WEBVTT 00:08.798 --> 00:14.303 [SPEAKER_01]: Welcome to the Delta Flyers journey through the wormhole with quark, decks, and their good friends, Tom and Harry. 00:14.804 --> 00:19.148 [SPEAKER_01]: Join us as we make our way through episodes of Star Trek Deep Space Nine. 00:27.543 --> 00:38.271 [SPEAKER_02]: For the complete and stupendous and super sexy version of this podcast, please check out patreon.com forward slash the delta flyers and sign up to become a patron today. 00:38.351 --> 00:40.393 [SPEAKER_02]: Wow, there's no exit. 00:40.653 --> 00:45.037 [SPEAKER_00]: Where do I go to get the less sexy version? 00:45.397 --> 00:48.800 [SPEAKER_02]: You can have arman's less sexy version or hour sexy version. 00:50.841 --> 00:52.443 [SPEAKER_02]: Do we have any birthdays this week? 00:52.503 --> 00:52.924 [SPEAKER_02]: We do. 00:52.944 --> 00:53.044 [SPEAKER_02]: We do. 00:53.064 --> 00:53.364 [SPEAKER_02]: We do. 00:53.404 --> 00:56.768 [SPEAKER_02]: We have Natalie Swain on August, twenty first. 00:56.868 --> 00:58.209 [SPEAKER_02]: So happy birthday, Natalie. 00:58.469 --> 00:59.450 [SPEAKER_01]: Happy birthday, Natalie. 00:59.871 --> 01:00.652 [SPEAKER_01]: Happy birthday, Natalie. 01:00.672 --> 01:02.253 [SPEAKER_01]: Happy birthday, Natalie on the twenty first. 01:03.355 --> 01:05.977 [SPEAKER_01]: And we also have Kelly B on August, twenty second. 01:06.137 --> 01:07.159 [SPEAKER_01]: Happy birthday, Kelly. 01:07.459 --> 01:08.560 [SPEAKER_01]: Happy birthday, Kelly. 01:09.321 --> 01:10.923 [SPEAKER_02]: I like how Kelly B rhymes. 01:10.983 --> 01:13.085 [SPEAKER_02]: Kelly B, happy birthday, August, twenty second. 01:19.330 --> 01:23.993 [SPEAKER_01]: Here we go, my poem for the episode Crossfire. 01:24.373 --> 01:27.855 [SPEAKER_01]: Chicago comes to a conference for political date haunt. 01:28.596 --> 01:32.158 [SPEAKER_01]: But with Kira, he has some feelings that he flaunts. 01:33.079 --> 01:40.283 [SPEAKER_01]: There's an assassin to outsmart Odo's left with a broken heart, and you can't always get what you want. 01:41.724 --> 01:42.865 [SPEAKER_00]: Very good, very good. 01:43.245 --> 01:43.605 [SPEAKER_00]: Thank you. 01:43.766 --> 01:45.527 [SPEAKER_00]: Detente and flaunt. 01:46.603 --> 01:46.903 [SPEAKER_00]: Good. 01:47.063 --> 01:47.324 [SPEAKER_00]: Good. 01:47.464 --> 01:48.064 [SPEAKER_00]: Very good. 01:48.164 --> 01:48.825 [SPEAKER_00]: Thank you. 01:48.885 --> 01:49.705 [SPEAKER_01]: It's a car. 01:49.885 --> 01:57.150 [SPEAKER_01]: It was not quite detent, although detent is a political coming together to agree on something you don't agree on. 01:57.230 --> 02:00.012 [SPEAKER_00]: It's as close to the word crossfire as you can get. 02:03.254 --> 02:05.337 [SPEAKER_02]: But with Kira, he has some feelings he flaunts. 02:05.357 --> 02:06.659 [SPEAKER_02]: Yeah, they taunt flaunts. 02:06.739 --> 02:07.500 [SPEAKER_02]: That's perfect. 02:07.600 --> 02:08.781 [SPEAKER_02]: That one now works for me. 02:09.242 --> 02:09.783 [SPEAKER_02]: Works for me. 02:10.203 --> 02:10.403 [SPEAKER_02]: All right. 02:10.443 --> 02:12.726 [SPEAKER_02]: Here's my high coup for Crossfire. 02:13.487 --> 02:13.828 [SPEAKER_02]: All right. 02:14.408 --> 02:19.635 [SPEAKER_02]: Shakar to station has plans to romance Kira. 02:20.948 --> 02:22.229 [SPEAKER_02]: Oh, no, smash his things. 02:23.689 --> 02:25.090 [SPEAKER_00]: He does. 02:25.610 --> 02:26.110 [SPEAKER_00]: He does. 02:26.130 --> 02:28.731 [SPEAKER_00]: Oh, Clark comes in and pajamas. 02:28.911 --> 02:30.672 [SPEAKER_00]: We have never seen his pajamas before. 02:30.692 --> 02:31.312 [SPEAKER_00]: Is that a first? 02:31.652 --> 02:32.753 [SPEAKER_00]: And let's hope we never see them. 02:35.336 --> 02:36.337 [SPEAKER_02]: They were shiny. 02:36.737 --> 02:37.437 [SPEAKER_02]: You didn't like them. 02:37.758 --> 02:38.278 [SPEAKER_00]: Okay, my God. 02:38.298 --> 02:39.759 [SPEAKER_01]: They were hard. 02:39.799 --> 02:41.540 [SPEAKER_01]: They have like the footies built in. 02:41.680 --> 02:44.521 [SPEAKER_00]: I couldn't know what they had their own footies and they were just as horrible. 02:44.621 --> 02:47.403 [SPEAKER_00]: Really, this is a slightly serious scene. 02:47.463 --> 02:48.964 [SPEAKER_00]: Why personally like a clown? 02:48.984 --> 02:52.126 [SPEAKER_02]: You know, I've been to the backside to have the flap that you can pull down. 02:52.146 --> 02:53.686 [SPEAKER_02]: Did I have one of the other players? 02:53.706 --> 02:55.047 [SPEAKER_00]: Yeah, we never saw that side of me. 02:55.067 --> 02:55.487 [SPEAKER_00]: Did I see that? 02:56.988 --> 02:58.188 [SPEAKER_00]: What about etymology? 02:58.388 --> 02:59.049 [SPEAKER_00]: Etymology. 02:59.309 --> 02:59.649 [SPEAKER_00]: Okay. 03:00.109 --> 03:03.230 [SPEAKER_00]: So crossfire isn't interesting word. 03:03.890 --> 03:06.890 [SPEAKER_00]: I'm not sure really how it applies. 03:07.371 --> 03:12.372 [SPEAKER_00]: It does apply, but it's not really the best of titles for this episode. 03:12.472 --> 03:14.912 [SPEAKER_00]: The definition of crossfire is, this is OED. 03:14.972 --> 03:16.693 [SPEAKER_00]: So to use the same word, 03:17.653 --> 03:23.597 [SPEAKER_00]: That is the word is always a bad thing to do, but the OET is the official dictionary of the English language. 03:24.218 --> 03:28.621 [SPEAKER_00]: Aligns of fire from two or more positions crossing each other. 03:28.661 --> 03:31.402 [SPEAKER_00]: So crossfire is we have that definition. 03:31.603 --> 03:34.645 [SPEAKER_00]: It's also a crossfire of small pleasantries. 