WEBVTT 00:08.738 --> 00:10.341 [SPEAKER_01]: Hello everyone. 00:10.602 --> 00:16.895 [SPEAKER_01]: Welcome to the Delta Flyers Journey through the wormhole with cork dacks and their good friends, Tom and Harry. 00:17.296 --> 00:21.665 [SPEAKER_01]: Join us as we make our way through episodes of Star Trek Deep Space Nine. 00:21.905 --> 00:28.519 [SPEAKER_00]: Your host today are my fellow truck actors Robert Duncan McNeill and Garrett Wong and myself, Terry Farrell. 00:28.803 --> 00:44.604 [SPEAKER_03]: Yay, complete, incredible, amazing, extended, protracted bonus feature episode of this show, check out patreon.com forward slash the Delta Flyers and sign up to become a patron today. 00:45.124 --> 00:47.587 [SPEAKER_03]: protracted, I haven't heard that in years. 00:47.628 --> 00:48.509 [SPEAKER_03]: protracted, right? 00:48.549 --> 00:50.331 [SPEAKER_03]: That means, extended. 00:50.371 --> 00:51.753 [SPEAKER_03]: Extra. 00:51.773 --> 00:52.854 [SPEAKER_00]: Love it. 00:52.874 --> 00:53.475 [SPEAKER_03]: Good job. 00:53.495 --> 00:53.856 [SPEAKER_03]: Thank you. 00:54.016 --> 00:57.240 [SPEAKER_00]: I really like mixing up some vocabulary. 00:57.220 --> 01:01.913 [SPEAKER_03]: In honor of Armin, who's not here with us today, I'm my vocabularious inspired. 01:02.034 --> 01:03.739 [SPEAKER_03]: Territ, I have a question for you. 01:03.799 --> 01:06.266 [SPEAKER_03]: What were your favorite commercials that you did? 01:06.286 --> 01:08.372 [SPEAKER_03]: I know you did commercials, I did it much. 01:09.174 --> 01:09.475 [SPEAKER_00]: Oh! 01:10.805 --> 01:21.059 [SPEAKER_00]: I want to say every single one because I was so grateful to get them and, you know, it was just so exciting to hear your voice and run in the room and go, oh my gosh, I'm in the commercial. 01:22.101 --> 01:34.678 [SPEAKER_00]: My first one that I remember being big because they hired me a voice coach to try to break by, it's so funny now how low my voice is, but it was really high when I was young. 01:35.179 --> 01:35.800 [SPEAKER_00]: Yeah, me too. 01:35.780 --> 01:51.115 [SPEAKER_00]: There's a bridge in New York and I can't remember, I think it's in the 20s and they set me up on this bridge and I did this Maybelline expert eyes commercial, but I had to talk over the traffic. 01:52.218 --> 01:53.080 [SPEAKER_03]: Oh wow. 01:53.819 --> 01:55.842 [SPEAKER_00]: It was so challenging. 01:55.862 --> 01:58.226 [SPEAKER_03]: Was it near just below Grand Central Station? 01:58.286 --> 01:59.448 [SPEAKER_00]: Was it that brand? 01:59.549 --> 02:01.392 [SPEAKER_00]: Yeah, that's a great spot. 02:01.412 --> 02:02.874 [SPEAKER_00]: Oh, it looks beautiful. 02:02.954 --> 02:03.776 [SPEAKER_01]: Oh, it's beautiful. 02:03.976 --> 02:05.038 [SPEAKER_01]: I can't expot there. 02:05.238 --> 02:06.200 [SPEAKER_00]: I can't expot. 02:06.300 --> 02:08.023 [SPEAKER_01]: Are you screaming in the entire bit? 02:08.163 --> 02:10.687 [SPEAKER_01]: Are you just at the top of your lungs? 02:10.707 --> 02:11.288 [SPEAKER_01]: Oh, pretty much. 02:11.268 --> 02:12.329 [SPEAKER_00]: pretty much. 02:12.689 --> 02:17.955 [SPEAKER_00]: I also got a clear all commercial because it was me and Sharon Stone up for this. 02:17.975 --> 02:21.519 [SPEAKER_00]: She got it, but then she did her layout for playboy. 02:21.639 --> 02:23.461 [SPEAKER_00]: So that got pulled off the air. 02:23.481 --> 02:27.445 [SPEAKER_00]: To me, because then they hired me to do it. 02:28.005 --> 02:28.666 [SPEAKER_01]: Oh, wow. 02:28.826 --> 02:29.347 [SPEAKER_00]: So that's good. 02:29.527 --> 02:31.109 [SPEAKER_01]: I do have a follow-up question for Terry. 02:31.209 --> 02:39.317 [SPEAKER_01]: I want to ask about Terry's favorite print ad that she did, not a commercial, but something that's just in a magazine or a billboard. 02:39.297 --> 02:44.515 [SPEAKER_01]: Was there one that stood out that you'd love to all the other films? 02:45.608 --> 02:48.291 [SPEAKER_00]: It was on a billboard in Japan. 02:48.311 --> 02:49.553 [SPEAKER_00]: Oh, no. 02:49.713 --> 02:51.995 [SPEAKER_00]: It was on the side of a building in Japan. 02:52.216 --> 02:54.138 [SPEAKER_00]: I only got to see a picture. 02:54.198 --> 02:56.020 [SPEAKER_00]: Someone showed me a picture. 02:56.441 --> 03:04.911 [SPEAKER_00]: Yeah, with me all like sky stripper wearing this black elegant gown, my hair up, you know, with the cigarette. 03:04.971 --> 03:10.637 [SPEAKER_00]: But it was a very curvy, like the tattinger, champagne, commercial kind of thing. 03:11.158 --> 03:13.000 [SPEAKER_00]: And it was so, and it just, 03:13.418 --> 03:14.519 [SPEAKER_03]: and the side of a building. 03:14.540 --> 03:15.521 [SPEAKER_00]: It's blown me away. 03:15.541 --> 03:17.924 [SPEAKER_03]: Yeah, that literally it's huge. 03:18.665 --> 03:22.410 [SPEAKER_00]: And it was like kind of a shame that Virginia slums were cigarettes. 03:22.610 --> 03:26.716 [SPEAKER_00]: But the ads were so huge as a kid, yeah. 03:26.736 --> 03:31.162 [SPEAKER_00]: Being them, the women look so beautiful that I got to be a Virginia slums model. 03:31.442 --> 03:35.788 [SPEAKER_00]: I know that's awful to sell cigarettes, but I did some of them with the two kids. 03:35.808 --> 03:37.370 [SPEAKER_03]: We're doing back then. 03:37.951 --> 03:38.852 [SPEAKER_00]: It doesn't make it. 03:38.832 --> 03:44.180 [SPEAKER_00]: Yeah, but it was one of the most fun experiences I ever had. 03:44.281 --> 03:46.804 [SPEAKER_00]: And I think it's because it was 25 when it happened. 03:46.845 --> 03:52.233 [SPEAKER_00]: It was after my modeling career, after I already started acting. 03:52.493 --> 03:53.735 [SPEAKER_01]: You know what have been super cool? 03:53.775 --> 03:57.281 [SPEAKER_01]: If you would have been able to travel to Japan, it too seriously. 03:57.301 --> 03:58.062 [SPEAKER_02]: Oh, and you see it? 03:58.122 --> 04:04.392 [SPEAKER_01]: Yeah, but to stand in front of it, like you're in the ad, you're saying wearing a beautiful dark, a black dress or whatever. 04:04.412 --> 04:05.654 [SPEAKER_01]: I see quite a lot of it. 04:05.894 --> 04:06.375 [SPEAKER_01]: You're right. 04:06.355 --> 04:10.220 [SPEAKER_01]: If you stood in front of it, just wearing sweats and totally the opposite dress down. 04:10.300 --> 04:10.440 [SPEAKER_00]: Right. 04:10.460 --> 04:16.068 [SPEAKER_01]: Because someone took a picture of you in front of it with sweats and then the beautiful you and in your account, that would have been so cool. 04:16.408 --> 04:17.149 [SPEAKER_00]: So cool. 04:17.409 --> 04:18.791 [SPEAKER_00]: What was your favorite commercial? 04:18.951 --> 04:22.536 [SPEAKER_03]: I think one of my first commercials I did was for a Tuxedo company. 04:22.596 --> 04:24.278 [SPEAKER_03]: It was around prom season. 04:24.859 --> 04:27.823 [SPEAKER_03]: And it was for a Tuxedo company called, 04:27.803 --> 04:33.311 [SPEAKER_03]: uh, Lord Gray, Tuxedo's, and it was a whole story. 04:33.371 --> 04:47.793 [SPEAKER_03]: The reason I liked it is because it was the kid, you know, was this montage of all these things of having his dad help him and getting ready and and going to pick up the girl and getting the, you know, put it in the future. 04:47.813 --> 04:48.535 [SPEAKER_00]: Do you got to live a life? 04:48.975 --> 04:51.419 [SPEAKER_03]: Yeah, it was a horror story in this console. 04:51.559 --> 04:52.140 [SPEAKER_00]: Yes, yes. 04:52.160 --> 04:56.106 [SPEAKER_03]: It was all about this character, the one, you know, the kid I was playing. 04:56.086 --> 04:56.907 [SPEAKER_03]: And it ran. 04:56.967 --> 04:59.691 [SPEAKER_03]: It was the first commercial I remember my grandmother seeing. 04:59.711 --> 05:15.592 [SPEAKER_03]: Ah, no mother was so, you know, the first time she saw me on television was in this Lord Gray Tuxedo commercial and she was so proud and she told everyone, she vidied, you know, recorded it on her VHS recorder at home. 05:15.612 --> 05:17.655 [SPEAKER_03]: Oh my god. 05:17.635 --> 05:19.657 [SPEAKER_03]: Thirty-six thousand per feel. 05:19.677 --> 05:20.478 [SPEAKER_03]: It was very cute. 05:20.718 --> 05:22.440 [SPEAKER_03]: Is this your mom's mom or your dad? 05:22.680 --> 05:24.021 [SPEAKER_03]: It's my mom's mom. 05:24.041 --> 05:24.422 [SPEAKER_03]: Yeah. 05:24.722 --> 05:25.243 [SPEAKER_03]: Yeah. 05:25.263 --> 05:26.083 [SPEAKER_03]: That's so. 05:26.103 --> 05:26.204 [SPEAKER_00]: Yeah. 05:26.864 --> 05:28.005 [SPEAKER_00]: Oh my gosh. 05:28.065 --> 05:29.106 [SPEAKER_03]: That was a fun one. 05:29.126 --> 05:29.787 [SPEAKER_03]: Can we see that? 05:30.027 --> 05:30.288 [SPEAKER_03]: Rubby? 05:30.408 --> 05:32.510 [SPEAKER_03]: This is an assignment for the listeners out there. 05:32.590 --> 05:36.073 [SPEAKER_03]: Can anyone find Cito's portrait text from the early eighties? 05:36.093 --> 05:36.994 [SPEAKER_00]: Oh my gosh. 05:37.014 --> 05:37.114 [SPEAKER_00]: Yeah. 05:37.194 --> 05:38.376 [SPEAKER_00]: I don't have copies. 05:38.516 --> 05:45.803 [SPEAKER_00]: They came on VHS tapes that have been just obliterated from moving the heat, the 05:45.783 --> 05:46.185 [SPEAKER_01]: Yeah. 05:46.365 --> 05:47.410 [SPEAKER_01]: They're all grainy. 05:47.490 --> 05:50.382 [SPEAKER_01]: It's time for birthdays October 21st. 05:50.724 --> 05:55.202 [SPEAKER_01]: Amy Tudor happy birthday to Amy happy birthday 05:55.402 --> 06:01.150 [SPEAKER_03]: Happy birthday, Amy Tudor, and also on October 21st, Leslie Ford. 06:01.611 --> 06:03.213 [SPEAKER_03]: So happy birthday, Leslie. 06:03.233 --> 06:04.715 [SPEAKER_00]: Happy birthday, Leslie. 06:04.775 --> 06:06.097 [SPEAKER_01]: Happy birthday, Leslie. 06:06.117 --> 06:09.221 [SPEAKER_00]: And Cindy Ring on October 25th. 06:09.562 --> 06:11.985 [SPEAKER_00]: Happy birthday, Cindy Ring. 06:12.265 --> 06:13.507 [SPEAKER_03]: Happy birthday, Cindy. 06:13.787 --> 06:17.072 [SPEAKER_03]: Happy birthday, Cindy. 06:23.279 --> 06:27.550 [SPEAKER_01]: Why don't we jump into this with our Poetry Synopsis with Robin with his Limerick, please? 06:28.913 --> 06:34.588 [SPEAKER_03]: All right, here we go with my poem for the Muse, the episode The Muse. 06:35.007 --> 06:39.332 [SPEAKER_03]: Loxana shows a pregnant, Odo's feeling unsteady. 06:40.232 --> 06:45.999 [SPEAKER_03]: A mystery alien's effect on Jake is inspiring, but also quite heady. 06:47.700 --> 06:53.366 [SPEAKER_03]: Odo proposes to be the hero, Jake's life signs drop to almost zero. 06:53.406 --> 06:58.872 [SPEAKER_03]: They both learn everything you need is inside you already. 06:59.510 --> 07:03.697 [SPEAKER_01]: Oh, yeah, that was a heady limerick actually like that. 07:03.837 --> 07:04.298 [SPEAKER_01]: I did. 07:04.318 --> 07:05.479 [SPEAKER_01]: Yeah, I liked it a lot. 07:05.500 --> 07:06.441 [SPEAKER_01]: It was very good. 07:06.461 --> 07:06.902 [SPEAKER_01]: Very good. 07:06.962 --> 07:07.443 [SPEAKER_01]: Here we go. 07:07.503 --> 07:19.662 [SPEAKER_01]: My high coup for the muse. 07:20.688 --> 07:49.463 [SPEAKER_00]: Mmm, you covered it, I covered it all, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, 07:49.713 --> 07:53.740 [SPEAKER_03]: It was kind of, it feels like two A stories to me. 07:54.502 --> 07:57.287 [SPEAKER_03]: It was kind of, that's why it felt like so much. 07:58.348 --> 08:09.308 [SPEAKER_03]: I wish that the balance had been a little more, we'll get into it in my opinion, but a little more on one A story and a lot less on another one would have been helpful. 08:09.676 --> 08:10.657 [SPEAKER_00]: Me too. 08:10.797 --> 08:13.020 [SPEAKER_00]: I wonder if we're thinking the same way. 08:13.040 --> 08:14.783 [SPEAKER_01]: We'll be in this day. 08:14.803 --> 08:15.644 [SPEAKER_01]: We shall see. 08:15.724 --> 08:17.386 [SPEAKER_00]: Okay. 08:17.546 --> 08:18.868 [SPEAKER_01]: Let us jump into this. 08:19.188 --> 08:24.375 [SPEAKER_01]: This story is by Renee Ishavaria and Major Barrett Roddenberry. 08:24.395 --> 08:26.178 [SPEAKER_01]: Wow. 08:26.498 --> 08:29.402 [SPEAKER_01]: The teleplay is by Renee Ishavaria. 08:29.422 --> 08:32.646 [SPEAKER_01]: Directed by our friend David Livingston. 08:32.626 --> 08:40.976 [SPEAKER_01]: guest stars, Major Barrett as Luxonotroy, Michael and Sarah as J. 08:41.357 --> 08:42.879 [SPEAKER_01]: All, every time they said J. 08:43.059 --> 08:54.533 [SPEAKER_01]: All, because I was born, I mean, because I was alive during the Dallas television era, I kept thinking they were going to say, J. R. Like J. R. I was happy to see my cling on buddy. 08:54.513 --> 08:56.616 [SPEAKER_01]: the exactly who played. 08:56.636 --> 09:13.981 [SPEAKER_01]: Yes, as we know, Michael Unsara played the clingon character of Kang in the original series episode the day of the dove and the DS9 episode blood oath which Terry is referring to and he would also later reprise the role of Kang in the Voyager episode flashback. 09:14.161 --> 09:18.968 [SPEAKER_01]: What's interesting about Michael Unsara is the fact that he married Barbara Eden. 09:18.948 --> 09:19.349 [SPEAKER_01]: Wow. 09:19.369 --> 09:20.270 [SPEAKER_01]: Did not know that. 09:20.530 --> 09:21.652 [SPEAKER_01]: A married Barbara. 09:21.692 --> 09:23.114 [SPEAKER_00]: Yeah, no, no. 09:23.134 --> 09:26.820 [SPEAKER_00]: Someone famous that we knew of in this in our childhood. 09:26.900 --> 09:32.128 [SPEAKER_01]: Yeah, there is a diamond pendant necklace that Michael and Sarah gave to Barbara Eden. 09:32.548 --> 09:37.676 [SPEAKER_01]: She wore it in every single episode of I Dream of Jeannie to keep real into her heart. 09:37.696 --> 09:38.357 [SPEAKER_01]: Yeah. 09:38.337 --> 09:43.562 [SPEAKER_01]: That's pretty, where is that rare though that you wear your own jewelry on a particular shirt? 09:44.322 --> 09:45.283 [SPEAKER_01]: Very special. 09:45.864 --> 09:46.564 [SPEAKER_00]: It's so rare. 09:46.584 --> 09:47.165 [SPEAKER_00]: I had a necklace. 09:47.225 --> 09:51.769 [SPEAKER_00]: I wore all the time on deep space from a previous boyfriend. 09:51.789 --> 09:56.754 [SPEAKER_00]: Yeah, but with the turtleneck, you never see it, it was just, I just never had to take it off. 09:56.854 --> 09:57.354 [SPEAKER_00]: Yeah. 09:57.374 --> 10:08.344 [SPEAKER_00]: It was one of those ill-supporty diamonds, solitaire, but no one saw it. 10:08.324 --> 10:09.668 [SPEAKER_00]: She's so tiny. 10:09.688 --> 10:11.332 [SPEAKER_00]: Yeah, I went running after her. 10:11.352 --> 10:18.894 [SPEAKER_00]: I went running out it was like you know one of the big conventions where You have to go to the loading dock to get the car. 10:18.934 --> 10:22.283 [SPEAKER_00]: Yeah, I was running after her 10:22.448 --> 10:23.149 [SPEAKER_03]: Good for you. 10:23.189 --> 10:24.692 [SPEAKER_00]: It's somewhere in my stuff. 10:24.732 --> 10:27.918 [SPEAKER_00]: I have an eye dream of Jeannie Bottle that's signed by her. 10:27.938 --> 10:31.265 [SPEAKER_00]: Oh, I can't think of the man's name who made it. 10:31.365 --> 10:36.655 [SPEAKER_00]: But he, he works with her and he created this bottle such a nice man. 10:36.715 --> 10:38.479 [SPEAKER_00]: And he gave it to me as a gift. 10:38.499 --> 10:41.484 [SPEAKER_00]: He had her sign it, but I know it's packed away some work. 10:41.504 --> 10:42.887 [SPEAKER_00]: So I was so afraid it would break. 10:42.867 --> 10:53.244 [SPEAKER_00]: Oh my god, I was so kind, I was like, can I hug you and it was like hugging the tiniest person? 10:53.284 --> 10:55.468 [SPEAKER_00]: Oh, it's amazing. 10:55.668 --> 10:56.510 [SPEAKER_00]: It's amazing. 10:56.690 --> 10:58.012 [SPEAKER_00]: It's amazing. 10:58.253 --> 10:59.154 [SPEAKER_00]: It's amazing. 10:59.355 --> 11:00.396 [SPEAKER_00]: It's amazing. 11:00.737 --> 11:01.358 [SPEAKER_00]: It's amazing. 11:01.378 --> 11:01.799 [SPEAKER_00]: It's amazing. 11:01.819 --> 11:02.239 [SPEAKER_00]: It's amazing. 11:02.400 --> 11:03.021 [SPEAKER_00]: It's amazing. 11:03.141 --> 11:03.682 [SPEAKER_00]: It's amazing. 11:03.822 --> 11:05.044 [SPEAKER_02]: It's amazing. 11:05.024 --> 11:06.566 [SPEAKER_00]: I want to be like that. 11:06.646 --> 11:11.092 [SPEAKER_00]: Yes, the moving still just a ball of life. 11:11.253 --> 11:13.756 [SPEAKER_00]: She was just really sweet person. 11:13.816 --> 11:15.839 [SPEAKER_00]: Yeah, or is a ball of life. 11:15.919 --> 11:16.540 [SPEAKER_00]: She is. 11:16.660 --> 11:18.563 [SPEAKER_00]: Yes, exactly. 11:19.043 --> 11:19.324 [SPEAKER_01]: Wow. 11:19.424 --> 11:20.185 [SPEAKER_01]: That's a great story. 11:20.245 --> 11:23.149 [SPEAKER_01]: Thanks for sharing that special guest star. 11:23.449 --> 11:24.771 [SPEAKER_01]: Meg Foster. 11:25.004 --> 11:28.869 [SPEAKER_01]: As, oh, Naya, okay, everyone's always known. 11:29.130 --> 11:32.534 [SPEAKER_01]: Meg Foster has the icyest blue eyes in Hollywood. 