The Delta Flyers - The 37's

Episode Date: August 17, 2020

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 The 37's. Garrett and Robbie recap and discuss the episode, and share their insight as series regulars.The 37's:The Voyager lands on a planet where an old Earth aircraft contains people in cryogenic units, including Amelia Earhart.We want to thank everyone who makes this podcast possible, starting with our Executive producers Megan Elise, and Rebecca Jayne, 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, Stephen Smith, Eve Mercer, Sarah A Gubbins, Ann Marie Segal, Jason M Okun, Marie Burgoyne, Jason Self, Daniel Adam, Chris Knapp, Michelle Zamanian, Matthew Gravens, Brian Barrow, Mary Jac Greer, Megan Hurwitt, James Zugg, Mike Gu, and Shannyn BourkeAnd our Producers  Chris Tribuzio, Jim Guckin, Peter Patch, Steph Dawe Holland, James Amey, Katherine Hedrick, Liz Scott, Deborah Schander, Eleanor Lamb, Thomas Melfi, Breana Harris, Richard Banaski, Eve England, Father Andrew Kinstetter, Ann Harding, Gay Kleven-Lundstrom, Gregory Kinstetter, Laura Swanson, Máia W, Charity Ponton, Josh Johnson, Chloe E, Kathleen Baxter, Katie Johnson, Craig Sweaton, Maggie Moore, Ryan Hammond, Nathanial Moon, Warren Stine, York Lee, Mike Schaible, Kelley Smelser, Dave Grad, AJ Provance, Captain Nancy Stout, Katherine Puterbaugh, Claire Deans, Utopia Science Fiction Magazine, Matthew Cutler, Crystal Komenda, Barbara Beck, Mary O'Neal, Aithne Loeblich, Col Ord, Captain Jeremiah Brown, Heidi Mclellan, Rich Gross, Dat Cao, Cody Crockett, Stephen Riegner, Debra Defelice, Oliver Campbell, Selina Zhong, Anna Post, Evette Rowley, Robert Hess, Cindy Ring, Nathan Butler, Terry Lee Hammons, and Andrei Dunca. 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. We are a weekly podcast that discusses episodes of Star Trek Voyager in chronological order. Your two hosts along this podcast journey are myself, Garrett Wong, aka Ensign Harry Kim, and Robert Duncan McNeil, who portrayed Lieutenant Tom Paris. Yes, ma'am. If you're interested in either an extended version of this podcast or the extended video version of this podcast, both of which include added bonus funny segments, check out our Patreon page at patreon.com forward slash the Delta Flyers

and sign up today to become a patron. Robbie, you are rambunctious today. I am a little rambunctious. Funny content, you say. Funny content. Funny. Yes. Yes.

let's do funny today it's season two yes we're into season two so exciting yes it is 30 yes the episode is called the 37s which by the way just a reminder to everybody so we filmed um i want to say 20 21 or 22 episodes and they decided to stop season one at 17 and save some of our episodes so this episode the 37s we filmed in the first season and then we aired it in the second season. So it's a very, it's a little bit of a confusing situation. And so that is, is something that we talked about that we kind of got ripped off a little bit because we should have been paid a little bit more for second season episodes. Season two raise, but we didn't. Yeah, we did that. Yeah. And it was, I mean, it wasn't that

much of a raise. It was like a 10% bump, I think, is what it was, you know? So, you know, a little bit of a raise. But it was also, like, story-wise, I think it was confused. I mean, for me, going back on this rewatch, it's been very informative and frustrating to look back at, like, why did they stop at 17 or 16? Like, why did they stop at Learning Curve? Because it was never intended to be our season finale. And the 37s was building towards the season finale that we never actually aired. So it was a very, it was a very confusing first season. And I felt that in watching, you know, re-watching some of those episodes, I felt like, why are we, we're kind of fizzling out here in our last couple episodes in a way that seems odd.

And it's because those were never intended to be the final episodes of our season. They were intended to be long before our final episodes. So 37s was intended to be building towards our finale and it ended up being our season premiere of season two. do you think we could actually find out which episode was the actual last episode for of the season one episode that we filmed you know what i'm saying like you're saying that it could because like you're saying it was around 21 or 22 so that means really it could it could be season two episode four episode five it'd be interesting if we could find out the exact final final maybe mary howard would know this um or brad yocobian we could contact those guys and

the producers on the show that should have that information hopefully yeah i mean i as i look back on it it's interesting to to try to figure out because just from looking at episode uh one the 37s of season two that was definitely shot in season one initiations episode two of season two was shot in season one, projections, episode three, not, I can't remember. I'd have to go back. I feel like it was almost episode six, twisted. Was the finale? Might have been the finale or non sequitur, which was episode five. But, but yeah, let's do our due diligence. We'll figure this out. I mean, we'll find out from somebody at something. Yeah, because we definitely shot a lot more episode in season one than aired and then used some of those.

episodes in season two yeah gotcha okay all right so for our patreon patrons we're about to play a game of what do we remember and for everybody else listening to this podcast Robbie and I are gonna take a quick break to rewatch the 37s and we will be right back with our discussion and analysis hey guys we are back from our rewatch of the 37s and we are ready to begin our discussion Yes, we are. Season two. Here we go. Season two. So exciting. All right. So here's my thoughts about season two starter. We're on a role of very mediocre episodes. I'm just, I'm like, I was my memory when we were doing the, what do you remember? I was like, oh, it's a big episode. I remember Sharon Lawrence. And I forgot John Rubenstein was in this episode. John Rubinstein is a legend.

Like, by the way, his, have you seen that man's resume? That is a long, long resume. When I started as a teenager, as an actor, one of my favorite theater pieces was Pippin, the musical Pippin. He was the lead. He was Pippin. He played Pippin. And by the way, I've directed John Rubinstein in the Orville. I forgot he was in this episode.

Yeah. But, yeah, John Rubinstein, a phenomenal. phenomenal actor, a legend. Yep. And just so everyone knows, John Rubenstein plays John Evansville, the leader of the humans that are on this planet, right? So he won an award

for Pippin in 1972. That was directed by Bob Fossey. And in 1980, he won a Tony for Children of a Lesser God, the stage production of that. And if you look at this man's resume, literally, it's longer than how tall I am, basically. No, he's, John

Rubinstein is a legend. and he is an actor's actor. He has survived a career of so many different kinds of characters and in different venues in television and film and theater. I had forgotten he was in this episode, and he's one of those actors that will show up and do his job without fancy credits or anything. And that's one reason I've forgotten he was in this.