03:35.025 --> 03:39.268 [SPEAKER_00]: First used in eighteen sixty with verbs 03:39.788 --> 03:46.812 [SPEAKER_00]: forming compound verbs, it meaning to do something crosswise in the direction traversing another. 03:46.992 --> 03:52.576 [SPEAKER_00]: The word cross comes from the old Irish and Scottish and Norse languages. 03:52.896 --> 04:05.744 [SPEAKER_00]: The word cross as we understand it religiously, it has an older animal shape, but this is the sort of English across like that, although I suppose the religious icons also across. 04:06.593 --> 04:16.368 [SPEAKER_01]: It's interesting, yeah, the sort of military crossfire, you know, idea is interesting, but you said in the eighteen sixties or something. 04:16.408 --> 04:18.471 [SPEAKER_00]: Eighteen sixties the first time the word was used. 04:19.513 --> 04:40.977 [SPEAKER_00]: Wow, and they had to do primarily with military stuff probably what was the war that was in the teen sixteen year up the right of the the the horse per grade that that poem and the civil war was in the attention and the seven were although that believed yes could men find the civil war could have been familiar up the don't know 04:41.177 --> 04:42.698 [SPEAKER_02]: Is it the charge of the life for gay? 04:42.718 --> 04:46.639 [SPEAKER_02]: Thank you charge of the British, uh, uh, and we'll read the other side. 04:47.139 --> 04:49.880 [SPEAKER_02]: The British and uh, the French was the French was the French. 04:50.160 --> 04:55.121 [SPEAKER_00]: No, um, and I forgot, um, impressions, impressions. 04:55.281 --> 04:55.922 [SPEAKER_00]: There was impressions. 04:56.022 --> 04:56.302 [SPEAKER_00]: Okay. 04:56.522 --> 04:58.262 [SPEAKER_00]: It was the Crimean War. 04:58.322 --> 04:59.343 [SPEAKER_00]: That's for me in war. 04:59.563 --> 05:00.283 [SPEAKER_00]: Yes. 05:00.363 --> 05:02.544 [SPEAKER_00]: Tell me how that word works in this episode. 05:02.804 --> 05:03.704 [SPEAKER_00]: Who came up with that? 05:03.804 --> 05:05.205 [SPEAKER_00]: I read the why did you use it? 05:05.625 --> 05:08.966 [SPEAKER_01]: I could imagine that it's Odo's trying to make 05:10.083 --> 05:16.789 [SPEAKER_01]: gestures to Kira and then Shakira is making gestures so in their kind of wooing the cross wooing. 05:17.229 --> 05:18.170 [SPEAKER_01]: That would have been a better title. 05:18.190 --> 05:19.791 [SPEAKER_00]: That would have been a cross wooing. 05:20.372 --> 05:25.736 [SPEAKER_00]: But as it is with that definition, then Kira should have been the main thrust of the episode. 05:25.876 --> 05:31.641 [SPEAKER_00]: Although she's the object of desire, she's relegated really to the towards the back of the episode. 05:31.701 --> 05:33.683 [SPEAKER_00]: It's really Renee's episode. 05:33.743 --> 05:35.785 [SPEAKER_00]: Oh, it's definitely Renee's point of view for sure. 05:36.065 --> 05:50.651 [SPEAKER_02]: All right, well, this episode was written by Renee Ishivariya, directed by Uncle Les Landel, and we have guest stars, Duncan Reger, Ishikar Eden, and also Bruce Wright as Sarsh Rez, his second in command. 05:51.091 --> 05:54.613 [SPEAKER_02]: Now, I just want to read this a little quick bit about Duncan. 05:55.773 --> 05:59.995 [SPEAKER_02]: This episode marks Duncan Reger's second of three appearances as Ishikar Eden. 06:00.835 --> 06:04.776 [SPEAKER_02]: He had previously appeared in the third season episode, Shakar. 06:04.796 --> 06:16.699 [SPEAKER_02]: Airea Steven Bear was not happy with the development of his character in this episode, although he is very careful to accept the blame himself and not accuse Reggae of a poor performance. 06:17.359 --> 06:21.480 [SPEAKER_02]: I think we mishandled his character in this episode, and he never recovered after that. 06:21.860 --> 06:27.301 [SPEAKER_02]: The first time we saw him, he was Clint Eastwood, the foreigner, the man of few words, the terrorist. 06:28.294 --> 06:29.816 [SPEAKER_02]: He became way too sensitive here. 06:30.376 --> 06:32.499 [SPEAKER_02]: It just wasn't the same Chicago. 06:32.899 --> 06:34.281 [SPEAKER_02]: So Ira wasn't happy about this. 06:34.621 --> 06:35.282 [SPEAKER_02]: Interesting. 06:35.582 --> 06:35.983 [SPEAKER_02]: Yeah. 06:36.403 --> 06:44.713 [SPEAKER_01]: I did remember that previous episode, not vividly, but I did remember him being a little vague to me as a character. 06:45.734 --> 06:50.238 [SPEAKER_01]: And then this seemed very different, but I couldn't put my finger on it, but that's well said by Ira, I think. 06:50.338 --> 06:52.800 [SPEAKER_01]: It does feel like almost a different character to me. 06:52.900 --> 06:58.365 [SPEAKER_01]: I just sort of assumed, oh, that's because now he's a politician and it's changed him. 06:58.845 --> 07:02.008 [SPEAKER_00]: And maybe they should have given him more politician things to do. 07:02.148 --> 07:10.015 [SPEAKER_00]: Maybe he should have been, there should have been scenes perhaps the missing scenes are the ones where he's actually negotiating with the Federation to get into the Federation. 07:10.175 --> 07:11.396 [SPEAKER_00]: Yeah, we never see any of them. 07:11.636 --> 07:13.918 [SPEAKER_00]: That would have made his character perhaps a lot more stronger. 07:14.056 --> 07:20.777 [SPEAKER_02]: This past weekend, I was at a convention and I was talking with a fan about Deep Space Nine Voyager and what they said about DS Nine was 07:21.615 --> 07:25.417 [SPEAKER_02]: I enjoyed DS nine because to me it's like a soap opera and I was like, no, I don't really agree with you. 07:25.738 --> 07:30.260 [SPEAKER_02]: And to I saw this episode now I feel like this is this episode is very soapy. 