The Delta Flyers - Vis à Vis

Episode Date: January 10, 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 Vis à Vis. Garrett and Robbie recap and discuss the episode, and share their insight as series regulars.Vis à Vis:A genome thief switches physical forms with Tom Paris.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, Megan Hurwitt, James Zugg, Deike Hoffmann, Anna Post, Shannyn Bourke, Vikki Williams, Lee Lisle, Mary Beth Lowe, William McEvoy, Sarah Thompson, Mike Devlin, Samantha Hunter, Holly Smith, KMB, Dominic Burgess, Ashley Stokey,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, Melissa Lau, Tae Phoenix, Nicole Anne Toma, Donna Runyon, Nicholas Albano, Bronwen Duffield, Elly Post, & Brandon MayAnd our Producers:Jim Guckin, James Amey, Eleanor Lamb, Richard Banaski, Ann Harding, Jennifer, Ann Marie Segal, 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, Mary O'Neal, Aithne Loeblich, Dat Cao, Cody Crockett, Scott Lakes, Stephen Riegner, Debra Defelice, 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, Louise Storer, Justin Weir, Normandy Madden, Mike Chow, Kevin Hooker, Rachel Shapiro, Eric Kau, Megan Moore, Melissa A. Nathan, Captain Jak Greymoon, David Wei Liu, David J Manske, Roxane Ray, Red Wizard, Amy Rambacher, Jessica B, E.G. Galano, Cindy Holland, & Robert PicardThank you for your support!Our Sponsors:* Check out Mint Mobile: https://mintmobile.com/TDFSupport this podcast at — https://redcircle.com/the-delta-flyers/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hey, everyone. Welcome to the Delta Flyers with Tom and Harry as we journey through episodes of Star Trek Voyager. Your two hosts along this journey are myself, Garrett Wong, and of course my co-host, Mr. Robert Duncan McNee-op. Hello there. Hello. How are you? Yes. Look at us both in space.

We have nice, relaxing space backgrounds, beautiful stars. You're wearing the Voyager Season 7 hat? Yes, I am. Yeah. What's the T-shirt you have underneath your jacket? Is it anything? That's a good question. Can we see what it is?

Dare. This says, dare mighty things. Dare mighty things. I like this shirt. I don't know where I got it, but I wear it a lot. Dare mighty things. Okay. So seize the moment.

Seize the day. sort of, Carpe Diem, kind of a shirt. I love it. Yes. Do you see what I'm wearing? I'm wearing our new merch here. You know, it's kind of funky. I've never had a sweatshirt, a hoodie with two sets of drawstrings, which is kind of nifty.

It's a little gadgety, right? But this is our new lightweight hoodie. Not a heavyweight, but a lightweight hoodie. Great for around the house. Very fitted, you know. And the impetus behind this design was, I kept thinking that it would be cool to have something that resembled sort of a Coca-Cola logo. And so this is what this is, basically. Yeah, sort of a vintagey vibe. And that's the feel that I get off of this hoodie.

That is in our store, everyone. Yeah, very comfy. Deltaflyers.org.org. And you can pick up your Delta Flyers lightweight hoodie. How's the house? Everything coming in order? I think's good around the holidays here. Winter has come. I haven't gotten up on the ski slopes yet. Life is so busy. But I can't wait to get out and do some skiing. Yeah, it's beautiful out. It's just beautiful here in Utah. It really is. Yeah.

So you have your skis and your boots, everything? I've got everything, yeah. Yeah. I got a couple pair of skis. I won't be skiing my powder skis. I've got some off-trail powder skis, some old Scots that I love, Scott skis. Scott skis? Yeah.

Isn't Scott the, the, the, don't they make the, they make goggles? They make bicycles. They make skis. They have skis, too. Okay. So who makes your other pair of skis then? You said you have powder, all terrain, and then you have- Yes, I have Atomics. Or my other skis. Yeah, that's my kind of All-Mountain Skies and Atomic. Those are good. Yeah, you're really good. We've skied together once. You know that, right?

I know. Only once. Only one time. I think it was when my little short film was up at Slam Dance Film Festival in Perks City, Yucca. You were hauling butt down that mountain. I was like, man, he's hauling. He's not even checking that, you know, usually when you're going down and you'll check a couple times to slow yourself down. You weren't even, you were like, screw it. You just, you were like a bullet. That's why I tore my ACL was. Yeah, I figured as much. I was flying down mountains. Yeah, I had to use all my wherewithal to keep up with you. I was like, dang, he is moving. But you were on a snowboard and I'm on skis. Was I on a board? Yeah, you were on a board. Yep. No. Yeah, you were. You were totally boarding. Yes. Really? Because, yeah, because I remember after

that. I was like, I should try snowboarding because you were really into it. Maybe it was just a phase you were going through. Okay. What I recall was, I, well, no, I don't. What I recall was, I boarded one day. And then the next day with you, I rented skis. And so I was so used to boarding from the prior day that I was, I wasn't as fast on the skis like I was more tentative. That was my memory. But maybe I'm wrong. No, I, you were definitely on a snowboard. I remember. Yeah. Yeah, I prefer skis because I started on skis, right? A board for me is like, okay, it's fun, but I'd rather be on skis, to be honest.

Yeah, agreed. Huh, interesting. We'll have to revisit the ski slopes to our ski time. Yeah, Harry and Tom skiing. Yes. The holodeck program that never was. The unfilmed holodeck segment, right? That would have been a good holodeck.

That would have been cool. For us to have created, for sure. Could you see that? Mary Howard's like, yeah, we're going to Utah. We're going to Utah. We're going to film a segment. of Harry and skiing. I would love it. I would love it. All right, this week's episode. Let's get ready to watch this. It's vis-a-vis. It's a French name vis-a-vis. All right. Let's go watch

this episode and come back with our recap and discussion. Patreon, patrons, stick around for your bonus material. Yes. Everybody. We are back. Hey, yes, we are. We are face to face or, as we say in France, vis-a-vis vis-a-vis, is how we say it, vis-a-vis. How's this little reacquainting yourself with the big Tom Paris episode? How was that? I cannot believe, honestly. Yeah. I did not remember any of this. What? Certainly from the title. No, as I was re-watching it, I remembered scenes, but not a ton. I mean, it's crazy because I don't think there's any other episode where Tom Paris has been in literally seen after scene after scene after scene.