He just shows up and he does his work and he's phenomenal. Did you remember having an interaction with him while filming this episode? No, I don't talk to him. I don't think so. I don't think I was in, I don't recall being in any scenes with him. Okay. And in fact, when I directed him in Orville a couple of years ago, I wish I had remembered that because he played a very important role in an episode of the Orville that I directed.

And I did not make the connection and neither did he. So we spent a couple of weeks together on the Orville and neither one. One of us made the connection that we had worked together. That's funny. Well, you did share some screen time with him on this episode. He comes onto the bridge towards the end. Yeah. That's it.

It's a very quick scene. Very brief. But since you brought him up, let's talk about some of the other guest stars on this episode. There is an Asian American gentleman, a veteran Asian American actor of stage film and TV, Mr. James Saito, who's been around for quite a long time. Yeah. Very nice, nice guy. We had some conversations on the set while filming this. this. Very soft-spoken, very nice. Mel Winkler, who plays Jack Hayes, the farmer, the owner of that

pickup truck, basically. He actually passed away June 11th of this year. So we're talking about, very sad to hear. I think it was of natural causes in his sleep. But Mel Winkler, rest in peace, he just recently passed away. It's very recognizable face, very familiar face. And I thought he was wonderful. I thought all the guest stars were wonderful. Sharon Lawrence got a special credit playing Amelia Earhart in this episode. My memory was that she had a much larger role as I watched the episode. I was like, oh, she didn't really do that much. I mean, she had one big scene with Janeway, but otherwise she was kind of part of the team. Yeah, she was. I, you know, my memories of Sharon were when she came on to that bridge. Kate was during rehearsal and I think

there was this, it was this really interesting energy. It was this, it was this energy of this mutual admiration between two, two actresses that were, you know, playing very iconic roles. I mean, Kate obviously played the first female captain and then Sharon playing the first female pilot from that era. They were admiring each other is what it was. It was really, I think also, I know Sharon comes from the theater. Kate, I think, admired her resume. Again, because we didn't film. this episode as a season premiere, I did remember it. Honestly, my my takeaway was, my memory of this episode was that it was a much bigger episode than when I watched it. It was kind of a regular episode, except for the ship landing on a planet for the first time. Other than that, there was

nothing particularly special or different or, you know, season premiere or finale worthy of this episode it was honestly mediocre in my opinion well okay but better than the last two episodes of season one i would say yes i would say it was better and it started out better from the get-go because it involved the entire crew of our of our ship you know everyone was involved from the get-go and that was something that's been missing the last couple episodes so um for those that are listening we should recap. So we are, you know, voyaging along in the Delta Quadrant and we pick up some iron, I think it is. We pick up some sensor readings of iron and everyone is shocked by that because it seems out of place in the Delta Quadrant. We haven't seen those elements before and they find a

truck floating in space from the 1930s and they decide to land the ship on the planet. And they land and find some cryostasis chambers with some, a number of people from the 1930s on Earth who have been abducted. One of them is Amelia Earhart. They realized that these people were abducted and by some aliens and that there was a rebellion from these abductees. And a whole new kind of earth started on this planet. Voyager's crew has to decide whether they're going to stay here with these humans on this. on this kind of new emerging human planet. And ultimately, the crew is offered the choice to stay or go,

and no one chooses to stay. That's a good synopsis. Thank you. I didn't write a short poem for this episode, so I'll have to do it for the next one. Okay. A haiku or something? Yeah, the haiku.

I just realized, I forgot to write the poem for this, but that's okay. We can do it in the next one. Or maybe I can come up with it and just... Or you can just slam it right now. we can slam poetry, you know. Amelia Earhart on a planet. Voyager arrives.

What are they going to do, damn it? Will they stay or will they go? You'll have to watch because I don't know. How's that for a poem? Hey, I like the ending, though. It was a good thing. Oh, I forgot one of the other guest stars we didn't talk about was Fred Noonan, played by David Graff.

David Graff is obviously very visible or at least recognizable from the Police Academy movie series. Yes. And he played Tackleberry in there. And I remember being totally shocked to hear about his passing because he passed away in April of 2001. So this is probably towards the very ending of filming of Voyager that it was announced that he passed away. While he was attending a wedding with his family in Phoenix, Arizona, he was at the way. wedding when he had a heart attack. So very sad because he was nine days away from his 51th birthday. Wow. Young man. Yeah, and I'm 51 now. So I'm sitting here going, man, life can be very short.

You just don't know what's going to happen tomorrow. Make sure you live every day. That's an amazing. Yeah, that's an amazing thing about this podcast we're doing, Garrett, is like going back and rewatching and recognizing some of the, the colleagues that we're doing. we worked with the actors and the people that were involved in Voyager who have passed away. You know, we talk about some of them, some come to mind Cosmo Genovese, our script supervisor, just passed away last year. And Cosmo was our, he was on set with us. The script supervisor works with the actors to make sure we know our lines.

And so the actors deal with the script supervisor quite intimately on a regular basis. and Cosmo was a great old school script supervisor who I don't think we've talked about on this podcast, but he passed away last year. And I stayed in touch with Cosmo. And I would FaceTime and send text messages and text videos to Cosmo over the years. I stayed in touch with him all the way to the end. I had no idea that you had that much contact with Cosmo. Yeah. That's crazy. Well, it was really because of the reason I stayed in touch with Cosmo or script supervisor was because of our stunt coordinator, Dennis Matalone. Dennis would go physically visit Cosmo there at the Motion Picture Home, and he would

send me, I don't know why, he sent me some texts, and we started communicating back and forth, and so I stayed in touch with Cosmo through Dennis' visits and I feel really blessed and honored that I was able to kind of stay in touch with him. near the end of his life and he lived till his late 90s and um and was uh was a wonderful part of our star trek family so yeah this podcast has really uh reminded me of how fast time flies and how lucky we are to have had that opportunity those seven years of that show with such wonderful people so yeah and i would have thought that that cosmo would have passed away earlier because i remember on voyager he was already so old.

At that point, I was like, you know, and he really outlived some other people who were younger than him that passed away in the crew. Like Jerry Fleck, our wonderful first assistant director, we had two of them. We had Jerry and we had, I've already blanked the other person's name out of my head.