11:33.356 --> 11:33.656 [SPEAKER_01]: Oh, yeah. 11:33.676 --> 11:35.579 [SPEAKER_01]: And I'm gonna read this little little passage here. 11:35.779 --> 11:39.003 [SPEAKER_01]: Meg Foster's famously intense icy blue eyes. 11:39.264 --> 11:54.505 [SPEAKER_01]: Once dubbed the Eyes of 1979 by Madame Mozell Magazine, we're so hypnotic that during her early career, some producers and directors had her wear contact lenses 11:54.485 --> 11:57.849 [SPEAKER_01]: Can you imagine how, oh, oh, they are. 11:57.909 --> 12:06.901 [SPEAKER_00]: She played scary people and she was scary and I lot of it I think was how light her eyes work because it's disturbing. 12:06.961 --> 12:11.867 [SPEAKER_03]: Yeah, I think it was because she was in masters of the universe and right. 12:12.287 --> 12:15.792 [SPEAKER_03]: Yeah, I knew her well back then and she was lovely. 12:15.952 --> 12:20.678 [SPEAKER_03]: She was kind of quiet and shy and lovely like the nicest person. 12:20.658 --> 12:28.830 [SPEAKER_03]: What is shame, I know that's the reputation of being so, you know, sinister and she's not at all. 12:28.910 --> 12:38.363 [SPEAKER_00]: She was I think it's the character she played because yeah, well, you guys remember to have a physical reaction, though, to somebody's appearance. 12:38.393 --> 12:38.734 [SPEAKER_01]: Yeah. 12:38.834 --> 12:40.035 [SPEAKER_01]: Yeah. 12:40.056 --> 12:41.057 [SPEAKER_01]: But I was going to add. 12:41.257 --> 12:46.185 [SPEAKER_01]: I just think those eyes added to her performance when she did the TV version of the Scarlet letter. 12:46.525 --> 12:51.312 [SPEAKER_01]: Like you could really just, I mean, that just added to the whole storyline. 12:51.413 --> 12:52.294 [SPEAKER_01]: Just seeing those eyes. 12:52.374 --> 12:52.614 [SPEAKER_01]: All right. 12:52.875 --> 13:01.488 [SPEAKER_01]: So this episode is Major Barrett's last appearance as walks on a Troy in Star Trek and her final on-screen Star Trek appearance as well. 13:01.668 --> 13:03.190 [SPEAKER_01]: So this is nothing else after this. 13:03.251 --> 13:03.591 [SPEAKER_01]: She's done. 13:03.571 --> 13:09.358 [SPEAKER_01]: But she continued to do the voice of our computer, the original title for this episode was playing house. 13:10.059 --> 13:14.385 [SPEAKER_01]: And that title was used before the O'Neigha plot became the A story. 13:15.226 --> 13:17.168 [SPEAKER_01]: So there's a lot of stuff behind this. 13:17.228 --> 13:18.450 [SPEAKER_01]: I just want to read this passage. 13:18.810 --> 13:27.621 [SPEAKER_01]: So the original idea for this episode came from Major Barrett Roddenberry, who pitched an idea to Iris Stephen Barrett that walks on a Troy becomes pregnant. 13:27.601 --> 13:29.744 [SPEAKER_01]: and claims that the baby is Odo's. 13:30.124 --> 13:32.468 [SPEAKER_01]: So that was the original story line. 13:32.488 --> 13:48.109 [SPEAKER_01]: So this lady, I know this led Renee Shavaria to write an episode with four primary story lines, all focusing on couples, ramen, lita, Cisco and Cassidy Yates, O'Brien and Kaco, and Odo and Laxada. 13:48.389 --> 13:50.612 [SPEAKER_01]: However, nobody was happy with the concept. 13:50.652 --> 13:55.819 [SPEAKER_01]: So according to bear, the script 13:55.799 --> 13:57.341 [SPEAKER_01]: three if there are problems. 13:57.682 --> 14:01.728 [SPEAKER_01]: The script meeting for the muse lasted six days. 14:02.489 --> 14:08.579 [SPEAKER_01]: Oh, the longest script meeting in the entire seven year run of Deep Space Nine because of all the issues in the problems. 14:09.079 --> 14:14.848 [SPEAKER_01]: Because Eschevaria story wasn't working out, the producers decided to try to pat it with a good B story. 14:15.489 --> 14:21.098 [SPEAKER_01]: They wanted to do something involving Jake's creativity ever since the popular reception of the episode the visitor. 14:21.078 --> 14:29.710 [SPEAKER_01]: So Ronald D. Moore suggested that if Jake became involved with a woman who inspires his writing, it would fit into the overall design of the episode. 14:30.211 --> 14:37.161 [SPEAKER_01]: That idea ultimately evolved into having him getting involved with a much older woman who is interested in him only because he is a writer. 14:37.802 --> 14:40.646 [SPEAKER_01]: That in turn evolved into the character of Onaia. 14:41.126 --> 14:44.571 [SPEAKER_01]: The planned four romances were reduced to two, 14:44.551 --> 14:53.227 [SPEAKER_01]: And the Odo Laxana A story was switched with the Jake O'Neill B story, so the episode became more about Jake than Laxana. 14:53.247 --> 14:54.430 [SPEAKER_01]: Hence the change in the title. 14:55.091 --> 14:56.073 [SPEAKER_01]: That's why it's the muse. 14:56.273 --> 14:57.175 [SPEAKER_00]: Interesting. 14:57.435 --> 14:58.618 [SPEAKER_00]: I know how I felt. 14:59.419 --> 15:00.080 [SPEAKER_01]: I didn't either. 15:00.681 --> 15:04.669 [SPEAKER_00]: I felt like Laxana was the A story. 15:05.223 --> 15:06.024 [SPEAKER_01]: or there you go. 15:06.405 --> 15:07.066 [SPEAKER_03]: It should have been. 15:07.246 --> 15:07.527 [SPEAKER_03]: Yeah. 15:07.547 --> 15:16.322 [SPEAKER_03]: The reason that the Jake feels like the A story is because that's the climactic scene is once Cisco has to come save him and all that stuff. 15:16.362 --> 15:20.409 [SPEAKER_03]: So it feels like the writers had that as the A story in mind. 15:20.469 --> 15:23.434 [SPEAKER_03]: But to me, the out of story was much more interesting. 15:23.414 --> 15:35.830 [SPEAKER_01]: However, even with this all sorted out, the producers were unhappy, according to more, the notion of this exotic, beautiful older woman who comes to you and gets excited by watching you write is like the most ridiculous idea. 15:35.870 --> 15:37.992 [SPEAKER_01]: Only a writer would come up with that. 15:38.353 --> 15:38.753 [SPEAKER_01]: Think of it. 15:39.174 --> 15:41.477 [SPEAKER_01]: You're sitting there writing and she's just entrenched. 15:41.837 --> 15:45.302 [SPEAKER_01]: We watch that scene in daily and we thought, are we insane? 15:45.362 --> 15:46.683 [SPEAKER_01]: What are we doing? 15:46.904 --> 15:48.105 [SPEAKER_01]: How did we get here? 15:48.085 --> 15:50.770 [SPEAKER_01]: I mean, so there's already like major issues. 15:50.870 --> 16:02.331 [SPEAKER_03]: I'll just say spoiler alert that this is definitely one of my least favorite episodes for a lot of reasons, but I'm happy to hear that the writers 16:02.446 --> 16:09.174 [SPEAKER_03]: in hindsight, saw some problems with it, because it's problematic in every story in every way. 16:09.655 --> 16:12.779 [SPEAKER_03]: I'm intrigued by what that script was about the four couples. 16:13.239 --> 16:14.681 [SPEAKER_03]: That sounds fun, actually. 16:14.701 --> 16:15.021 [SPEAKER_03]: It does. 16:15.642 --> 16:16.163 [SPEAKER_03]: I agree. 16:16.183 --> 16:21.930 [SPEAKER_03]: Because some of the best moments in this episode are when the ensemble, the series regulars, have a couple of lines. 16:21.970 --> 16:27.036 [SPEAKER_03]: Like when you're listening to Loxana's story, and you guys are all depressed, 16:27.016 --> 16:28.878 [SPEAKER_03]: It's one of the most memorable scenes. 16:29.399 --> 16:30.580 [SPEAKER_02]: It's so funny. 16:31.061 --> 16:32.563 [SPEAKER_02]: It's so cool. 16:32.643 --> 16:33.063 [SPEAKER_02]: It's so funny. 16:33.944 --> 16:34.825 [SPEAKER_02]: That's too far. 16:34.846 --> 16:42.895 [SPEAKER_03]: I wish there was more of that kind of light comedy and the ensemble involved in the story more anyway. 16:43.116 --> 16:56.652 [SPEAKER_00]: Or both of them being a story lines just adding a different 16:56.800 --> 16:57.301 [SPEAKER_03]: I don't know. 16:57.401 --> 17:00.687 [SPEAKER_03]: I could have done with a lot less of Jake's storyline personally. 17:01.869 --> 17:03.832 [SPEAKER_03]: For a number reasons, but let's get into it. 17:03.992 --> 17:04.653 [SPEAKER_00]: Let's jump in. 17:04.834 --> 17:05.495 [SPEAKER_00]: Let's jump in. 17:05.515 --> 17:06.016 [SPEAKER_00]: Let's jump in. 17:06.276 --> 17:12.126 [SPEAKER_03]: We start out in space in a beautiful CG shot, by the way, that is not the models that is a CG shot. 17:12.106 --> 17:22.662 [SPEAKER_03]: as the camera wrapped around, it was beautiful, like DS9 was leading the charge on CGI technology benefit, and they were doing things before most people. 17:22.722 --> 17:23.163 [SPEAKER_03]: It was cool. 17:23.563 --> 17:24.084 [SPEAKER_03]: Cool shot. 17:24.104 --> 17:24.505 [SPEAKER_00]: Yay. 17:24.805 --> 17:32.216 [SPEAKER_03]: We see a shuttle, the transport ship kind of docking, and we cut inside, and people are disembarking. 17:32.296 --> 17:37.945 [SPEAKER_03]: We see them from up above where Jake is watching and making notes on story ideas. 17:37.925 --> 17:42.215 [SPEAKER_03]: And then this mystery woman appears and their eyes meet and it's a bit awkward. 17:43.177 --> 17:51.074 [SPEAKER_03]: And I wish that Jake was not aware of her because there was a very first moment he sees her. 17:51.135 --> 17:54.221 [SPEAKER_03]: He's like, oh, she's interesting. 17:54.241 --> 17:54.522 [SPEAKER_03]: Yeah. 17:54.542 --> 17:56.727 [SPEAKER_03]: And so it feels like 17:56.825 --> 18:03.297 [SPEAKER_03]: He's going after her, and I feel like that story is more about her being the predator. 18:03.458 --> 18:17.685 [SPEAKER_03]: We're so seeing him and tricking him and manipulating him, and he immediately, why Jake Sisko, the Jake that we know, would suddenly be intrigued by this much older woman. 18:18.104 --> 18:19.406 [SPEAKER_03]: seemed awkward. 18:19.446 --> 18:20.267 [SPEAKER_00]: My shoulder. 18:21.048 --> 18:28.800 [SPEAKER_01]: Yeah, unless he's, yeah, way older, but unless he's completely mesmerized by her, I see blue eyes like other people has not enough. 18:28.880 --> 18:44.584 [SPEAKER_03]: If they were if we had suggested that she had some alien, like if, if it wasn't his point of view, if we were down, the camera was down with all the people coming in and we see this mystery woman looking around looking around and then she sees something and then we cut to her POV of Jake. 18:44.783 --> 18:48.087 [SPEAKER_03]: And we see that she's found her target or something. 18:48.708 --> 18:49.649 [SPEAKER_00]: Yeah, yeah, yeah, yeah, yeah. 18:49.789 --> 18:55.075 [SPEAKER_03]: It just felt like the POV in that moment was kind of, it was Jake's POV. 18:55.215 --> 18:56.497 [SPEAKER_00]: Then he was embarrassed. 18:57.177 --> 18:57.718 [SPEAKER_00]: Yeah. 18:57.978 --> 19:04.646 [SPEAKER_00]: Also I felt that her makeup and hair made her look so severe. 19:04.946 --> 19:08.050 [SPEAKER_00]: It reminded me of Alice Creek as the board. 19:08.731 --> 19:13.997 [SPEAKER_00]: And there was just sort of like this beautiful, 19:13.977 --> 19:19.551 [SPEAKER_00]: beautiful but not kind of it's a weird thing when that happens. 19:20.032 --> 19:24.203 [SPEAKER_00]: So I think that made her eyes are so intense. 19:25.667 --> 19:28.915 [SPEAKER_00]: Maybe let her look a little more. 19:29.941 --> 19:51.730 [SPEAKER_00]: uh... what we consider sort of just feminine or alluring in in a more human way yeah because there was something off putting about it that felt scary to me right away about her and he never acknowledges like no that's scary she just seems to be oddly drawn to this woman for no apparent reason 19:51.912 --> 20:07.761 [SPEAKER_01]: when i saw that make up on make faster i thought to me it looked it reminded me of when gary oldman played Dracula yes one hundred percent like that too much for a head and that was so much for head yes 20:07.741 --> 20:11.665 [SPEAKER_03]: So maybe they were going for a van, but she is a, she is a mind van. 20:11.685 --> 20:14.689 [SPEAKER_01]: She's an energy, yeah, she's a creativity vampire. 20:14.829 --> 20:18.553 [SPEAKER_01]: So maybe that's what maybe they were going for that for a minute. 20:18.733 --> 20:25.441 [SPEAKER_00]: Like, of course, watching, major and then him in these first few moments of the show in the first 15 minutes. 20:25.561 --> 20:26.923 [SPEAKER_00]: I was like, but wait a minute. 20:26.983 --> 20:31.808 [SPEAKER_00]: This is called the muse, what, what am I focusing on? 20:31.788 --> 20:35.935 [SPEAKER_00]: that's kind of the energy that bothered me right away. 20:35.975 --> 20:40.402 [SPEAKER_03]: Yeah, I don't know where the story was, was putting its energy. 20:40.542 --> 20:46.372 [SPEAKER_00]: I guess majorly is a muse for Odo, Odo's an muse for a, it just, hmm. 20:46.392 --> 20:51.961 [SPEAKER_00]: Yeah, I didn't feel, it's not like she brought him a jungle gym and said, hey, he's slither around this for a while. 20:53.043 --> 20:54.505 [SPEAKER_01]: That would have been fun. 20:55.328 --> 20:58.894 [SPEAKER_01]: So right off the bat, the first scene is already getting off on the wrong foot. 20:58.914 --> 21:03.862 [SPEAKER_01]: No, no, okay, all right, let me, let me, let me get, and let me add a little bit of trivia for this first scene. 21:04.042 --> 21:04.583 [SPEAKER_01]: Oh, played. 21:04.864 --> 21:18.626 [SPEAKER_01]: One of the aliens who boards DS9 in that very first scene was played by John Paul Lona, who won the walk on roll by designing the winning makeup for the alien in a competition run by playmate toys. 21:18.746 --> 21:21.150 [SPEAKER_01]: Playmates know that did all of our little action figures, right? 21:21.130 --> 21:22.072 [SPEAKER_01]: Yeah, yeah. 21:22.092 --> 21:22.613 [SPEAKER_01]: That's so cool. 21:22.633 --> 21:28.042 [SPEAKER_01]: And that crazy Rick Burman, Michael Westmore, Robert Blackman, and Dan Madson served his judges. 21:28.303 --> 21:33.512 [SPEAKER_01]: Mr. Lona, he was able to name his character, Runepp, was the character name. 21:33.953 --> 21:36.658 [SPEAKER_01]: And the species was a Brazilian. 21:36.638 --> 21:41.585 [SPEAKER_01]: Resinion, which actually looks like a raisin person, a raisin, raisin, raisin. 21:41.605 --> 21:42.407 [SPEAKER_00]: That's what I see. 21:43.288 --> 21:45.912 [SPEAKER_00]: That was thinking about raisin the last night. 21:45.932 --> 21:51.320 [SPEAKER_03]: We go to the security office and Odo walks into security and there's walks on a with her back to us. 21:51.460 --> 22:00.373 [SPEAKER_03]: She's crying and he says, what's wrong and she turns around and she stands up and we see that she's pregnant. 22:00.393 --> 22:02.316 [SPEAKER_03]: She tells Odo, she's pregnant. 22:02.596 --> 22:03.017 [SPEAKER_03]: So, 22:03.824 --> 22:19.318 [SPEAKER_03]: That's when we cut to credits, we come back, she explains that her husband wants to take the baby because he's to, to Vinyan, to Vinyans, there is a very strict separation of the sexes, so the men take the boy babies and the women take the girl babies. 22:19.298 --> 22:26.410 [SPEAKER_03]: And she says, you know, he was wonderful until we got married, and then she just felt like a piece of property. 22:26.691 --> 22:31.298 [SPEAKER_03]: She says she needs a friend, and she needs a place to have this baby safely. 22:31.419 --> 22:35.085 [SPEAKER_03]: And Otto suggests, well, what about the next transport to Beethoven's voyage? 22:35.125 --> 22:36.447 [SPEAKER_03]: She's like, nope, nope. 22:36.680 --> 22:39.387 [SPEAKER_03]: She has to hide here and she needs his help. 22:39.407 --> 22:43.177 [SPEAKER_03]: And Odo suggests the next transport to BetaZed. 22:43.397 --> 22:46.706 [SPEAKER_03]: But she says, no, that's where it first place my husband will look for me. 22:46.826 --> 22:50.014 [SPEAKER_03]: So I need to stay here and I need your help. 22:50.669 --> 22:54.195 [SPEAKER_03]: And that's how we end that little exchange. 22:54.455 --> 22:57.340 [SPEAKER_00]: Doesn't she play Marina's services mother? 22:57.501 --> 22:58.663 [SPEAKER_00]: And they're empaths. 22:58.683 --> 23:02.930 [SPEAKER_00]: So they pick up on other people's feelings and other people's pick up on their feelings. 23:02.950 --> 23:03.130 [SPEAKER_00]: Correct. 23:03.150 --> 23:03.491 [SPEAKER_00]: Yes. 23:03.651 --> 23:03.992 [SPEAKER_00]: Yes. 23:04.072 --> 23:04.472 [SPEAKER_00]: Yes. 23:04.492 --> 23:06.876 [SPEAKER_00]: So they're naturally manipulative anyway. 23:07.097 --> 23:09.140 [SPEAKER_00]: I mean, it's a way without intention. 23:09.200 --> 23:10.523 [SPEAKER_00]: Without even dreaming. 23:10.703 --> 23:16.693 [SPEAKER_00]: Yes, they might not intend to, but they can steer a course. 23:17.787 --> 23:18.508 [SPEAKER_00]: That's true. 23:18.628 --> 23:19.910 [SPEAKER_03]: Maybe she's meant. 23:19.930 --> 23:20.431 [SPEAKER_03]: Yeah. 23:21.172 --> 23:23.235 [SPEAKER_03]: Maybe she's more innocently manipulating. 23:23.255 --> 23:29.384 [SPEAKER_03]: Oh, though, then it appears with the dialogue because it does feel like she's playing some games early. 23:29.484 --> 23:31.828 [SPEAKER_03]: Loxana is there once out of help. 23:31.848 --> 23:33.550 [SPEAKER_03]: And he doesn't seem thrilled about this. 23:34.472 --> 23:37.356 [SPEAKER_03]: No, he does not seem happy with it. 23:37.897 --> 23:40.501 [SPEAKER_00]: From what you've said, the episode's building up to it. 23:40.581 --> 23:42.664 [SPEAKER_00]: Why would he be excited to see her? 23:43.268 --> 23:44.349 [SPEAKER_03]: Yes, why would he? 23:44.769 --> 23:45.190 [SPEAKER_03]: No. 23:45.430 --> 24:13.056 [SPEAKER_03]: Again, in this story, I feel like there's a version of this story where if Odo was looking for something that was missing in his life before this started, and then this sort of accidentally filled that place of feeling like he'd be himself, it would have felt complete, but it because it starts with Odo going, I'm not really interested in you. 24:13.036 --> 24:17.080 [SPEAKER_03]: pay off when it changes his perspective. 