud? That's funny. It was very funny. And he says, not done yet, you know, he's got to, everybody sit down. He's got a funny, 12-part slide essay titled Under the Skin or something like that.

So he's going to talk about the organs of humanoid species. And he starts with the first slide is the Vulcan reproductive gland, which I was like, whoa, whoa, I froze it. I'm like, that's the Vulcan. But he said a. Yeah. That looks like a heart, actually. Or a liver, like stomach. It was very funny.

Just that whole beginning scene. You're right. The doctor is so full of himself. It's so funny. It's very funny. This is his grand performance for everybody on the bridge or in the crew. You're jumping to the bridge. Harry and Chacote are there and Harry reminds Chacote of what time it is.

And Chacote is like, I know what time it is. Then Harry then reiterates the reason why he's reminding him is because Chacote had promised to rescue Janeway and company after 30 minutes of this hollow image show. And then Chiquotay tells Harry, well, remember, we had to endure two hours of this hollow image show. Don't you think it's unfair that we deprive our fellow crewmates of this wonderful experience? It's very, very sarcastic, you know, and it's so funny because that's when you have a corridor scene. Everyone's leaving and they're into the corridor and they talk about how Chukotay disobeyed orders. So a nice little comedian.

Why didn't they go to the yellow alert? Somebody says. And Janeway says, I think this is a, um, uh, uh, needs a court martial or something. Like, yes. So there's some humor there that Jerry Taylor threw in there. I like that. Very funny. Very funny.

We go into the mess hall. Yes. And, uh, Paris and Boulan are going in the mess hall. And I was like, and Paris order some coffee. Mm-hmm. And I was like, wait a minute. You said it was 2100 hours. This was a two-hour slideshow.

we had to endure. That means it's 11 o'clock at night. And you're ordering coffee? And Paris is ordering coffee. I was like, wait a minute. What? Why am I on the midnight shift? Do I need to stay up? That's rule number one. You don't need coffee at 11. But then I realized a moment later, the ship shakes and it was to set up the joke line that Paris says, what did you put in this coffee, Neil? Right. And then you guys run. You just run out of there to the bridge. By the way, these are like the biggest shakes I've ever seen in my life. Like, yeah, those are huge shakes. Huge shakes.

And then it turns out there's minor damage. And I'm just like, wait a minute. Like, we've been in battles that haven't shaken this hard and almost lost the entire ship. But this, I think the shakes were overdone is my point. You know how the, you know how the camera goes from you guys to it actually pans over. pans over. It pans over to Neelix's little kitchen area and you see that whole thing start shaking and things falling off.

So I'm guessing that was probably Will Tom's at the very bottom, crouched down, shaking it at the bottom, right, to cause it to fall over. Yeah, anything like that, like when the set has to, when there's wind or doors or things shaking, that is the onset practical effects department. They do the opening, the closing of the doors, fire, steam, shaking things. And Will Tombs was awesome. He was great. Yeah, really good.

All right, let's go to the bridge. And there is a massive energy wave coming towards us. And we change course. And that doesn't help because it actually follows us, which is crazy. It hits us the wave. There's no damage. No. But Harry makes a quick announcement.

He says, the communications array received a download when the wave hit. So this is very strange. So we then play this message, and it's just this unintelligible screeching of some alien life form. That's all we know. It was very irritating. Very irritating, for sure. And then I think is a Paris that says, hey, there's an eye on trail. Yeah, I found the point of origin.

Let's go. She says find that ship. We come back to the bridge, and we have found the ship, and it's damaged. And there's some kind of, we think maybe the screeching is a distress signal. There's one life form who's injured. needs our help faint life sign yeah faint life sign so janeway says beam it over here we'll fix it we'll help it to sick bay another janeway i mean i love jane i love cape mulgrew but like but you do question captain janeway's decisions though i mean i don't there's like a screeching a ship we've never met

we don't know these people and we're going to bring it on board just beam on board that's just the way it works You just beep on board. Why don't we go over there and make sure that it's, I don't know. Because we know that ship is unstable. That's why. So it feels like, you know what I'm saying. I do know what you're saying. Maybe we should, you know, think twice about beaming a strange alien life form aboard.

We don't know if our, you know, force fields can hold it, contain it. We don't know. Yeah. We don't know. Which clearly it doesn't later. So we're in sick bay and Torres comes in. And the alien is on the biobed. And there is a containment field there.