07:30.500 --> 07:31.101 [SPEAKER_02]: Very soapy. 07:31.181 --> 07:32.362 [SPEAKER_02]: Oh my gosh. 07:32.482 --> 07:34.043 [SPEAKER_02]: It's more soapy than sci-fi. 07:34.423 --> 07:37.305 [SPEAKER_02]: I felt I was I was a little shocked to be perfectly honest. 07:37.325 --> 07:38.125 [SPEAKER_02]: I was like my good friends. 07:38.245 --> 07:46.050 [SPEAKER_02]: Coastars Charles Tentendo as Jimenez and also a quick little bit of trivia about this episode. 07:46.490 --> 07:50.653 [SPEAKER_02]: The story for this episode originated in Robert Hewitt Wolf's idea to do a 07:51.413 --> 07:56.795 [SPEAKER_02]: bodyguard type story, referencing the Lawrence Cazden film with Kevin Costner Whitney Houston. 07:57.356 --> 08:02.258 [SPEAKER_02]: The idea was for Odo to be the bodyguard protecting Kira for something and following and love with her. 08:02.698 --> 08:07.640 [SPEAKER_02]: The audience found out about Odo's lover Kira in a different way in a prior episode, the heart of stone. 08:07.820 --> 08:12.622 [SPEAKER_02]: But nevertheless, the producers still liked Wolf's basic idea and they kept that story in mind. 08:14.003 --> 08:18.745 [SPEAKER_02]: In Renee, Ashivariah's original draft for this episode, towards the end there is an explosion 08:19.465 --> 08:24.471 [SPEAKER_02]: And Shakar and Kira are in the path of the fire, and Odo has to decide which one to protect. 08:24.651 --> 08:28.115 [SPEAKER_02]: He loves Kira, but he has been assigned to guard Shakar. 08:28.615 --> 08:31.819 [SPEAKER_02]: He chooses to save Shakar and Kira is almost killed. 08:32.480 --> 08:36.544 [SPEAKER_02]: Then at the end of the episode, we find out that Odo made his choice out of spite. 08:37.445 --> 08:45.529 [SPEAKER_02]: According to Eshavaria, the demo just didn't work, so we massively overhaul the story and made it a much more gentle show. 08:46.289 --> 08:47.050 [SPEAKER_00]: It is too gentle. 08:47.410 --> 08:47.690 [SPEAKER_00]: Sorry. 08:47.990 --> 08:48.350 [SPEAKER_02]: Okay. 08:48.590 --> 08:49.191 [SPEAKER_02]: Well, there you go. 08:50.471 --> 08:55.093 [SPEAKER_02]: This episode, believe it or not, Robbie, is Alan Craker's all-time favorite DS-nine episode. 08:55.534 --> 08:55.974 [SPEAKER_02]: Really? 08:55.994 --> 08:56.074 [SPEAKER_02]: Yeah. 08:56.194 --> 09:04.618 [SPEAKER_02]: When he was hired to direct the assignment, he watched every single episode from the pilot all the way up to the assignment, and he picked this one as his favorite. 09:05.184 --> 09:07.851 [SPEAKER_01]: So I would say while we're talking about directing. 09:08.697 --> 09:13.058 [SPEAKER_01]: This episode reminded me that Les Lando is one of my favorite. 09:13.238 --> 09:16.259 [SPEAKER_01]: It is probably my favorite Star Trek director. 09:17.619 --> 09:19.119 [SPEAKER_01]: I know David Livingson did a lot. 09:19.299 --> 09:20.360 [SPEAKER_01]: Yeah, why? 09:21.060 --> 09:32.602 [SPEAKER_01]: Because he in a very gentle way always puts the camera and shoots the scene in a way that elevates it without overwhelming it. 09:33.103 --> 09:34.603 [SPEAKER_01]: Some of our Star Trek directors 09:35.512 --> 09:43.413 [SPEAKER_01]: would either, I would say most of the time, kind of sit back and let the actors sort of in a percenium and at the actual way sort of do things. 09:43.453 --> 10:04.517 [SPEAKER_01]: And the camera was not really involved in the storytelling quite as much, or they would overcompensate and do something so self-conscious that I forgot I was watching these actors play these moments unless has the perfect balance to me of moving the actors in the camera in a way that 10:05.217 --> 10:12.182 [SPEAKER_01]: It just lifts it up just to foot off the ground a little better than it would be if he wasn't moving the camera where he was. 10:13.443 --> 10:15.524 [SPEAKER_01]: He's just really, really good. 10:15.584 --> 10:17.285 [SPEAKER_01]: It's elegant, it's cinematic. 10:17.986 --> 10:20.647 [SPEAKER_01]: It's a gentle touch that's always elevating. 10:20.847 --> 10:23.289 [SPEAKER_01]: Always, every moment is, and it's even. 10:23.829 --> 10:29.253 [SPEAKER_01]: It doesn't jump styles in a way that you suddenly are like, whoa, it's a fish island. 10:29.373 --> 10:30.814 [SPEAKER_02]: Yeah, he doesn't really intrude. 10:30.834 --> 10:32.694 [SPEAKER_02]: He's not heavy-handed in his direction. 10:32.714 --> 10:33.415 [SPEAKER_01]: I'm not heavy-handed. 10:33.475 --> 10:36.096 [SPEAKER_02]: It's very light-deft touch is what I'm hearing. 10:36.136 --> 10:40.578 [SPEAKER_01]: But it's always just nudging it a little better than if he wasn't involved. 10:40.758 --> 10:41.058 [SPEAKER_02]: Got it. 10:41.158 --> 10:43.439 [SPEAKER_02]: So he judges the whole storyline of the scene. 10:43.539 --> 10:44.279 [SPEAKER_00]: I think so. 10:44.399 --> 10:45.080 [SPEAKER_01]: Okay. 10:45.200 --> 10:45.980 [SPEAKER_01]: I like that. 10:46.080 --> 10:57.044 [SPEAKER_00]: And to the judging, it seemed to me he did a lot of two character scenes where one person was in focus and the other one was out of focus and then he would judge it so that person out of focus came back into focus. 10:57.064 --> 10:57.225 [SPEAKER_03]: Yeah. 10:58.645 --> 11:03.989 [SPEAKER_01]: Really elegant staging in a way that would keep the focus on the point of view of the scene. 11:04.049 --> 11:13.936 [SPEAKER_01]: If it was Renee, hearing someone talk about something, but really our story is about what's happening for Renee, not as important as what those people 11:15.128 --> 11:21.831 [SPEAKER_01]: are feeling, but he's, anyway, I just, I found it to be really elegant and really, really awesome. 