Yeah, this was your tort of force for sure. Which I, which is weird that I don't remember. It's weird and it's not weird. Let's just be honest. Right? I don't know. It's odd. I'm going to say it's odd.

It's odd that you didn't remember that. Yeah, it's because there is a lot to do in it. But I will say I still stick to my rule of what makes a good. Voyager episode, and this does not qualify because it didn't involve a lot of our cast. It was very isolated. Your rule was, does it involve all of the cast? And it does involve all of the cast. Yeah, but they don't do a lot. Until the end, Janeway had like three lines or something, like hardly anything. Okay, so one to ten, what are you going to give this one then? I'm going to give this one a six point five. What are you going to give it? I'm going to give it. I'll give it the

same thing. I'll give it a 6.5. Yeah, that's what I'm saying. Like, it didn't involve the whole cast enough. And it's not that I hated my performance. There was definitely some choices I would do differently. And it's not that the concept is bad. It just didn't involve the highs and the lows, the comedy, the lighthearted moments. It was just sort of played in a middle zone. Okay. All right. A little safe is what you're saying. Okay. Yeah. Let's get cracking on this. Let's start with our poetry synopsis. My haiku For vis-a-vis Tom works on his car. Steath steals Tom's identity.

Real Steff saves the day. Nice. Very nice. That is a perfectly encapsulated haiku. I'm going to be self-critical. It was a safe haiku. I wasn't. It was middle of the road, which kind of fits this episode.

Kind of fits this episode. Totally does. Yeah. I didn't knock it out of the park. Okay. hear you. I'm feeling pretty good about my limerick. Yeah, you said that earlier. So let's hear it. Okay, here we go. I'm going to hear it. On the view screen, a shuttle, a coaxial drive pariscese. Steff comes aboard, swaps his body with ease. Balana's perplexed. Janeway is body swapped next.

And the whole thing is called vis-a-vis. Oh, wow. You've been through and then, oh, look at You. Wow. I'm going to promote you to Black Belt now. You are now master of limerick. I'm going to say it one more time because it was so good. Here's the limerick that I'm super proud of. On the view screen, a shuttle, a coaxial drive parisies. Steff comes on board, swaps his body with ease. Balana's perplexed. Janeway has body swapped next. And the whole thing is called vis-a-vis. these. Ooh. Yeah, man.

I feel like that is my best limerick. That's a very witty and creative limerick by Rebecca. It really is. I am really impressed. Okay. Good job. I know you're never going to tell. You're never going to disclose.

Never going to specify. What percentage of participation that Rebecca? Not going to specify. Gave to that. Okay. Still, it doesn't matter. If it comes from you or it comes from you and her, it's still a good Limerick. So good job, good job.

Hey, let's talk about the guest stars in this episode real quick. Let's do, Dan Butler. Yeah. Dan Butler, Dan the Bulldog Butler. So from Frazier, right? Yes. Is it, no, is it Frazier? Or did I get that wrong?

It is Frazier. Yeah. I think that maybe Frazier was his television debut because I look back at his credits and he's got a ton of credits. Yeah. But the very first. the oldest credit he has is Frazier, which means, by the way, that he did Voyager on the heels simultaneously. I think he was still doing Frazier. At the same time. At the same time or just winding it down. So Voyager was one of the first things he ever did as well. Frazier was certainly

the first. Yeah. But Voyager was one of the first things. So Dan Butler comes from the theater, did a lot of theater, made his name in the theater. As we said, you know, made his debut on Frasier. And that is the TV show that he did, I think, 56 episodes or something of that show. Okay. Right. But he's done a ton of stuff. The other guest star is Mary Elizabeth McGlynn, who played Dalyne.

Elizabeth McGlynn. Okay. McLinn. And she has a name? She has a name on this, too? Yes, Dailin. Oh. Is the name, I guess, that came up in the credit.

But she has more credits than I've ever seen any actor that we've ever had on Voyager. But they're all video game credits. She's most known as a voice actress, hundreds of video games, cartoons, things like that. So I'm sure, like in the fandom world, she's probably been to Comic-Con and signed video games and all kinds of things. She's definitely in the genre world. I've probably played games that she's voiced so characters on. So interesting. I didn't know that. Okay. All right. Written by Robert J. Doherty. Does that ring a bell? This name? Rob Doherty was a writer's assistant. I see. Okay. He was a writer's assistant. This may have been his first script. Yeah. He wrote a really interesting story. And tricky one to execute. I thought he did a great job. Yeah. It can get a little bit confusing when you do body swap type of episodes.

Directed by one of our favorite directors, Jesus Salvador Trevino. You're right. Was one of our favorite, our entire cast loved Jesus. He was very gentle and calming. And I thought he did a really great job in this episode, in real subtle ways, the way the scenes were blocked, the way he sort of revealed little details. I thought he did a great, great job. Yeah. Yeah. So we open up this entire episode in the garage where you are working on a 1969 Chevy Camero. And I actually wrote Paris the Grease monkey without knowing that that was the name of the line. Yes. I. had no clue that that was the name of your program, you know, Powers Alpha 1, Grease Monkey program.

And the doctors, he's upset. He's upset about Paris, not reporting to sick pay for his duty shifts there and for further training as a nurse, as the assistant to the doctor. He's not happy, really, with you. He's very frustrated. And, you know, Tom is sort of planning off, like, you know, I'm just, there's nothing exciting happening there. You can tell that he's feeling a little antsy in this scene, that Tom Paris is going

through a bit of a midlife crisis of sorts. He's sort of bored with his assignments and trying to have fun. And, you know, this holodeck seems to be very meaningful, which we realize later on, you know, he acknowledges that he's sort of been escaping. Yeah. His responsibilities or his life a little bit. But let's call it a mid-series crisis because we are in the middle of the series right now, exactly, practically right on the nose. So that's funny too. It is funny. Yeah, it's a mid-series crisis for sure. I made notes that the grease is perfectly placed on my cheekbone on one side. It is.