Torres debriefs the captain saying some interesting facts that the alien uses biochemical secretions to pilot its ship to send commands to its ship, which is really super cool. And she's still talking about what's going on. And that's when the alien propels itself off of the biobed and through the force field. Does anyone even ask, does anyone even mention about the fact that this thing flew through a force field? How did it even do that? I don't even... I don't get it. That's what I'm saying. Clearly, it has, I don't know, some amazing properties. And by the way, it flies through the force field hits what I think is a stunt actress that's falling backwards. Yeah. And all you see in the side of the frame is the stunt

actresses hand doing the hand, doing that. Doing like fast, fast wavy hands. I don't think that was Roxanne. Was that it? Yeah, the funny thing about Star Trek stunts is either, sometimes they're either too big and like over the top or they're too small that like yeah it's seven walks past taps them on the shoulder and they collapse they fall down yeah it's you know it's not always based in reality or stunt so when that lizard came and you see the the balana double going back in the hand going oh like this it just seemed a little on the over the top end okay all right so we're either too subtle or way over the top that's just how we do it that's how we do it on Voyager. We have trouble finding that natural middle. The middle ground. Okay. You know, everyone's

freaking out. The doctor's freaking out a lot. I mean, lately, he's had so many emotions where he's screaming and yelling in multiple episodes. And here he is saying, don't do anything. It might hurt Torres. And Janeway says, Harry, beam the alien back to its vessel. And Harry can't get a lock. And then we figure out that this alien has basically just got it. It has kind of used like a parasite. Yeah, like a parasite. Like a life support. It's using Torres as like a battery, like an energy source to keep it alive. But now it's completely weave itself into all of Torres's internal organs and her circular system. I can't get take, I can't just surgically remove this without risking her life. And so we don't want to do that. At this point, Paris is in there and he's

very upset. And this is the first time I made a note of like, here's a oneer. We're walking around. Like, why do we all, as we're trying to find a solution for Boulana? Why does the doctor walk into his office, then Janeway follows, then Paris shows up. Like, we've left Bala alone, unsupervised, for no reason. We didn't need to go in his office to have this conversation. You could have stayed there. We could have stayed right there.

It just felt like this was the first time I went, oh, this is that oneer that where we're just moving and dancing. And it's cool. it definitely has energy. Yeah. And it flowed well, you know. It flowed well. It was a well done oneer, but fundamentally to me, I'm like, we didn't need to come in this office. There was nothing in here that anyone had to physically get.

No, no. Information they needed. We could have done all of this. All of that could have been done by the bio bed for sure. Yeah. By the way, when I walked in and joined this oneer at one point, I kind of point my finger, like to emphasize a point. And I'm like, oh, no, am I doing finger acting?

I was like, yes, that's, we can do that. I'm like, oh, not the finger acting technique. You know, we talk about, you know, not to do facial mugging for actors. That was finger mugging. You finger mugged that particular shot. And it's funny, that's a classic. I don't remember you doing that, but you can pick it out because it's you. It was me, and I finger acted.

And, you know, gesturing, like to emphasize things with your hands is really discouraged in acting. It really is. It's a, it's a, it's a very presentational kind of way to illustrate, you know, an emotion or a story. And so, and so it's really, it's really frowned upon. Discouraged and frowned upon. We try to, you know, a good actor really tries not to make a point that way. Well, the doctor says he has to brush up on his exobiology.

Janeway then suggests that creating a hologram that is an expert in exobiology could be a solution to this. If we look in the data, the database, we can find some. something to create this hologram. And I think Paris is like, Harry can do this. Harry, let's bring Harry in. So that brings us into the corridor with the walk and talk with Harry and the doctor discussing what needs to be done. The end of the walk ends up in the holodeck. And this is when Harry brings up the exobiology master himself, Dr. Krell, Moset. That's when Harry goes, hey doc, did you know this is a guy was a Cardassian? The guy was a

Cardassian. And the doctor's like, who cares what he is as long as it helps Balana? That was the initial argument, right? We come back to the holodeck and the doctor is informing Krell of Balana's predicament that she is currently in and Krell's very interested. Krell's like, oh, this is my specialty right up my alley. And you know, it's interesting because you mentioned that they are friends that they know each other. And you can tell there's chemistry between these two when they're on screen. There's definitely a bond there, which is very nice. Yeah, agreed. I transfer him to sick bay where you're there and Torres is still in the bio bed and Doc and Preel show up. This is when he says, Mr. Paris, don't be rude. And you're like, well, Doc, he's just a,

and you stop yourself before saying hologram because the doctor is also a hologram. That was that scene. So that's how that happens. And he comes around and checks on Torres. That was a scene that, as you say, you can see the chemistry with Bob Picardo and David Clennon, even when Krell says something like, well, someone in, he feels appreciated by the doctor. And so he's like, well, someone Starfleet appreciates me. Yeah. So they both kind of sound a lot.