24:17.100 --> 24:27.291 [SPEAKER_01]: So it does kind of work its way towards a pay off a little bit heavy because of the fact that she even says like you know are you still hung up on her talking about Kira. 24:27.311 --> 24:30.875 [SPEAKER_01]: I feel like there is a bit of a payoff and then that that he has a void. 24:30.955 --> 24:32.397 [SPEAKER_01]: The void is Kira. 24:32.457 --> 24:33.177 [SPEAKER_01]: Kira is the void. 24:33.418 --> 24:36.201 [SPEAKER_01]: He can't be with her mate and also that's right away. 24:36.421 --> 24:40.205 [SPEAKER_01]: They do talk about the start hanging out a little bit and then they start playing that game. 24:40.245 --> 24:42.267 [SPEAKER_01]: A find me after I've 24:42.247 --> 24:47.655 [SPEAKER_01]: they become friends and they become, he realizes he enjoys her company in a way. 24:47.675 --> 24:52.001 [SPEAKER_01]: So I do think the payoff is, they slowly make their way towards it, but you're right. 24:52.341 --> 24:58.851 [SPEAKER_01]: If they had set it up before this, even clearer, the whole crew is in the quarks and everybody's having fun. 24:58.911 --> 25:02.816 [SPEAKER_03]: You try to be with them and you try to be with them and you just try and be someone he's not. 25:03.197 --> 25:06.702 [SPEAKER_03]: He's not fitting in and then the more data shows up. 25:07.087 --> 25:20.909 [SPEAKER_03]: And he's not happy about it, but he learns, oh, I actually can be myself with this unexpected person in a way I couldn't, there would have been a complete arc part of it doesn't feel like we know why he's anyway. 25:21.050 --> 25:21.530 [SPEAKER_03]: Okay. 25:21.550 --> 25:21.791 [SPEAKER_00]: Yeah. 25:21.811 --> 25:32.368 [SPEAKER_00]: Well, we know that about him, but there's, I know what you're saying, I agree, because he's still going to have a little of protecting himself from her because she's 25:32.348 --> 25:33.410 [SPEAKER_00]: a lot. 25:33.911 --> 25:42.009 [SPEAKER_00]: Yeah, she's very intense and lacking in respect, uh, sense of boundaries boundaries. 25:42.029 --> 25:47.742 [SPEAKER_00]: Yes, for other people, she just bulldozes through and that's something that sort of, um, 25:49.139 --> 26:00.500 [SPEAKER_00]: He's full to watch for a person person do because there's a desperation for her to connect, but it comes off, it does the opposite of what she's trying to do. 26:00.560 --> 26:09.477 [SPEAKER_00]: She's trying to connect, but she normally bulldozes through and I like how this episode she is softer. 26:09.457 --> 26:10.919 [SPEAKER_03]: Yes, she gets there. 26:11.179 --> 26:11.739 [SPEAKER_00]: She gets there. 26:11.759 --> 26:12.320 [SPEAKER_00]: She gets there. 26:12.520 --> 26:15.884 [SPEAKER_00]: She's not there right now in the story, but she's going to get there. 26:15.904 --> 26:17.365 [SPEAKER_00]: So everybody just hold on. 26:17.465 --> 26:19.007 [SPEAKER_03]: We go to the replamatinacs. 26:19.027 --> 26:22.471 [SPEAKER_03]: Oh, no, I, uh, this is Meg Foster's character. 26:22.491 --> 26:24.853 [SPEAKER_03]: The, the some generic alien. 26:24.873 --> 26:26.875 [SPEAKER_03]: We don't really know who, what kind of alien she is yet. 26:27.376 --> 26:29.398 [SPEAKER_03]: She set sound by Jake opens up her book. 26:30.539 --> 26:32.862 [SPEAKER_03]: She comes on very hard out of the gate here. 26:33.262 --> 26:34.023 [SPEAKER_00]: I didn't like that. 26:34.403 --> 26:34.924 [SPEAKER_00]: Nope. 26:34.944 --> 26:35.244 [SPEAKER_00]: Aki. 26:35.545 --> 26:35.965 [SPEAKER_00]: Aki. 26:35.985 --> 26:36.966 [SPEAKER_03]: Really creepy. 26:36.946 --> 26:39.269 [SPEAKER_00]: Why are you making that fat face? 26:39.289 --> 26:41.371 [SPEAKER_01]: It wasn't that creepy for me guys. 26:41.471 --> 26:42.052 [SPEAKER_01]: I don't know. 26:42.352 --> 26:43.533 [SPEAKER_01]: He's a child. 26:43.994 --> 26:45.255 [SPEAKER_01]: He's a child. 26:45.455 --> 26:46.376 [SPEAKER_00]: He's a child. 26:46.456 --> 26:49.159 [SPEAKER_00]: And she sneaks around and quietly sits. 26:50.321 --> 26:51.922 [SPEAKER_00]: That wasn't weird for you. 26:51.942 --> 26:57.729 [SPEAKER_01]: Because she's not saying like she's not looking him over up and down like, I'm going to take. 26:57.749 --> 26:59.390 [SPEAKER_01]: I'm going to take advantage of you little boy. 26:59.410 --> 27:02.874 [SPEAKER_01]: Yes, she does in the fact that the energy is being sacked out of him. 27:02.914 --> 27:03.795 [SPEAKER_01]: His creativity. 27:04.056 --> 27:05.417 [SPEAKER_03]: It was manipulative. 27:05.397 --> 27:11.302 [SPEAKER_03]: It was very sex forward this whole tone of this gave me anxiety. 27:11.422 --> 27:12.383 [SPEAKER_03]: Give me anxiety, too. 27:12.664 --> 27:13.424 [SPEAKER_03]: Just to rock play it. 27:13.444 --> 27:15.987 [SPEAKER_00]: He does play it like he's getting anxiety from her. 27:16.147 --> 27:35.404 [SPEAKER_01]: When he goes into that room, he looks like, oh, yeah, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, 27:35.384 --> 28:05.070 [SPEAKER_03]: He said, is 17, 16, 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 17, and that's 28:05.050 --> 28:10.116 [SPEAKER_03]: And she says, well, I can show you some techniques. 28:10.136 --> 28:10.877 [SPEAKER_03]: Yeah, some. 28:11.437 --> 28:12.999 [SPEAKER_03]: Oh, it was you, right? 28:13.219 --> 28:17.524 [SPEAKER_01]: Okay, then to my quarters comes to my, that is the old moment for me. 28:18.025 --> 28:19.186 [SPEAKER_01]: Come to my quarters tonight. 28:19.206 --> 28:21.168 [SPEAKER_01]: I was like, no, you cannot say that. 28:21.349 --> 28:24.933 [SPEAKER_01]: So I'm on your bandwagon there, but earlier I was not. 28:25.073 --> 28:26.074 [SPEAKER_01]: Yeah, why not you? 28:26.254 --> 28:27.356 [SPEAKER_00]: Oh, that's what's happening. 28:27.516 --> 28:28.797 [SPEAKER_00]: That was 30 seconds ago. 28:29.198 --> 28:29.598 [SPEAKER_01]: Okay, yes. 28:30.019 --> 28:31.260 [SPEAKER_00]: Now you know where we are. 28:31.240 --> 28:31.741 [SPEAKER_03]: Yes. 28:32.161 --> 28:32.402 [SPEAKER_00]: Yes. 28:32.702 --> 28:36.908 [SPEAKER_03]: It's interesting because when Jake first spotted her, again, I'm going to go back to that first scene. 28:37.108 --> 28:39.371 [SPEAKER_03]: He seemed fascinated and intrigued. 28:39.672 --> 28:44.719 [SPEAKER_03]: But in this scene, when she sits down, he's kind of nervous and hiding and so it didn't track for me. 28:44.919 --> 28:47.903 [SPEAKER_01]: He didn't act like he even recognized that this is the same person. 28:48.023 --> 28:48.864 [SPEAKER_01]: You see what I'm saying? 28:49.085 --> 28:50.547 [SPEAKER_01]: So yeah, I agree. 28:50.567 --> 28:50.907 [SPEAKER_01]: Okay. 28:50.927 --> 28:51.909 [SPEAKER_00]: He did to me. 28:52.369 --> 28:53.311 [SPEAKER_00]: But oh, really? 28:53.411 --> 28:56.455 [SPEAKER_00]: When he saw her coming in, he was, you know, 28:56.435 --> 28:57.016 [SPEAKER_00]: prior. 28:57.656 --> 29:02.722 [SPEAKER_00]: He's looking at people for ideas for characters in future stories. 29:03.283 --> 29:05.045 [SPEAKER_00]: He's his woman traveling alone. 29:05.065 --> 29:07.688 [SPEAKER_00]: And then what else does he say? 29:08.009 --> 29:09.511 [SPEAKER_01]: He's she's come a long way. 29:09.751 --> 29:11.112 [SPEAKER_01]: That's all he's right. 29:11.132 --> 29:15.518 [SPEAKER_00]: And then she looks at him and he inverts his eyes for a moment. 29:15.738 --> 29:18.341 [SPEAKER_00]: But in a gentle way, it wasn't like he looked away quick. 29:18.461 --> 29:19.102 [SPEAKER_02]: Correct. 29:19.362 --> 29:24.248 [SPEAKER_00]: And then kind of changed his gaze and looked at her one more time. 29:24.228 --> 29:26.872 [SPEAKER_00]: can't imagine he didn't recognize her. 29:26.892 --> 29:28.474 [SPEAKER_00]: I know. 29:28.494 --> 29:29.115 [SPEAKER_00]: All right. 29:29.135 --> 29:29.816 [SPEAKER_00]: Yeah. 29:29.916 --> 29:32.139 [SPEAKER_00]: They definitely made eye contact. 29:32.159 --> 29:32.259 [SPEAKER_01]: Yeah. 29:33.160 --> 29:35.924 [SPEAKER_01]: And once you make eye contact with those eyes, you never forget it. 29:36.144 --> 29:43.434 [SPEAKER_00]: Those moments that happen to me when that kind of eye contact happens, I don't remember the person. 29:43.454 --> 29:43.554 [SPEAKER_00]: Yeah. 29:44.295 --> 29:50.083 [SPEAKER_00]: I feel embarrassed for looking at them in a way without having any. 29:50.063 --> 29:51.104 [SPEAKER_00]: filter. 29:51.504 --> 29:52.545 [SPEAKER_02]: Right. 29:52.565 --> 29:52.866 [SPEAKER_00]: Right. 29:52.906 --> 29:54.207 [SPEAKER_00]: Because that's what he was doing. 29:54.247 --> 29:57.430 [SPEAKER_00]: He's using those people to give him ideas. 29:57.650 --> 29:59.532 [SPEAKER_00]: So he definitely knew who she was. 29:59.972 --> 30:00.212 [SPEAKER_03]: Yes. 30:00.873 --> 30:02.334 [SPEAKER_03]: 150%. 30:04.016 --> 30:04.296 [SPEAKER_03]: Yes. 30:04.556 --> 30:05.317 [SPEAKER_03]: Okay. 30:05.337 --> 30:05.597 [SPEAKER_03]: All right. 30:05.617 --> 30:06.958 [SPEAKER_03]: We go to Cisco's quarters. 30:07.959 --> 30:09.861 [SPEAKER_03]: Jake is reading here. 30:10.321 --> 30:12.223 [SPEAKER_03]: He's reading the Commodore by C.S. 30:12.283 --> 30:17.708 [SPEAKER_03]: Forster in this on his little 30:17.941 --> 30:19.083 [SPEAKER_03]: Well, he's read it before. 30:19.103 --> 30:19.864 [SPEAKER_03]: He's reading this. 30:19.944 --> 30:23.149 [SPEAKER_03]: This is basically the same book that he's read before. 30:23.209 --> 30:26.994 [SPEAKER_03]: It's the same prop that they printed with the same story. 30:27.014 --> 30:27.235 [SPEAKER_01]: Oh, yeah. 30:27.475 --> 30:31.321 [SPEAKER_01]: We're going to say that Jake Cisco loves this story so much. 30:31.401 --> 30:32.983 [SPEAKER_01]: He can really a thousand times. 30:33.123 --> 30:33.764 [SPEAKER_01]: It doesn't matter. 30:33.964 --> 30:34.846 [SPEAKER_01]: That's all right. 30:35.166 --> 30:35.747 [SPEAKER_03]: Say it. 30:35.727 --> 30:36.288 [SPEAKER_03]: Okay. 30:36.308 --> 30:37.490 [SPEAKER_03]: Well, he's reading a story. 30:37.630 --> 30:39.193 [SPEAKER_03]: Ben comes in to get him for this trip. 30:39.614 --> 30:42.579 [SPEAKER_03]: They're taking to the Bajor now back and Jake says, no, I want to stay. 30:42.599 --> 30:44.903 [SPEAKER_03]: I want to work on the story I'm working on. 30:46.004 --> 30:49.951 [SPEAKER_03]: And Benjamin Cisco is very disappointed, but he says, I get it. 30:50.071 --> 30:50.332 [SPEAKER_03]: Okay. 30:50.532 --> 30:51.053 [SPEAKER_03]: Good luck. 30:51.033 --> 30:53.036 [SPEAKER_00]: I thought, what an amazing dad. 30:53.757 --> 30:53.857 [SPEAKER_01]: Yeah. 30:54.077 --> 30:56.480 [SPEAKER_01]: I'm just going to nitpick really quickly on this scene. 30:56.621 --> 31:02.448 [SPEAKER_01]: When this whole trip is Jake's idea, even says that. 31:02.629 --> 31:02.889 [SPEAKER_01]: Yeah. 31:02.909 --> 31:03.550 [SPEAKER_01]: Yeah. 31:03.690 --> 31:06.514 [SPEAKER_01]: It's his idea to begin with. 31:06.534 --> 31:10.820 [SPEAKER_01]: And so then Cisco at the end goes, look, I'm not trying to talk you into anything. 31:10.840 --> 31:12.502 [SPEAKER_01]: And I thought, why did they write that? 31:12.602 --> 31:13.243 [SPEAKER_01]: Because 31:13.223 --> 31:14.406 [SPEAKER_01]: You're not talking to him into anything. 31:14.426 --> 31:17.373 [SPEAKER_01]: He's the one that talked his dad into this trip to begin with. 31:17.453 --> 31:21.062 [SPEAKER_01]: So that to me was a weird line of dialogue. 31:21.282 --> 31:21.823 [SPEAKER_01]: So that's my name. 31:21.843 --> 31:25.151 [SPEAKER_00]: Like why wouldn't they just say, just like, you know what? 31:25.171 --> 31:29.241 [SPEAKER_00]: This whole thing was your idea, but, you know, and then throw his hands up. 31:29.221 --> 31:33.327 [SPEAKER_01]: Yes, and then just say, OK, you do you think, son, teenagers. 31:34.189 --> 31:35.531 [SPEAKER_01]: Mm-hmm, go figure, right, that's it. 31:35.571 --> 31:36.513 [SPEAKER_03]: They have a nice hug. 31:36.713 --> 31:39.317 [SPEAKER_03]: I did make a note that that hug felt very real. 31:39.597 --> 31:46.228 [SPEAKER_03]: Again, you see Avery and Sarak and their chemistry, like there's no acting required there. 31:46.268 --> 31:47.810 [SPEAKER_03]: Those two really love each other. 31:48.031 --> 31:51.196 [SPEAKER_03]: And you can feel it in something as simple as the way they hug. 31:51.256 --> 31:51.997 [SPEAKER_03]: I thought it was great. 31:52.037 --> 31:52.578 [SPEAKER_01]: Yeah. 31:52.618 --> 31:53.780 [SPEAKER_01]: Does he kiss him on the cheek? 31:53.800 --> 31:54.942 [SPEAKER_01]: Does he kiss his son on the cheek? 31:54.982 --> 31:55.523 [SPEAKER_01]: Yeah, he does. 31:55.543 --> 31:56.304 [SPEAKER_03]: Yeah, I think he does. 31:56.324 --> 31:57.085 [SPEAKER_00]: It's a little... 31:57.065 --> 32:02.711 [SPEAKER_00]: my buddy, my buddy, everyone's trying to see a look that Avery like when he says you dig. 32:02.731 --> 32:19.928 [SPEAKER_00]: I didn't say it, but you felt it in thinking it and there there was a moment he has this moment with Jake, one of those unspoken kind of ways of agreeing or see I told you so kind of and I'm like he's looked at me that way. 32:20.109 --> 32:26.295 [SPEAKER_00]: Yeah, I know exactly what the yeah and so it's kind of fun because like 32:26.275 --> 32:26.996 [SPEAKER_01]: that's great. 32:27.016 --> 32:28.599 [SPEAKER_00]: He was great to work with. 32:28.619 --> 32:31.685 [SPEAKER_01]: I love Terry's story because he does say that. 32:31.745 --> 32:33.829 [SPEAKER_01]: He does pepper that into his speech off camera. 32:33.849 --> 32:34.350 [SPEAKER_00]: Oh, did he? 32:34.370 --> 32:35.131 [SPEAKER_00]: Yes, he does. 32:35.231 --> 32:36.414 [SPEAKER_01]: Yeah, he just say something. 32:36.434 --> 32:36.894 [SPEAKER_01]: You dig. 32:37.095 --> 32:38.778 [SPEAKER_01]: You'll you'll throw that out. 32:38.798 --> 32:39.179 [SPEAKER_00]: Yeah. 32:39.199 --> 32:39.920 [SPEAKER_00]: It's such an angry. 32:40.200 --> 32:40.842 [SPEAKER_02]: Okay. 32:40.862 --> 32:40.962 [SPEAKER_02]: Yeah. 32:40.982 --> 32:41.102 [SPEAKER_02]: Yeah. 32:41.202 --> 32:46.512 [SPEAKER_03]: Well, we go to quarks next for one of my favorite bits in this whole episode. 32:46.492 --> 32:52.161 [SPEAKER_03]: L'Oxana is telling Warf Kira Dax about her sham marriage, and in this very sad story. 32:52.221 --> 33:00.714 [SPEAKER_03]: Kira and Dax are there dressed for the King Arthur Hall of Dax, and they are totally depressed, and Warf is just in shock. 33:00.774 --> 33:03.839 [SPEAKER_03]: He's so sad and depressed about this L'Oxana story. 33:04.480 --> 33:06.323 [SPEAKER_03]: And we got over to the bar, 33:06.303 --> 33:15.337 [SPEAKER_03]: and Quarctel Zodo that walks on as ruining his business, that as soon as she came in, the energy just got to quiet and the energy changed. 33:15.838 --> 33:19.344 [SPEAKER_03]: And he does mention here, he says, uh, something about betazoids, right? 33:19.624 --> 33:21.968 [SPEAKER_03]: She said, yeah, you know, maybe her mood is contagious. 33:22.148 --> 33:23.150 [SPEAKER_03]: She's betazoids. 33:23.170 --> 33:24.632 [SPEAKER_03]: Yes, I thought it was. 33:24.612 --> 33:25.894 [SPEAKER_01]: was a funny bit. 33:26.234 --> 33:31.080 [SPEAKER_01]: It's a funny bit, especially because the way warped plays, the being affected by the depression. 33:31.180 --> 33:35.987 [SPEAKER_01]: He took so sell shock to me, sitting there, it's very funny. 33:36.107 --> 33:37.168 [SPEAKER_01]: He's very funny. 33:37.469 --> 33:39.031 [SPEAKER_01]: Even his one line. 33:39.111 --> 33:40.953 [SPEAKER_01]: Oh, it says, actually, I have some free time. 33:40.993 --> 33:42.655 [SPEAKER_01]: I was wondering if you wanted to take a walk. 33:42.675 --> 33:45.379 [SPEAKER_01]: He says that to La La Xana, and warped goes, I would. 33:46.200 --> 33:49.384 [SPEAKER_00]: He wants to take a walk and get one of the parents. 33:49.404 --> 33:50.125 [SPEAKER_00]: So good. 33:50.405 --> 33:51.767 [SPEAKER_00]: That was great. 33:51.747 --> 33:56.071 [SPEAKER_03]: It was so good, but so Odo is talking to Quark. 33:56.091 --> 33:57.933 [SPEAKER_03]: He goes over Quark's as get her out of here. 33:57.973 --> 33:58.834 [SPEAKER_03]: I'm going to kick her out. 33:59.114 --> 33:59.294 [SPEAKER_02]: Yeah. 33:59.394 --> 34:10.224 [SPEAKER_03]: Quark goes over, invites her to take a walk, and they leave, and Dax has the blow at the end of the scene, or the button at the end of the scene where she goes, I'm so depressed. 34:11.185 --> 34:13.227 [SPEAKER_03]: That was funny. 