The other thing I remembered as I watched the scene was wearing those coveralls. Yeah. Was such amazing change of pace from the wool-tight suits that we wore all the time. I bet you. You were comfortable. It was roomy. You could have stored food inside of there. No one would have known. As I watched this episode, I actually remembered that I got cold on set, which I never got cold because we had those wool uniforms and all the tight, you know, underneath parts and everything.

It was, I was always hot and uncomfortable and sweaty. I have a question for you. That garage set was built on stage 16, or was it an actual garage of a house that you guys went on location to shoot? No, it looks good, right? It was built. Wonderful. It was built on stage nine.

A nine. Yes. Oh my gosh, which is the same set as Sick Bay and astrometrics and engineering was on nine. And there was enough area for us to build other sets, yeah, for small sets. And that's where your car was driven in on and they built the whole garage there. Two more things about this opening scene, I remember. One is there was a lot of movement. I remember when we were rehearsing and blocking it that I was getting up.

I was going around to one side. I was coming around to another. I was sitting in the car. And I remember saying, are you sure you want me moving this much? Like, this is going to be a lot of shots. Like,

we're going to be here a long time. But Jesus was like, no, I like this movement. And I remember, Marvin always encouraged lots of movement. And Jesus goes, no,

this is the opening scene. I want this to have energy and movement. I don't want to just sit you down and, you know, sit still because it's our opening scene. It needs to move around. Yeah. That came back to me.

The other thing that came back was the music playing. did you hear the uh yes yes the music playing i did that is a very famous guy named dick dale okay dick dale did surf music for all the surf movies back in the day yeah dick dale is a very famous surf guitarist and i had always thought that dan curry knew dick dale and that's how we got dick dale's music in the show and some for some reason in fact on the rewatch i was like oh yeah that's Dan Curry's friend. Yeah, Dick Dan. And then after we did the rewatch, and I always go and do a little research for our

conversation about it. Sure. And I looked up and it says online, the reason that we got the Dick Dale music was not Dan Curry. It was Ron Moore. Ron, not the writer. Ronald B. Moore, our Viz effects supervisor. Yeah, yeah.

Ronald Moore was a big fan and suggested it. And then it turned out that Dennis McCarthy, one of our composers on the show, had actually played in Dick Dale's backup band. Oh, my gosh. Before he became a composer. So that's how we got. Look at this. Dick Dale music.

And I always thought it was, I always thought it was Dan Curry. What I'm remembering now is Dan Curry was a huge fan. And Dan Curry got Dick Dale to sign a guitar. And Dan was so excited because he had Dick Dale's signature on his, you know, Dan, Dan Curry plays the guitar. Yeah. So that was my memory was. Yeah.

Dan Curry being a fan of Dick Dale, but not that he was the guy. Did you notice the guitar case and the guitar in the scene, too? No, I didn't see that. Yeah, it was actually stored at the top. I don't know, sort of like a shelf that's above the garage door. Yeah, the rafters or something. Yeah, it was up in the rafters. So it was something that you have to really look to see, but it was there.

It was a great set. Great setting. Great holodeck. Yeah. You know, I feel like they could have. have that holodeck going and had people come down and help Paris on the car or just hang out in the garage. That would have been a very simple. Yeah. Great little holodeck to keep going. So now we jump to the bridge and Harry has picked up some type of spatial distortion. It seems like space is folding

in on itself and a vessel appears. And Paris all of a sudden perks up and he's like, whoa, that ship is powered by a coaxial warp drive. Yeah, how does he know that? Paris never comments. I mean, it's always Harry or Tuvok or even Chacote that have information. Paris never knows anything. Exactly. And evidently, you know, and Chocote has never heard of this. He's like, what? And Paris then explains, well, it folds space to allow a ship to travel huge distances instantaneously. So then I wrote down, Paris does science. And typically, Paris is not Mr. Science guy, but here we are. Paris is all over the place with the science. Technobabble. They never gave me techno babble, by the way. They never gave it to me because early on they tried and I

flubbed it up so bad. They stopped giving it to me. But you could handle it and they gave it to you all the time. They gave it to me all the time. But in this scene, they decided that Paris was going to be Dugie Hauser and he would be the genius of how to save this guy. The core is breaching. I say, can we beam him out? And then Paris is like, no, we can't do that. And I think we should do a symmetric warp field. So, again, this techno babble, you are literally pulling it out of your bum. It's sort of like, where you, what the, what even Janeway says at one point, how did you know about this?

And he goes, advanced subspace geometry class. It was the only course that I paid attention to in school. Like, really? That's the course that you, yeah. Geometry? Really? Sorry. That's the course that Harry's, you know, was the one that loved.

But Tom, I was shocked. So it was kind of nice to see a new science-loving Paris, which is so rare. Well, you save the day. I mean, you really use that symmetric warp field to help out that pilot, a fellow pilot of yours. Well, it's funny because, yeah, Paris thinks of this solution, does it, and then goes, got him. Yeah. And I pause from it. I'm like, got him.

How do I know it's a him? Like, why am I assuming? Right. We don't know. We just had one life sign. We jumped to the transporter room, and Steth has beamed in, and he explains to Janeway that he is a test pilot, and he comes from the fourth planet in the Benton system, which is approximately 20 light years away, which is not close at all. And clearly he got there because of this drive, this warp drive that he has that is able to, you know, jump these huge distances, this coaxial warp drive of his. And, you know, for all intents and purposes, I do think that Dan Butler really separated his persona that he has on Frazier from this character.