You know, you're starting to go, oh, these are twinsies. Like these two characters are going to be buddies. The chemistry of the real life friendship was there. So that was all great. Yeah, so we just finished sickbay. We're in the briefing room or A room, and Chikote and Janeway try to decipher the audio message that was downloaded when the wave hit us, the screeching. It's Chikote who's just looking into the alien ships data banks to maybe give a little bit more, give us some more information to try to decipher this message. And so then Janeway asked seven to download the data.

In that room with Janeway and Chikote, they're looking at the audio message in a graph format. Yes, yes, yes. And it looks like strands of DNA. So this alien's language, I guess, doesn't have normal audio waveforms. Like, I just thought it was interesting. It was definitely, like, when you look at an audio editing system or you look at any kind of audio analysis, it's usually a wave form. It's like, you know, it travel, the audio does this, or maybe you have a round sort of how and where the sound is coming from. Yeah.

This was like DNA strands, which I thought was an odd choice to represent audio. But I guess that was their way of saying this is not like no other audio we've ever seen before, so we can't decipher it. But I just thought the graphic choice was unconventional for the audio and interesting. So that would be Denise and Mike Okuda. And in the spirit of finger mugging, you were just explaining the waveform with a lot of gesture. Yeah, see, there you go. People do it. You were doing it.

You were doing it. But the pointing, point acting is bad. Yeah, try not to point act out there, actors. You know, Janeway asked Seven to help download this data, and it flashes over to engineering where Seven is working, and she says that the alien ship is on the verge of a complete system failure, and we need to download. If we're going to download this info, it's got to happen quickly. And so she says, prepare to download the data to Chad Major's character, Tabor, is the first time

we see him. And the first time we see him and hear him, he answers her, he says, I heard the captain. And it almost sounds, it's, it reminded me of Mr. Burns from the Simpsons, sort of, no, smithers. I mean, it's sort of like a very, and he's like, I heard the captain. Just the way he said it sounded very smith, Mr. Burnsish in my estimation. That's all I heard. Because it's sort of, it's sort of, more of a, what would I say, subdued voice, you know, it's a very likely. Well, typically, on Star Trek, we were told and instructed to be very kind of formal and classic kind of, you know, energy and almost theatrical and military in a lot of ways. So when you have some of our guest starts come on and they sort of take a different approach, they're quiet

or they're, you know, quirky or in whatever way. It does stick out. It does take out for sure. But I liked it, though. Nothing against his. No, no, no, not at all. I'm just saying. I think it's great to have those different vibes. So now we jump back to the bridge and the ship explodes. We see the ship exploding. By the way, this bridge shot was the lowest angle for a wide lens I've ever seen on our show. Oh, wow. I didn't even notice that. Yeah, I think, you know, Janeway comes out of her, the briefing room or whatever she was. You're almost looking straight up her nostrils as she walks out from her feet. The camera was on the floor. It had to have been on the floor. And then you pan over to the bridge, and it's the widest lens I've ever seen, a bunch of low, down on the floor,

fish eye lenses, making the ship everything look huge. Very cool shots. Not normal for our show, but for David, very normal. Yes. The ship explodes. We do have an exterior space shot. Yes, because look at that explosion compared to other explosions. Other explosions that we see on Voyager, it's just a bunch of fiery kind of plasma stuff going out bury the detail and smoke and stuff but good Lord the detail of this ship coming apart at the seams was like man it was cool did they have extra budget for this on this episode or what I mean what happened maybe wow I was so impressed with that and it was it and it was literally what two second shot of that thing exploding but I was so impressed I was like wow that's a good explosion that was good job on that one hey Garrett have you been traveling this summer Oh my gosh, so much already. I don't always travel, but this summer's been insane. Trip after trip. You've been doing your impersonation of me.

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We jump to sick bay and the dock and Krell are still discussing Torres' situation. And they say that the alien is using Balana as a life preserver. And Krell says that only if he had access to his laboratory. If I had my laboratory here, I could fix everything. And the doc says, wait a minute, we can recreate your lab on a holodeck. On the holiday, do you remember everything about it? He's like, I spent more time in my lab than my home. So yes, I know everything about it.