Adele, yes, the incompetent one. I'm going to say that right now, the incompetent one. We had one really, really competent person, which was Jerry Fleck, and one not very competent person, Well, I would say that Jerry Fleck was a very seasoned veteran and certainly a reliable and stable personality on the Star Trek family. I think Adele was a she was not quite as experienced as Jerry Fleck and sometimes for us as actors, the first ADs were to rely on for organization and reliability and sometimes production is just not reliable.

And so Adele was much more affected by the ups and down. of production, Jerry was, Jerry was able to keep a steady hand in spite of the challenges. But we really relied on Jerry. And I was there on Enterprise, the series Enterprise. I was directing when Jerry passed away. So I was there with the St. Trump family when he passed away. And we actually shut down. The day that Jerry Fleck passed away, the first AD, we did not film that day. Scott Macula and Mary Howard, myself, we all decided that the crew was so affected by Jerry's passing on Enterprise that we decided not to film. And by the way, when Gene Roddenberry passed away, they paused but continued filming

that day. When Jerry Fleck passed away, they stopped filming. They stopped. So it's a different kind of relationship the actors and the crew have with the onset, the front lines people. And people like David Graff, you know, to get back to this this episode, David Graf, you know, an actor in our, in our episode. And I didn't know that he had passed away so young and so long ago, but sad to hear. Can I elaborate a little bit more? I'm a very blood person, and I come out and I say what I want to say, right? And so when I say something about Adele not being competent, I need to elaborate and be very specific about this. So I don't seem like I'm just slinging mud through the, you know, through the universe. One of the principal

jobs for a first AD is literally to schedule the day, okay? They're sort of the ones that have to get in contact with us, the actors, to tell us, okay, since you're filming, you're not in the first half of the filming of this particular shooting day, but in the second half, we're not sure exactly what time, but so we will call you, it's called it, we'll notify it, like we'll notify at 1 p.m. We'll call you at 1 p.m. to tell you what time to come in later, okay? And so then they'll say at 1 p.m. They're like, hey, you know, we're running behind. So come in at 4 p.m.

That's your hair and makeup call. Whenever Jerry Fleck gave us a call time after a will notify or any call time that's on a call sheet, it was always almost dead on in terms of the correct, the right time to call us in. With Adele, she'd say, okay, I'm going to bring you in at 2 p.m. And there are so many times that I would come in after what Adele told me to the time. that I was supposed to be there, and I would not see any action until six, seven, eight hours later, and that would infuriate me because she could never get that timing right, okay?

Yeah, she was always airing. Adele would often air, because she was less experienced, I think Adele would air on, let's get them there hours early, and Jerry was much more respectful of actors, you know, human beings' lives, and he would try to be precise about his time. So, that's true. Okay, but she wasn't a newbie. She worked on other shows before this. So my feeling is, you know, this is your job.

Do it, do it the best that you can. And I think that the way she did it really inconvenienced our lives, our schedules, everything. At some point later in this, I'm going to be talking a little bit more about the fateful day where I got in trouble with production. Oh, let's get to that. And a lot of it has to do with, not on this episode. We are not doing it on this episode. So when I get to it, I'm going to set a lot of things straight because there's all types of rumors out there that they only that they were planning on firing me because of all these things I had done on the set. And the only thing that saved me was that I was on People Magazine's 50 Most Beautiful People Issue.

And so they decided to fire Kess and stuff. There's all these type of crappy rumors out there that are not true. And I'm going to set this straight on this podcast when we get to the time that I'm excited for that. I'm looking forward to that episode. I don't know when it is, but I'm excited. All right, let's get back to the 37. Let's get back to it. So we find that pickup truck in the middle of space.

It's just floating in space. So what exactly happened is my question. So the brieri, did the brieri capture, do they beam up everybody? And then maybe that one ship that was heading back to this planet that they're now on had some issues where they were like, okay, we've got too much weight. We're malfunctioning.

We've got to ditch some weight. Let's get rid of the human. It's very strange why that's floating. It makes no logical sense. Because obviously the priority didn't sort of make that truck into some type of spaceship and try to launch into space themselves. That thing is just floating in space. Now, we've bebed it into the cargo hole.

And as we see everyone walking around it, I was trying to make out, I was pausing and then re-ponding reposing back and forth to see the license plate. I think it says Ohio. I think it says Ohio. It's kind of, it's tough because it says Ford. It says truck on there, but I think Ohio is also. Okay.

I want to say that Tom Paris came in 26 seconds into this episode. So I knew it was going to be a good episode. You knew. Yeah, I was like, okay, Tom Paris is, you know, the last episode, I think he was like 38 or 39 minutes. Minutes, yeah, which is literally almost the end of. the episode. Yeah, this was 36 seconds. I paused it. I was like, yes. No, I'm sorry, 26. I made a note. 26 seconds. So it's, I thought it was going to be a really good episode. That's all I got to say there.

I just want to share this with you. Yeah, remember I brought this up yesterday the other day when we were filming the last episode we did? And I said that someone had sent in this little YouTube video showing screen time and it's a bar chart and it just keeps moving around. I didn't tell you that a lot of it, Paris, was near the bottom. I know. I'm not surprised. I'm not surprised. Honestly.

I mean, I felt like he, you know, he was not around for a lot. They didn't know what to do with Tom Parrott. And this is the beginning. I love that this was the beginning of this idea of his 20th century knowledge when he was into the truck and he's walking around the truck. And he's like, he knew about gasoline power. Antique vehicles are a hobby of mine. is what you say.

Yes, I was very happy that maybe now, finally, the first episode of season two, they figured out something that'll give them a spark of creativity of this character. Harry asked Tom, is this an early hover call? And then you say, you're about a century too early for that. So this is a 1936 Ford, and we're about a century too early. So we're talking about 2036, which is 16 years from now.

So sometime from now until 2036. So in the next 16 years, we should have a hover card. Let's do it. Elon Musk. Elon Musk, get on this, my friend. This is the key. This is the key. You've got to follow this.

This is written by Jerry Taylor and Brennan Braga, directed by your favorite man, James El Conway. This is the first time that Jim Conway directs an episode of voice. Voyager. First one he directed of our show. He ended up directing the Enterprise pilot. So Jim Conway became a very important Star Trek director. I did a little research into Jimmy Conway.

He directed three TNGs, 70s9, four Voyagers, and four Enterprise episodes. He also served as an executive vice president of Spelling Television. So he was a studio exec too, yeah, from 96 to 2002. And in 2012, believe it or not, he began writing novels. He wrote a novel called Dead and Not So Buried, another one called Sexy Babe, and a third novel called Cold Blonde. So this is interesting because now, you know, later in his directing of Voyager, you had a little bit of a confrontation with Mr. Conway.