He gave it a different voice. He gave it a different inflection, right? But one thing about it that he didn't change was when he walked off of that transporter pad, I go, oh, that's his character from Frasier. Just his mannerisms of how he walked was kind of similar to his character in Frasier. Speaking of his walk, so we first meet him in the transporter room, you're right. Janeway and I think Tuvok were there that's right to greet him right yes and as they start walking down the hall did you notice that he was leading the way as if he knew exactly where he was going wait a minute I went I rewounded I'm like why is he walking ahead of the captain he's never been

here before no he clearly hasn't been there before yes they're heading to try to you know figure out how they can help him with his coaxial drives it gets the coaxial drive fixed. He can get home. It's a long way to home, though. Yeah. And then we jump to Chacote's quarters. Yes. And Paris walks in and asked Chacote, you know, I'd love a favor. I'd really love to help Steph with with his ship, fix his ship. And Chacote's like, I don't know, you've, you know, you've been messing up lately. And, uh, and, uh, you didn't show up to sick bay. Not showing up for sick bay. The doctors, you know, made note of that. And yeah, You've really made some great changes, positive changes in the last four years.

You don't want to mess that up. Yeah. And then he thinks about it. He pauses. He says, okay, permission to go to sick bay. Right. Cote thinks about it and he goes, nope. No.

Nope. You're going to head over to Steph and help him with a ship. Yeah. That's an order. Which makes you happy inside. I can see you're beaming inside. My other note in this scene is Paris's fluffy hair returns. I have the same note.

What is happening? I don't know. Who's doing your hair in this episode? Such fluffy hair. So fluffy. I mean, I goodness gracious. And it's going in every direction, too. It's a big wavy mess.

Your hair has a mind of its own. I've never seen it this fluffy. And it was fluffy to the max there. Very fluffy. Yes. And then we caught to Steph's ship next. And they're starting to look at some of the parts. And they're both kind of doing some work independently.

And Paris is. telling Steth about, you know, classic Earth. And while he's telling the story, we cut over to Steth. And we see for the first time that Steth sort of morphs into this female alien, a different alien, looks female, appears female, and then kind of morphs back just in time for Paris to turn around. So Paris doesn't see it. Yeah.

And this is our first indication of something is afoot. Something is a foot. Something is a foot. is not right with this one, right? But this is the bonding scene. This is the Paris-Steeth bonding scene like, hey, you're a test pilot. I'm a test pilot. We can be buds.

And Seth even says, hey, why don't you go with me to test out this Mithron battleship or whatever? It'll be a lot of fun. Just come on join me for a while, right? Because we saw Paris in the garage. We know he's a little bored with life these days. And this just feels like exactly the kind of adventure he always. always wanted to go on. But he says, no, I've got responsibilities now.

And Balana would be furious with me. And he goes, oh, Balana. Balana. Ah, and clearly, yeah, must leave. Yeah, must leave quickly. I screwed up. Yeah, he forgot they had a date. Yeah.

I love how you try to play it off in the mess hall. Like you're like, hey, I guess you started without me. You're trying to be all casual. She's like, and then she goes, I finished without you. Yeah. And then you start nibbling off of her, like, you know, picking at her food. Picking at the, you, the food that she hasn't eaten leftovers. That's what couples do. Is that what they do? Couples do that. What if that food had fallen the floor? And she just picked it up and put it back in the tray. Now you're eating like food cover with

lint and you don't even care. Yeah. I thought I was, I did like the fact that I was nibbling and eating a little. It felt like natural. It was grounded the scene in a nice way. it was. It was. Yeah. Tom is very annoyed in this scene. You were so quick to just be snappy. To get defensive. Yeah. And I was right. I wrote down what is happening with Tom's attitude right now. It's just. Well, that's the whole scene, right? She's going, what is wrong with you? What is going on with you lately? You're canceling dates. You're spending all this time in the holodeck. Yeah. And yeah, I wrote down Paris as being a jerk. He's acting like a jerk. Yeah. Which by the way, I will comment and say, I know in the context of the story,

that was something that was needed, that he did need to sort of seem a little distant and disconnected and irritated a little bit. But I feel like they wrote that and then I added that sort of attitude. And it was like bananas on bananas. It was like too much. Yeah. Too much. I wish I had lightened that up quite a bit. Or do you think you could have allowed the journey to that point of ultimate annoyance to have taken it a little bit longer where you built, you know what I'm saying? Because for me, it kind of felt like you were okay for a second and then a switch just flipped over and you became jerked tom. And it was like, oh my God, there was no, you know, maybe if it was a little more time to build a little bit before you lost

it. I wish I had thrown it away a lot more. I just not leaned into the dialogue. The dialogue was jerky enough. And even if you just said it. And I think if I had just set it and thrown it away, it would have been much more effective. Less overkill. You really just, yeah, instead of using a hammer, you use a sledgehammer on Torres, right?

That's what people say about my acting, Garrett, is that I, it was like a sledgehammer sometimes. And I don't disagree. I think, you know, there were times when you came on the bridge and I would announce the sledgehammer is here. I would say that and everyone applauded. Because you were known as that was my nickname as an actor. That was your moniker.

I wonder if, you know, I definitely see it in my performance. And I have been away from acting for a long, long time and mostly coaching actors and, you know, directing actors. Correct. So having the distance myself to look back at what I did, I wonder, because I, I'd come from the theater and did a lot of theater and big theaters with, you know, where you got to be big. Yes. The acting has to be really big. Yes. And I see some of that in my performance on Voyager, particularly this episode.

Yeah. Yeah. That it sometimes is just big choices. Like I'm playing it as if it's a, you know, 2000 seat theater as opposed to a camera five inches away from me. Yeah. And I don't mean this as a criticism, but Kate Mulgrew came from the theater and did a ton of theater.

And I feel like sometimes Kate's performance also. could be big choices, you know what I mean? Like, no room for doubt. Like, you know what she, her intention in playing the moment is. And I wonder if sometimes that comes from actors who build a foundation in a theater where your choices have to be bigger in order to read. Yeah. But I did like my line when Bologna said something like, you know, what's going on?

You've been on the holodeck all the time lately. What is your, what, what holiday program are you doing? And Paris's answer is, oh, the dancing girls of Namibia Prime, of course. That was a good line. It was a good line. And then she's like, I'm out of here. Yeah, her reaction was perfect. It was exactly how she would react.