So that's what they do. We're back into sick bay, and Balana regains consciousness, and she begins to talk to Tom. She looks so cute. It almost looks like she has a scarf that she's wearing, and she's there all cozy or tucked in. and she's talking to Tom, and then she sees Krell. And she realizes, oh, my gosh, who is that? Who is that Cardassian? Even though he's a hologram, she's still not happy

that this individual is here to help her situation because of her past, she was fighting the Cardassian as a member of the Maquis. So this is a huge, huge issue with Belauna. All right. Yep. And then we go to Krell's lab. Another oner.

Oh, yeah, you're right. They just start stacking up. They just, they do, they do. The doctor's raves about Krell's accomplishment and Krell says that, you know, he talks about him winning an award and Krell's like for the first dose of virus, the cure for the fustosa virus. Yeah, he's like, wards don't matter. This is about the work.

And I do believe he felt that way, you know, you do feel at this point like this doctor is all about the work. I mean, it's interesting exposition here that, that he talked about, he's because the doctor says, is this the location where you came up with the cure for the virus? And he says, no, no, no, I was on Bejure at the time during the occupation. And that's when he says that, you know, the Kardashians had no business occupying Bejure. And he had limited resources at the civilian hospital compared to the military hospital, which had everything. So he had to improvise. That was the main, that's the main thing that I got out of this speech, that he had to be very

improvisational in order to get his work done. So then they begin work on the holographic version of the alien. They begin to hollow, like a hollow examination, like they're going to do a dissection or examination of this alien, hollow alien that they've created and they begin to get ready for that. We go to the ready room and Janeway and Chiquotay are discussing the message still, still trying to decode it. They decide, you know, it had to have been a distress call. Maybe if they send it out if they take that message that they've saved send it out as a distress call that maybe their his alien species will hear it and will come and they'll know how to help so they do send this out and we go out to space and you see this yeah this thing sent out and it looks like a shock wave it was so cool

yeah because tuvok had to reroute all the power to the deflect tradition they sent this this message on all subspace band. So it did look like a giant shock wave. And I wrote down cool exterior shot of message. Yeah, it was cool. I did like that shot for sure. It was cool. Jump back to Krell's lab. Yeah. They're both humming by the way. Which Bob Picardo loves, you know, music. He loves to sing. He loves it. So this was probably a great moment for Bobby. It's still like, how do you think they were humming? What do you think it was an opera, an opera or classical music or something like that? Okay. All right. Again, they're working on the holographic alien, and he asked for a scalpel, and the doctor is like, wow, this thing looks kind of arched. Like scalples that we recognize now are just tiny little heartbraers.

They're not like that. This was like a hooked nasty. It looked like a cling on weapon almost. And then, you know, the doctor's questioning Krell like this, you're going to use this. And he says, well, the simplest tool is the most effective oftentimes now. And so Krell's suggestion of what. to do. In essence, the doctor, you know, says, if you do this, this could kill the alien. And this is where the beginning of these ethical issues, you know, the ethical issues begin here. And Coral

keeps saying, well, what do you care about what happens to this alien? If we, whatever, whatever we do ends up saving Balana. That's, that is the mission. That's the overall goal is to. And then, you know, and then the doctor goes, what if, what if this individual, what if this alien life form is the, you know, no, he talks about how what if he is the, you know, the most important, what was his words? He said, what if he's Plato or what if he's that? He made comments about, you know, you don't know who this person is. He might be someone who contributes in a major way to his society, to his species. Yes. And then, and then Corel is like, this could also be a psychopathic murderer. You know, you don't know. that you have no clue so again this is the beginnings of the ethical issues in operating on this alien and possibly killing it and the doctor keeps saying look we've got to find another way where we can save both we don't want to just get rid of the alien and the alien dies and then balana's alive we want to keep them both alive if possible on the end of the scene krel starts to destabilize and this is when krell begins to fritz a little bit his program so the doctor calls harry to help and harry in turn asks

Tabor to assist. So now Harry and Tabor are in sickbay with Tom sort of watching them working. And after a few beats, everything gets worked out in terms of fixing the holographic image of Krell. And so as Krell comes back online, Tabor freaks out. I mean, freaks out. He goes, Krell Maset, he knows exactly who this is. he says that krell performed experiments on his grandfather and did all types of mass murderer yeah and then

we have to hold him is it you and i that hold him back kind of like no not here he just says he's a murderer yeah he just says yeah it just says that then they cut to the doctor and krell this is the end of the scene yeah and i wrote down here in this moment why didn't they cut to tom or harry there's no reaction from anyone when he has this big all of this news is huge. And the only people we see respond are the doctor in Krell, which I thought was a missed opportunity because, you know, Torres is in the room. She was awake earlier. She could have had a reaction. Even if it's just looks, I think it would have been satisfying to see more of the people react. Right. We miss that. Back into sick day, Tabor is furious. Paris has to grab him and