34:13.247 --> 34:14.989 [SPEAKER_03]: This is the best scene in the episode for me. 34:15.149 --> 34:15.850 [SPEAKER_00]: Hands down. 34:16.170 --> 34:17.932 [SPEAKER_03]: So the episode ended here, Robbie. 34:17.952 --> 34:21.535 [SPEAKER_03]: You'd be okay. 34:21.515 --> 34:22.617 [SPEAKER_03]: It's very fun. 34:22.637 --> 34:22.918 [SPEAKER_03]: All right. 34:22.938 --> 34:24.120 [SPEAKER_03]: You guys nailed it. 34:25.021 --> 34:27.907 [SPEAKER_03]: It's a great comic premise and you guys nailed it. 34:29.189 --> 34:30.592 [SPEAKER_00]: Yeah, thank you. 34:30.993 --> 34:32.115 [SPEAKER_03]: Yeah, it was great. 34:32.335 --> 34:33.818 [SPEAKER_03]: Okay next we're in the corridor. 34:33.878 --> 34:39.568 [SPEAKER_03]: We learned from Luxonna, her daughter Kestrad died at six years old and that she lost her whole family. 34:39.588 --> 34:41.532 [SPEAKER_03]: So a very sad story. 34:41.815 --> 34:43.257 [SPEAKER_03]: Oh, it was very quiet. 34:43.677 --> 34:44.158 [SPEAKER_03]: Her mood. 34:44.499 --> 34:45.520 [SPEAKER_03]: Betazoids moods. 34:45.540 --> 34:46.782 [SPEAKER_03]: They just depress everybody. 34:47.002 --> 34:48.464 [SPEAKER_03]: Yeah. 34:48.484 --> 34:52.009 [SPEAKER_03]: And Oto says he understands why she wants to keep this new baby so badly. 34:52.109 --> 34:52.830 [SPEAKER_03]: He gets it now. 34:53.811 --> 34:59.298 [SPEAKER_03]: And then they stop their quarters or right next to each other. 34:59.358 --> 35:01.261 [SPEAKER_03]: And she says, oh, my replicators broken. 35:01.321 --> 35:04.465 [SPEAKER_03]: Can I come into yours and get some tea? 35:04.782 --> 35:08.166 [SPEAKER_03]: very smooth move, very manipulative walks on her. 35:08.286 --> 35:10.048 [SPEAKER_00]: Yeah, she had an answer for everything. 35:10.068 --> 35:11.149 [SPEAKER_03]: She had an answer for everything. 35:11.330 --> 35:16.436 [SPEAKER_03]: Even Odo knows that this is probably a ruse, but sure, she can go in. 35:16.656 --> 35:22.202 [SPEAKER_03]: They go inside, she looks around, and she asks him straight up, are you over Kira? 35:22.923 --> 35:30.452 [SPEAKER_03]: Or if you still have feeling for her, and she says, don't worry, even if you are over her, I'm not going to jump you, I'm not going to attack you, you know? 35:30.432 --> 35:34.958 [SPEAKER_03]: which I thought was honest and fair and that was a reasonable thing. 35:35.078 --> 35:37.472 [SPEAKER_03]: I like that that her character said that. 35:37.672 --> 35:38.934 [SPEAKER_00]: It helped me relax some. 35:39.676 --> 35:40.277 [SPEAKER_03]: Yeah, exactly. 35:40.377 --> 35:43.703 [SPEAKER_00]: Because I didn't feel relaxed about her presence. 35:43.723 --> 35:45.226 [SPEAKER_00]: Yeah, invading his space. 35:45.666 --> 35:53.420 [SPEAKER_03]: And, and, and, and that helped me feel more relief leading him and, and manipulating that felt honest and it was really helpful. 35:53.520 --> 35:56.045 [SPEAKER_03]: But he says she and your car are involved now. 35:56.085 --> 35:56.886 [SPEAKER_03]: He's sad. 35:56.927 --> 35:57.748 [SPEAKER_03]: He's very sad. 35:57.788 --> 35:59.972 [SPEAKER_03]: Then the baby kicks in the box on it. 35:59.992 --> 36:01.114 [SPEAKER_03]: She feels it. 36:01.094 --> 36:17.061 [SPEAKER_03]: um she asks if she can sit down she sits on the floor because he doesn't have any furniture they both sit down out of feels the baby kick and he's very moved by it you can see that Renee did such a good job in this this whole episode actually he's really good 36:17.328 --> 36:24.177 [SPEAKER_00]: I think they both did a really good job with the talking about the baby because she's a beta-zoid. 36:24.297 --> 36:28.243 [SPEAKER_00]: She can feel the thoughts of the baby. 36:28.263 --> 36:28.363 [SPEAKER_00]: Yeah. 36:28.823 --> 36:32.528 [SPEAKER_00]: And the piece, did you say something about it? 36:32.548 --> 36:33.950 [SPEAKER_03]: Something like that, yeah. 36:34.211 --> 36:40.599 [SPEAKER_03]: Yeah, she says someone once said life is a search to find the piece that you once had when you were safe inside your mother. 36:40.779 --> 36:41.801 [SPEAKER_00]: I'm so glad you said that. 36:42.081 --> 36:46.407 [SPEAKER_03]: Yeah, this is a nice piece of dialogue. 36:46.387 --> 36:56.599 [SPEAKER_03]: I didn't have a mother very sad moment and she says and then she says don't worry it's all right you'll find your piece just the same. 36:57.136 --> 37:00.200 [SPEAKER_00]: Yes, I think that was great exchange. 37:00.280 --> 37:22.047 [SPEAKER_00]: I would say along with the other one that you love this moment meant so much to me to see Odo, I mean, how often other than seeing among comfortable and trying to get over a challenge like that, but to relax and feel something so beautiful and serene, we were when do we see him have that that was amazing. 37:22.027 --> 37:29.944 [SPEAKER_03]: Yeah, he was very vulnerable in very eddies in this whole episode as an actor and they came towards that way, but it was nice to see you know. 37:30.262 --> 37:36.369 [SPEAKER_01]: When I was watching this scene with Megan and Loksana says, may I sit down for a minute and Odo says, I don't have any furniture. 37:36.629 --> 37:39.172 [SPEAKER_01]: Megan was like, why don't you morph into a bench for her? 37:39.593 --> 37:41.195 [SPEAKER_01]: You can do anything. 37:41.235 --> 37:42.596 [SPEAKER_01]: You could be a love seat. 37:42.616 --> 37:45.940 [SPEAKER_01]: You could be a lazy boy recliner for her, anything. 37:45.980 --> 37:51.647 [SPEAKER_03]: But well, she falls asleep in his lap and then he morphs into a pillow and a blanket. 37:52.067 --> 37:53.349 [SPEAKER_01]: Yeah, that was cute. 37:53.389 --> 37:54.991 [SPEAKER_00]: That was very good. 37:55.011 --> 37:55.151 [SPEAKER_00]: Yeah. 37:55.231 --> 37:56.392 [SPEAKER_00]: But he could have been a chair as well. 37:56.432 --> 37:57.754 [SPEAKER_00]: There's a compassion. 37:57.734 --> 38:01.240 [SPEAKER_00]: Yeah, but it was kind of remember I was like, oh, how is she going to slide down that? 38:02.102 --> 38:02.663 [SPEAKER_02]: Yeah. 38:02.683 --> 38:03.725 [SPEAKER_00]: She's not exactly young. 38:03.745 --> 38:06.310 [SPEAKER_00]: It's not easy to sit down a lot of people. 38:06.831 --> 38:11.699 [SPEAKER_00]: The one of the most important things to do every day is get down on the floor and get back up. 38:11.780 --> 38:13.663 [SPEAKER_00]: There's a point when people stop doing it. 38:13.863 --> 38:16.468 [SPEAKER_00]: And then they stop being able to do it. 38:17.107 --> 38:17.408 [SPEAKER_01]: Yeah. 38:17.428 --> 38:17.789 [SPEAKER_01]: Wow. 38:18.090 --> 38:18.471 [SPEAKER_01]: Interesting. 38:18.491 --> 38:20.376 [SPEAKER_01]: You're talking about in general or when you're pregnant. 38:20.556 --> 38:21.539 [SPEAKER_01]: What are you in general? 38:21.619 --> 38:23.865 [SPEAKER_01]: In general as you in general as you age. 38:23.885 --> 38:24.166 [SPEAKER_03]: Yeah. 38:24.186 --> 38:25.910 [SPEAKER_03]: Well, she falls asleep. 38:25.930 --> 38:27.715 [SPEAKER_03]: He morphs into a blanket in a pillow. 38:27.915 --> 38:30.101 [SPEAKER_03]: And then we cut to the corridor, George. 38:30.242 --> 38:31.926 [SPEAKER_03]: Jake rings the doorbell. 38:32.480 --> 38:36.063 [SPEAKER_03]: He arrives at O'Nayah's quarters. 38:37.464 --> 38:37.545 [SPEAKER_02]: Oh. 38:38.305 --> 38:39.947 [SPEAKER_03]: Love Den, shall we say? 38:39.967 --> 38:42.009 [SPEAKER_03]: Oh, no, dude. 38:42.029 --> 38:43.330 [SPEAKER_03]: Oh, it goes inside. 38:43.810 --> 38:45.532 [SPEAKER_00]: What's going on in there? 38:45.712 --> 38:50.896 [SPEAKER_01]: I mean, what did look at all the freaking drapes in the candles and the mood lighting? 38:51.137 --> 38:52.838 [SPEAKER_01]: I know I did not like that either. 38:52.918 --> 38:55.060 [SPEAKER_01]: I said, it should be just stark and normal. 38:55.120 --> 38:56.001 [SPEAKER_01]: Don't do that to us. 38:56.241 --> 38:56.501 [SPEAKER_01]: Don't. 38:56.822 --> 39:00.445 [SPEAKER_00]: Or where's the trunk she had with all that? 39:00.762 --> 39:05.552 [SPEAKER_00]: Yeah, she came on the station with nothing and also not a big not even a bag. 39:05.793 --> 39:06.153 [SPEAKER_00]: Yeah. 39:07.035 --> 39:10.322 [SPEAKER_03]: Well, the writers wrote a line in here because he comes in. 39:10.382 --> 39:11.164 [SPEAKER_03]: He's nervous. 39:11.264 --> 39:13.108 [SPEAKER_03]: She asked him, you know, are you nervous? 39:13.208 --> 39:13.790 [SPEAKER_03]: Yeah, little. 39:13.830 --> 39:19.241 [SPEAKER_03]: And she says that's natural, but whatever you're thinking, put it out of your mind. 39:19.441 --> 39:20.644 [SPEAKER_03]: Yeah, you're to work. 39:20.624 --> 39:34.393 [SPEAKER_00]: Yeah, but she was so already kind of moving around like, you know, like a vampire, like a snake, like, it just, Oh, it was so what else would he be thinking when you're actually him like that? 39:34.473 --> 39:37.840 [SPEAKER_00]: And I couldn't believe that he didn't see more uncomfortable when she was. 39:37.820 --> 39:41.345 [SPEAKER_03]: with the shoulders and how it gets very physical. 39:41.365 --> 39:41.665 [SPEAKER_00]: It does. 39:41.685 --> 39:43.488 [SPEAKER_03]: It's a very uncomfortable way for me. 39:43.728 --> 39:50.096 [SPEAKER_00]: If I was 17 in that situation, I would have said I had to go to the bathroom and I would have wanted to. 39:50.317 --> 39:51.178 [SPEAKER_01]: I'd tell to that out of there. 39:51.378 --> 39:54.622 [SPEAKER_00]: Me watching him in this scene made me so uncomfortable. 39:54.743 --> 39:56.385 [SPEAKER_00]: I wanted him to just leave. 39:57.106 --> 39:58.107 [SPEAKER_00]: Please just leave. 39:58.087 --> 40:13.446 [SPEAKER_03]: This feels very inappropriate this storyline because the age difference because the way it sort of plays out, it feels like very unhealthy boundaries, like really, um, 40:13.426 --> 40:14.588 [SPEAKER_03]: You know, it feels like grooming. 40:14.648 --> 40:22.822 [SPEAKER_03]: There's a high cringe factor for Robbie, and the high cringe factor, and not that this issue shouldn't be There shouldn't we shouldn't shine light on it. 40:23.002 --> 40:25.185 [SPEAKER_03]: I just don't know that this was responsible. 40:25.426 --> 40:30.735 [SPEAKER_03]: I don't think this took the gravity of what was going on seriously I don't think the characters did it. 40:30.755 --> 40:32.177 [SPEAKER_03]: I don't think the writing did 40:32.157 --> 40:34.802 [SPEAKER_03]: and it made me very uncomfortable. 40:34.942 --> 40:38.268 [SPEAKER_03]: This is where this story goes for me, and I wish it was handled very differently. 40:39.230 --> 40:39.390 [SPEAKER_03]: Mm-hmm. 40:39.450 --> 40:40.572 [SPEAKER_03]: She gives him a fancy pen. 40:40.632 --> 40:47.244 [SPEAKER_03]: She says it was Revolus' pen, and that she admits she has a thing for artist. 40:47.644 --> 40:48.466 [SPEAKER_03]: I wrote clearly. 40:49.388 --> 40:50.349 [SPEAKER_03]: Clearly you have a thing. 40:50.389 --> 40:51.912 [SPEAKER_03]: She gives him some paper. 40:51.972 --> 40:55.298 [SPEAKER_03]: He says I've never worked on paper before, so he's very intrigued about that. 40:55.318 --> 40:56.460 [SPEAKER_03]: He starts writing, 40:56.440 --> 40:57.782 [SPEAKER_00]: How about his handwriting? 40:58.062 --> 41:00.204 [SPEAKER_03]: Does he have been able to have real good? 41:00.224 --> 41:01.426 [SPEAKER_00]: It's really his handwriting. 41:01.866 --> 41:02.067 [SPEAKER_00]: Is it? 41:02.427 --> 41:04.530 [SPEAKER_00]: Seropus because it tilts up off his hand. 41:04.550 --> 41:07.653 [SPEAKER_00]: That's a beautiful hands, but beautiful handwriting. 41:07.753 --> 41:09.355 [SPEAKER_01]: Yeah, it was like, wow. 41:09.495 --> 41:12.379 [SPEAKER_01]: But is that something they would have practiced three centuries later from now? 41:12.399 --> 41:14.621 [SPEAKER_01]: It like, did people still do handwriting? 41:14.661 --> 41:16.824 [SPEAKER_01]: Because even says, I've never even used papers. 41:16.904 --> 41:20.448 [SPEAKER_01]: So everything was on a laptop or an iPad, right? 41:20.568 --> 41:24.473 [SPEAKER_00]: So no one even writes a pad and is a thing that looks like 41:24.453 --> 41:26.296 [SPEAKER_00]: He may have done it on a path. 41:26.336 --> 41:27.699 [SPEAKER_00]: Sometimes he see him. 41:29.021 --> 41:29.622 [SPEAKER_03]: Yeah, maybe. 41:29.642 --> 41:31.826 [SPEAKER_01]: That thing that he uses on his pad doesn't even have it. 41:32.427 --> 41:33.268 [SPEAKER_01]: I don't even know what the thing. 41:33.288 --> 41:35.091 [SPEAKER_01]: It almost looks like a spell checker thing. 41:35.272 --> 41:36.554 [SPEAKER_01]: You know, it was weird looking. 41:37.075 --> 41:38.036 [SPEAKER_01]: Yeah, maybe a paintbrush. 41:38.437 --> 41:39.419 [SPEAKER_01]: Yeah, maybe a paintbrush. 41:39.439 --> 41:40.060 [SPEAKER_00]: That does. 41:40.581 --> 41:42.344 [SPEAKER_03]: She sits on beside behind him. 41:42.444 --> 41:42.764 [SPEAKER_03]: Sorry. 41:42.965 --> 41:46.090 [SPEAKER_03]: As he's writing and she starts rubbing the back of his neck. 41:46.070 --> 41:59.150 [SPEAKER_03]: Rubbing his temples, he starts writing a lot, he gets into sort of this rhythm, and she sort of rhythmically rocking with him, and pulling this energy out of his head at the end of the scene. 41:59.170 --> 42:03.076 [SPEAKER_00]: The energy look cool, gold dust stuff, yeah. 42:03.797 --> 42:08.584 [SPEAKER_03]: Yeah, look like Tinkerbell, look like Tinkerbell, very dust. 42:08.750 --> 42:10.233 [SPEAKER_00]: Do it really bothered me too. 42:10.293 --> 42:11.255 [SPEAKER_00]: Who is she? 42:11.315 --> 42:13.420 [SPEAKER_00]: What is she taking from him? 42:13.740 --> 42:15.283 [SPEAKER_00]: What kind of alien is she? 42:15.323 --> 42:16.366 [SPEAKER_00]: Right. 42:16.406 --> 42:17.267 [SPEAKER_00]: She's a predator. 42:17.307 --> 42:20.514 [SPEAKER_00]: She is a predator. 42:20.574 --> 42:22.538 [SPEAKER_00]: She's healing something from him. 42:22.678 --> 42:23.440 [SPEAKER_00]: And what is it? 42:23.600 --> 42:28.851 [SPEAKER_00]: This bothers me that I don't know the answers to these and I still do not. 42:29.827 --> 42:30.188 [SPEAKER_01]: Yeah, no. 42:30.528 --> 42:31.029 [SPEAKER_01]: We don't know. 42:31.049 --> 42:47.515 [SPEAKER_00]: If you talk about a farmer milking a cow, she is an alien that basically milks creativity out of artists is what she's but how is it because he's writing it down right so he's still being creative so what is it exactly the dust from that creation. 42:47.495 --> 42:52.101 [SPEAKER_01]: It's almost like his life force in a way because of that you remember because of her whole team. 42:52.361 --> 43:15.510 [SPEAKER_01]: Yes, because she has already killed a bunch of people when they were they all all but we didn't know names just then we haven't figured out because she names those artists later when Cisco finally confronts her in that Jeffers tube and she goes these are all the people I've dealt with and the people that she named all died young because she sucked all their life force out of them while they're being creative and Jake is the youngest 43:15.490 --> 43:22.480 [SPEAKER_00]: But we should be knowing tidbits of this so that we feel like, oh, no, no, no, no, I mean, we do feel that, but there's 43:23.303 --> 43:23.964 [SPEAKER_01]: There's a lot of info. 43:24.004 --> 43:24.544 [SPEAKER_01]: We don't have. 43:24.745 --> 43:27.468 [SPEAKER_03]: We don't know if we go to Otos Court is next. 43:27.868 --> 43:32.253 [SPEAKER_03]: And Oto and Loxana are playing hide and seek on the jungle gym in there. 43:32.534 --> 43:33.315 [SPEAKER_03]: I'd love this. 43:33.575 --> 43:34.496 [SPEAKER_03]: This is a cute scene. 43:34.656 --> 43:35.197 [SPEAKER_00]: It's cute. 43:35.237 --> 43:36.939 [SPEAKER_03]: Here's up on top balancing. 43:36.999 --> 43:41.064 [SPEAKER_03]: I thought good for you and a balancing affair on top of the sculpture. 43:41.084 --> 43:45.389 [SPEAKER_03]: They're really having a fun and then security calls. 43:45.749 --> 43:49.013 [SPEAKER_03]: Oto and they say we've got the man that you're looking for. 43:49.033 --> 43:51.876 [SPEAKER_03]: He just arrived by shuttle. 43:51.856 --> 43:55.964 [SPEAKER_03]: it's walks on his husband and notice as you stay here, I'll go handle this. 43:56.244 --> 44:07.184 [SPEAKER_01]: I was worried for Renee Obish and while when he jumped down from that thing, because it seems like a really innocent, easy thing to do, but he's fairly high up there and I was like, yeah, oh my gosh, don't jump down. 44:07.204 --> 44:07.545 [SPEAKER_00]: He did it. 44:07.565 --> 44:08.046 [SPEAKER_01]: He jumped down. 44:09.168 --> 44:11.091 [SPEAKER_00]: He was very fit, though. 44:11.232 --> 44:14.237 [SPEAKER_00]: Back in the day, like extreme hiking. 44:14.257 --> 44:14.758 [SPEAKER_00]: Okay. 44:14.738 --> 44:16.119 [SPEAKER_00]: yoga every day. 44:16.139 --> 44:17.361 [SPEAKER_00]: Oh, so that was no problem. 