Yeah, absolutely. Perfectly. All right. So we jump from this scene to Steph's ship, where we see Seth reverting back to the female form. Going in and out of his female form. And he gets some kind of medical device and he checks with a computer on his DNAs. stability and the computer says does a DNA stability analysis and says basically your DNA is going to revert back to its original form in three hours and 13 minutes right he won't be able to stop it at

that point right yeah he won't be able to stop it and he's got to figure out his next move in the next three hours and 13 minutes yeah that's right now we're in the corridor and Paris is walking with Steph and he comes up with this, what we need is a carburetor. We need a carburetor. And Paris goes up to, I guess, I'm guessing it's Holladick one. Paris says program alpha one, grease monkey. And they go inside and Paris explains the whole, you know, what a carburetor does with, with a 20th century vehicle. And this is news to Stath. And Steth is excited. That's like, whoa, you figured it out. They have a little techno babble like exchange. It felt like a warp particles moment. It was.

Because Paris was kind of technobabbling. And then Steth was like techno babbling back. And they're like, really? And technobabble this. And technical babble that. Yeah. It felt like we were both going to go, warp particles. Exactly.

Close. Came close. Yeah. The end of the scene is important because Paris is searching around looking for something. It's a wrench and it's gone. Is that what it is? A wrench? I think it was.

Yeah. And that's important for this scene, for this episode, actually. There's a tool missing. We then jumped to the cargo bay. and Steath has accessed the ship's computer. He's downloading Paris's file, the entire file of Tom Paris. Everything the computer knows about. Exactly.

Including Janeway's logs as well, right? It's all in there. 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.

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Yeah. Yeah. He's like, oh, no, Tom wanted me to come in here and get this other information. Oh, yeah. She's like, well, no, you couldn't do that without him because, you know, he needs access codes. Yeah. Clearly, he's done this before. Yes.

He sneaks his way out of it by lying. He's a bit of a slick Rick. Okay, so we jumped to the exterior shot of the ship. You see Voyager and that ship and there's a captain's log and Janeway says the repairs to the coaxco drive have been repaired, have it been completed and that's ready to go. And that space shot was very cool, by the way. I did like that shot. It was kind of underneath the ship and you see the, our war drive sort of, you know, the energy moving around and his ship kind of tethered underneath. It was an angle that we don't normally see.

I just thought it was really cool. I agree. It looked good. We're in Steth Shipp, and this is when he gets uncomfortably close to you. Yes, I wrote real, Steph comes really close. And then I wrote backing up. Why is Paris backing up? Yeah.

And I think the intention there is obviously that like Paris all of a sudden is realizing, uh-oh, you're trouble. But there was something in the way this close standing, and we've talked about this before. They would often block us in ways. that were just like, no, you need to get closer because, you know, yeah, that was a weird one to me. And then the sort of backing up, there was, there was sort of a weird, like, I don't know if it was a flirty nature or it was like,

there was some sexual attention there, for sure. It was something we, yeah. Does Seth show you the wrench there? Isn't this where Steph says, I've gotten your DNA? This is the moment where Paris is kind of realizing, uh-oh, this is not my buddy. Yeah. This guy is evil and creepy and really weird.

See, this is what happens when you, leave your real buddy, Harry Kim, to hang out with alien. I know. Alien BFF, right? I should, I've learned my lesson. Yeah, yeah. He gives you, I've learned a lesson, Harry. Do you know, you learn? Okay. He then chokes you and then transfers, whatever process this being uses, it happens then. And the transfer happens, you morph into, into Steph, and Steph morphs into you. And then he fires this phaser this green beam comes out and I don't know if I'm guess he's putting he's stunning you right he's stunned yeah you you don't know at this you don't know he looks like he's going to kill you that Paris does wake up on the ship so you realize he's just stunned him for you know a while so

that's right out of it I had forgotten this episode as I said before and things were coming back to me on this body swap moment all of a sudden I was like oh yeah yeah I remember I really enjoyed this part where I got to play an alien in in Paris's body. It was just, it was a great freedom to be like, oh, it's a whole different guy. Yeah, yeah, you got to, you got to stretch your acting chops a little bit. Yeah. This is where it kind of turned fun for me as an actor. Yeah, of course.

Getting to do that. I could see that. I was jealous. I was watching this one. Oh, man, he had fun with this one. He had so much fun. So we jumped to the bridge and Imposter Paris. Well, actually, let's correct that.

Since this episode is titled vis-a-vis, which is French, I'm going to use the French word for fake, which is foe. I'm going to say, faux Paris. No, I'm going to pronounce it the French way. Fault Paris. Fault Paris takes his place at Kahn, and Steth's ship takes off. So we see, by the way, by the way, so Fouperry takes his place at Kahn. But first he walks in and says, sorry, I'm late.

Right. And then Fou Perry walks the wrong. wrong way. Yeah, he does. Did you see that? And I remembered this moment of thinking, this would be a good choice as an actor to not go the way that Tom Paris always goes. Good choice.

He doesn't know. Right. So he's like, he walks over and he's looking around. Fouperi is kind of assessing the bridge because he doesn't know this bridge and doesn't know where Paris normally goes. No. No. You know what I just thought?

your limerick, you could have rhymed faux-pari with pop-pery is what you could have done if you want to do. There's a lot of rhymes here. But yeah, but good choice by you to take the wrong way down to the con. And nobody notices this. Nobody realizes that you've walked the weird way. I know. I was just like, why didn't they have to go, where are you going, Tom? Well, she does say what is it, Tom? And Tom goes, it's nothing or something. I made a note that I like that. the face that I made there when I answered her. It was clearly not Tom Paris. Yeah, it was a good. It was a good face. So it did step. I made a lot of faces, by the way, in this episode. I did make a lot of face. I was mugging it up. You were facial mugging left

and right, but it's fine. It's fine. So did Steph program autopilot sequence for his, for that ship to take off? Is that what happened? Yeah, I think he must have. Yeah. If you're unconscious. Yeah. Put Tom's body in there and hit go back home now that the coaxial drive is fix get out of here right okay and he probably figured that like what looked like was going to happen that the ship would go back that they'd arrest that guy and uh and and and he'd be home free yeah we jump to mess hall and chucote is now talking to paris they're sitting down and he tells paris that you know you you really need to report to sick bay and again your choices as foe peri are great because it just just a little bit off