pull him back. Right. And I made a note, you know, when you and I or any of our series regulars, have to do this kind of like grappling and struggling. We've built up, like, we just know each other and we know how to do it. As I watched this, I was like, oh, it looks like this actor was really going for it. Because we don't know each other, there's not that built up trust of this is going to be safe. It's always tricky doing these scenes where people are getting really physical because some actors are kind of method-y and are not necessarily controlling

their flopping around. That was the moment when I watched it, I was like, I could see myself going, oh, this guy's acting like method. Like, it's real. Like, he's into it. Yeah, you might get hit for sure. Yes.

And it's just pretend, people. Just so, you know, I don't want to get hurt, play and pretend. Okay. So now we jump to Chikote's office slash quarters. Tabor is now giving us all this exposition about what Krell did. Every single one of Krell's questionable actions against the Bajorans. And it's a long list.

It's a really long list. And he's so passionate and upset right now. And understandably, I mean, he was a kid when he saw this. Well, it was just horrible, you know, exposed to radiation. Blinding some of them, depriving them of being able to see for the rest of their lives, exposing others to polytronic acid. It was horrible, horrible experiments. Go to Sick Bay and Balana will not let Krell operate on me.

Yeah, nowhere near her. She doesn't want to benefit, she says, from other people's tragedies. And she's really upset. The doctor comes in. The first thing he says is, Mr. Paris, did you say something to upset her? What did you say? Why are you blaming it on me? Like, no.

It's the, it's Krell. It's you, doctor. not me. I'm not the problem here. Anyway, she's upset. She goes into shock, cytoplasmic shock, they say. Yeah. Cytotoxic. You have cytotoxic? I have cytoplasmic shock. Okay. Let's go with that too. Let's go with both. She goes into all the shocks. She goes into shock. And then we cut to engineering. And Harry says, well, Harry and Seven are researching Krell in engineers. Yes, they found out it all of his crimes. Yeah. And he actually spread the virus. He wasn't trying to find he was, yeah, it was, they can prove that he purchased the virus that through the logs of the, yeah, they find that he got the virus, but that he didn't get the antidote or the enzymes that he needed enzymes that he would need to control it.

And so clearly he was getting it to spread the thing on purpose. And he had, it's, it seems to prove that he has no regard for for the others lives. No. And seven makes a comment here. she says it's interesting because he and the board are the same with no regard for others' lives yet we are the bad guys which was an interesting it's an interesting comment definitely

we jumped to the holographic Krell lab and the doctor is now confronting Krell and you know Krell's response is look I'm only a hologram I have no memory of the Bajoran experiments so he's just like you know look I you can't

keep, you know, you can't blame this on me or you can't get upset with me about this. He also says, you know, your ethics are arbitrary because you did, your people have done animal experiments. Yes, correct. He starts to bring in that kind of stuff. Like, why is it any different that you're experimenting on animals? And it wasn't that long. And higher life forms and higher life forms. Delineation between them. Yeah. Again, oneers go galore here. I made a note in this scene there's uh it jumped out at me that there's moments where actors are turned away from the other character yeah sort of talking towards the camera right and i was like that's it can be powerful sometimes to have those moments but there's a lot of that a lot of like talking you know

with your back to the other character and again you know i think a lot of that was done for camera and shots not necessarily the most realistic or authentic way of communicating in a scene. But those actors made it work. I think David Lewis and had the right actors with Dave Clennon and Bob Picardo to do that sort of dance. And your eye is, you know, as a director, it's trained to see certain things. And although, you know, you were just mentioning it, it can be a little bit awkward where one actor's looking out and towards camera and not at the other actor. But sometimes it can be very powerful. Yeah, it can be powerful. But my point being is that of all these oneers, and throughout this entire episode,

nothing was awkward to me. Like, I felt like it still, it didn't stand out. I didn't question anything. I just felt that he did it fairly smoothly. He did it very smoothly. Yeah. I think it was the fact, as I said, before we started, it was the pattern. It was the fact that it became a pattern.

Then I started going, oh, we're doing this again. And again. And again. And all of them were on their own. I felt like really well done. but when you started to see it as a pattern for the episode, that's when it sort of took me out of, oh, or doing this more arbitrarily

because that's sort of the goal or priority as opposed to each individual scene, maybe photographed or stage a little differently, unique to its story, unique to what is happening there. It sort of became a pattern. Just like I said before, sometimes actors can fall into patterns

that they don't break their pattern because maybe the scene should be played a little more internally or a little, you know, whatever the pattern is. Yeah. Like I'm curious to see in the episodes after this, if Tom Paris does this more. Finger acting. Is that a pattern? Is that a pattern? Could be a pattern.