44:17.381 --> 44:17.841 [SPEAKER_00]: Every day. 44:18.121 --> 44:18.382 [SPEAKER_00]: Okay. 44:18.402 --> 44:18.602 [SPEAKER_00]: No. 44:18.682 --> 44:20.424 [SPEAKER_00]: He was a very strong man. 44:20.544 --> 44:20.924 [SPEAKER_00]: Good to hear. 44:20.944 --> 44:21.665 [SPEAKER_00]: He really was. 44:21.785 --> 44:22.065 [SPEAKER_00]: Yeah. 44:22.125 --> 44:25.469 [SPEAKER_00]: I mean physically you hug him and he was solid. 44:25.589 --> 44:38.661 [SPEAKER_00]: You know what I like to this playful scene took me to the next step of just completely relaxing that there were no ulterior motives from her that she was going to try to take advantage of him. 44:38.982 --> 44:40.223 [SPEAKER_01]: Right. 44:40.203 --> 44:46.219 [SPEAKER_00]: It made me feel like, okay, the playing fields even whatever happens, at least their friends now. 44:46.299 --> 44:50.230 [SPEAKER_00]: It's a different level of trust that's happening. 44:51.037 --> 44:53.601 [SPEAKER_00]: Yep, yes, which is a big deal for him, too. 44:54.041 --> 44:54.722 [SPEAKER_00]: It's a big deal. 44:55.603 --> 45:00.690 [SPEAKER_03]: Yeah, I think this scene, this whole storyline is much less offensive to me than the other story. 45:01.512 --> 45:03.034 [SPEAKER_03]: That's why I think this should have been the A story. 45:03.875 --> 45:12.327 [SPEAKER_03]: Yeah, you should have done a lot more with Odo and this this whole story could have opened up a lot more. 45:12.467 --> 45:14.650 [SPEAKER_03]: Well, we go to security office to Odo's office. 45:14.950 --> 45:15.831 [SPEAKER_03]: J.L. 45:15.851 --> 45:16.993 [SPEAKER_03]: arrives. 45:16.973 --> 45:26.207 [SPEAKER_03]: He knows all about Odo, how he broke Lloxana's heart, and he says, I'm here for the baby boy, that's all I want. 45:27.349 --> 45:30.013 [SPEAKER_03]: And I liked the way that David Livingston shot the scene. 45:30.073 --> 45:34.019 [SPEAKER_03]: It was these profiles in conflict, back and forth with the two of them. 45:34.059 --> 45:39.808 [SPEAKER_03]: It was really a very subtle detail, but I thought David Livingston did a great job. 45:40.328 --> 45:44.315 [SPEAKER_03]: of playing out the conflict and the sort of, you know, the back and forth between those two. 45:44.375 --> 46:00.565 [SPEAKER_03]: Odo says that he has studied taveny and laws and that the baby is property of the husband, not the biological father, but the husband, and Odo says by the time she has this baby, you're not going to be your husband anymore. 46:01.642 --> 46:02.503 [SPEAKER_01]: What? 46:02.763 --> 46:03.304 [SPEAKER_01]: I know. 46:03.724 --> 46:04.525 [SPEAKER_01]: Love that. 46:04.545 --> 46:05.025 [SPEAKER_01]: Look at that. 46:05.225 --> 46:07.247 [SPEAKER_03]: Well, off of that, uh, J. 46:07.367 --> 46:11.251 [SPEAKER_03]: All seen with Odo and Winoto says you're not going to be or husband anymore. 46:11.291 --> 46:17.497 [SPEAKER_03]: We cut to Loxana saying we're getting married with Pan over the Odo. 46:17.517 --> 46:20.640 [SPEAKER_03]: It's very, again, David Livingston nailed the comedy there. 46:20.680 --> 46:22.221 [SPEAKER_03]: We're going to get out, whip pan. 46:22.641 --> 46:30.889 [SPEAKER_03]: Odo wants them to get married if they get married, then our current marriage will be 46:30.869 --> 46:34.656 [SPEAKER_03]: And that's when it walks on, I was like, oh no, oh boy. 46:34.776 --> 46:37.180 [SPEAKER_00]: Well, that's part of the wedding procedure, right? 46:37.200 --> 46:37.821 [SPEAKER_03]: Yes. 46:38.683 --> 46:39.043 [SPEAKER_03]: Yes. 46:39.384 --> 46:43.711 [SPEAKER_03]: She says according to law, the groom must confess his love before witnesses. 46:43.791 --> 46:46.716 [SPEAKER_03]: And if anyone doubts his sincerity, then they can object. 46:46.857 --> 46:49.662 [SPEAKER_01]: Not only the professor, but he has to convince everyone. 46:49.822 --> 46:51.785 [SPEAKER_01]: That he is truly in love with this. 46:51.805 --> 46:53.108 [SPEAKER_00]: And especially J. 46:53.869 --> 46:54.049 [SPEAKER_00]: All. 46:54.129 --> 46:54.550 [SPEAKER_03]: J. 46:54.570 --> 46:55.712 [SPEAKER_03]: All, yes. 46:55.692 --> 46:58.396 [SPEAKER_03]: Yeah, that's why jail wants to be there so he can go. 46:58.416 --> 46:59.178 [SPEAKER_03]: I don't buy it. 46:59.198 --> 47:00.159 [SPEAKER_03]: It's a sham. 47:00.320 --> 47:01.101 [SPEAKER_00]: Give me my baby. 47:01.882 --> 47:03.084 [SPEAKER_01]: Yeah, give me the baby. 47:03.284 --> 47:04.687 [SPEAKER_01]: We're back in O'Neill's quarters. 47:05.027 --> 47:07.972 [SPEAKER_01]: And Jake is writing like a mad man. 47:08.032 --> 47:10.636 [SPEAKER_01]: All these ideas are coming on to the page. 47:11.117 --> 47:16.486 [SPEAKER_01]: And he's, you know, this is amazing for him as a writer to have this much creativity coming out of him. 47:16.927 --> 47:22.155 [SPEAKER_01]: And of course, O'Neill is behind him and just 47:22.135 --> 47:51.636 [SPEAKER_01]: bathing in it and she loves this thing and all of a sudden a little drop of blood drops onto his piece of paper and he's like oh my gosh okay it's uh it's a nosebleed just just a nosebleed but clearly this nosebleed is because of the energy being sapped out of him and he doesn't care he's just like I'm gonna keep on writing you know Naya realizes that maybe she's feeding too much 47:51.717 --> 47:54.362 [SPEAKER_01]: He's like, no, no, no, no, no, no, no, I'll be okay. 47:54.462 --> 47:56.966 [SPEAKER_01]: It's already stopped bleeding, I'm gonna keep going. 47:57.126 --> 47:57.787 [SPEAKER_01]: I have a question. 47:57.868 --> 48:01.894 [SPEAKER_03]: It's never clear what this alien is, what her powers are. 48:02.616 --> 48:12.713 [SPEAKER_03]: Does she have creative powers that she energy that she gives people and then they produce and then she sucks out 48:12.862 --> 48:20.952 [SPEAKER_00]: the energy of the production, like you're saying, the life force, what a real life creative life force is that he needs. 48:21.312 --> 48:23.194 [SPEAKER_00]: So it's a synergistic relation. 48:23.334 --> 48:29.181 [SPEAKER_03]: But that's that's what I'm getting at or like she must be giving him something for him to write like he's never written before. 48:29.281 --> 48:32.565 [SPEAKER_01]: Well, she talks about how shock rose and different things. 48:32.585 --> 48:35.629 [SPEAKER_01]: So I think she's stimulating his shock rose. 48:35.609 --> 48:36.891 [SPEAKER_01]: She's not giving him. 48:36.931 --> 48:38.414 [SPEAKER_01]: She's like, am I right? 48:38.474 --> 48:41.179 [SPEAKER_01]: So she's like, yeah, she's not giving him the story. 48:41.560 --> 48:44.525 [SPEAKER_01]: And he's creativity or any type of energy to make him creative. 48:44.886 --> 48:47.771 [SPEAKER_01]: She's stimulating his own energy centers. 48:48.332 --> 48:49.854 [SPEAKER_01]: So that now it's just coming out. 48:50.375 --> 48:50.536 [SPEAKER_01]: Okay. 48:51.257 --> 48:51.938 [SPEAKER_01]: So that's where it is. 48:51.998 --> 48:53.601 [SPEAKER_01]: She's that energy manipulator. 48:53.581 --> 48:57.965 [SPEAKER_00]: And also taking out the blocks that you have for yourself. 48:58.225 --> 48:58.525 [SPEAKER_00]: Yes. 48:58.866 --> 49:03.750 [SPEAKER_00]: So she's removing all insecurities like a self-esteem. 49:03.810 --> 49:08.053 [SPEAKER_00]: Inhibitions, inhibitions, and let it flow, let it fall out. 49:08.134 --> 49:22.626 [SPEAKER_00]: If we could all move through our world with that much freedom for creativity, the people that can, you see what amazing things they can create, there are some people that are fearless. 49:22.606 --> 49:43.956 [SPEAKER_00]: What was missing for me too was seeing Jake a close up on seeing what's going through his head as he's writing it or just it was just all of that there's so much of the shot of her having the energy and her writing in this which was. 49:43.936 --> 50:02.839 [SPEAKER_00]: uncomfortable, but Not she was literally rocking undulating back and forth as it was simulated sex Honestly, it was not nothing about like his journey through discovery of ideas He's saying it, but we're not seeing it on his face 50:02.937 --> 50:05.402 [SPEAKER_03]: The reason I ask the question is, is she giving him something? 50:05.422 --> 50:08.809 [SPEAKER_03]: Because she says later on, and I guess we'll get there when we get there. 50:08.829 --> 50:14.560 [SPEAKER_03]: But she says later on, like, they created this one thing to be remembered for and then they all died. 50:15.883 --> 50:18.448 [SPEAKER_03]: So whatever she contributes 50:18.698 --> 50:24.229 [SPEAKER_03]: it has to be something so special that consistently these people have created their best thing ever. 50:24.529 --> 50:25.792 [SPEAKER_00]: But it's too much for them. 50:26.132 --> 50:31.462 [SPEAKER_03]: Yes, so she must be doing something, but she must be doing something really worse. 50:31.723 --> 50:33.947 [SPEAKER_00]: But yeah, like a demand tour. 50:34.047 --> 50:36.672 [SPEAKER_01]: Yeah, but what Terry said earlier was the key. 50:36.913 --> 50:39.137 [SPEAKER_01]: She said she's removing 50:39.674 --> 50:51.206 [SPEAKER_01]: All the blocks they have because she talks about that in the very beginning how she does she removed the Cardassian architects blocks like all of the designs were so scary. 50:51.226 --> 50:51.807 [SPEAKER_00]: Yeah. 50:51.827 --> 50:52.127 [SPEAKER_00]: Yeah. 50:52.247 --> 50:57.493 [SPEAKER_01]: So timid all his designs were timid and then he let loose and went with bonkers. 50:57.953 --> 51:03.039 [SPEAKER_01]: So that's I don't know if he's if she's really giving them anything other than removing all the blocks. 51:03.179 --> 51:03.579 [SPEAKER_01]: That's it. 51:03.759 --> 51:08.044 [SPEAKER_01]: Like a like remove it like almost like liquid drain over there for there. 51:08.024 --> 51:08.805 [SPEAKER_01]: Yeah. 51:09.166 --> 51:14.434 [SPEAKER_03]: And like, she's just doing it by rubbing their temples because he can do that to himself. 51:14.494 --> 51:15.536 [SPEAKER_03]: She's a new woman. 51:15.556 --> 51:16.397 [SPEAKER_03]: No, no, no. 51:16.758 --> 51:17.900 [SPEAKER_00]: It's a talent she has. 51:18.501 --> 51:19.282 [SPEAKER_00]: It's a gift. 51:19.623 --> 51:19.803 [SPEAKER_01]: Right. 51:19.823 --> 51:21.866 [SPEAKER_01]: But she's pretty much pure energy as it is. 51:22.087 --> 51:23.449 [SPEAKER_01]: It's she's using her energy. 51:23.509 --> 51:23.669 [SPEAKER_01]: Yeah. 51:23.689 --> 51:24.190 [SPEAKER_01]: Her energy. 51:24.250 --> 51:24.811 [SPEAKER_01]: Okay. 51:25.051 --> 51:25.152 [SPEAKER_00]: Yeah. 51:25.172 --> 51:28.677 [SPEAKER_00]: She's going to be pure energy because of how she leaves the face. 51:28.697 --> 51:28.858 [SPEAKER_01]: Yeah. 51:28.878 --> 51:31.802 [SPEAKER_01]: She just turns into a starship at the end and goes to war. 51:32.003 --> 51:32.223 [SPEAKER_01]: Yes. 51:32.323 --> 51:32.804 [SPEAKER_01]: Exactly. 51:32.884 --> 51:34.527 [SPEAKER_01]: She is pure energy. 51:34.687 --> 51:35.348 [SPEAKER_01]: Exactly. 51:35.328 --> 51:42.354 [SPEAKER_00]: This should have been an A storyline explaining these things, giving us more to go on. 51:42.534 --> 51:51.082 [SPEAKER_00]: So it felt rich and you know, approachable, attainable for us to understand what the hell is going on. 51:51.122 --> 51:58.549 [SPEAKER_00]: Do want to protect him and to also equally maybe have a struggle about her where you're like, well, I don't want her to disappear either. 51:58.589 --> 52:03.073 [SPEAKER_00]: Isn't there some way we, you know, just something, I guess. 52:03.053 --> 52:06.458 [SPEAKER_00]: bit bigger minded than how it popped out. 52:06.818 --> 52:09.462 [SPEAKER_03]: It feels one note of it to me. 52:09.522 --> 52:11.664 [SPEAKER_03]: This whole story feels one note. 52:11.684 --> 52:16.231 [SPEAKER_00]: It doesn't go with the other storyline, which is really our A storyline. 52:16.711 --> 52:19.575 [SPEAKER_00]: Even though it's called The Muse and it's about Jake. 52:19.655 --> 52:20.596 [SPEAKER_00]: It's not fair. 52:20.656 --> 52:22.939 [SPEAKER_00]: It's not really about Jake's journey. 52:22.980 --> 52:24.842 [SPEAKER_00]: It should have had 52:24.822 --> 52:50.205 [SPEAKER_00]: If Jake's story was the story, the A story line, there should have been B story lines to support about creativity, about getting rid of your blocks and how we do that in another way, healthy way, all of that, but not within the story, that does not feel like an A story, does not feel like it was written to be supported as an A story. 52:50.185 --> 52:56.132 [SPEAKER_00]: it feels like it was written to be a B story because that's how it came across to me watching it and it shouldn't have been called the muse. 52:56.292 --> 53:02.019 [SPEAKER_00]: Also, I think she shouldn't have been directed to be so spider in the fly the whole way. 53:02.059 --> 53:07.145 [SPEAKER_00]: There should have been a character arc and also what did she get out of it? 53:07.426 --> 53:08.507 [SPEAKER_00]: Did she live longer? 53:08.547 --> 53:09.949 [SPEAKER_01]: Yeah, that's what it seemed like to me. 53:09.989 --> 53:11.090 [SPEAKER_01]: That's how she survives. 53:11.510 --> 53:13.112 [SPEAKER_01]: Yeah, she didn't have any vampire. 53:13.713 --> 53:15.315 [SPEAKER_01]: But I do feel like, um, 53:15.295 --> 53:19.360 [SPEAKER_00]: But we didn't get to see her have no energy and need him. 53:19.420 --> 53:23.064 [SPEAKER_00]: There was no, it's not a flushed out story to be honest. 53:23.084 --> 53:25.367 [SPEAKER_00]: No, that's how it feels, not flushed out. 53:26.028 --> 53:40.965 [SPEAKER_01]: Yeah, I also feel like you're right, what you said about she didn't have to be so spider and the fly-ish in terms of the delivery because it's already kind of the topic matter, she could have spoke normally without 53:40.945 --> 53:43.768 [SPEAKER_01]: being really creepy, speaking. 53:43.948 --> 53:44.469 [SPEAKER_00]: Yeah, yeah. 53:44.609 --> 53:51.256 [SPEAKER_00]: I think it would have been more powerful when he first got to her quarters if it were more kind of matter of fact. 53:51.336 --> 53:52.817 [SPEAKER_00]: And hey, it's no big deal. 53:53.478 --> 54:03.629 [SPEAKER_00]: And then it got to when she's starting to have the gold dust come out of his head, then she gets heady and high from it. 54:03.929 --> 54:06.272 [SPEAKER_00]: But not like the whole time. 54:06.332 --> 54:07.873 [SPEAKER_00]: That's like ruins it. 54:08.354 --> 54:09.535 [SPEAKER_00]: It's just all one note. 54:09.515 --> 54:17.806 [SPEAKER_00]: It's giving you the way too quickly in the beginning and it stays well for you and I'm going to take advantage of you, and I'm basically going to suck you dry and kill you. 54:17.987 --> 54:22.032 [SPEAKER_00]: Yep, there are no levels. 54:22.052 --> 54:22.232 [SPEAKER_00]: No. 54:22.253 --> 54:22.493 [SPEAKER_00]: No. 54:23.314 --> 54:23.775 [SPEAKER_00]: Okay, no. 54:23.815 --> 54:23.995 [SPEAKER_00]: Sorry. 54:24.416 --> 54:27.560 [SPEAKER_03]: We go to Otis Quarters where there's a ceremony about to happen. 54:28.101 --> 54:30.284 [SPEAKER_03]: The whole gang is there waiting and watching. 54:30.724 --> 54:31.826 [SPEAKER_03]: I love this first couple. 54:32.386 --> 54:39.336 [SPEAKER_03]: Every time our ensemble shows up, which is only a couple times the whole episode, it's my favorite moment. 54:39.316 --> 54:40.217 [SPEAKER_03]: He's so confused. 54:40.237 --> 54:41.038 [SPEAKER_03]: Did I miss something? 54:41.699 --> 54:43.642 [SPEAKER_03]: Hey, you know, I was getting married till this morning. 54:44.203 --> 54:47.728 [SPEAKER_03]: Kira says, I'm sure he, uh, I'm not sure he knew either. 54:47.748 --> 54:50.351 [SPEAKER_00]: I know that was so great. 54:50.391 --> 54:50.932 [SPEAKER_00]: Wasn't it? 54:51.473 --> 54:53.335 [SPEAKER_03]: And then, and then O'Brien says, who's that? 54:53.956 --> 54:56.500 [SPEAKER_03]: And Kira says, oh, I think that's what looks on his husband. 54:57.301 --> 55:00.085 [SPEAKER_03]: And O'Brien, Brian takes a long pause. 55:00.145 --> 55:00.385 [SPEAKER_03]: Yeah. 55:01.326 --> 55:03.990 [SPEAKER_03]: Silent silence and good of him to come. 55:05.843 --> 55:09.573 [SPEAKER_02]: That's so funny. 55:09.954 --> 55:10.736 [SPEAKER_02]: So bizarre. 55:11.036 --> 55:12.921 [SPEAKER_03]: My favorite parts of this whole episode. 55:13.503 --> 55:14.786 [SPEAKER_03]: Anyway, Odo appears. 55:14.866 --> 55:16.711 [SPEAKER_03]: He looks good in his little eye. 55:16.731 --> 55:17.393 [SPEAKER_03]: In that blue. 55:17.914 --> 55:18.897 [SPEAKER_00]: Yes, he does. 55:19.017 --> 55:21.604 [SPEAKER_00]: I thought they both look spectacular actually. 55:21.644 --> 55:22.907 [SPEAKER_00]: Even the netting. 55:22.887 --> 55:23.648 [SPEAKER_00]: like around. 55:24.189 --> 55:25.992 [SPEAKER_03]: Yes, her veil or whatever. 55:26.032 --> 55:27.534 [SPEAKER_01]: It's elegant, beautiful. 55:27.814 --> 55:28.535 [SPEAKER_01]: We agree. 55:28.736 --> 55:31.379 [SPEAKER_01]: Tavnian wedding clothing looks great. 55:31.440 --> 55:34.023 [SPEAKER_01]: That's what it looks like about this at the very style. 