I did have a little confrontation. We'll get to that when we get to that episode. Yeah, we can do that. But it's over a reading of a book and he ends up writing a book. So I think this was kind of like, wow, you know, I mean, hmm, okay. And we'll get to that when we get to that, I suppose. Just like we'll get into my, see, we're giving like juicy teasers here to the fans. They're wondering, what was it about, you know, that happened with Garrett?

And what was the conflict with Robbie McNeil and James Conway? Yeah, I don't know if Jim Conway realized it was a conflict. I think it was more a grudge that I held about that moment, you know. I thought so, too. I was thinking about that. Yeah, it's probably more my grudge than his, but I felt a little bit. You know what it was, Robbie? He called you out.

He could have easily come up and just said something to you, but he called you out in front of the entire set in front of everybody, everybody, the crew, the actors, and it was basically, it was a third grade teacher talking to a student and kind of sternly. You know what I'm saying? And it's sort of like, I know you as who you are, you weren't a child at the time. You're a man. And to be spoken to as if you were a child is really just, you feel less than human.

Yeah, it was a moment. But we'll get to that in that episode. But I did always like Jim Conway. I still like Jim Conway. I think he's a very interesting creative person. I didn't know about all the novels. I know that Jim Conway has gone on to do a lot of first. photography, gallery photography, and he's sold photographs in galleries and things like that.

He directed also on the Orville. Jim Conway is, you know, is a colleague and a very talented director. He's very talented. He did a wonderful job with the Enterprise pilot, and this was his first episode of Voyager. So, yeah, this episode and how Jim directed. directed it, I think my memory was it was much bigger, like I said earlier. In looking at it today, it wasn't as big or epic as I remember. Either directorially or from a writing standpoint or even from a story standpoint, it wasn't as

profound as I remember. My general memory was like, wow, that was going to be, that was one of our big episodes, a special episode. And it didn't seem as big as I remembered. Right. It was the first episode where we landed Voyager onto a planet surface. And so that was, you know, going to Blue Alert on the bridge. That was kind of a new thing. We'd never done that. You're the best pilot anyone can have, but you've never landed a ship, though. So you were a novice in that. So when Janeway says, put her down, Mr. Paris, you have no comment. Instead of going, yes, ma'am, you were kind of nervous inside. Yes. And then you had to do this thing for the very first time. Because of the very end of the show. When we're about to leave, she says all these things, Janeway says all these things to you. And you go, yes, ma'am. Like the confident, yes, ma'am is there because you know how to take off. Well, I think she even says when we finally land, when I land the ship and we're on the planet surface, she says, not bad for a beginner. So it was the first time. Yeah. And you did a great job because we didn't die. So you actually landed the ship. So we're very proud of you to do that

the first time. But that that look that Kim gives, when he looks up to say that he says it all. It's sort of Like, you don't, you've never landed this ship before or you don't know if a land a ship. It's kind of, you know. Yeah, that was a big deal. That was a big deal in terms of the writers and kind of making a choice to land the ship was a pretty, from a series standpoint, a big deal. I was disappointed. I didn't go with you guys to this location. Where did you film the exteriors of this?

Do you remember? Bronson Caves. It was Bronson. Wow. Yeah, it was Bronson. So we're not too far away. You didn't miss much. I mean, you've been there before.

I have a question for you, when you're in the truck and you're about to start it up and you're looking for the key, where did you find the key? Because it almost looked like you found the key in the ignition. Yeah, it looked like it was just sitting there. And then did you also notice that truck's all beat up, rusted, and those keys are brand spanking new. Did you notice that? If you look at the keys, they're completely, there's no rust on those keys. They were just, it's almost like those were keys that they'd,

just cut. They just cut those keys right before they filmed that particular scene. They're brand new. Yeah, there's no, there's no corrosion whatsoever. And there's a set of two. So you see one key that's in the ignition, the other one's dangling down, and there's no corrosion. It's completely, completely pristine. The truck backfires, right? You hear the backfiring when you're starting the truck. Now, this to me was really comical because in everybody, nobody knows what it is. Well, see, nobody should have, Janeway and Torres, they duck. Why are they ducking? They shouldn't have ducked.

This should just be a loud noise. You know, there should be just, we should be startled. But there shouldn't be this ducking thing, which is what we would do in the 20s. And Tuvok pulls out his phaser. He pulls out his phaser. Exactly. So everyone else is reacting as if they are living in 19, you know, 1990, right? They're doing this 1995 reaction.

I just want to bring up this little, just quick story. I remember watching on TV. They were televising like a high school championship football game. And at the end, there was like, I think there were some military people there. And they either did like a 21 gun salute or something at the very end of the game. But the players were on the field. And once all the rifles went off, every inner city kid hit the deck. Just hit the deck.

Whereas all the white suburban football players, they just kept standing. Because again, nurture nature. when you're raised in a suburban white neighborhood, you're not used to gunfire and you're not used to taking cover. But if you're raised in Watts or Compton, you're going to take cover when you hear gunshot because that's how you save your life. You know, you don't get hit by a stray bullet.

And so I just remember seeing that so clearly in my head watching that football game thinking, wow, look at the difference between... The difference in the context. Yes, the context. And it's the same thing. Why the hell would you, as a director, Why would Jim Conway tell Janeway and Torres, you guys got to duck? Like, you know, they're not going to know what that is going to sound like.

We don't have that type of thing. Yeah, it's funny. I thought it was a comical moment in a good way that everybody ducked. But I see your point. Yeah. To me, it was, I was like, I always, whenever on our show there's a funny moment or a lighthearted moment, I'm very relieved. I love seeing it. I love seeing the sense of humor from characters, from our own characters, from guest

stars in the last episode, Shell, that character, the blue guy. I thought it was hilarious. I wish we could have kept him around. I love seeing these comical moments. So to me, when that happened, the backfire happened, and Janeway ducked down and Tuvok pulls the phaser. I just went with it of like, oh, that's funny. That's funny. They don't know what a backfire is. They think it's a gunshot. But you're right. They wouldn't know a gunshot. Because, yeah, they're not familiar with it. When we go down on the planet and we can, come up upon Amelia Earhart's plane. I'm guessing that was her plane, you know.