Could be. So now, you know, there's that huge discussion between the doctor and Krell. Then we jump to Chakotay's quarters and Tabor is at the door and he comes in and he basically says, I'm done. I just like to resign my commission. I quit. You know, I don't, I don't want to be any part of any organization that utilizes any help from this guy that basically murdered my grandfather. No thanks. I got a question, though, is this Chacote's quarters or is it like his office? Because he's got a desk and all that stuff. So I thought maybe this is the beginning you walk in and the first room you see is the office, then his quarters is off to the side. Or maybe he has his own office. I don't know, because there's

red lights everywhere. And I, I titled this location Club Chocote because Club Tuvac had the kind of purple lights. Purpleish lights and then. Yeah, Club Chacote has red. And I just made a note that Janeway doesn't have any disco club lights in her in her office. So I don't know why Club Chacote gets an office with lights. But, you know, I think, I think Janeway had a really bad experience clubbing when she was young. That must have been it. She's just anti-club now. She's not into it.

That's all. Yeah. We go to the briefing room next doctor. Oh, heated debate. Oh, my gosh. Very heated debate. The doctor wants to use the research. Paris agrees.

Paris is arguing, again, handheld in this scene, not a steady cam scene, but a lot of, it's not a oneer, but a lot of movement. Yes. A lot of very emotional acting. I was really happy with what I did. I think you did a great job in the scene. You were definitely focused and you were on point and I believed you. Oh, nice. Yeah. And Chacote and Paris kind of go nose to nose at one point. Even Janeway gets very emotional. She does. She gets. Yeah. And she basically says, we're going to continue to

use this for now. And everyone's dismissed. And I like the moment at the end when Paris walks around and just stops, walks up into that close up with her and says thanks. Yeah, that was a nice shot. That's a nice moment. Nice shot. It was well staged. We finished this part of the show, cutting back to the holographic lab,

and we see them preparing to do this procedure, and you see the scalpel tool. You know what I may? I had a moment where there's a movie called Dead Ringer, it's a David Cronenberg film. Oh. That is just horrific. Oh, with the crazy tools.

Yes. This is the moment I was like, weren't they wearing, instead of scrubs that are green, they had red scrubs on in this movie? Yeah, it was very freaky, man. Very stylized. That's how I felt in this moment as they, you know, got ready for this procedure.

Yes, yes. Getting their tools ready. I'm like, oh, this is going to be a torture moment. Anyway, we go back to the bridge and a screech comes through. And I see Kate Mulgrew jump when the screech happens. And I thought that was very realistic. She really did a good reaction to that horrible screech. Harry says the vessel is approaching.

And Janeway tries to talk to them and say that, you know, we've got one of your people here. He's been injured. Another screech interrupt. She jumps again. It was great, great reaction. You know, it would be really cool if, like, Neelich showed up on the bridge and said, hey, I speak cytoplasmic life form.

And he starts going, and then speaks, you know, whatever. would have been nice. Yeah, yeah. It would have been, that was like when Neelix did the talking to the people with gestures and all the, all them, I loved that. I see, I was hilarious. All the aspiring actors out there, that's the only time you can hand gesture. If you're an alien who communicates with your hands. Movement. Yes. Yes, that was very good. All right. I feel like I would love to bring that into Resident Alien. I should pitch to, I should pitch to Alan Tudick, like, At some point, he should speak, you know, to an alien or something with movement and gesture.

Alan would be so funny doing that. It would be. Oh, my goodness. We go back to the hollow lab. And Torres has now been moved into this holographic lab. And they're getting ready to perform this procedure. And Krell is leading the way here. And he's opened the alien's body and is applying these shocks with a cortical body.

probe to stimulate it. And it's, and it's very, you see this thing like shaking and the doctor is, is really against it. The doctor finally can't take it anymore. He intervenes because he says lower the frequency, lower the frequency. He finally does. He says, I'll take you offline if you don't listen to me. So, um, well, he actually says, he fights for, he says, instead of the primary node, let's, let's move this device to the secondary node. Yeah, he has an idea. This is why we can, we can, we can save the alien life farm as well. We don't have to kill it. And so that's what happens.

A much less painful approach and they can save both of them. So the doctor is very smart and makes a really smart move here. We go back to the bridge. Now our power is down. Yeah. Because the aliens in trying to rescue their crew member have sort of drained our power. Right. Which is kind of symbolic of the way the lizard jumped on Torres and sort of drained her.