55:34.043 --> 55:41.715 [SPEAKER_00]: It's better than her baby outfits where the first one it looked like she was in some western back in the old days. 55:41.815 --> 55:45.821 [SPEAKER_00]: It was like, didn't she kind of like the okay corral? 55:45.901 --> 55:46.562 [SPEAKER_00]: Here she comes. 55:46.942 --> 55:52.270 [SPEAKER_03]: I forgot to mention this earlier, but you know, 55:52.537 --> 55:55.360 [SPEAKER_03]: So, Magell had a brown wig when she started. 55:55.481 --> 56:00.106 [SPEAKER_03]: And then in that scene, where she was blonde, Odo says, Odo says, I want to marry you. 56:00.807 --> 56:03.350 [SPEAKER_03]: She goes to a blonde wig, which is kind of his color. 56:03.750 --> 56:06.354 [SPEAKER_03]: And then she stays in the eye. 56:06.374 --> 56:08.116 [SPEAKER_03]: Oh, which was a nice little detail. 56:08.176 --> 56:10.518 [SPEAKER_03]: I was like, oh, she didn't think of that. 56:10.539 --> 56:13.322 [SPEAKER_03]: Wrong to team Odo for a while. 56:13.442 --> 56:17.667 [SPEAKER_03]: And at the end, she goes back to her brown wig when she's like, I gotta leave. 56:17.647 --> 56:26.543 [SPEAKER_03]: I'm, I'm down with the charade, the charade, the charade, yeah, but it's a little detail from the hair to part of the thought very much so I did not even. 56:26.884 --> 56:28.026 [SPEAKER_01]: I didn't track that at all. 56:28.046 --> 56:30.090 [SPEAKER_01]: I didn't clock it all the good good good on you. 56:30.671 --> 56:39.908 [SPEAKER_00]: And the wedding looks more like an auto vibe too because it's more sleek and he's very sleek and simple about his dress. 56:39.888 --> 56:40.631 [SPEAKER_03]: J. 56:40.651 --> 56:46.110 [SPEAKER_03]: All tells Odo that he knows this whole thing is a charade and he doesn't have to go through with it. 56:46.310 --> 56:47.856 [SPEAKER_03]: Odo doesn't have to do this. 56:48.558 --> 56:51.990 [SPEAKER_03]: It's all fake anyway, but Odo says absolutely not. 56:52.628 --> 56:54.851 [SPEAKER_03]: and then walks on it comes in and matching outfit. 56:54.891 --> 56:56.272 [SPEAKER_03]: We talked about super cute. 56:56.773 --> 57:01.338 [SPEAKER_03]: And it starts and Otos first speech is kind of stiff, classic Odo. 57:01.458 --> 57:03.441 [SPEAKER_03]: Jail comes over and is like, this is a joke. 57:04.062 --> 57:04.402 [SPEAKER_03]: Come on. 57:04.422 --> 57:07.065 [SPEAKER_03]: Am I the only one that sees this is ridiculous? 57:07.105 --> 57:07.726 [SPEAKER_03]: This is all fake. 57:07.866 --> 57:08.667 [SPEAKER_03]: If you really love it. 57:08.687 --> 57:09.188 [SPEAKER_00]: Really? 57:09.668 --> 57:09.868 [SPEAKER_00]: Yeah. 57:10.049 --> 57:12.972 [SPEAKER_00]: Really enacting by Renee Obersium-Wah. 57:13.793 --> 57:16.316 [SPEAKER_00]: When did you just such a subtle change? 57:16.396 --> 57:17.978 [SPEAKER_00]: But just... 57:18.683 --> 57:26.525 [SPEAKER_00]: gorgeous in its simplicity in that second speech, especially that second speech was that transition was best work. 57:26.625 --> 57:29.132 [SPEAKER_03]: I've seen Renee do in this whole series. 57:29.313 --> 57:34.347 [SPEAKER_00]: Yeah, very heartfelt love this beach of eroded bravo. 57:34.478 --> 57:34.919 [SPEAKER_03]: agreed. 57:35.279 --> 57:36.540 [SPEAKER_03]: She says, yes, J. 57:36.601 --> 57:38.323 [SPEAKER_03]: All doesn't object the second time. 57:38.663 --> 57:41.466 [SPEAKER_03]: They're really everyone's moved, including us. 57:41.847 --> 57:43.008 [SPEAKER_03]: Liz says where it is. 57:43.068 --> 57:43.809 [SPEAKER_00]: Yes. 57:44.330 --> 57:57.145 [SPEAKER_00]: And don't you feel like, wow, when he was finished, I thought, well, I, if that happened to me, and I was saying that I couldn't help but feel there is a, 57:57.125 --> 58:05.540 [SPEAKER_00]: I felt like he was in love with her, and so everything that happens after this was kind of heartbreaking for me because I think he was absolutely genuine. 58:06.302 --> 58:09.147 [SPEAKER_00]: Yeah, I think he was surprised himself, right? 58:09.548 --> 58:14.757 [SPEAKER_03]: And that's part of what bugs me about this episode is there's a lot of manipulation going on. 58:15.378 --> 58:18.424 [SPEAKER_03]: And Laoxana, whether she intended to or not. 58:18.404 --> 58:21.548 [SPEAKER_03]: she manipulated him into a very vulnerable place. 58:21.668 --> 58:22.549 [SPEAKER_03]: I agree with you. 58:22.790 --> 58:28.937 [SPEAKER_03]: He really did feel vulnerable and in love with him and then for her to leave and go, you just want company. 58:28.957 --> 58:29.658 [SPEAKER_03]: I know I'm jumping ahead. 58:29.698 --> 58:32.322 [SPEAKER_03]: But later on, she's like, well, not that far. 58:32.382 --> 58:33.423 [SPEAKER_03]: Not that far. 58:33.743 --> 58:36.587 [SPEAKER_03]: But later on, she flips it and it was all a manipulation. 58:36.807 --> 58:38.329 [SPEAKER_03]: And yeah, I'm in love with you. 58:38.409 --> 58:39.731 [SPEAKER_00]: You're not in love with me. 58:39.791 --> 58:41.273 [SPEAKER_00]: You never will be. 58:41.253 --> 58:47.240 [SPEAKER_03]: I need to manipulate you so that I could keep my baby and you could help me out, there's manipulation going on in the whole world. 58:47.280 --> 58:49.683 [SPEAKER_00]: But I don't even think she realizes she's doing it. 58:49.764 --> 58:50.585 [SPEAKER_00]: That's the thing. 58:51.145 --> 58:58.595 [SPEAKER_00]: I think she's, I don't think she's evolved enough in that way to understand that's what she's doing. 58:58.935 --> 59:03.420 [SPEAKER_00]: I don't think it's like a really unhealthy person because she's boundaryless. 59:03.821 --> 59:04.662 [SPEAKER_03]: Yes. 59:04.810 --> 59:11.661 [SPEAKER_00]: Yeah, it continues in her need to move on because she can't control what's going to happen. 59:12.042 --> 59:13.364 [SPEAKER_00]: I think that's what it is. 59:13.664 --> 59:18.833 [SPEAKER_00]: She has to go somewhere where she can control everything for this child. 59:19.314 --> 59:20.255 [SPEAKER_03]: Yeah, that makes sense. 59:20.455 --> 59:23.320 [SPEAKER_03]: Jail comes over to the loxana at the end to say goodbye. 59:23.480 --> 59:26.585 [SPEAKER_03]: When he says, you are my most treasured possession. 59:26.606 --> 59:29.991 [SPEAKER_03]: I was like, oh, oh, 59:31.051 --> 59:31.532 [SPEAKER_02]: Yeah. 59:31.552 --> 59:32.233 [SPEAKER_03]: That was gross. 59:32.473 --> 59:40.964 [SPEAKER_03]: I mean, I get that that was his point of view, but it just in the context of this episode where people are manipulating each other and using them as objects. 59:41.945 --> 59:42.646 [SPEAKER_03]: I didn't like it. 59:42.826 --> 59:52.198 [SPEAKER_01]: What I didn't like was the next line that J. else says after that treasure possession line, he says, take care of our son and remember this whole thing was about the fact that 59:52.178 --> 01:00:13.782 [SPEAKER_01]: the males in this society don't agree about sons being raised by the mothers and he's now so like yeah have fun take care of her yeah it's cool it's like yeah it's so bizarre you just flipped like that immediately because she's married to you're married to oh no what it doesn't I don't get it so now you don't care about your son being raised by a woman 01:00:13.762 --> 01:00:18.850 [SPEAKER_01]: Yeah, it's just to me, he gave that up too quickly or that line should have been there at all. 01:00:18.870 --> 01:00:24.919 [SPEAKER_01]: He should have just said, when my son asked of me, speak well of me should have been all he should have said in that line. 01:00:24.939 --> 01:00:25.300 [SPEAKER_01]: That's it. 01:00:25.941 --> 01:00:26.181 [SPEAKER_01]: Not you. 01:00:26.201 --> 01:00:27.203 [SPEAKER_01]: Take care of our son. 01:00:27.443 --> 01:00:28.565 [SPEAKER_01]: It just, that was weird. 01:00:28.845 --> 01:00:29.687 [SPEAKER_01]: That's my nitpick there. 01:00:29.827 --> 01:00:30.428 [SPEAKER_01]: That's about it. 01:00:30.448 --> 01:00:31.269 [SPEAKER_01]: All right. 01:00:31.289 --> 01:00:32.251 [SPEAKER_00]: Yeah, no, I get it. 01:00:32.411 --> 01:00:35.936 [SPEAKER_01]: I would have loved jail to turn to Dax and in his Kang voice. 01:00:36.457 --> 01:00:40.343 [SPEAKER_01]: He would have said, see, on the clingon homeworld and then leaves like that. 01:00:40.323 --> 01:00:41.865 [SPEAKER_01]: just throw that. 01:00:42.226 --> 01:00:43.447 [SPEAKER_01]: It's a little random thing. 01:00:43.848 --> 01:00:44.829 [SPEAKER_01]: Yeah, random thing. 01:00:44.849 --> 01:00:48.434 [SPEAKER_00]: If he didn't die with the Albino, that would have worked out great. 01:00:48.554 --> 01:00:48.955 [SPEAKER_00]: Oh, that's right. 01:00:48.975 --> 01:00:49.996 [SPEAKER_00]: He did die, right? 01:00:50.036 --> 01:00:51.518 [SPEAKER_00]: So that would have worked. 01:00:51.538 --> 01:00:55.864 [SPEAKER_03]: Kork at the end of the scene invites everybody to go back to his bar to celebrate. 01:00:56.064 --> 01:01:02.753 [SPEAKER_03]: And Loxana has a moment with Odo at the end where she says, you know, for a second there, I almost believed he loved me. 01:01:03.914 --> 01:01:24.471 [SPEAKER_00]: Yeah, that seemed like you really didn't know about not loved but married married that you really wanted to marry me Yeah, that like kind of it it's like a little stab when he when she said it was like, oh my god That's so mean are you not 01:01:24.451 --> 01:01:27.838 [SPEAKER_00]: you're baited as late and you didn't get what you're doing. 01:01:28.539 --> 01:01:30.142 [SPEAKER_00]: Yes, it's a dumbfounded. 01:01:30.342 --> 01:01:33.388 [SPEAKER_01]: Is it still more manipulation by, by, Luxanna? 01:01:33.408 --> 01:01:34.070 [SPEAKER_01]: Is that what it is? 01:01:34.110 --> 01:01:35.833 [SPEAKER_01]: More head games to the very, very end? 01:01:35.873 --> 01:01:39.861 [SPEAKER_03]: I think it's just self-absorbed, you know, she's in her own world and not. 01:01:40.145 --> 01:01:45.273 [SPEAKER_03]: Not for a second trying to think about how this experiences for Odo. 01:01:45.553 --> 01:01:45.773 [SPEAKER_03]: Yeah. 01:01:46.314 --> 01:01:52.584 [SPEAKER_00]: Yeah, I feel like her narrative is I'm in love with you, but the truth is, no, she's not. 01:01:53.184 --> 01:01:59.013 [SPEAKER_00]: Because if she was, she would hear him, she would have heard a speech differently. 01:01:59.033 --> 01:02:00.255 [SPEAKER_03]: Yeah, because we heard it. 01:02:00.996 --> 01:02:03.380 [SPEAKER_00]: Yeah, and that was massively revealing. 01:02:03.860 --> 01:02:04.662 [SPEAKER_00]: Yeah. 01:02:04.682 --> 01:02:06.945 [SPEAKER_00]: One of the most important things. 01:02:06.925 --> 01:02:11.737 [SPEAKER_00]: he would ever share and just share it out loud in front of all of us and everybody. 01:02:12.840 --> 01:02:18.353 [SPEAKER_00]: That is just like imagine your grandfather who was in World War II doing that. 01:02:19.582 --> 01:02:21.344 [SPEAKER_00]: something that's supposed to be private. 01:02:22.365 --> 01:02:22.565 [SPEAKER_01]: All right. 01:02:22.585 --> 01:02:24.066 [SPEAKER_01]: So we're back in Anaya's quarters. 01:02:24.126 --> 01:02:30.272 [SPEAKER_01]: Jake is still writing furiously, but it's now Anaya, who's like, look, you really need to rest at this point. 01:02:30.993 --> 01:02:33.656 [SPEAKER_01]: Um, taking this pen away from you, you're pushing too hard. 01:02:33.676 --> 01:02:38.160 [SPEAKER_01]: Uh, and he's like, no, my mind has never been so clear. 01:02:38.360 --> 01:02:46.568 [SPEAKER_01]: I can keep on going, but she sort of says, look, just go, you know, go rest, but come back later and Jake says of course. 01:02:46.628 --> 01:02:47.209 [SPEAKER_01]: That bothered me. 01:02:47.189 --> 01:02:47.890 [SPEAKER_00]: Oh my god. 01:02:47.990 --> 01:02:48.651 [SPEAKER_00]: Come back later. 01:02:48.751 --> 01:02:50.713 [SPEAKER_00]: No, you say tomorrow, let him sleep. 01:02:51.073 --> 01:02:51.534 [SPEAKER_01]: Oh my god. 01:02:51.554 --> 01:02:54.337 [SPEAKER_01]: But then when Jake says, of course, and he goes, I need you. 01:02:54.537 --> 01:02:57.200 [SPEAKER_01]: And that line bothered me, I'm my old boy. 01:02:57.520 --> 01:02:59.622 [SPEAKER_01]: Don't go there, please don't. 01:02:59.642 --> 01:03:03.686 [SPEAKER_03]: Another thing that happened in the beginning scene, she says, your dad's gonna be back soon. 01:03:03.907 --> 01:03:04.687 [SPEAKER_03]: You should be there. 01:03:05.008 --> 01:03:08.772 [SPEAKER_03]: So it's, it's, that has been with her this whole time. 01:03:08.852 --> 01:03:09.252 [SPEAKER_00]: Yes. 01:03:09.613 --> 01:03:13.737 [SPEAKER_03]: This whole weekend, the her weekend, and she's trying to keep it 01:03:13.717 --> 01:03:16.080 [SPEAKER_03]: a secret, which is a red flag. 01:03:16.100 --> 01:03:16.560 [SPEAKER_03]: Yes. 01:03:17.121 --> 01:03:21.445 [SPEAKER_03]: So go back because your dad's, we don't want him to catch us doing what we're doing. 01:03:21.986 --> 01:03:23.528 [SPEAKER_03]: Red flag, huge red flag. 01:03:23.548 --> 01:03:25.089 [SPEAKER_01]: It should be red flag for Jake though. 01:03:25.229 --> 01:03:26.411 [SPEAKER_01]: Jake should already know that. 01:03:26.611 --> 01:03:28.033 [SPEAKER_01]: But he's too out of it. 01:03:28.053 --> 01:03:29.474 [SPEAKER_03]: No, he's too out of it by now. 01:03:29.514 --> 01:03:30.295 [SPEAKER_03]: And he's too strong. 01:03:30.315 --> 01:03:33.358 [SPEAKER_03]: No, like that's why they needed some adults in the room. 01:03:33.498 --> 01:03:38.644 [SPEAKER_00]: Oh, there are brains aren't developed 01:03:38.708 --> 01:03:40.491 [SPEAKER_01]: Well, he does leave, right? 01:03:40.611 --> 01:03:41.492 [SPEAKER_01]: Yeah, take off. 01:03:41.512 --> 01:03:42.534 [SPEAKER_01]: He gets in the turbo lift. 01:03:42.594 --> 01:03:46.459 [SPEAKER_01]: What I'd like about this is the lighting is a certain way in the turbo lift. 01:03:46.479 --> 01:03:48.803 [SPEAKER_01]: It's sort of a decreased amount of lighting in there. 01:03:48.823 --> 01:03:50.686 [SPEAKER_01]: It's a little more shade and shadow. 01:03:50.746 --> 01:03:59.058 [SPEAKER_01]: And clearly, make up department did something with his makeup because the minute he gets out into the promenade, you can see his face. 01:03:59.218 --> 01:04:02.924 [SPEAKER_01]: It looks like there's like some of the colors gone from his face. 01:04:02.964 --> 01:04:03.805 [SPEAKER_01]: He looks. 01:04:03.785 --> 01:04:05.006 [SPEAKER_01]: gone in a way. 01:04:05.406 --> 01:04:06.688 [SPEAKER_01]: And he's difficult. 01:04:06.788 --> 01:04:07.448 [SPEAKER_01]: Yes, circles. 01:04:07.488 --> 01:04:08.850 [SPEAKER_01]: And he just doesn't look good. 01:04:08.910 --> 01:04:13.634 [SPEAKER_01]: He goes to the reprimat, order some OJ as he sits down on the table to drink it. 01:04:13.694 --> 01:04:15.536 [SPEAKER_01]: He falls right under the ground. 01:04:16.056 --> 01:04:17.698 [SPEAKER_01]: And he's unconscious. 01:04:17.978 --> 01:04:18.358 [SPEAKER_01]: He's done. 01:04:19.079 --> 01:04:24.744 [SPEAKER_03]: We cut inside the infirmary, Bashir's there says that his brain is firing off the charts. 01:04:25.164 --> 01:04:28.287 [SPEAKER_03]: That's why I asked did she have a power that like something? 01:04:28.767 --> 01:04:29.148 [SPEAKER_02]: Yeah. 01:04:29.168 --> 01:04:33.792 [SPEAKER_03]: This doesn't seem like a natural thing the 01:04:33.772 --> 01:04:34.614 [SPEAKER_03]: fuel. 01:04:34.634 --> 01:04:36.499 [SPEAKER_01]: Well, it's the alien energy. 01:04:36.539 --> 01:04:40.950 [SPEAKER_01]: Her energy is causing him to, you know, he's opening him up. 01:04:41.592 --> 01:04:44.258 [SPEAKER_00]: He opened him up so he's going full throttle. 01:04:44.299 --> 01:04:44.680 [SPEAKER_00]: Yeah. 01:04:45.181 --> 01:04:45.542 [SPEAKER_03]: Yeah. 01:04:45.662 --> 01:04:47.727 [SPEAKER_03]: And Bashir says he could have died from all this. 01:04:48.489 --> 01:04:48.589 [SPEAKER_00]: Yeah. 01:04:48.609 --> 01:04:48.710 [SPEAKER_03]: Yeah. 01:04:48.730 --> 01:04:50.835 [SPEAKER_03]: It's sort of kind of wakes up. 01:04:50.815 --> 01:05:02.036 [SPEAKER_03]: you know, delirious and he calls for Anaya and this is when Cisco says he's going to go talk to Odo and Bashir will monitor him. 01:05:02.396 --> 01:05:06.925 [SPEAKER_03]: Then there's a little time cut and Patricia Tallman as the nurse in the room. 01:05:07.065 --> 01:05:08.327 [SPEAKER_01]: Patty Tallman. 01:05:08.488 --> 01:05:09.469 [SPEAKER_03]: Patty's there. 01:05:09.489 --> 01:05:09.970 [SPEAKER_03]: Patty's there. 01:05:10.451 --> 01:05:11.473 [SPEAKER_01]: Patty G. 01:05:11.453 --> 01:05:22.019 [SPEAKER_03]: Tending to him, she approaches when suddenly we see a little tinker bell twinkle in the background and it's a nia appearing She knocks the nurse out. 01:05:22.581 --> 01:05:27.032 [SPEAKER_01]: She basically slaps patty upside the head is what it's you know 01:05:27.012 --> 01:05:29.496 [SPEAKER_03]: That was a tricky effect to do a split screen there. 01:05:29.516 --> 01:05:31.218 [SPEAKER_03]: They probably shot them as separate elements. 01:05:31.238 --> 01:05:35.805 [SPEAKER_03]: So Patty probably looked at nothing and then they reacted to nothing. 