11:21.871 --> 11:22.471 [SPEAKER_01]: He's moved. 11:22.491 --> 11:23.231 [SPEAKER_01]: He's moved. 11:23.251 --> 11:24.352 [SPEAKER_02]: He's moved. 11:24.572 --> 11:25.252 [SPEAKER_01]: I think so. 11:26.193 --> 11:26.533 [SPEAKER_00]: I agree. 11:26.553 --> 11:28.053 [SPEAKER_01]: That's all personal taste, too. 11:28.153 --> 11:35.196 [SPEAKER_00]: And just circling back to the, to the, to their guest stars or to the supporting players. 11:35.256 --> 11:35.516 [SPEAKER_00]: Yeah. 11:35.797 --> 11:43.400 [SPEAKER_00]: I've seen him before, but there is a background person in this episode that is, I wouldn't say featured because background people aren't featured. 11:44.315 --> 11:45.555 [SPEAKER_00]: But he's there quite a bit. 11:46.996 --> 11:48.196 [SPEAKER_00]: His name is Darlin Ricas. 11:48.417 --> 11:51.938 [SPEAKER_00]: He did a lot of background work for our show, and I was always happy to see him. 11:52.258 --> 11:53.298 [SPEAKER_00]: Why was I happy to see him? 11:53.878 --> 11:57.760 [SPEAKER_00]: One, we had done plays together, so that's a good reason. 11:58.340 --> 12:01.121 [SPEAKER_00]: But two, and this is the interesting part for me. 12:01.441 --> 12:06.083 [SPEAKER_00]: In the first Farenge episode on Next Generation, Darlin Ricas was the guest star. 12:07.589 --> 12:27.059 [SPEAKER_00]: Well, Darren Riekez was the, was the, the guest are, I can't remember if he had the first building or not, but certainly he was the guest are, besides the Feranghi, the, the, the Feranghi and the Federation were dealing with this alien, and, and Darren Riekez was that alien. 12:27.700 --> 12:28.040 [SPEAKER_00]: It is, 12:29.235 --> 12:29.676 [SPEAKER_00]: sad. 12:30.637 --> 12:33.420 [SPEAKER_00]: And sad is the wrong word because there's nothing wrong with doing background work. 12:33.480 --> 12:40.348 [SPEAKER_00]: I sat on a committee for years that supported the people who do that as their lives work to do background work and they like it and they're happy and they should be. 12:41.870 --> 12:47.616 [SPEAKER_00]: But to go from being delete the guest star on the next generation episode. 12:48.646 --> 12:57.674 [SPEAKER_00]: to a background person in a deep space nine episode knows the eccentricities of our business. 12:58.094 --> 12:59.616 [SPEAKER_02]: Yeah, for sure. 12:59.676 --> 13:03.980 [SPEAKER_00]: And if you were to go back and watch this episode, he's strikingly and white. 13:04.540 --> 13:06.121 [SPEAKER_00]: He's wearing a white vest. 13:06.582 --> 13:15.870 [SPEAKER_00]: And in fact, in the last frame, as Renee goes out into the promenade with his hands behind his back, the only other person in that frame is Darrell and Regan. 13:16.030 --> 13:17.513 [SPEAKER_02]: Wow, I'll have to go back and look at that. 13:17.654 --> 13:18.896 [SPEAKER_02]: Thank you for sharing that. 13:19.097 --> 13:20.660 [SPEAKER_01]: I'm looking at his credits. 13:21.442 --> 13:26.172 [SPEAKER_01]: It looks like his last credit as an actor was in twenty thirteen. 13:27.489 --> 13:36.473 [SPEAKER_01]: But it seems like he had maybe one about one guest hour a year pretty consistently almost every year or two. 13:37.033 --> 13:41.735 [SPEAKER_01]: He'd get a guest hour roll and then he maybe go back to background work. 13:41.775 --> 13:43.596 [SPEAKER_01]: Yeah, yeah, it's up on the income. 13:43.776 --> 13:47.118 [SPEAKER_00]: Yeah, not just income, but insurance insurance of course. 13:47.158 --> 13:48.558 [SPEAKER_02]: He wants to maintain that insurance. 13:48.578 --> 13:48.938 [SPEAKER_02]: He's got it. 13:49.358 --> 13:52.680 [SPEAKER_02]: And Sag extra work will also fulfill that as well. 13:52.940 --> 13:53.260 [SPEAKER_00]: That's right. 13:53.280 --> 13:57.043 [SPEAKER_00]: It's a number of days and he was back around quite a bit on Deep Space Nine. 13:57.103 --> 13:58.944 [SPEAKER_00]: And during that time, he had a daughter. 13:59.024 --> 14:02.066 [SPEAKER_00]: So it's very possible in order to get his insurance. 14:02.527 --> 14:09.932 [SPEAKER_00]: He did background work in order to supplement his threshold ability to get insurance. 14:10.572 --> 14:11.873 [SPEAKER_00]: He was in the movie, Jamont. 14:11.993 --> 14:13.594 [SPEAKER_00]: He had a role. 14:14.235 --> 14:15.275 [SPEAKER_00]: And we did place together. 14:15.356 --> 14:17.617 [SPEAKER_00]: So I know Darrell very well. 14:19.018 --> 14:22.601 [SPEAKER_00]: And I just wanted knowledge that his presence is good for you. 14:22.821 --> 14:23.761 [SPEAKER_00]: Thank you for sharing that. 14:23.862 --> 14:24.702 [SPEAKER_01]: Let's jump into it. 14:24.742 --> 14:28.545 [SPEAKER_01]: We start in the security office on a tight shot of a mug being 14:29.766 --> 14:34.628 [SPEAKER_01]: set very precisely, Odo's preparing for Kira's arrival. 14:34.668 --> 14:36.568 [SPEAKER_01]: You see, he's a bit nervous, but excited. 14:37.249 --> 14:41.190 [SPEAKER_01]: She comes in, sits down, they go through some security logs, great chemistry. 14:41.850 --> 14:44.011 [SPEAKER_01]: The actor seemed to be having a lot of fun in the scene. 14:44.191 --> 14:46.432 [SPEAKER_01]: And then Kork arrives, he's got a noise complaint. 14:46.672 --> 14:50.913 [SPEAKER_01]: Odo's making too much noise practicing his shapeshifting upstairs. 14:51.454 --> 14:55.135 [SPEAKER_01]: So I didn't know your quarters were upstairs downstairs for each other. 14:55.435 --> 14:58.036 [SPEAKER_01]: And I'm quite sure that's the first time that that's mentioned. 