Yeah, it is. And it's weird because the alien ship, it threw a tractor beam on us. So the tractor beam is draining our power. So it was a tractor beam slash power draining beam at the same time, which I thought, wow, that's interesting. That's kind of their move. They sort of drain. They're kind of parasite, giant parasites.

We go back to the hollow lab, the procedure is happening. The lizard is dying. Did you just call it a lizard? Yeah, yeah, a little lizard guy. I would say a centipede, but okay. Yeah, let's go with that. Insect and lizard. Hey, how about a lizard and centipede together?

Elizabeth. Elizabeth. Thank you. Elizabethed is dying. Doctor says we got to substitute something for the metabolic energy that it was using from Bolana. And finally, they do. They detach this thing with their procedure and the doc smart moves.

The doctor is able to restore its metabolism. And they beam it right over to the ship. Right. And they beam this alien. They've detached it. And then on the bridge, we hear, screech again and Janeway in a close-up looks at him and goes, you're welcome. Welcome. She doesn't know what they said. She's assuming they said thanks. Maybe they said,

screw you. Why did you torture our buddy? You're welcome. Maybe that's what she said you're welcome about. Why did you torture our buddy? You're welcome. I just think it's funny that you're right. when she says you're welcome what if the aliens were like wait a minute you've been you know our language this whole time you understood us you understand cytoplasmic communication uh very funny you're welcome okay so now we go to uh the captain's ready room yeah and it's janeway and the doctor talking and janeway informs the doctor that balana's temper has recovered which very funny uh that she is furious about using uh the hollow doctor and jane we ask, you know, should we delete this program? And she ultimately says, doctor, this is your

decision to make. You're the chief medical officer. You're going to have to decide whether we keep this doctor around or not. So yeah, next we go to Bala's quarters. Janeway enters and there's incense burning. Yes. Which I've never, have we ever seen an incense? Maybe in Tuvok. In two bucks. At Club Tuvok, we have, but we have not seen it in Club. I've never seen. club alana have incense but she's got it going on she also i made a note she's got three pads in her hand he's literally holding three pads multitasking what what occurred to me so you know i work in canada right now i have a canadian phone right and you have a u.s phone but i actually have two u.s phones because my old u.s i got a new phone and some of myself is still in my own so i have had moments where

I've literally had three phones in my hand. People tease me at work. They're like, yeah. How many phones? Where's Robbie's phones? And I was like, oh, Balana's trying to copy me in my Canadian phone situation with her three pads. And then we walks in with the incense and Balana says, yes, it's a relaxant and it expels demons. It's an ancient Klingon remedy.

Which I love that she's sort of, she's sort of embracing her Klingon side. She is. Embracing her culture and her heritage. And she's, she's really mad. And the captain says losing you is unacceptable. And the captain, I had to make a decision. And I love Bologna's line where she says, you know, Captain, you can't order someone to get rid of an emotion. Yes.

I love that line. Yeah, she's snappy. Snappy Torres. Yeah. And then the captain turns to leave. And I noticed as Kate turned and headed towards the door, she hesitated a second and then the door opened. And it just reminded me of all the times. we would walk toward a door, to a door, and it would either not open, we, you know, in theory,

that's supposed to open and we just- Now, you just said all the times, it's, let's be, let's be precise, it's not that often, but it was rare. Usually, Will Tom's did the doors. Yes. He was phenomenal. Yes. Sometimes, and I feel like I caught it where she turns and then it opens and then she went, yeah, just a hair. Yeah. But also, you remember, sometimes we'd have to do a takeover because the doors would shut and they would bounce. Yes. They had sort of like a rubber gasket or something. And so if Will pulled them too hard, they would bounce off of each other and they didn't

with that. And we couldn't catch the bounce on camera. No, no. Because then it would go, it would go, do that, but it didn't do that. So we would have to redo that. Go back to the Holo Lab. And I didn't notice back here that it was the shot started on a cart or something and then tilted up as the doctor comes in.