01:05:36.106 --> 01:05:40.693 [SPEAKER_03]: They reacted to nothing and then Meg Foster came in and slapped nothing. 01:05:41.053 --> 01:05:42.956 [SPEAKER_01]: So it looked great. 01:05:43.277 --> 01:05:45.200 [SPEAKER_01]: But together, it looked seamless. 01:05:45.280 --> 01:05:46.742 [SPEAKER_01]: I thought it was a really, really good job. 01:05:46.891 --> 01:05:54.160 [SPEAKER_03]: And I like that they kept that energy going on and I, as she talked to Jake here, you know, when she says we have to finish what we started. 01:05:54.481 --> 01:05:55.142 [SPEAKER_01]: Very creepy. 01:05:55.262 --> 01:05:56.163 [SPEAKER_01]: Very creepy. 01:05:56.183 --> 01:05:57.385 [SPEAKER_00]: Yeah, and I think it was the hurry. 01:05:57.645 --> 01:05:58.386 [SPEAKER_00]: What the hell? 01:05:58.907 --> 01:06:06.216 [SPEAKER_00]: We should know that she has some time limit or some, there has to be without knowing her. 01:06:07.192 --> 01:06:07.673 [SPEAKER_00]: journey. 01:06:07.693 --> 01:06:11.059 [SPEAKER_00]: Well, just a minute ago, she said, it's a way from what's happening. 01:06:11.440 --> 01:06:14.385 [SPEAKER_03]: And a minute ago, she just said, your dad's going to be home. 01:06:14.405 --> 01:06:16.810 [SPEAKER_03]: You should go back, rest, come back tomorrow. 01:06:17.110 --> 01:06:19.174 [SPEAKER_03]: But now, suddenly, we got to go. 01:06:19.815 --> 01:06:20.056 [SPEAKER_00]: Why? 01:06:20.076 --> 01:06:21.338 [SPEAKER_03]: Because they're busted. 01:06:21.558 --> 01:06:28.952 [SPEAKER_03]: I think it's because this whole thing was done and you shouldn't even have to be wondering that there should have been an explain. 01:06:28.972 --> 01:06:29.453 [SPEAKER_00]: Yes. 01:06:29.433 --> 01:06:30.715 [SPEAKER_00]: That's where I feel bad. 01:06:31.036 --> 01:06:40.451 [SPEAKER_00]: This is where I have so much empathy for the writers and the creative staff because there is no time to get these things ironed out quickly. 01:06:40.471 --> 01:06:46.802 [SPEAKER_03]: Especially this time in the season, near the last handful of episodes, they're probably way behind. 01:06:47.323 --> 01:06:48.825 [SPEAKER_03]: They're not focused on the finale. 01:06:49.632 --> 01:07:00.076 [SPEAKER_00]: And creeping into the next season already sure because it has so much to do how we ending this season to start the next season. 01:07:00.237 --> 01:07:03.344 [SPEAKER_00]: So it's not like it's far off in the distance. 01:07:03.404 --> 01:07:05.970 [SPEAKER_00]: They have a lot on their mind all of the writers. 01:07:05.950 --> 01:07:08.856 [SPEAKER_01]: They do just know that this is definitely an anomaly. 01:07:08.956 --> 01:07:13.926 [SPEAKER_01]: We do think these writers are fantastic and remember now and then everyone trips up. 01:07:14.246 --> 01:07:19.316 [SPEAKER_01]: Everyone messes up with one little writing assignment that just is like, what the heck do we just do? 01:07:19.657 --> 01:07:20.799 [SPEAKER_01]: And this is pretty much. 01:07:20.819 --> 01:07:21.520 [SPEAKER_01]: Well, they know it. 01:07:21.560 --> 01:07:23.204 [SPEAKER_03]: They already know as you read. 01:07:23.364 --> 01:07:25.648 [SPEAKER_01]: Yes, you know, then I will continue to read more. 01:07:25.749 --> 01:07:26.490 [SPEAKER_01]: Yeah, we'll read more. 01:07:26.470 --> 01:07:35.786 [SPEAKER_00]: It's like we all have takes or scenes or episodes where we weren't at our best or we had the flu or whatever else could have been going on with us. 01:07:36.968 --> 01:07:40.574 [SPEAKER_00]: Yeah, some episodes are like, oh, I did it. 01:07:40.794 --> 01:07:41.495 [SPEAKER_00]: Yes. 01:07:41.515 --> 01:07:42.257 [SPEAKER_00]: I sold that one. 01:07:42.317 --> 01:07:43.679 [SPEAKER_00]: And I get to do it tomorrow. 01:07:44.961 --> 01:07:48.968 [SPEAKER_00]: Yeah, because the series is the best. 01:07:48.948 --> 01:07:57.064 [SPEAKER_00]: practice for having to show up to be creative, whether you are physically mentally ready to or not, you just have to. 01:07:57.104 --> 01:07:58.386 [SPEAKER_00]: They do. 01:07:58.426 --> 01:07:59.609 [SPEAKER_00]: The writers did. 01:07:59.709 --> 01:08:03.076 [SPEAKER_00]: We did make up hair every single person. 01:08:03.136 --> 01:08:09.488 [SPEAKER_00]: The crew, it's a great lesson and you just, you have to look at your mistakes. 01:08:10.784 --> 01:08:15.335 [SPEAKER_00]: correct them or learn from them as quickly as possible and move on and drop it. 01:08:15.555 --> 01:08:16.237 [SPEAKER_03]: Well, okay. 01:08:16.257 --> 01:08:21.549 [SPEAKER_03]: So later on, O'Brien is scanning the bulkhead where the Tinkerbell ferry appeared from. 01:08:21.589 --> 01:08:28.084 [SPEAKER_03]: He picks up some psionic energy in the bulkhead and Bashir says that's the same energy that I saw in his brain scans. 01:08:28.064 --> 01:08:29.907 [SPEAKER_03]: Maybe she's telepathic. 01:08:29.947 --> 01:08:31.791 [SPEAKER_03]: Maybe it's telepathic and it's something. 01:08:31.811 --> 01:08:41.248 [SPEAKER_03]: So they go to scan for more psionic energy and Bashir says, well, you better hurry up because psionic energy disappears very fast within minutes. 01:08:41.328 --> 01:08:43.993 [SPEAKER_03]: So they head out quickly, Cisco and Abraia. 01:08:44.134 --> 01:08:50.325 [SPEAKER_03]: Now in a in a junction of the conduits, Jake is writing and laying in her lap. 01:08:50.305 --> 01:08:52.308 [SPEAKER_03]: again in that position. 01:08:52.328 --> 01:08:54.612 [SPEAKER_03]: He's writing furiously weird. 01:08:55.093 --> 01:08:55.554 [SPEAKER_00]: Yeah. 01:08:55.854 --> 01:08:56.575 [SPEAKER_00]: So gross. 01:08:56.595 --> 01:08:58.599 [SPEAKER_00]: And he's not even really writing anymore. 01:08:58.659 --> 01:08:59.941 [SPEAKER_03]: No, he's losing it. 01:09:00.402 --> 01:09:00.722 [SPEAKER_00]: Yeah. 01:09:00.742 --> 01:09:04.328 [SPEAKER_01]: Would you have blocked that Robby as a director to not make it look cringy? 01:09:04.428 --> 01:09:06.812 [SPEAKER_01]: How could you have blocked 01:09:06.792 --> 01:09:13.002 [SPEAKER_01]: uh uh uh you know to have onara next to him but not look cringy. 01:09:13.442 --> 01:09:23.097 [SPEAKER_03]: Is there a way or maybe you could have had him sitting opposite sides of the room and she's just focused on him and then you see this energy coming out of him. 01:09:23.077 --> 01:09:25.462 [SPEAKER_03]: and she's just sort of taking it in or something. 01:09:25.502 --> 01:09:41.575 [SPEAKER_00]: I would say that from sexual, even if she's just in her lap, if that's part of it because she's holding him up, have more of a director to be, well, I'm not saying that just sensing that maybe 01:09:41.555 --> 01:09:50.428 [SPEAKER_00]: She toned down the whole sexual thing that's going on, maybe have a more maternal vibe instead of a sense. 01:09:50.508 --> 01:09:50.608 [SPEAKER_00]: Yes. 01:09:50.628 --> 01:09:52.852 [SPEAKER_00]: I mean, you can do a lot just by that. 01:09:52.892 --> 01:09:53.533 [SPEAKER_01]: There you go. 01:09:53.653 --> 01:09:54.354 [SPEAKER_01]: Go maternal. 01:09:54.494 --> 01:09:55.155 [SPEAKER_01]: Not sexual. 01:09:55.516 --> 01:09:56.277 [SPEAKER_03]: Team maternal. 01:09:56.457 --> 01:10:04.769 [SPEAKER_03]: He's writing fiercely, but he's losing energy, and she's pulling more energy out, putting it in her own body, and his nose starts to bleed again. 01:10:04.809 --> 01:10:08.575 [SPEAKER_00]: He says he can't anymore, and so she puts... 01:10:09.095 --> 01:10:13.320 [SPEAKER_00]: her hand over his hand and help her strike for him. 01:10:13.840 --> 01:10:16.323 [SPEAKER_03]: Yeah, she holds the pen, helps him right. 01:10:16.423 --> 01:10:18.746 [SPEAKER_03]: Cisco arrives from up above. 01:10:18.806 --> 01:10:19.947 [SPEAKER_03]: We see the light come on. 01:10:20.448 --> 01:10:22.610 [SPEAKER_03]: He jumps down like a superhero. 01:10:23.832 --> 01:10:25.153 [SPEAKER_03]: Points his face are at her. 01:10:25.213 --> 01:10:26.174 [SPEAKER_03]: She moves away. 01:10:26.214 --> 01:10:32.061 [SPEAKER_03]: And Cisco tries to get Jake beamed out, but they're too close to the reactor. 01:10:32.101 --> 01:10:34.984 [SPEAKER_03]: They can't get a clear signal. 01:10:34.964 --> 01:10:51.848 [SPEAKER_03]: Cisco says to her what are you and she says it's not what I am but what I do that matters and she explains that she's touched by great minds and yes they die in the end but she gets what she needs to keep going on to the next great mind in the next one. 01:10:51.968 --> 01:10:54.832 [SPEAKER_00]: Same more than that that was like a nothing speech. 01:10:54.992 --> 01:10:57.536 [SPEAKER_03]: Yeah it was not much actually nothing. 01:10:57.576 --> 01:10:59.959 [SPEAKER_00]: Who are you and how does it? 01:10:59.939 --> 01:11:01.481 [SPEAKER_00]: more explanation. 01:11:01.501 --> 01:11:02.302 [SPEAKER_02]: Yeah. 01:11:02.943 --> 01:11:04.866 [SPEAKER_00]: It makes it so much more interesting. 01:11:05.326 --> 01:11:05.907 [SPEAKER_02]: Yeah. 01:11:05.967 --> 01:11:09.592 [SPEAKER_00]: And the audience want to know, I want to know something crazy and weird. 01:11:09.652 --> 01:11:13.918 [SPEAKER_00]: And I want to hear your creative idea of why she's doing this. 01:11:14.679 --> 01:11:14.819 [SPEAKER_01]: Mm-hmm. 01:11:14.839 --> 01:11:19.806 [SPEAKER_01]: One of the names that he that she throws out there is, is Kate's who Kate's died at the age of 25. 01:11:20.307 --> 01:11:22.690 [SPEAKER_01]: So one of the most amazing. 01:11:22.670 --> 01:11:26.520 [SPEAKER_01]: Poets most creative people, but died very on prolific excuse me. 01:11:26.540 --> 01:11:37.810 [SPEAKER_01]: That's the one I'm looking for it, but died at 25 and that's that's the point that she saps all this energy from these creatives and they die keeps for their time. 01:11:37.790 --> 01:11:39.212 [SPEAKER_03]: He's 100 years ago. 01:11:39.813 --> 01:11:42.177 [SPEAKER_03]: He's almost 100 years ago, I think. 01:11:42.257 --> 01:11:44.301 [SPEAKER_03]: So that means that she's timeless. 01:11:44.641 --> 01:11:45.863 [SPEAKER_01]: She goes through time. 01:11:45.983 --> 01:11:46.204 [SPEAKER_01]: Yes. 01:11:46.364 --> 01:11:48.207 [SPEAKER_01]: But that's the case. 01:11:48.928 --> 01:11:51.212 [SPEAKER_01]: If you talk about vampires, they're timeless as well. 01:11:51.352 --> 01:11:54.277 [SPEAKER_01]: But they must have blood to survive, correct? 01:11:54.377 --> 01:11:57.983 [SPEAKER_01]: So for them to keep living, they have to have that blood. 01:11:58.023 --> 01:12:01.789 [SPEAKER_01]: And just like, yeah, Onaura, she has to have that creative energy. 01:12:01.769 --> 01:12:02.871 [SPEAKER_01]: Well, he does. 01:12:02.891 --> 01:12:03.673 [SPEAKER_01]: Yeah, that life force. 01:12:03.693 --> 01:12:11.370 [SPEAKER_01]: She's been alive for thousands of years from because she mentions a katilis, which is a Roman for the Roman times a Roman. 01:12:11.691 --> 01:12:18.867 [SPEAKER_03]: Yeah, like what Cisco tries to shoot her and she just flies through the bulk turns into tinkerbell and flies away into space. 01:12:18.847 --> 01:12:22.070 [SPEAKER_00]: No, you don't see her be a spaceship, though. 01:12:22.210 --> 01:12:22.751 [SPEAKER_00]: No, no, no, no. 01:12:23.071 --> 01:12:24.092 [SPEAKER_00]: It looks like light. 01:12:24.933 --> 01:12:25.193 [SPEAKER_00]: It does. 01:12:25.213 --> 01:12:27.516 [SPEAKER_00]: It's like they're saying pure energy, isn't that what you said? 01:12:27.556 --> 01:12:33.581 [SPEAKER_01]: Yes, I did say that, but first of all, when he shoots her, she just looks down at the phase or going into her. 01:12:33.762 --> 01:12:35.744 [SPEAKER_01]: And it's almost like, what are you doing? 01:12:36.104 --> 01:12:37.285 [SPEAKER_01]: That doesn't even tickle. 01:12:37.425 --> 01:12:45.293 [SPEAKER_01]: And then she just disappears, but when she comes out of the station, the energy moves up and then it does that little, 01:12:45.273 --> 01:12:49.321 [SPEAKER_01]: Like whenever the starship goes into warp, that's what she does. 01:12:49.381 --> 01:12:51.345 [SPEAKER_01]: She goes to war herself or energy does. 01:12:51.365 --> 01:12:52.707 [SPEAKER_01]: Yeah, it does the same thing. 01:12:52.727 --> 01:12:53.068 [SPEAKER_03]: Yeah. 01:12:53.208 --> 01:13:02.286 [SPEAKER_03]: So back in the security office, Lwaksana's there, she says she's going to bathe his head to have the baby and Oto says he wants her to stay. 01:13:02.266 --> 01:13:10.636 [SPEAKER_03]: And this is where she says, you just, you've gotten used to me, you just want company and someone to take care of, but you're never going to love me. 01:13:11.737 --> 01:13:16.743 [SPEAKER_03]: And she does say to him that our friendship is far too important for me to ruin it. 01:13:17.464 --> 01:13:20.888 [SPEAKER_03]: And to stay here because you'll be angry and you'll resent me and I'll resent you. 01:13:21.629 --> 01:13:32.121 [SPEAKER_03]: So it is a nice thing she says here, but in my mind it doesn't excuse the manipulation that she used him and sort of took him to this vulnerable place. 01:13:32.523 --> 01:13:34.989 [SPEAKER_01]: Well, I mean, we all feel bad for Odo in the scene. 01:13:35.069 --> 01:13:35.410 [SPEAKER_01]: We do. 01:13:35.490 --> 01:13:36.894 [SPEAKER_01]: Yes, yes, yes, yes, yes, yes. 01:13:37.275 --> 01:13:38.999 [SPEAKER_01]: Really, Luxanna, really? 01:13:39.079 --> 01:13:40.804 [SPEAKER_01]: And then you kiss him at the end. 01:13:42.167 --> 01:13:44.232 [SPEAKER_00]: Oh my gosh, and it can do kiss where you go. 01:13:44.593 --> 01:13:45.716 [SPEAKER_00]: That's right. 01:13:45.736 --> 01:13:47.781 [SPEAKER_00]: You're even trying. 01:13:48.284 --> 01:13:49.325 [SPEAKER_03]: Yeah, he's so vulnerable. 01:13:49.345 --> 01:13:56.695 [SPEAKER_00]: If you're so in love with him, that kiss should have been like, okay, wait, I need to have been shake hands. 01:13:57.256 --> 01:13:58.598 [SPEAKER_00]: Yes, or just a hug. 01:13:58.798 --> 01:14:00.861 [SPEAKER_03]: Well, our last scene is in Cisco's quarters. 01:14:01.342 --> 01:14:03.505 [SPEAKER_03]: Um, Cisco comes in, Jake's recovering. 01:14:03.625 --> 01:14:12.537 [SPEAKER_03]: Cisco comes in with his manuscript, all the pages, the papers, and he said he's read the story tells him that it's sharp, that it's real. 01:14:12.517 --> 01:14:21.114 [SPEAKER_03]: gives him a little crap for the bad spelling and Jake says he really wishes it was his and not her story and Cisco says no You wrote this if it's inside of you. 01:14:21.214 --> 01:14:34.440 [SPEAKER_03]: You just have to find it for yourself But you need time to rest and he's gonna do that Cisco heads off to work and then the last thing we see is Jake signing his name by Jake Cisco 01:14:35.011 --> 01:14:35.532 [SPEAKER_03]: It's his. 01:14:36.374 --> 01:14:36.475 [SPEAKER_01]: Yeah. 01:14:36.495 --> 01:14:46.038 [SPEAKER_01]: And it's the same novel that we hear about in the visitor and some that novel that he wrote that the one fan came over played by by Andrew Robinson's daughter Rachel Robbins. 01:14:46.059 --> 01:14:46.219 [SPEAKER_01]: Yeah. 01:14:46.500 --> 01:14:52.294 [SPEAKER_01]: Yeah, it's and so, but I what I didn't like about mine to pick about this scene is when you have. 01:14:52.274 --> 01:14:55.579 [SPEAKER_01]: both Father Cisco and San Cisco sitting next to each other. 01:14:56.220 --> 01:14:57.442 [SPEAKER_01]: Come back a little bit further. 01:14:57.582 --> 01:15:00.026 [SPEAKER_01]: So it because they went really tight on the two of them. 01:15:00.426 --> 01:15:03.691 [SPEAKER_01]: And at one point, Cisco does this thing where he straightens the paper. 01:15:03.751 --> 01:15:05.033 [SPEAKER_01]: I didn't realize that until afterwards. 01:15:05.313 --> 01:15:07.116 [SPEAKER_01]: And there's this weird jerk in his body. 01:15:07.136 --> 01:15:08.038 [SPEAKER_01]: I'm like, what's happening? 01:15:08.258 --> 01:15:09.900 [SPEAKER_01]: Did he have a, is he about the burp? 01:15:10.020 --> 01:15:11.963 [SPEAKER_01]: But what he was doing was shaking the paper. 01:15:12.284 --> 01:15:14.367 [SPEAKER_01]: Like, like, making it, you know, what are you going to do? 01:15:14.387 --> 01:15:15.689 [SPEAKER_01]: Yeah, getting it even exactly. 01:15:15.789 --> 01:15:18.433 [SPEAKER_01]: But because they're so tight, you can't tell that. 01:15:18.413 --> 01:15:20.676 [SPEAKER_01]: It looks like he's doing this little weird little shake. 01:15:20.696 --> 01:15:22.458 [SPEAKER_01]: It's like, what's he, is that an acting move? 01:15:22.538 --> 01:15:23.459 [SPEAKER_01]: I mean, what's happening? 01:15:23.479 --> 01:15:36.714 [SPEAKER_03]: Here's the thing I didn't like, if this magical alien, the whole story is about, she's coming to help this creative person create their greatest art that they could possibly create. 01:15:38.376 --> 01:15:41.239 [SPEAKER_03]: And they're gonna be known forever by this art. 01:15:42.261 --> 01:15:46.125 [SPEAKER_03]: If his dad has the papers of the whole thing and just read it, 01:15:47.489 --> 01:15:52.600 [SPEAKER_03]: He should say, either, this is incredible. 