and everything you did, yeah, I really admired your work in this episode of just that little, little difference there to change. There was some fun moments, yeah. Really, really good. Yeah, Fouperi was a lot of fun to play. Yeah, Chacote tells Paris to go to Sick Bay

and Paris clearly is not, if Fou Perri is not remembering any of this, but he's trying to play it off like he does. He is. He is. He's trying his best. Great. seen in the corridor, you're walking around. You see seven, you're like, nope, don't want to mess with that one. That one always called, yeah, that one calls me on everything. I noticed a lot of mugging

in that moment. Yeah. And then he goes, he goes to the, to the map on the wall. And I was like, this is like what you see when you go to the shopping mall. Yeah, the mall. Like there's a mall map. Yeah. And by the way, a detail for our audience to know is that map that was in the hallway of the ship, or that console that showed the entire ship. That was not a TV screen or a video screen. It was just backlit, printed graphic sheets of plastic. So because it's, you know, plastic printed graphic sheets that are backlit, they had a shot of Tom Fopery pushing some buttons as if he's trying to pull up the enlargement of the medical sickbay.

And then it cut to an angle where you couldn't see the monitor for a moment. And then it came around when Harry came in. And there was the enlarged replaced one. Yeah. But it's a replaced graphic. It was not a... That had to be physically replaced. Physically, like pull off the other part, put on the new part.

Stick on that one. Yeah. Yeah. And I think I remember, as I watched this, I was like, I think I remember having to break the scene up. And so when Harry comes over was a whole separate time. I think we may have even scheduled it in a way that, like, you weren't there for the first part of stuff.

And then they got to switch, switch the graphic and that's how they got you in. Oh, yeah. And I honestly, I, man, I just, I was watching that scene. I was thinking, I have to, why did I not play that where I was more perplexed with you not knowing where sickbay was? You know what I'm saying? It was kind of like, I'm like, oh, well, you don't know where sickbay is?

I just, I threw it away too much. I almost felt like I should have. I don't think so. You were okay with it? would you suspect like yeah you're assuming of course you know where sick pay is yeah that can't be real yeah what you're doing okay no i i totally bought that i love that little walking and talk and by the way we walked and talked a lot we did and i know that that hallway is not that long and so whatever hey sus and marvin rush figured out to do in terms of from seven of nine to the mall map to you and i

walking and turning corners, I got disoriented. I was like, where the heck are we? And I know that, you know, it's basically one hallway there that curves around with a couple short little pieces off to the side. And I got disoriented. I was like, how did they do that? I couldn't figure it out. Did you also notice while we're walking, we're right in the middle of the hallway and every background actor has to turn their body sideways to get past us because it's such a small, can find space. And the dolly is pulling backwards. So they're having to dodge the dolly.

Yeah. Yeah. We try to make it look smooth, but it's not always that smooth. Right. So then we go to Sick Bay. Fouperry shows up and the doctor is giving him a very complicated assignment for the day. Lots and lots of very. You got to calibrate some biobeds or something like that.

Calibrating the biobeds and doing all kinds of things. And Fouperi keeps going, mm-hmm, mm-hmm, okay. All right. Then the doctor starts to go to his office, and Paris can't even start the tricorder. No. Every time you get a button, it goes, yeah. And the doctor turns around. And then he hits it again.

And the doctor turns around, keeps beeping. And so the doctor comes over is very suspicious. And Fouperi, again, the con man that he is, is able to. First, he claims illness. He's like, you know what? I'm just not feeling well, I got to go. And the doctor grabs him and brings him back. And well, lucky for you, we can do the scans right here.

year. Yeah. And then he comes up with another excuse. He goes, you know what? The truth is, I can never live up to you. Yes. And the doctor, he, so he appeals to the doctor's ego, which of course works. It worked perfectly. The doctor is touched. Yeah. And he tells Fouperry, he says, Mr. Paris, you should go reflect on your own strengths and realize your worth. And he puts his hand on Paris and then Paris faux Perry puts his hand up on the doctors and has this moment where he's just a touching moment the touching moment thank you doctor such a funny funny scene it is and you you did miss the line that the the doctor said when he says what he said place he's misplaced aggression the shirking of responsibilities all classic signs of an inferiority complex so we you know

this this was a great it's a wonderful wonderful little set of lines there I loved it yeah good lines. Good, good scene. Very funny scene. Yeah. You touched the doctor's hand. I know. It looks like Bala's quarters next. That's right. And Foe Perry is in there. Pudding. He's putting. Because remember, Harry said, remember, you missed those

two foot putts. So now he's practicing his putting. Practicing his putting. And I do remember doing that scene and I could not put. And in fact, this is the shot that's in there is a missed put. Oh, it actually looked okay. I wasn't.

It got close, but I remember they were trying and trying, trying with a camera down on the ground. Like you said, one to three takes, we just don't have time. And so if I couldn't get it in a couple of takes, they were like, okay, moving on. We'll go on with the missputt. But when Milano walks in, your physicality of how you stood there as faux-Pourri was perfect. Because you stood so awkwardly and just how you leaned. Yeah, you leaned over and you, I don't know, you were doing a Captain Morgan, you know, position or whatever with the hand on the hip. I was like, that is so funny. That is that made me

crack up. I was, I was on the floor. I was like, oh, that's funny. Yeah, because it was in Paris. You, you've actually made that decision in your mind as an actor. Like, I've got to do some weird physicality where this doesn't look like Tom. And it was great because it was so simple. That choice was so simple to put your fist, hand in a fist and stick it on the side of your hip like that. It was great. It was funny. I also noticed in this scene that

Balana was moving around a lot and this is when Roxanne was pregnant. Yeah. So they had to do pregnancy block. Yeah. They stayed up. She went down, right? They didn't follow her because typically

they would follow her down. Right. Yeah. And then bring it, yes, but they didn't. Yep. Stayed off her belly. I found, you know, Paris's apology,

faux Perry's apology to be so creepy. And then she kissed him. She kissed Fou-Peree, and God knows what else happened after the scene cut out. But they, oh, poor Boulana. She was conned by this poor creepy guy. Are you basically pretending to be Fou-Peri? Yeah, so how does that make you feel real, Tom? I know.