It's very weathered except for one portion, the hub of the propeller, the very end of that little, the center part of the propeller. It's shiny. It's like, what is going on here? And it's like the keys from the pickup, super shiny. The end of that. So I feel these are things that, like, which team, which part of the production team should have been responsible for that?

would it be props set design then that would have been the art department so production yeah set okay art department set design yeah our onset decorating crew right would have been responsible for that yeah so they missed that kind of thing when you're like when I'm directing um even though there are departments that should think about all these things when you're out there actually about to roll camera that's when the director has to be looking at all of that okay you know not just the director but the ADs and the the script supervisor and everybody. And so when things like that happen, shiny keys or shiny propellers, it means that a number

of people just weren't paying attention to that. They were more focused on other things because. Okay. So there's basically, yeah, there's multiple fail safes beyond the set design, the property, I mean, the art department that should have caught that. The first AD should have saw that. The director should have saw that, right? Yeah, somebody should have said, hey, that's really shiny.

let's dull that down or put some work on it or something. Yeah, and that happens all the time on sets when you're doing a scene, you know, that somebody will, somebody will catch it. You hope that the director sees it or the script supervisor or the writer if they're on set or, you know, the art department, someone from props or somewhere on set decorating. There's a lot of people that should be looking at that, but they're looking at a thousand things. Yeah. You know, and sometimes they overlook, we overlook, I will overlook the most obvious.

And it's funny, when I'm directing a show, sometimes someone will come up and say, hey, you know, that propeller is really shiny. Do you want to dull that down? And I'll think like, God, of course. Now that you pointed out, it's totally obvious. But no one, because we're looking at a thousand things, you don't notice the one thing that's right in front of your face. Yeah. Okay.

Yeah. You know, this is century. later, she meets, Janeway meets Amelia Earhart and knows everything about her. And I was, it seemed strange to me. It just seemed convenient that she happened to know all of this. Right. Right. At least the way it was laid out in the script. Yeah. I also felt that the 37s, if they were so revered by the human descendants, why didn't they keep that glass enclosure clean? Like we find them He's got to rub all that dirt off. And I know, yeah, and I know the, you know, that Rubenstein talks, his character talks about,

we haven't been in there and generations inside there. I'm like, well, if you guys really sit here and worship these guys, why wouldn't you have maintenance crews come in there and upkeep that interior of that, you know, that chamber? I don't know. Yeah, I also felt like, you know, Janeway, before we open the doors, Janeway is like, well, should we do this? Should we not do this? And she's like, you know, if we really want to figure out a way to go home, you know, maybe we should.

And Tom Paris says, open it up. And I felt like there was, there was a moment of warp part. I could have had a warp particles moment with her. That was your word. Like, why didn't they have the back and forth with Janeway and Paris going, and what about this? And then this and then, yes, and open the doors. Wake them up. Like that.

Yeah. Yeah. Yeah. I kind of wanted a warp particles moment. that should be a do-over yeah that's yeah all right fine that's gonna be my do-over 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 yes you know what doesn't belong in everyone's epic summer plans though what getting burned by your old wireless bill so while

you're planning your beach trips and your barbecues and your three-day weekends your wireless bill should be the last thing holding you back. Well, that is why I made the switch to Mint Mobile. The coverage and speed are the same as I'm used to, but the savings, that is the difference. The savings are incredible, and now I'm saving all kinds of money for when my stepdaughter wants to go back to school shopping.

She's currently at the mall right now as we speak. Well, all the Mint Mobile plans come with high-speed data, unlimited talking tax, and they deliver the nation's largest 5G network. So this year, skip breaking a sweat and breaking the bank, get this new customer offer and your three-month unlimited wireless plan for just 15 bucks a month at mintmobile.com slash TDF. That's mintmobile.com slash TDF.

Up front payment of $45 required, equivalent to $15 a month. Limited time new customer offer for first three months only. Speeds may slow above 35 gigabytes on unlimited plan. Taxes and fees extra. See MintMobile for details. Do you remember when we're opening them up and then we have to grab the hypo sprays from Kess, right? So Kess, because we open up the door. We were going to wake them simultaneously.

So you walk first and Kess hands a hypo spray to you and you kind of look at her and you grab it. I don't even look at Kess or the hypo spray. It's like a no-look pass in the NBA. I'm like, I walk past and grab it. It is cool looking, but I also feel like maybe I was a victim of the repetitiveness of our industry, which is we filmed the same scene over, you know, over again.

I thought it was cool. I felt like we were like, You know, we were in sync there on a mission. Yeah, I bought that. I bought it. We were very teamy, especially when Noonan pulls out the gun, both you and I, boom, right? We had the phasers out in a second.

By the way, Noonan pulls out an old 20th century gun. That may not even work. That may not even work. We got six phasers on him, and somehow he's able to disarm all of us with these phasers, and we're just like, sure, we'll hand over our phasers that he would not even know. know what hidden. Exactly. That's the thing.

The speed of which we would have taken him out with that phaser would have been faster than his reaction time to pull the trigger to shoot jingling. You see what I'm saying? So we both agree on that. That was a little bit of a hole in the space. I did not buy that he disarmed us with the old revolver in his hand. Yeah. I didn't buy that either. That was kind of a bummer. Yeah.

Oh, and in this episode, when we wake them up, it's the first explanation of the universal translation. universal translator in our series, right? Because James Saito's character comes around and says, wait, you're all speaking Japanese and like that. Like, no, you're speaking English. And we realize it's the universal translator, which is built into our com badge. And that's something that is a given throughout all

of Star Trek series that a lot of people who watch Star Trek for the first time are always kind of scoffing at, like, well, how come that alien speaks English? And they kind of look down upon our stuff. And I think what's because you don't know about the universal translate, which is a convenient writer's, you know, tool to make sure that we speak English. How do you pronounce the word A-T-O-L-L? Sharon Lawrence, her character talks about looking to make a landing on the... A-Tol. Yes, I say A-Tol as well. She said A-Tol. Really? Yeah, she pronounced

an A-Tol, and I was like, what the heck? I thought it was A-Tol. Do you remember in our script? So, for those of you, if we haven't talked about this, we would get our scripts each week and there would be a pronunciation guide page early on in our script. You remember that? Yeah. That would have like the alien race and alien words and anything. Any techno babble. Any techno babble so that we were all speaking with the same pronunciation, pronunciation of any, you know, made up words. Right. So in the script, when you first turn the page, it has the title page of the script, you turn the page, it's got the character list, turn the page, it's got a set list. You turn the page and it's got a pronunciation page, which is not normal. Most shows do not have that. Most normal TV shows

don't have a pronunciation guide. And evidently, the pronunciation guide excluded Atoll. Yeah, it wasn't in there. And also it doesn't have sensors in there because Tim Russ's pronunciation of censors and our censor a little bit off too. But that was nice and interesting and unique that we had a pronunciation guy, that's correct. Yeah. I thought it was a really awkward love confession,

by the way, when... Oh, my God. When Noonin tells her. Noonan's in the sick bay. And he's like, I love you, I love you. I just wanted you to know. And then he's fine. And he's like, forget everything I said. I said that. He was very funny.