15:00.337 --> 15:01.618 [SPEAKER_01]: No, he's complaint. 15:01.918 --> 15:07.160 [SPEAKER_01]: I love when you say something about he was a mouse or something. 15:07.200 --> 15:09.061 [SPEAKER_00]: He started like bigger, right? 15:09.801 --> 15:16.285 [SPEAKER_00]: And then he's a mouse and realizing he's making noise and so he turned into a mouse in order to reduce the noise. 15:16.345 --> 15:18.986 [SPEAKER_00]: But of course, Quarks hearing is really incredible. 15:19.366 --> 15:25.489 [SPEAKER_01]: They didn't say that enough in the show that I love that moment though, because Kira goes, you can actually hear that and you go, hello. 15:25.509 --> 15:26.129 [SPEAKER_01]: Look at these. 15:27.790 --> 15:28.971 [SPEAKER_01]: It made me laugh all out. 15:29.091 --> 15:30.192 [SPEAKER_00]: I wish we had played that more. 15:30.412 --> 15:32.033 [SPEAKER_00]: I always knew it and was aware of it. 15:33.435 --> 15:37.218 [SPEAKER_00]: And ironically, the makeup made us deaf so that we couldn't hear anything. 15:37.398 --> 15:38.739 [SPEAKER_00]: But the character could. 15:38.759 --> 15:43.963 [SPEAKER_00]: I wish we had actually played more of the fact that Quark was really good at hearing across the room. 15:44.295 --> 15:47.056 [SPEAKER_01]: Yeah, you've got like an ease dropping and device built into your head. 15:47.196 --> 15:50.857 [SPEAKER_01]: So they could, they could have used that precisely. 15:51.137 --> 15:56.878 [SPEAKER_01]: Yeah, some private conversation in Quarks bar and then they come over to the bar and there's Quark and he knows exactly what they said. 15:57.778 --> 16:01.679 [SPEAKER_00]: It's how he knows about the rumors and everything that's happening on the station. 16:01.719 --> 16:02.339 [SPEAKER_00]: It makes sense. 16:02.539 --> 16:03.580 [SPEAKER_00]: He can hear very well. 16:04.660 --> 16:05.140 [SPEAKER_00]: Make sense. 16:05.680 --> 16:11.583 [SPEAKER_02]: If Reggie's were real, they would be every NFL team would employ a fringy on the sidelines. 16:11.623 --> 16:14.845 [SPEAKER_02]: He'd listen to the other teams, right? 16:15.025 --> 16:21.808 [SPEAKER_02]: I love the beginning of this scene because it's just all those close-ups that Uncle Les show us the beginning when Kira walks in. 16:21.828 --> 16:23.429 [SPEAKER_02]: Oh, it's so happy to see her. 16:23.509 --> 16:24.610 [SPEAKER_02]: You can see he's beaming. 16:25.270 --> 16:29.972 [SPEAKER_02]: And it's almost like this is the eye before the storm, the beginning. 16:30.512 --> 16:33.193 [SPEAKER_02]: The calm before the craziness is about to happen. 16:33.913 --> 16:37.254 [SPEAKER_02]: We see this beautiful setting and just the way Uncle Leschot it. 16:37.334 --> 16:39.495 [SPEAKER_02]: It just it brings you right into this episode. 16:39.715 --> 16:40.595 [SPEAKER_01]: Yeah, it's great. 16:40.896 --> 16:46.758 [SPEAKER_01]: I like at the end when Kira says, it's just quarks luck that you would be assigned to the quarters right above his. 16:46.778 --> 16:49.979 [SPEAKER_01]: And I was like, love, head, nothing to do with it. 16:50.859 --> 16:56.502 [SPEAKER_01]: Yeah, I love the teasing these two, just creative in how they get at each other. 16:56.582 --> 16:56.782 [SPEAKER_00]: Yeah. 16:57.042 --> 17:06.107 [SPEAKER_00]: And I thought Kira was a little too joyous at finding out that he, it's just screwed quark, but moving there purposely. 17:06.688 --> 17:10.730 [SPEAKER_00]: And I thought, really, no, no, no, did you really have to be that joyful about that? 17:11.330 --> 17:13.391 [SPEAKER_00]: Did you have to find that much pleasure? 17:13.411 --> 17:15.352 [SPEAKER_00]: Yeah, because that's not in the script anywhere. 17:15.392 --> 17:16.373 [SPEAKER_00]: That's the actor's choice. 17:16.553 --> 17:20.994 [SPEAKER_02]: We do have an exterior shot of the minister's ship docking. 17:21.594 --> 17:26.336 [SPEAKER_02]: This is an exact reuse of a shot from the episode move along home. 17:26.936 --> 17:28.776 [SPEAKER_02]: One of my favorite apps that I love. 17:29.316 --> 17:30.817 [SPEAKER_02]: I'm a marine one two three. 17:30.837 --> 17:35.118 [SPEAKER_02]: It was a water ship that same ship that the minister has was actually the water ship. 17:35.723 --> 17:38.326 [SPEAKER_01]: I do remember when I saw this shot, I'll be honest. 17:38.667 --> 17:40.369 [SPEAKER_01]: It came in fast to this. 17:40.409 --> 17:41.030 [SPEAKER_01]: Very quick. 17:41.390 --> 17:43.353 [SPEAKER_01]: I almost thought, oh my god, it's going to crash. 17:43.734 --> 17:47.058 [SPEAKER_01]: You would think it would get up close and then go slow. 17:47.398 --> 17:47.879 [SPEAKER_01]: But it didn't. 17:47.919 --> 17:50.042 [SPEAKER_01]: It just went, he's in a hurry to see Kira. 17:50.382 --> 17:51.464 [SPEAKER_01]: Yeah, that's what it is. 17:51.504 --> 17:52.165 [SPEAKER_02]: Clearly. 17:54.935 --> 17:56.017 [SPEAKER_01]: We go out to the airlock. 17:56.057 --> 18:02.906 [SPEAKER_01]: We do see a Brian Bashir Cisco DAX arrive in their dress uniforms. 18:02.926 --> 18:03.667 [SPEAKER_02]: Looks so nice. 18:04.568 --> 18:06.010 [SPEAKER_01]: DAX is a little late though. 18:06.753 --> 18:10.454 [SPEAKER_01]: And I thought this moment the way they played it was going to pay off somewhere. 18:11.034 --> 18:13.535 [SPEAKER_00]: It does, but they didn't, they didn't do it. 18:13.655 --> 18:13.935 [SPEAKER_00]: Right. 18:14.635 --> 18:14.755 [SPEAKER_00]: Oh. 18:14.915 --> 18:16.996 [SPEAKER_01]: When I missed it then because you're right. 18:17.016 --> 18:20.016 [SPEAKER_00]: So what, what she says, what there were a lot of people in the Promenade. 