Fou-Pri had nookie. I mean, it's- It's implied. implied that he had no key with your lady. Yeah. Yeah. And that's the, yeah,

and the payoff comes later in this episode. Yeah, it was bad. It was bad. Oh, my goodness. Okay, so the next scene is on Steff's shuttle, which is where he put the real Paris, who now looks like alien's death. So let's call him Paris for now.

Yeah. Paris starts to wake up. Yeah. And he tries to work the controls. He tries to speak. He's locked out of all controls. And then the bent, what do they call it? The Bentheans or?

The Bentham ships arrive. But let's just say, Dan Butler, great job. He's like, computer, I mean, playing real Paris as. He did a great job. He did a great job right there. Yeah. Benton ships arrive, right? The Benthens ships arrived to arrest him.

I love those ships. Those were like really awesome ships. I don't know who was doing the design of those ships for this episode, the visual effects, but they look great. Really, yep. Tractor beam. They do get the shuttle. And then the real Steff beams over. Yeah. The real Seth comes in and fires on the Benthen Guard, right, with another cool looking ship. And then that Steff beams in and says, I want my body back. I want my body back. And then Paris, who looks like Dan Butler right now in makeup, Paris says,

we have a lot more common than you think. And that's where we kind of go out there. so nice we're starting to realize all of this body swapping and all the layers how deep the the game has gone yeah it's deep yeah we go to the transporter room and balana enters and she says what's what's your surprise to faux perry and faux perry says what would you say to 24 glorious hours on the famed fourth planet in the kendron system and then her response is, you mean the planet where Neelix is gathering food samples? Right. And Fouperry goes, mm-hmm.

Is he thinking about having some nooky outdoors? Like, that's what's going on right now. Look at that. I thought Roxanne did a great job with her deadpan delivery of, you mean the planet where Neelix is gathering food samples? Very deadpan, really funny. By the way, the picnic lunchbox that I'm bringing is huge. It is huge.

What do you have in there, man? I know. Is this an eight-course meal? What do you have? Supplies for a month. It was ginormous. You must have had a change of clothes in there, swimsuit, you know, everything ready to go. And he's trying to talk her into this thing.

And she's like, she's playing along for a minute. And then she's like, wait a minute. Are you serious? She's like, we would be in so much trouble. And he's like, come on. And now he's getting faux Perry is getting pissed off. he gets violent here he gets violent he grabs her hand he grabs her by the face yeah wow i just wrote wow that was you know what i don't ever want to see that side of rhabi ever i i hope you never

grabbed me by my face like that it was scary i didn't scary it was so scary where did you find that guy oh my i don't know well that's faux perry okay all right fine all right leave it to foe perry we go to the the mess hall and faux perry is uh are we in the mess hall yeah oh geez i thought it was paris's quarters is what i thought so too it's not paris's quarters no i think they put it in the corner of a mess hall maybe it is supposed to be his quarters but they we shot it in the corner of the mess hall because when which is weird because like this is the mess hall of the entire ship that place people are coming in and going all the time yeah maybe they were trying to pretend that the corner of the mess hall. I don't think they had room for Paris's quarters. Remember, they had to switch them out

in and out. Yeah. They probably had too many sets or something. Okay. So they just decided to stick him in the corner of, of the mess hall and pretend it's his quarters or I don't know. But yeah, he's drunk. Bottom line is, he's drunk. Seven walks in. She says, why did you skip the meeting? Then she also says, why are you reading the captain's personal laws? Oh, yeah. What are you talking about? Yeah. She seized it from over his shoulder that while he's sitting there drinking. Yes. He's reading the, the captain's logs that he had stolen from, uh, from the other computer. Have we established before this that seven has a photographic memory? Have we, if we talked about? Okay. No. Because this is kind of this, this comes up in this episode.

Yeah, she says, uh, he, he lies and says, I'm not, that's not the Kevin's log. She goes, yeah, she says, I have a photographic memory. Do you want me to repeat what, what I saw you're reading? Exactly. She starts to, she starts to repeat a line of it there. Yeah. And he gets pissed off again, snaps and grabs seven too yeah grabs her yeah and threatens her yeah i was actually getting excited because i was hoping that you know that there be a fight and he'd go down because well because you know seven always punches harry so i thought oh yes fo peri is going to get punched out not harry so i was really expecting that to happen but it didn't i know it didn't happen i know tense though very tense very tense and then we cut to the ready room janeway's sitting on her couch and uh the door opens and

there's faux perry and janeway is mad and one note that i made is she's sitting on her couch for this disciplinary conversation which is very strange because usually cape mulgrew is up and pacing and moving and taking charge and yeah this was a very unusual blocking and i honestly don't know if i liked it i think it would have been better if she had been up and moving she finally stands up near the end but um it does but i almost feel like maybe hey sus was like okay in the next scene when janeway is being choked by faux perry it needs to be in a place where we can shoot it it's better if you guys are in the couch area so i think maybe that's why she started on the couch right to make it easier for for the camera but who knows but you're right it was awkward it's weird

it was a little awkward and it took some energy out of her performance i thought you know instead of her being decisive and the captain and kind of bossing the situation and stuff. She seemed very passive and sort of lacked energy there on the couch. But she does, she wants Paris to report to sick bay for tests. And we see Paris sort of jump her. And then we cut out to Tuvok where we hear Janeway call security, I need security right away. And we follow Tuvok around.