Oh, my God. I also noticed when I'm walking into the, the, uh, Miele's plane for the, for the first time to check out that, the signal, the SOS signal. Um, they, oh my God, the makeup, it was just packed on. I had so much makeup on my face. It's just, yeah, we, yeah, we used, um, you know, all, the makeup artist all used, uh, this pancake heavy makeup. And that day was, it was very heavy. I noticed. It just, I just looked like, uh, just way too much. I mean, I think there's a fine line between how much makeup you could put on an actress face and not look like makeup, right? Yeah.

You have to be a little bit, you have to judge. Chargerick was never known to be a subtle makeup or hair show, you know, the wigs, the buns of steel, all of that was pretty heavy-handed. Right. I did feel like it was a bummer that we sort of glossed over this series point where this, this revolt of the slaves, of the the 37s, the slave revolt that turned away the brieri, the race that had abducted them, they could have been an opportunity for us to get home. And we didn't really explore that much. It was like, well, you guys, you know, this revolt that you had turned away the brieri, but where are the brier? We need to find the brier because that's a way to get home. They objected to you guys.

Yes, they talked about the ship was completely destroyed that the brieri. already had, you know, that they were bailed against. So we don't know anything more about the brieri. And I felt my... We didn't go down that road at all. And I felt like for series, like Janeway should have been on that immediately of like, wait a minute, the brierie. Let's tell us everything you know about the brieri.

Where can we find them? You know, are they close by? Is there any way that we can contact them? Any of that because that would have gotten us home. But instead we sort of focused on this, oh, there's humans on this planet. Should we just give up our, our, you know, attempt to go home and just settle here. That became the focus. We didn't deal with the fact that we had an opportunity, a connection, if we had done the work to try to contact the briory,

find the briory. I don't remember us ever bringing up the briory in another episode, but no, we didn't. And I really, as a fan watching this episode, I was really just wanting to see an image of the briory. I want to see what they look like. I want to see, I want to know more about who these people are, but all they did was refer to them in, you know, in expositional lines and that was it. We didn't see anything else with them. And so that, that was a missed opportunity in a loose end for sure. I also found that when John Rubenstein's character, he says, you know, we've got three beautiful cities, 50 miles from here. When he said miles, I was like, wait a minute, how do you know Miles? Like, you guys, how did you get, you know, 100,000 people or whatever,

however many humans there are now, whose children are they? Are they Amelia Earhart's children? Like who had the children that became this new race of humans? Who are you related to? Which of these humans that were abducted? None of the ones in the stasis tubes, obviously. I think it was the other, because they said they abducted like three or four hundred humans in 1937. So some of them were not put in stasis tubes. And why some were and why some weren't? That was never answered. So we don't know that. So yes. So obviously the one, that were used as slaves that were not in stasis tubes became the the forefathers of the current 15th generation of humans that were still alive on that planet. So there's a lot of backstory

that they could have really gone into and explored, but it was a victim of the 42-minute, 43-minute constraint. It's hard. It's hard to squeeze in everything we want. You know, it's easy to go back and like we're doing and re-watch these episodes and look for all the things that we wish were in there. I'm sure the fans feel the same way. Like, you know, they, they, they want to know the, what happened between the scenes that are on, on the show. But, yeah, I like how when we were being held hostage by Noonan, you sit there and you say, he's had a few nips from that flask captain.

Maybe, maybe we could probably, we could probably rush him and get the gun. So you say this, and I'm going, that's so funny, because Robbie McNeil had a few nips from his flask before we did this, you know. It was a summer day and I was out by the pool. I'm not judging you, man. I'm just saying it's pretty awesome that, you know, the one day that you had. You can rush me. You can rush me if you want. I'm going to gang tackle you from thousands of miles away.

But I just think it's pretty awesome that how coincidental. It's at the one episode where your character says, because you never ever refer to anybody drinking, I don't think ever again in this series. But you do it in here talking about a few nips from the flask. in our conversation in the pre-production meeting was, I've had a few daytime cocktails. You've had a few adult beverages.

It's a great day. My yard looked great. I decided to drink a little bit. And, you know, I'm going to need to sober up a little bit before we do this podcast. So I just thought it was awesome that your character said that. I got a question for you.

So Janeway says at one point, she says that we have 152 men and women on Voyager. Yeah, she does. Is that the consistent? number that we always talked about. I feel like we talked about a lot of different numbers of crew members on Voyager. That's a new number for me.

I always felt, I knew that the crew compliment, meaning how many it's supposed to hold, was 170-something, okay? So I always thought we had 170-something. Plus the marquee that we took on board. Like, I thought we had more. Then maybe it would be more. And through time, obviously, we lose people from, you know,

we have casualties and stuff. casualties and stuff yeah but we're so early we're still pretty early how do we have 150 yeah doesn't seem right right seemed wrong to me too i'd be curious maybe the fans can kind of track this a little and see if if numbers are brought up again because 152 seems small to me yeah this is like the numbers episode right so 150 52 crew compliment about 100 years before the hover car our first hover car comes out. And we actually talk about... Yeah, 300 on the planet.

There's a lot of math. There's a lot of math in this episode. There is. Kim says Mars was colonized by Earth in 2103. So that number's thrown out there. It's just a lot of numbers. It's a math episode. Did you notice the lighting? Because we landed, because the ship was landed on the planet's surface,

when Janeway was in her ready room and some of those scenes where we had blue sky outside. We never have blue sky outside. We always had space outside. It was very different to see these rooms with blue sky outside. And the lighting, the sunlight coming in on her face, I thought was really beautiful. It was a nice change and just a little detail that I enjoyed seeing in those scenes. I also feel that the whole, the capabilities of land. I think this may be the first starship to do that. Really? I mean, yeah, I don't recall any, other starships with struts and, you know, landing like that, you know, so I feel like that was a big deal when we were talking about this episode. I just got to say, you know, as we get into the episode

and we're watching it at this point, the idea of the crew members staying on this planet and not going home came up. Yeah. I just found it hard to believe that our crew members, any of our crew members. I wasn't surprised when later on when Janeway walks into the Cargo Bay and nobody's there to stay. I wasn't surprised. I was like, why would anybody, I mean, honestly, I think this would have been a better episode if each of the crew members, Tuvok and Kim and Paris and Bologna Torres, every character had a scene or a moment or a little place where they were talking where they considered staying and argued for why maybe I should stay here. Because I'd never got invested in this idea that the crew was going to stay on this planet.