18:20.217 --> 18:20.617 [SPEAKER_00]: Right. 18:21.017 --> 18:30.519 [SPEAKER_00]: And what that means is not that that was what kept her late, but it's a piece of information that we should know, the audience should know that throngs are down in the Promenade. 18:30.559 --> 18:31.960 [SPEAKER_00]: Oh, I'm waiting to see Chicago. 18:32.100 --> 18:33.200 [SPEAKER_00]: I went over my head. 18:33.540 --> 18:36.060 [SPEAKER_00]: And yeah, it didn't mind too until I saw it the second time. 18:36.120 --> 18:44.862 [SPEAKER_00]: I went, wow, that should have been focused on a little bit more that there are so many people waiting for Shakara and not that she's late for the appointment. 18:46.242 --> 18:49.083 [SPEAKER_01]: Yeah, but I did like Kira's dress uniform. 18:49.103 --> 18:50.183 [SPEAKER_01]: I don't think we've seen that before. 18:50.223 --> 18:51.203 [SPEAKER_01]: No, wow. 18:51.223 --> 18:52.383 [SPEAKER_01]: It was a great look on her. 18:52.484 --> 18:53.244 [SPEAKER_01]: Very sharp. 18:53.624 --> 18:53.844 [SPEAKER_01]: Yeah. 18:54.064 --> 18:57.164 [SPEAKER_01]: Cisco introduces all of his staff very formal in the Characters. 18:57.184 --> 18:58.425 [SPEAKER_01]: Like, well, here's my staff. 18:58.485 --> 18:59.145 [SPEAKER_01]: This one guy. 18:59.165 --> 18:59.845 [SPEAKER_01]: What do you say? 19:01.669 --> 19:02.669 [SPEAKER_00]: But we do have before that. 19:02.689 --> 19:05.732 [SPEAKER_00]: We do have the interplay between miles and the sheer. 19:06.433 --> 19:07.213 [SPEAKER_00]: And oh, yeah. 19:07.354 --> 19:20.225 [SPEAKER_00]: It's interesting to me that this, one of the leap motifs of this episode is the relationship between our characters, not just Kira and Chicago, but the other characters as well. 19:20.845 --> 19:24.288 [SPEAKER_00]: The relationship between Quark and Oto obviously is obviously there. 19:24.929 --> 19:27.791 [SPEAKER_00]: But even this little moment, this little back and forth, 19:28.452 --> 19:33.540 [SPEAKER_00]: between miles and Bashir is indicative of their relationship as well. 19:34.802 --> 19:42.494 [SPEAKER_00]: Which I, on the second watching, went, oh, that's them being very clever about showing relationships, but not necessarily focusing on. 19:42.933 --> 19:43.193 [SPEAKER_01]: Yeah. 19:43.413 --> 19:44.113 [SPEAKER_01]: It's a bromance. 19:44.133 --> 19:51.996 [SPEAKER_01]: I mean, he literally says it shows off your figure, which is a very flirty line in a way, but between those two is the bromance version of that. 19:52.156 --> 19:53.196 [SPEAKER_02]: Very coupling comment. 19:53.436 --> 19:53.696 [SPEAKER_01]: Yes. 19:54.276 --> 19:54.516 [SPEAKER_01]: Yes. 19:54.857 --> 19:55.077 [SPEAKER_01]: Yeah. 19:55.457 --> 19:55.717 [SPEAKER_01]: Okay. 19:55.757 --> 19:55.957 [SPEAKER_01]: Yeah. 19:56.037 --> 19:56.777 [SPEAKER_01]: That was a good point. 19:56.837 --> 19:57.597 [SPEAKER_01]: I did notice that. 19:58.217 --> 19:59.278 [SPEAKER_01]: Anyway, they all head off. 20:00.318 --> 20:02.740 [SPEAKER_01]: Dax is amazed at how good-looking he is. 20:04.381 --> 20:04.861 [SPEAKER_02]: I'm sorry. 20:04.941 --> 20:17.310 [SPEAKER_02]: This is the point where I said this is turning into a soap opera because that you have Dax and Kira and when Dax says he's so good-looking it just seemed like two young middle school girls, you know, that seemed a bit of character. 20:17.430 --> 20:18.031 [SPEAKER_02]: It did. 20:18.091 --> 20:19.752 [SPEAKER_02]: I was like, why are you saying that? 20:19.992 --> 20:20.492 [SPEAKER_02]: Why? 20:20.512 --> 20:22.694 [SPEAKER_02]: It just, it just pulled me out for a second. 20:22.774 --> 20:26.397 [SPEAKER_02]: And then this is the beginning of the soap opera in this episode for me. 20:27.317 --> 20:27.718 [SPEAKER_01]: Okay. 20:28.558 --> 20:28.999 [SPEAKER_01]: All right. 20:29.259 --> 20:31.721 [SPEAKER_01]: Sounds like you've deducted some points for the soap opera. 20:31.782 --> 20:32.362 [SPEAKER_02]: I did. 20:32.542 --> 20:33.063 [SPEAKER_02]: Sorry. 20:33.223 --> 20:33.523 [SPEAKER_02]: Okay. 20:33.583 --> 20:33.924 [SPEAKER_02]: Keep going. 20:34.404 --> 20:34.724 [SPEAKER_01]: Okay. 20:34.764 --> 20:35.805 [SPEAKER_01]: Well, we're on the promenade. 20:35.845 --> 20:37.867 [SPEAKER_01]: There is a giant crowd there. 20:38.068 --> 20:39.489 [SPEAKER_01]: Does feel like a big crowd. 20:39.769 --> 20:42.612 [SPEAKER_01]: She cars preparing to speak to the Bajorans on the station. 20:42.772 --> 20:43.733 [SPEAKER_01]: Lots of people there. 20:44.254 --> 20:47.997 [SPEAKER_01]: Sarahish says, remember the transit subsidies and an NCAA. 20:48.037 --> 20:50.159 [SPEAKER_01]: So you see that Sarahish is sort of his 20:50.980 --> 21:10.517 [SPEAKER_01]: his political coach he's more politically minded and chicards just a man of the people kind of guy is the vibe I get there a little ex-soldier as well ex-soldier he doesn't seem like politics very much and then auto calls and uh... out of panic he's he's tells uh... 21:11.450 --> 21:15.692 [SPEAKER_01]: Till Cisco that someone may be planning an assassination, they've gotten some information here. 21:16.732 --> 21:20.114 [SPEAKER_01]: Suddenly, after he's arrived, seems like they would have gotten that earlier. 21:20.194 --> 21:23.755 [SPEAKER_00]: And does nothing just stands there in the crowd. 21:24.476 --> 21:25.476 [SPEAKER_00]: Just does nothing. 21:25.656 --> 21:29.018 [SPEAKER_00]: I like Leslie's direction as well, but I thought, really, shouldn't he have moved? 