01:15:54.203 --> 01:15:56.207 [SPEAKER_03]: I've never read anything in my life. 01:15:56.267 --> 01:15:57.790 [SPEAKER_03]: That's moved me like this, Jake. 01:15:58.231 --> 01:16:05.025 [SPEAKER_03]: It should either be that or something should happen and the alien should take the story with her. 01:16:05.478 --> 01:16:10.931 [SPEAKER_03]: And there should maybe just be one page left, and you know, and that's all that's left. 01:16:10.991 --> 01:16:21.495 [SPEAKER_03]: And then Benjamin Cisco, Dad walks in and says, I only read this one page, but it's incredible, Jake, and Jake's like, yeah, that was my greatest writing I'll ever do and it's gone. 01:16:21.475 --> 01:16:23.981 [SPEAKER_03]: and then Ben can say, no, it's still there inside of you. 01:16:24.001 --> 01:16:26.227 [SPEAKER_03]: You don't need her. 01:16:26.348 --> 01:16:35.671 [SPEAKER_03]: Like to say that this was all about this great work of art and then he's gotten in his hands and says, well, the spelling's not great and you know, you need some work. 01:16:36.133 --> 01:16:37.476 [SPEAKER_03]: What the heck? 01:16:37.456 --> 01:16:43.146 [SPEAKER_03]: The whole story was built on, yeah, help me to make the greatest piece of like the great Gap Speed. 01:16:43.426 --> 01:16:47.333 [SPEAKER_00]: And the only note I can give you, the only note is there's spelling errors. 01:16:47.613 --> 01:16:48.475 [SPEAKER_00]: Who cares? 01:16:48.996 --> 01:16:51.079 [SPEAKER_00]: Because you already wrote a masterpiece. 01:16:51.099 --> 01:16:52.342 [SPEAKER_03]: It should be a masterpiece. 01:16:52.362 --> 01:16:54.385 [SPEAKER_03]: It doesn't feel like it's a masterpiece. 01:16:54.517 --> 01:16:56.441 [SPEAKER_00]: seemed like it should have been acknowledged. 01:16:56.621 --> 01:16:57.964 [SPEAKER_01]: Yes, I agree with all of you. 01:16:58.044 --> 01:17:02.513 [SPEAKER_01]: And also the line when he asked, you know, Jake says, well, what do you think that? 01:17:02.954 --> 01:17:08.565 [SPEAKER_01]: And Cisco says, he says, you've got a good start on a novel here, Jake. 01:17:08.585 --> 01:17:09.246 [SPEAKER_01]: Good start. 01:17:09.266 --> 01:17:12.192 [SPEAKER_01]: He wrote almost the entire thing in the last 42 hours. 01:17:12.212 --> 01:17:14.196 [SPEAKER_01]: So yeah, that to me was a little, 01:17:14.176 --> 01:17:15.097 [SPEAKER_01]: What are you saying? 01:17:15.257 --> 01:17:17.119 [SPEAKER_00]: Yeah, because the two of them made it clear. 01:17:17.179 --> 01:17:18.701 [SPEAKER_00]: He was nearly finished. 01:17:18.721 --> 01:17:19.182 [SPEAKER_00]: Yes. 01:17:19.202 --> 01:17:20.764 [SPEAKER_00]: He's nearly finished. 01:17:20.784 --> 01:17:20.984 [SPEAKER_00]: Yeah. 01:17:21.184 --> 01:17:21.765 [SPEAKER_01]: You're right, Robby. 01:17:21.785 --> 01:17:24.428 [SPEAKER_01]: He should said, this is amazing, son. 01:17:24.848 --> 01:17:26.210 [SPEAKER_01]: Done on good start. 01:17:26.310 --> 01:17:26.610 [SPEAKER_01]: All right. 01:17:26.650 --> 01:17:28.713 [SPEAKER_01]: That sounds like he just wrote the prologue. 01:17:28.973 --> 01:17:29.654 [SPEAKER_01]: The prologue. 01:17:29.694 --> 01:17:30.575 [SPEAKER_01]: You know, it's like what? 01:17:30.595 --> 01:17:31.416 [SPEAKER_01]: What are you doing? 01:17:31.496 --> 01:17:31.676 [SPEAKER_01]: No. 01:17:31.816 --> 01:17:33.318 [SPEAKER_01]: So there's some issues there, too. 01:17:33.538 --> 01:17:35.180 [SPEAKER_03]: They undercut their own concept. 01:17:35.240 --> 01:17:36.542 [SPEAKER_03]: They're ready to do it. 01:17:36.562 --> 01:17:37.443 [SPEAKER_01]: Yeah. 01:17:37.463 --> 01:17:37.823 [SPEAKER_03]: Yeah. 01:17:37.843 --> 01:17:39.986 [SPEAKER_03]: They're totally. 01:17:40.286 --> 01:17:41.107 [SPEAKER_03]: Yeah. 01:17:41.267 --> 01:17:41.888 [SPEAKER_03]: Yeah. 01:17:41.868 --> 01:17:45.793 [SPEAKER_01]: It's almost like whatever salmon page was supposed to be here. 01:17:45.813 --> 01:17:48.496 [SPEAKER_01]: It got tossed out and they forgot about it or something weird. 01:17:48.536 --> 01:17:49.297 [SPEAKER_01]: It's like, oh, right. 01:17:49.377 --> 01:17:54.884 [SPEAKER_00]: And so she was a magical news for all of these other for kids. 01:17:55.565 --> 01:17:55.885 [SPEAKER_02]: Yes. 01:17:56.046 --> 01:17:57.107 [SPEAKER_00]: But not for Cisco. 01:18:02.293 --> 01:18:03.455 [SPEAKER_03]: I wrote down two things. 01:18:03.595 --> 01:18:07.740 [SPEAKER_03]: The first thing my knee jerk response to this whole episode is, 01:18:07.889 --> 01:18:11.133 [SPEAKER_03]: inappropriate behavior, stalking is bad. 01:18:11.354 --> 01:18:15.560 [SPEAKER_03]: Like don't manipulate people, have healthy boundaries, and don't stalk people. 01:18:15.900 --> 01:18:16.741 [SPEAKER_03]: Like it's not good. 01:18:17.062 --> 01:18:17.162 [SPEAKER_02]: Yeah. 01:18:17.322 --> 01:18:18.203 [SPEAKER_03]: It's bad. 01:18:18.884 --> 01:18:18.984 [SPEAKER_03]: Yeah. 01:18:19.004 --> 01:18:23.771 [SPEAKER_03]: My other lesson, I guess, is kind of for Jake at the end with his dad that he's got what he needs inside of himself. 01:18:23.791 --> 01:18:24.552 [SPEAKER_03]: He didn't need this woman to come. 01:18:24.572 --> 01:18:32.563 [SPEAKER_03]: You don't need someone else to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to 01:18:32.543 --> 01:18:34.366 [SPEAKER_03]: to love yourself, and to beat yourself. 01:18:34.566 --> 01:18:40.936 [SPEAKER_03]: Odo doesn't need Laxana to beat himself, you know, he already had that in himself. 01:18:40.996 --> 01:18:44.101 [SPEAKER_03]: He didn't need her, and Jake didn't need any of this. 01:18:44.161 --> 01:18:48.788 [SPEAKER_03]: And to me, that would have been a better lesson if it had been written that way. 01:18:48.948 --> 01:18:56.660 [SPEAKER_03]: I don't know that this episode was written that way, but that's my take away is that both those characters, Odo and Jake had everything they need inside of them. 01:18:56.740 --> 01:19:00.205 [SPEAKER_03]: They don't need another person to bring that out of them. 01:19:00.792 --> 01:19:01.072 [SPEAKER_03]: there. 01:19:01.192 --> 01:19:01.493 [SPEAKER_03]: I'm done. 01:19:02.173 --> 01:19:04.696 [SPEAKER_00]: You did not know I love it. 01:19:05.156 --> 01:19:06.177 [SPEAKER_00]: What you just said. 01:19:06.197 --> 01:19:08.419 [SPEAKER_03]: Yeah. 01:19:08.439 --> 01:19:22.593 [SPEAKER_00]: It makes me, it just makes me realize that maybe the writers because of trying to just get the episode out lost the vision of the theme moral of the story for the entire episode. 01:19:22.613 --> 01:19:23.874 [SPEAKER_03]: I think they did. 01:19:24.415 --> 01:19:26.877 [SPEAKER_03]: Yeah. 01:19:27.178 --> 01:19:30.681 [SPEAKER_03]: I don't think 01:19:31.724 --> 01:19:31.944 [SPEAKER_00]: Yeah. 01:19:31.964 --> 01:19:33.387 [SPEAKER_00]: And they're also talented. 01:19:33.427 --> 01:19:44.926 [SPEAKER_00]: It's just, I think it's really hard when you have an episode like this where you can see mistakes that they even feel like they're living as to that you just hindsight is 2020. 01:19:44.947 --> 01:19:46.509 [SPEAKER_00]: It's really awful. 01:19:46.790 --> 01:19:55.825 [SPEAKER_00]: But knowing what that engine is like and how hard they're working nonstop and how things overlap because they have to. 01:19:55.805 --> 01:20:02.315 [SPEAKER_00]: It's just a really difficult medium to stay on top of the resting and clear. 01:20:02.355 --> 01:20:03.577 [SPEAKER_00]: It's a lot. 01:20:04.078 --> 01:20:07.604 [SPEAKER_01]: Okay, before we go to Terry's lesson, can I just read the little bit of the reception. 01:20:07.924 --> 01:20:12.211 [SPEAKER_01]: The muse proved to not be a popular episode among some members of the crew. 01:20:12.271 --> 01:20:16.778 [SPEAKER_01]: For example, director David Livingston confesses, I think it's one of my poor efforts. 01:20:17.279 --> 01:20:20.985 [SPEAKER_01]: I let the material down because I just didn't know what to do with it. 01:20:20.965 --> 01:20:26.711 [SPEAKER_01]: Similarly, Executive Producer Iris Steven Bear admits the script had problems, Ronald D. Moore can curse. 01:20:27.031 --> 01:20:33.437 [SPEAKER_01]: We always start with good ideas, and there's always a reason why we try something, but they just don't always come out right. 01:20:33.818 --> 01:20:37.882 [SPEAKER_01]: Renee Escher-Varia simply says, I had no feeling for either story. 01:20:38.162 --> 01:20:44.308 [SPEAKER_01]: Iris Steven Bear commented, when we came up with the story, it was such a wacky idea, the danger of creation. 01:20:44.689 --> 01:20:50.955 [SPEAKER_01]: History is filled with self-destructive writers. 01:20:50.935 --> 01:20:51.536 [SPEAKER_01]: and we did. 01:20:52.037 --> 01:20:54.561 [SPEAKER_01]: It was kind of a demented yet interesting attempt. 01:20:54.922 --> 01:20:55.783 [SPEAKER_01]: It's a weird show. 01:20:56.144 --> 01:20:57.305 [SPEAKER_01]: It's a show that we enjoyed. 01:20:57.386 --> 01:20:59.249 [SPEAKER_01]: I haven't heard much reaction from the fans. 01:20:59.389 --> 01:21:02.634 [SPEAKER_01]: I do think we gave major some good stuff to play and I think Odo helps. 01:21:03.135 --> 01:21:06.801 [SPEAKER_01]: Renee, Opposition Raw really helps sell those scenes. 01:21:06.781 --> 01:21:16.620 [SPEAKER_01]: So, and a 2012 interview with David Livingston, he stated he wished that the muse had never been produced, remarking that was not good. 01:21:17.061 --> 01:21:19.005 [SPEAKER_01]: So, even David just crushed it. 01:21:19.065 --> 01:21:19.907 [SPEAKER_00]: Oh, David, yeah. 01:21:20.147 --> 01:21:25.718 [SPEAKER_01]: But the one thing that the crew did love about the episode however was the performance of actress Meg Foster. 01:21:25.698 --> 01:21:29.065 [SPEAKER_01]: According to Renee Eshavaria, Meg Foster was perfection indeed. 01:21:29.105 --> 01:21:32.572 [SPEAKER_01]: Iris Steven Bayer specifically saw Foster out to play the role. 01:21:32.672 --> 01:21:34.015 [SPEAKER_01]: Bayer says of her performance. 01:21:34.335 --> 01:21:35.778 [SPEAKER_01]: She's so seductive and interesting. 01:21:35.839 --> 01:21:37.943 [SPEAKER_01]: You know, you can fall inside those eyes. 01:21:39.145 --> 01:21:40.147 [SPEAKER_01]: So, there you go. 01:21:40.368 --> 01:21:40.989 [SPEAKER_01]: That's the final. 01:21:41.510 --> 01:21:45.478 [SPEAKER_00]: So, we were not off on taking that impression of... 01:21:45.458 --> 01:21:47.122 [SPEAKER_00]: No, no. 01:21:47.142 --> 01:21:50.251 [SPEAKER_00]: I still think there's a lot of information missing. 01:21:50.552 --> 01:21:50.912 [SPEAKER_01]: There is. 01:21:50.973 --> 01:21:51.514 [SPEAKER_01]: There is. 01:21:51.634 --> 01:21:52.296 [SPEAKER_01]: Yes. 01:21:52.316 --> 01:21:56.186 [SPEAKER_01]: So if you were to say that there's a lesson from this episode, what would that be, tear-fair? 01:21:56.247 --> 01:21:59.475 [SPEAKER_00]: Beware of people that want to jump in your life so quickly. 01:21:59.515 --> 01:22:00.558 [SPEAKER_01]: Hmm. 01:22:00.578 --> 01:22:00.919 [SPEAKER_01]: Great. 01:22:00.899 --> 01:22:04.943 [SPEAKER_00]: That's a good slow down, slow down and get to know them. 01:22:05.163 --> 01:22:15.973 [SPEAKER_00]: We all get excited when we feel connected, but if it's a true connection, you can slow down because it will be there tomorrow and tomorrow and tomorrow. 01:22:16.093 --> 01:22:28.645 [SPEAKER_00]: And if it is just a blast of excitement because your energies bumped into each other at that particular moment, be aware that it's not something that's grounded in both situations. 01:22:28.625 --> 01:22:30.387 [SPEAKER_01]: mine is a combination of both of yours. 01:22:30.508 --> 01:22:34.433 [SPEAKER_01]: So basically with Terry's, yeah, be aware of red flags. 01:22:34.693 --> 01:22:35.775 [SPEAKER_01]: Because we all have a gut. 01:22:36.576 --> 01:22:40.000 [SPEAKER_01]: We all have a gut that tells us something. 01:22:40.140 --> 01:22:42.463 [SPEAKER_01]: It's just, it's like, hey, this isn't the right situation. 01:22:42.503 --> 01:22:43.385 [SPEAKER_01]: Something's off here. 01:22:43.825 --> 01:22:46.869 [SPEAKER_01]: But sometimes we get so enthusiastic when we hear about something. 01:22:46.909 --> 01:22:47.410 [SPEAKER_01]: It's like, oh, 01:22:47.390 --> 01:22:48.131 [SPEAKER_01]: Oh, that's great! 01:22:48.191 --> 01:22:48.492 [SPEAKER_01]: Yeah! 01:22:48.772 --> 01:22:57.406 [SPEAKER_01]: Okay, yeah, I'll definitely do this and you just jump into it with both feet and you don't even realize red flags are everywhere or you see them, but you don't pay attention to them. 01:22:57.426 --> 01:23:08.183 [SPEAKER_01]: So pay attention to the red flags to further what Terry was saying and with Robbie, yeah, that one whole line about everything that you need to get something done is inside of you. 01:23:08.344 --> 01:23:10.407 [SPEAKER_01]: You don't need someone else to pull that out of you. 01:23:10.527 --> 01:23:11.549 [SPEAKER_01]: You can find it yourself. 01:23:11.769 --> 01:23:12.130 [SPEAKER_01]: It's there. 01:23:12.450 --> 01:23:12.891 [SPEAKER_01]: So, 01:23:12.871 --> 01:23:26.843 [SPEAKER_00]: Yeah, and can I add, if you work on what Robby talked about your self-esteem, loving yourself, forgiving yourself, trusting yourself, can you count on you? 01:23:26.883 --> 01:23:30.171 [SPEAKER_00]: If you work on all of those elements, 01:23:30.151 --> 01:23:32.614 [SPEAKER_00]: Then you can see the red flags. 01:23:32.714 --> 01:23:42.006 [SPEAKER_00]: Then you can see the unstable boundary list people hurling at you and it's interesting. 01:23:42.086 --> 01:23:50.556 [SPEAKER_00]: There won't be as attracted to you the more grounded and with self respect. 01:23:50.536 --> 01:24:01.691 [SPEAKER_00]: and love for yourself and honoring your own boundaries with grace, because it was a hard road to learn that they're grace and they're my responsibility. 01:24:01.731 --> 01:24:07.219 [SPEAKER_00]: But when you have all of that, then you can, those rose-gullard glasses come off. 01:24:07.459 --> 01:24:09.822 [SPEAKER_00]: And yeah, you might get excited for a moment. 01:24:09.842 --> 01:24:10.283 [SPEAKER_00]: But 01:24:11.174 --> 01:24:13.016 [SPEAKER_00]: just handle it a lot differently. 01:24:13.036 --> 01:24:13.737 [SPEAKER_01]: I like that. 01:24:14.337 --> 01:24:14.678 [SPEAKER_00]: Right? 01:24:14.698 --> 01:24:17.641 [SPEAKER_00]: Because you don't need the outside validation as much. 01:24:17.721 --> 01:24:22.406 [SPEAKER_00]: It feels good, but not as good as you feeling your autonomy. 01:24:23.347 --> 01:24:24.128 [SPEAKER_01]: Well, perfect. 01:24:24.148 --> 01:24:29.634 [SPEAKER_01]: So instead of TLC, a tender loving care, Terry, you've come up with LTF. 01:24:29.654 --> 01:24:32.437 [SPEAKER_01]: Love yourself, trust yourself, and forgive yourself. 01:24:32.477 --> 01:24:33.678 [SPEAKER_01]: A little LTF action. 01:24:34.259 --> 01:24:35.040 [SPEAKER_00]: Oh, thank you. 01:24:35.380 --> 01:24:35.841 [SPEAKER_00]: Nice. 01:24:35.861 --> 01:24:38.143 [SPEAKER_00]: You're going to mark it me. 01:24:39.001 --> 01:24:43.915 [SPEAKER_01]: Terry, what is the Patreon poll winner for theme slash lesson slash moral this episode? 01:24:43.962 --> 01:24:47.266 [SPEAKER_00]: Well, I'm so happy you asked me that, yeah, go on. 01:24:47.947 --> 01:24:50.970 [SPEAKER_00]: It is submitted by my friend, Rebekah Leary. 01:24:50.990 --> 01:24:51.991 [SPEAKER_00]: Oh, yes. 01:24:52.332 --> 01:24:53.253 [SPEAKER_00]: She's fabulous. 01:24:53.533 --> 01:24:54.514 [SPEAKER_00]: Oh, she's gorgeous. 01:24:54.855 --> 01:24:56.857 [SPEAKER_00]: And she's a really kind person. 01:24:56.897 --> 01:24:59.260 [SPEAKER_00]: And I can't believe I've reading her name right now. 01:24:59.320 --> 01:25:00.621 [SPEAKER_00]: Oh, so you know this person. 01:25:00.701 --> 01:25:01.162 [SPEAKER_00]: I'm so cool. 01:25:01.182 --> 01:25:02.504 [SPEAKER_00]: OK, yeah, OK, got it. 01:25:02.524 --> 01:25:02.904 [SPEAKER_01]: Yes. 01:25:03.345 --> 01:25:04.306 [SPEAKER_01]: Hey, Rebekah. 01:25:04.846 --> 01:25:05.287 [SPEAKER_00]: I know. 01:25:05.327 --> 01:25:12.315 [SPEAKER_00]: True love and creativity shouldn't come at the cost of exploitation or self-destruction. 01:25:12.802 --> 01:25:13.483 [SPEAKER_00]: Agreed. 01:25:13.883 --> 01:25:14.584 [SPEAKER_01]: All right, everyone. 01:25:15.325 --> 01:25:18.989 [SPEAKER_01]: Thank you for tuning in to our recap and discussion of the muse. 01:25:19.329 --> 01:25:22.132 [SPEAKER_01]: We also want to thank Teria again for co-hosting with us. 01:25:22.873 --> 01:25:24.615 [SPEAKER_01]: Thank you, Teri, and you. 01:25:24.815 --> 01:25:25.616 [SPEAKER_01]: Yes, you're welcome. 01:25:25.796 --> 01:25:33.485 [SPEAKER_01]: And please join us next time when we will be reviewing and recapping and discussing the episode for the cause with Armin Schimmerman. 01:25:33.785 --> 01:25:38.590 [SPEAKER_01]: For all of our Patreon patrons, please stay tuned for bonus material with more Teri Farrell. 01:25:38.751 --> 01:25:40.092 [SPEAKER_01]: Everyone else, see you next time.