Well, they did have two scenes, though, Robbie, the scene with Chacote and Janeway talking about whether or not to stay. But they were talking, are the crew going to stay? But we never saw the crew actually saying, hey, here's why I think it might be a good idea to stay. Well, you saw Harry and Bala talk about it, right? Harry and Bala. Very briefly. Because the beginning in that scene was basically Bala saying, you're thinking about staying? is like, and then I said, I'm not really thinking, I'm just, you know, I just, I just feel like it reminds me of home and stuff like that. So you're right. It would have been nice to see everybody react to that and have this dilemma between whether or not to stay or not. But again,

it would have been interesting, though, if when she opened that door, if we felt like any one of these many characters might, which one of these characters is going to decide to stay and none of them did. I never believed that Harry was going to stay. I never believed that Tom, that anyone that we cared about. In fact, Baxter and Jarvin, who the hell are Jarvin and Baxter? No one's ever heard of. Again, we're talking about characters that the audience has never heard of, that they're never going to care about. And I'm like, but then that's why I expected to see the people that you never see a few of them in the cargo bay. I felt that a few non-essentials would have been there. But nobody cares about him. That's what I'm saying. That's the whole point I'm saying. Like, if, if they had been

talking in a number of scenes about Tuvok's going to stay, he really wants to stay here, or Harris is going to say, or Harry Kim is going to, he really misses Earth so badly. And even though he wants to see his family, he wants to connect with humans here. Like, if there had been a buildup, but Baxter and Jarvan, I'm just confused. I don't know who they are. And I don't care who they are, honestly. I hear you. I hear you. I believe in that. But again, when you're handcuffed by a 42-minute time limit of an episode, because you got to put commercials in, you can't really deal with that. If the episode was one hour or an hour, 10 minutes of screen time, yes, you're going to have the build-up. And so the writers, I bet, they felt, okay, this episode

with Kim and Torres, that'll help set it up for people to be invested in this. And the conversation that Janeway and Chocote have as they're walking down the corridor to the cargo bay, specifically talking about people that they really think are going to stay because of, you know, blah, blah, blah. Well, that's going to give people the feeling that, because I did believe, I did believe, as a viewer, as a fan, that at least somebody was going to be in that cargo bay. And the fact that nobody was, that was the feel-good moment. That was the tear-jurker moment for the audience, you know, seeing Janeway.

And I really, really, and I really wish they let her, let her, let her, let her, her shed a damn tear. You know what I'm saying? They cut that crap out. They were like, nope, can't have Janeway being emotional. Did you see Chacote's hand on her shoulder, though? No, I didn't. Oh, yeah. Just before the door opens, he says something like, he says something like, no matter what happens, we'll be okay.

And he puts his hand on her shoulder. I was like, oh, that's provocative. That's a little foreshadowing of Janeway and Chichote. Yeah. It's a nice intimate. little hand on the shoulder moment. See, that's a good thing that there are two of us doing this because you will catch moments that I will not catch. I will catch shiny keys that you will not catch.

That's right. This is important. Let's go back a little bit to when we're exiting the cave and Noonan gets shot. And so in the script, Kim is the one to go over and drag him out of there. Now, when we, you know, in theory, that's, that's great. Yes, it's very simple. Kim goes to Noonan who's injured by the, by the gunfire, the phaser fire, and drags him to safety. David Graff is a six foot three, definitely 200, I'm guessing 240 maybe, you know.

I mean, he was a big guy. And I remember when I grabbed him from underneath the arms and just tried to pull, couldn't move him at all, like not even an inch. And I was, and, you know, and I'm not a small man either, you know, I'm 5.11. But it's funny thing is when I meet people at conventions, they always say, wow, you're taller than I thought. Because typically in Hollywood, let's face it, if you meet Sylvester Stallone, any of these big Tom Cruise, these guys are all, they're all 5'7, 5'8, that's it, okay? So when they meet me at 511, they're like, damn, like you're taller than we thought

because guess what? Robbie McNeil is taller than I am. Tim Russ is taller than I am. And all the other guys, we have tall guys. on our show. Yeah, we did have. The only short man that we have is Ethan Phillips. He's the only short guy. Everybody else is tall. Two Vox tall. Chikote is tall. The doctor's tall. Everybody's tall. But even at 511 and at 20, whatever, six years old I was at that time, 25 years old, dragging a six foot three to 200 plus pound man was impossible. So you see then in that take,

he had to use his legs to shuffle, right? He's pushing on his leg. He was using his legs to help propel himself backwards while I'm dragging him because he was so heavy and I and I told Jim Conway I was like there's no way I because he's like can you do this faster I go no I can't pull him any I mean literally I'm pulling him and it's he's going like a minute in television or film often writers will write things like that like you know this character runs over and throws him over his shoulder and pulls him away from danger and you're like that's physically not as easy as you just wrote it Exactly. Physically for a human being, a real-life human being to go do that is hard.

I remember in the last episode, Chucote went up and grabbed the bejoran, young Bajoran kid in the cargo bay and had to carry him down some stairs. And I thought, wow, that must have been stuntman there because you can't just throw somebody over your shoulder and carry them across a room. It's not easy, especially for an actor. you know, to do, that's a stunt. That's a stunt man thing. For sure.

Yeah. So now we're, when we're, so we're taking fire, not only are we taking fire, but the away team, the security detail has come to sort of save us, which is led by Chakote. He's under fire in a different area. Yeah. And Janeway, you know, on her combat, she says, Janeway to Chikote, I can see you from here. Lay down phaser five.