21:29.298 --> 21:31.519 [SPEAKER_00]: Shouldn't he have tried to do something? 21:31.699 --> 21:37.802 [SPEAKER_00]: If he knew that he just, yes, there's a suddenly got, I've gotten the information that there's might be an attack. 21:38.682 --> 21:39.422 [SPEAKER_00]: And he just stands there. 21:40.203 --> 21:41.623 [SPEAKER_00]: As though, okay, that's the end of my line. 21:41.683 --> 21:42.524 [SPEAKER_00]: And now what comes next? 21:43.164 --> 21:43.884 [SPEAKER_02]: I, okay. 21:43.984 --> 21:44.545 [SPEAKER_01]: He took about. 21:44.885 --> 21:45.785 [SPEAKER_00]: Oh, don't stand there. 21:45.825 --> 21:46.426 [SPEAKER_00]: Oh, no. 21:46.866 --> 21:52.368 [SPEAKER_02]: I, I, I clocked it as he was standing there and was serving every one around him. 21:52.408 --> 21:53.269 [SPEAKER_02]: I didn't catch that. 21:53.309 --> 21:54.269 [SPEAKER_02]: He didn't do anything. 21:54.309 --> 21:55.210 [SPEAKER_00]: But he was just looking. 21:55.690 --> 21:59.051 [SPEAKER_00]: If that was true, Gary, that would have been better than have been this. 21:59.392 --> 22:00.812 [SPEAKER_00]: I've just got an information that. 22:01.172 --> 22:01.513 [SPEAKER_00]: Right. 22:01.613 --> 22:02.653 [SPEAKER_02]: I thought he was doing that. 22:02.713 --> 22:03.193 [SPEAKER_02]: He was doing that. 22:03.213 --> 22:03.613 [SPEAKER_00]: He was doing that. 22:03.634 --> 22:06.175 [SPEAKER_00]: I thought he was just, I just scared him from his face. 22:06.195 --> 22:06.395 [SPEAKER_01]: Yes. 22:06.535 --> 22:06.675 [SPEAKER_02]: Yeah. 22:07.887 --> 22:08.388 [SPEAKER_01]: interesting. 22:08.648 --> 22:10.129 [SPEAKER_01]: I don't recall that moment. 22:10.209 --> 22:21.260 [SPEAKER_01]: I do remember him calling and my sense, my memory is that he was panicked and giving Cisco this important news and then it pushed into a two shot on Cisco and Kira at the end of this. 22:21.541 --> 22:22.081 [SPEAKER_02]: Right. 22:22.501 --> 22:24.023 [SPEAKER_00]: I didn't think he was panicked at all. 22:24.123 --> 22:26.345 [SPEAKER_00]: It was just panicked as too hard a word. 22:26.485 --> 22:27.647 [SPEAKER_00]: I think he was concerned. 22:27.947 --> 22:29.328 [SPEAKER_00]: But I don't think he was panicked. 22:29.749 --> 22:30.349 [SPEAKER_01]: Interesting. 22:30.790 --> 22:31.610 [SPEAKER_01]: Interesting. 22:32.690 --> 22:34.051 [SPEAKER_01]: different strokes, I guess. 22:34.352 --> 22:34.592 [SPEAKER_02]: Yeah. 22:34.812 --> 22:36.694 [SPEAKER_01]: Well, we go to the captain's office next. 22:36.894 --> 22:42.680 [SPEAKER_01]: Odo thinks that Shikar should cancel this whole conference appearance. 22:43.461 --> 22:46.164 [SPEAKER_01]: And Sarah says absolutely not that Bayjor needs this. 22:47.000 --> 22:50.843 [SPEAKER_01]: conference to succeed if they want to join the Federation, what's they do? 22:50.903 --> 22:55.987 [SPEAKER_01]: They want to speed up the timeline of Bayjor joining the Federation. 22:56.087 --> 22:57.848 [SPEAKER_01]: So this has to happen. 22:57.988 --> 22:59.289 [SPEAKER_02]: Why are they trying to speed it up? 22:59.610 --> 23:00.730 [SPEAKER_02]: They even talk about that later. 23:00.750 --> 23:03.733 [SPEAKER_02]: They said, oh, the Starfleet always has to go through this protocol. 23:03.753 --> 23:06.515 [SPEAKER_02]: It takes this long to get in and no one can change that. 23:06.615 --> 23:07.876 [SPEAKER_02]: So I don't know. 23:07.936 --> 23:09.357 [SPEAKER_02]: I just, that's just my question. 23:09.497 --> 23:10.598 [SPEAKER_00]: It's an excellent question. 23:10.838 --> 23:11.939 [SPEAKER_00]: Why does should they speed it up? 23:12.199 --> 23:12.999 [SPEAKER_01]: bureaucracy. 23:13.199 --> 23:14.220 [SPEAKER_00]: We could have used that. 23:14.380 --> 23:20.924 [SPEAKER_00]: The whole story of this need to get into the Federation is like tertiary, whatever's beyond tertiary. 23:20.944 --> 23:27.008 [SPEAKER_00]: It's like not important to the soap opera that is auto and and Kira. 23:27.248 --> 23:28.068 [SPEAKER_01]: Yes, it is. 23:28.468 --> 23:29.689 [SPEAKER_01]: It's deep deep background. 23:30.490 --> 23:32.171 [SPEAKER_01]: And we don't learn a lot about 23:33.288 --> 23:36.729 [SPEAKER_01]: Why it's important to be able to deal with who never see a meeting of it. 23:37.109 --> 23:38.929 [SPEAKER_01]: Oh, we see as a cocktail party. 23:39.109 --> 23:39.730 [SPEAKER_01]: That's what we see. 23:40.110 --> 23:44.351 [SPEAKER_01]: Well, you guys have brought up this soap opera thing, which I didn't feel that as much. 23:44.411 --> 23:53.033 [SPEAKER_01]: I thought it was a really or drama or it didn't feel like a super sci-fi concept, but I remember in one of the books on writing that I've read 23:53.533 --> 23:56.335 [SPEAKER_01]: way too many and written far too little. 23:57.296 --> 23:59.417 [SPEAKER_01]: But I've read a lot of books on writing. 24:00.398 --> 24:05.902 [SPEAKER_01]: And one of these books talked about science fiction as a genre and it sort of defined it very simply. 24:05.962 --> 24:15.088 [SPEAKER_01]: It said a story where science real technology or imaginary technology is the key to solving the hero's crisis. 24:16.945 --> 24:23.428 [SPEAKER_01]: And you're right, there's nothing in this where technology, science, or imaginary science comes in at all. 24:23.508 --> 24:38.755 [SPEAKER_01]: I mean, I guess Odo being able to change laying in the turbo lift later, he does, it does affect a sci-fi skill of his or whatever affects the story, but it's not really fundamental. 24:38.775 --> 24:44.097 [SPEAKER_01]: There's no technology, science, or imaginary science that affects this story. 