And as the door opens, we see Paris is choking her. And Tuvok and the security team run in. and they stun him. They shoot him. They stun Fopérii. Foparee. And now we go to the stealth ship. The alien in Paris are working together to try to break through these lockout commands,

get the warp drive on the line. They're finally able to get the ship up and running, and they're headed for Voyager. Then we go to Sick Bay, and the doctor has says, he says he's healed the phaser wounds, but he's unable to wake faux-Pri. And he said, the strangest thing is blood analysis reveals traces of a second. DNA pattern and that's very strange they don't know what to make that so they're starting puzzle together and then she calls when he says a shuttle has appeared on censors so we cut up to the bridge and steph and a female come on screen or really Paris and the female alien come on screen

and he tells Janeway that he is actually Tom Paris and he's not Steph that he's taken over his body and Janeway says, you know, stay right where you are. I've got to go to sick, sick bay, no time to explain, she says to Chacote. Right. So a very, very abrupt kind of turn. Chacote out sort of, yeah.

Then we jump the next scene, it's this interior of a shuttle where seven is working on something on a console And that's when we realize, uh-oh, there's a faux Janeway now. Yeah, he's taken over her body. Must have been in sick bay, I guess. Or in the struggle. It happened in the struggle in the ready room.

That's when he swapped bodies there. And we realize that, right? So that's when Seven is now phasered by Janeway and then steals the shuttle and takes off in that shuttle. that's when we jump to the bridge and Paris is now talking, well, Steph, this is so confusing.

Steth in Paris. Real Paris who looks like Steph is talking to Chikote and finally convinces him that he is really Paris in Steph's body. And he says, trust me. Chacote is like, how do I know it's you?

And he says, the real Paris who looks like Steth says, you know the other day, I was in your quarters and you told me that I had turned my life around. Right. And please give me

a chance to prove it. Right. And that's exactly what Chacote had said. You know what? I think that was a waste of time. I think real Paris should have said, Acuchimoya. And at that moment,

Chikote would have went, oh, Ah, Cuchimoya. Coochimoya. And then let you go. So you are now released from the tractor beam, and you and other's death in female body are now taking off to chase after Fogainway, right?

The shuttle chase begins. Very confusing. Yes, it's so confusing. But the best part of this whole shuttle chase is the line from Fogainway when Fogainway says, Send my best regards to Belauna. And she has a creepy laugh. Yes. Which really meant that was the payoff laugh, which the under the subtext was,

I had nook you with your lady is what that laugh was right agreed creepy creepy so creepy Kate horrible what a creepy performance that is a good job by Kate Mungrew yeah and then we we go back to the real Paris who looks like Steph and he's trying to think of how to how to stop the shuttle and he remembers the coaxial drive carburetor combo idea which is kind of like it's kind of like a War Particles moment where you're like, carburetor is what you kind of come up with. Yeah, I did. And then you disabled the ship. But here's the thing.

Foe Janeway did a great job. Kate did a great job as Foe Janeway until she puts her palm in her, you know, she puts her forehead in the palm of her hand, which was very much Kate Mo grew as Janeway, I felt. And not Foe Janeway, right? So there's a little bit of, you know, tweaking their. could have gone on there but okay but yes paris uh the real paris does disable the ship so he's able to stop this alien that keeps jumping bodies and then there's a captain's log where the the captain says something like the doctor has figured out a way to return the victims to their

original bodies yeah and i just hit pause and i'm like wait a minute what yeah how like how did you figure that how did we just kind of skipped over a really huge part of like right i Okay, sure, let's go. Clearly, that is the writer knowing there is only three minutes left in this episode. I must tie everything up very quickly, right? Yeah. So we go to sick bay and the doctor has returned everybody to their bodies. But yeah, I wrote again, you know, we skipped over how the doctor has been able to recover

everyone to their bodies. Paras death, Jane, we were all put back in the right bodies. But I wanted to see Steph. I wanted to see the real step, but we didn't see that. Just see female thefts and sitting there, standing there, and that's it. They say that they're going to try to find all the other victims the shapeshifter has violated when they bring him back to benthos. So that's kind of how we wrap up the stealth story.

And then our little coda at the end of the episode is in the garage. Paris is showing Balana the holodeck that he's been hiding out in and working on the car. and she goes, it's a garage, and he's like, it's more than, it's so much more than a garage. It's a monument to the hundreds and hundreds of hours that I probably should have spent with you. I love that line. How does she pronounce the car? What does she say? Camero.

Camero. Camero. Camero. Camero. Camero. Camero. Oh, my goodness. It was very funny. Yeah, she looks on the side of the car to see what it's called. Yes, nice Camero. Yeah.

And then you guys have a nice makeout session. And then we have a makeout. Yeah. And I do remember filming this scene when she had to get in. There was concern because of her belly, her pregnant belly. Oh, how to get her in the car. And because those old cars, you know, if anyone's ever been in these old cars, they don't have seats that just slide up and down.

Like the seats are fixed seats. So you have to, you have to maneuver your body. get into those vehicles. And then she had to turn so that we could do the maki-outy part. And she was very pregnant at this point. See, that's when you should have looked down and said, whose baby is that? And then it would have turned into a whole soap opera thing, right?

Is that Steph's baby or the identity theft alien baby? Whatever you want to call that person? Or my baby. Yeah. All right. What is your theme for this? Do you have a theme? Yeah, you know, for me, I just, you know, my theme.

was everything in moderation because you spent hundreds of hours in that garage and that was you kind of putting all your time into that and avoiding and ignoring your responsibilities as a boyfriend as a crew member on this ship

so you were going overboard you were kind of going you know putting all of your time in one thing and not balancing your life out so everything in moderation was my theme for this or this last my lesson for this episode. How about you?

Don't invite aliens with weird noses that you don't know on your ship. That's my theme. Why did they invite him on it? Like, they hadn't even kind of downloaded if he's a good guy or a bad guy. They're just like, come on over. Come on over. Come on our ship. Don't invite strangers in.

You can be nice to them. You can help them. Just don't invite them in your house until you get to know them. That's all. Is that your theme? Okay. Yeah. My sub theme is invest in firewalls for your laptop, your mobile device, so no one can steal your identity.

Steal your data. Identity theft is real, people. Yes. Exactly. I like your theme, though. All right, everyone. So that is our recap vis-a-vis with Fopari. I hope you enjoyed it.

We-wee-wee-wee-wee-wee. We join us next week when Robbie and I will read. recap and discuss the episode, The Omega Directive. I like that name. The Omega Directive. Scary. All right. Very ominous.

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