I'm going to circle around to your left. try to come at them from the rear. Now, this is when she runs away from us. You only see a little split reaction of her running, but it's a very awkward run. And this is something like this, because you weren't there in this scene, but in this particular scene,

they omitted some of the footage, okay? Because you just see her kind of creeping away, but it's a very awkward run. But her actual run, which Conway does have, footage of her kind of running off into the bush. Yeah. It was so unathletic looking, and I talk about this at conventions, and I actually, I actually

imitate, I imitate this run. I've done this, and I apologize Kate to Kate, but it's, for airing this dirty laundry, but you don't know how to run. You just don't. I mean, it's just like, it's, it's this really awkward sort of like, and I, and I do it on stage at conventions, and then I tell the fans, after that day, and filming the 37, Never again do you see Janeway running. It's always Jamie,

Chikote, run over there. It's like she's telling everybody else to run after this because I'm sure the writers are watching the Dailies and Stink. Oh my gosh, no, that's the captain. It's funny how different actors just have a natural, like I have a very Frankenstein kind of run.

I know that. I've known it since I was a younger before Star Trek. And I'm very self-conscious of it, honestly. I'm very, like when I used to run, it's very I'm not a good runner I was not a runner in high school I was not running was not my athletic thing and so my my run is very Frankensteiny and I try to and because I'm aware of it because it's been pointed out to me before when I run I really try to like make it a little more

graceful but it's funny like writers will write things and every actor's got just certain you know built-in, burned-in, baked-in kind of qualities that are their strengths and some are not their strengths. And that, I wasn't aware of that, but maybe, you know, that athletic stuff is not, is not Kate's strength. Well, I'm going to say this. I'm going to say the majority, the large percentage of actors, if you talk about them being the more artistic type, when they were in high school, they were doing drama then, they're not on any athletic team. They're doing drama, you know what I'm saying? So they don't have, I would say, 80% of actors are not athletic. They're not athletic. Robert Beltran, Chacote, he was the, he was the

captain and a quarterback of his football team in high school. So he's very athletic. I come, I'm not boasting, but I come from a long line of, like my grandmother was a tennis champion in college. My grandfather was a pentathlete. My parents are very, they have no athletic ability, but I think it skips generations. And I played a lot of sports, you know, so I, when I saw Kate running that day, I was literally like, oh, no. I mean, it was, I've never, honestly, I mean, Rod, if you think about it, watching somebody run shouldn't be cringeworthy. But that day, I was like, oh, no, no, no, no. I almost thought it was a joke. I thought Kate was going to turn around, just kidding, everybody. I don't really run like that. I run like this. And then she would do a Jamie Summers, Bionic woman

really cool, right? She didn't, she didn't do that. It was the most awkward, uncoordinated thing that I'd ever seen and I felt so bad. That's the magic of filmmaking is you can cut all that stuff out and make anybody, you make anybody look good, even me, make me look good. I've never, you know what? It's interesting that you say you have a Frankenstein plotting type of a gate. I've never known that you were that like, okay. Yeah, I'm a little self-conscious about it.

When this pandemic's over, I think we're going to go for a run. We should go for a run and we should film ourselves running to show all the fans what we're doing, you know. Okay. And again, I apologize to Kate, but I mean, it's the God honest truth, I was really just mortified to watch her do that run. And I feel bad that I've told people over the years at a convention about it. But it's the truth. And I tend to put my foot in my mouth and just say whatever I'm going to say. And that was... Yes, you do. I will agree. Yes, you do. So, coming off of the last couple episodes, and I know

those were not intended to be the end of season one, but they were very disappointing episodes. And then my memory of this episode was that it was much bigger and more cinematic and grand and epic. And I was very disappointed. This was not intended to be a season premiere. Again, it started off good with our whole cast involved in the story. But it just became filled with plot holes and missed opportunities. And I was not thrilled about this episode. I want to bring up your reaction when Janeway shows up on the bridge after she and Chacote have left the cargo bay and discovered no Voyager crew members are there. Yeah. They show up on the bridge and Tuvac makes the captain on the bridge comment and everyone stands up.

And I covered my butt. I covered my butt. I don't know if you noticed, but I turned around and covered my butt. You put your hands behind your back. I don't know if you're covering your bum. But then it shows your cover. shows your coverage, your reaction to Janeway looking at you. And you do this really interesting little smirky smile where the right half of your face smiles and then the left half smiled up.

So it's like typically when people smile, both sides go up. But you did a right side and then a left side. Like you had independent control of your facial muscles. And I don't know if you caught that or not. So maybe I'd maybe, okay, I'd like you to go back and take a look at that. I wrote that down when I go, Paris on Bridge smiles on the right and left side of his face. So he's got, he's got independent control. Independent control. I'm a very specific actor. You are.

You are. What is your, what's your take on the underlying message out of this one? That, you know, the 37s and some new planet is like a step backwards and we're headed home. Like that's now. Like the thing for our crew and our shit. is we are on our path. We may not like it, but that's the path we're on, and we've got to stay here and now

and not try to go back and live in some 1930s, Earth, some planet that has, you know, no problems, these brand new cities or whatever. You can't go back. You've got to stay where you are. So, yeah, that's my theme. So stay in the present, move forward, not live in the past, yeah that was my my theme yeah well what about you this one was a little tougher for me to find

an underlying message to be perfectly honest i was sitting here going hmm because maybe i was also equally underwhelmed as you were like thinking oh this is going to be an amazing app and then oh in a minute not as big as i thought it was going to be yeah so so then i was sitting here struggling with that but then i do remember one particular um bit of dialogue between janeway and i think it was Jacote where she was talking about how interesting how when after they had toured the cities or the settlements of these these humans on this planet how similar they had evolved to our civilization on earth and she said she goes it's remarkable you know our civilizations are are thousands of light years away but we both evolved to the point where there is no war and no poverty war and

poverty do not exist so really again I think it's that message that this is what we need to strive for, you know, as a society, we need to be definitely more utopian than dystopian. We need to think about eliminating armed conflict, eliminating poverty, you know, nobody should be, should be having to want, you know, food and shelter. That should be provided, you know, that should happen. And nobody should be killing anybody else, you know, that's for sure. So really the underlying message for me was really that, that particular dialogue between her and Chkote. That's a very optimistic and very... It is.

Yes, a very positive message. I like that. I like it. Nice. Yeah. Well, thank you to everybody out there listening to the Delta Flyers podcast, our discussion and analysis of the 37s. Stay tuned next week when we will be discussing and analyzing initiations, the next episode.

Robbie, do we have a special guest on that next episode? I think we do have a very special guest, and it's a special episode for us in a lot of ways. So I hope everybody can tune in for it. There you go. We're going to have a nice, nice time with a special guest. So exciting. All right, guys, live long and prosper.