And I noticed the carpet for the first time. And then I thought, oh, every spaceship in the Delta Quadrant has carpet. Because all these sets had carpet for sound to make it a little less echoy and a little better sound quality. Krell wants to listen to opera like they had discussed. But he asks, are you still wrestling with your ethical subroutines? I thought it was a good line. Yeah, the doctor tells Krell that the captain left the decision up to him. right and uh he cannot in good conscience continue to make use of it anymore and i noticed

that bob was reading off of a pad as if he had written this down i'm sure that you know it was like the doctor had to make his notes and he wanted to come in and read what he read but it reminded me when we had pads and we were supposed to be reading off of them it was never the thing on the pad that we were supposed to be reading they never put that on the pad so you always had to ignore what was really on the pad and remember what you were doing it was harder it was like doubly hard it's harder but i do think that depending on where the camera was we could have written it down on paper and just pasted it with tape on there that's true that's true that's saying i do recall maybe that might have happened uh with a actor or two and during the seven

years it might have happened so yeah maybe he did that because it did look like he was reading something and as if the doctor had prepared the speech and he was going to read it out loud. Correct. But I didn't know if he was really, you know, normally that's never printed on that. Yeah, no, the standard pad that we have is just some other gibberish that's printed on that thing.

It has nothing to do with the lines. Exactly. Yeah, so Krell gets angry at this. He reminds the doctor that these techniques that he finds so disgusting are the things that save Torres. That's right. And he says, you're going to need me again. Yeah.

going to be some new unknown life form or challenge ahead that I'll be vital to you guys surviving. The doctor says his doctor's oath says first do no harm, which was in my limerick, by the way. Thanks for the reminder. Yes. Okay. And the doctor ultimately orders the computer to delete Krell. Yeah. And his eyes go wide. And just before he can say anything, he's deleted and the whole thing is deleted. So we have this nice cool transition on the holodeck where you see the whole set and the whole everything disappear. And he walks out and kind of a crane shot as we go up.

He heads back to back to life on the ship. But it's a bookend scene. It's a bookend scene. The first scene is in the holodeck, right? And the last scene is in the holodeck. Exactly. The bare holodeck where you can see all the mechanisms behind the holodeck. All right. So what is your rating of this episode, which was written so well by Jerry Taylor,

great lines in this episode. What are you going to give it? I'm going to give this a seven out of ten. It was really well acted. It was really well written. The reason that I go, I feel like there were a couple of things. Fundamentally, I think this alien looked bad. this lit this what did we call it again lizapede yeah elizapede the lizapede just didn't look very cool to me it looked like and so i constantly was like the the fundamental jeopardy of this episode hinges on this creature being so exotic and unexplainable and it looks it just fundamentally looked like rubber so yeah yeah so okay that was one of the reasons and then there was a couple other things like breaking through the force field which led to this whole problem i just never explained i don't

understand it yeah the giant shaking i don't know there was a few things that took it down a notch for me but i think at its core it's a good episode i'm going to give it a seven okay i yeah i'm going to give it a seven point two me so similar to yours i give it a point two because i really like jerry taylor script. I felt that it was a strong script well written. So I'm going to give it a little bit more. Nice. All right. What do we have as our consensus for our consensus? So our admirals

and captains on Patreon who participated in all kinds of things with us. They're now voting. We have an average score for this episode from our captains and our admirals. Great. And the score on average from them

they give this episode a 7.7.7 six, seven point six. So we were pretty close. We're pretty close. So if we were on the price is right, I would have, I would have won that showcase. I would have walked out. Yes, you would have, yeah, you were two points higher than me. Yes. Point two. Point two higher than you closer to point six. Okay. What do you think the theme is for you in this? My theme for me, I would say it has to do with when when Krell was talking about how his hospital, his civilian hospital didn't have all the resources that the military hospital had and that he truly had to

adapt. And I think also the doctor had to adapt in how to treat Balana because he had no clue. So that is really my lesson from this episode is that when, you know, when you are faced against a problem which seems insurmountable, you have to learn how to adapt some way, somehow. You have to turn into MacGyver and get it done. Get it done. Interesting. My theme was to never forget that we are benefiting from situations where people have suffered in the past, whether it's, you know, vaccines, whether it's medicine, whether it's just the comfort of heating and air conditioning, refrigeration, like people didn't have that and suffered and many people died in those situations. And the solutions we have now are based on because people

had suffered, you know, hardship, pain, illness, whatever it was before. And just to sort of honor that, that there was suffering and having gratitude for what we have now and maybe learning the lesson of some of that suffering was accidental in the past and we learned from it. Sometimes it was intentional suffering that we had to learn from. And so moving forward to learn and do better, be grateful and do better. All right. That's all. That's great thing.

Thank you, everyone, for joining us for our discussion of nothing human. Join us next week when Robbie and I will be talking about the episode 30 days. 30 days. Oh. Ooh. I like the title. 30 days. Yeah.

All right. See you next week. Thanks, everybody. See you next week. Thank you. We're going to be Burted. Burt

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

B, B, B, B, B. I'm going to be able to be.