24:45.583 --> 24:45.944 [SPEAKER_01]: at all. 24:46.866 --> 24:49.671 [SPEAKER_01]: This could have been set right now present day on Earth. 24:50.474 --> 24:51.995 [SPEAKER_01]: and basically been the same story. 24:52.295 --> 24:55.717 [SPEAKER_01]: Usually, that's a big flaw in a science fiction story. 24:55.757 --> 25:01.141 [SPEAKER_01]: So I will admit that it doesn't fit the definition that I'm familiar with of a science fiction story. 25:01.221 --> 25:07.545 [SPEAKER_02]: This, this, this, this to me could be a, this episode could be a CW teen angst show episode. 25:08.145 --> 25:08.745 [SPEAKER_02]: It's the same thing. 25:08.765 --> 25:11.147 [SPEAKER_01]: I think Renee elevates it above. 25:11.187 --> 25:11.487 [SPEAKER_01]: He does. 25:11.507 --> 25:12.468 [SPEAKER_02]: He does. 25:12.528 --> 25:14.009 [SPEAKER_02]: But that's thanks to an egg. 25:14.109 --> 25:15.990 [SPEAKER_02]: That's just, that's Renee only. 25:16.070 --> 25:17.211 [SPEAKER_02]: Renee's the only one that 25:18.111 --> 25:27.820 [SPEAKER_02]: that brings this a little bit higher, so it's a piece of art, especially to that scene where he's sitting alone after the the the the raucous has happened inside his quarters. 25:27.860 --> 25:31.243 [SPEAKER_01]: My goodness, but I can sense the deductions from both of you. 25:31.543 --> 25:32.304 [SPEAKER_01]: I'm not ready. 25:32.364 --> 25:34.086 [SPEAKER_01]: I'm just I'm not ready. 25:34.326 --> 25:35.287 [SPEAKER_01]: The points deductions. 25:35.347 --> 25:44.215 [SPEAKER_01]: So I'm gonna say yes that if they had leaned into a changeling questioning his value 25:45.392 --> 25:48.173 [SPEAKER_01]: in a human relationship, that would have been the key. 25:48.273 --> 25:56.855 [SPEAKER_01]: If they had brought in Odo's self-worth and questioning and talking to people, I'm a changeling and I've got feelings. 25:57.035 --> 26:03.377 [SPEAKER_01]: If you talked to Quark about that, and they had used the fact that this is an alien in love with 26:04.373 --> 26:14.136 [SPEAKER_01]: a humanoid, or a changeling in love with a humanoid, and how that alien qualities of those characters affected this romance, it would have made it different than a CW show. 26:14.336 --> 26:26.320 [SPEAKER_00]: And you just suggested something that brought something to my mind, which perhaps they should have of course hindsight is twenty-twenty, but as a changeling, he can link with every other person in his society with other changeling. 26:27.600 --> 26:39.023 [SPEAKER_00]: Consider the frustration as a changeling, of course, he's never really dealt with other changeling, but this frustration of not being able to find out what the other person is thinking for sure. 26:40.323 --> 26:46.165 [SPEAKER_00]: And that would have been an interesting dialogue for him to share with somebody, Quark or somebody. 26:47.785 --> 26:50.806 [SPEAKER_01]: Yeah, if you had started this episode with Odo, 26:52.457 --> 26:56.982 [SPEAKER_01]: having some connection, you know, some version of a changeling experience. 26:57.603 --> 27:08.995 [SPEAKER_01]: And then start to unpack, I'm realizing I've got feelings for Kira, but I don't have that same feeling I have as a change, you know, that that would have been a sci-fi version of this story. 27:09.115 --> 27:11.778 [SPEAKER_00]: Or even more, what if changeling's don't fall in love? 27:12.230 --> 27:14.452 [SPEAKER_00]: And he's falling in love and he knows he's falling in love. 27:14.472 --> 27:15.033 [SPEAKER_00]: And what is this? 27:15.073 --> 27:16.494 [SPEAKER_00]: This is not what my people do. 27:16.554 --> 27:19.516 [SPEAKER_00]: This is not what I've never felt these feelings before. 27:19.857 --> 27:20.858 [SPEAKER_00]: What is this all about? 27:21.078 --> 27:21.278 [SPEAKER_02]: Yeah. 27:21.898 --> 27:25.141 [SPEAKER_00]: That that would have been interesting for the character. 27:26.162 --> 27:31.647 [SPEAKER_02]: Well, to your point, Robbie, about making this episode, what would have made this episode better? 27:32.147 --> 27:44.410 [SPEAKER_02]: They kind of touch on it just very lightly when Odo says something to the effect of, I knew she wouldn't fall for someone like me, but then he doesn't go into questioning his changely. 27:44.650 --> 27:51.791 [SPEAKER_02]: Can I have a relationship with a Bajoran, or questioning his values or who he is as a changely? 27:52.011 --> 27:52.891 [SPEAKER_02]: They didn't go that far. 27:52.991 --> 27:57.812 [SPEAKER_01]: It glossed over very quickly when it could have been the fundamental story. 27:57.992 --> 27:59.733 [SPEAKER_01]: And then it would have been a sci-fi story. 28:01.333 --> 28:13.845 [SPEAKER_01]: Those books I tell about the writing books often I read the writing books not because I want to write but I use the the wisdom of writing books to help me as a director and a producer because then 28:14.591 --> 28:34.139 [SPEAKER_01]: You know, if I'm producing an episode of Resident Alien, and I can say, wow, this is an alien show, but there's no alien story in this, I can give those notes and thoughts to the writers to say, we gotta make sure we, you know, punch up this alien side of this, because our show's Resident Alien, there's gotta be an alien. 28:34.259 --> 28:35.380 [SPEAKER_01]: So people watch. 28:35.660 --> 28:43.283 [SPEAKER_01]: Yeah, I use that more as a producer and a director to those, the wisdom of those writing books, less about me sitting around and typing out scripts all the time. 28:43.383 --> 28:44.724 [SPEAKER_01]: But there's a lot of wisdom in that. 28:45.004 --> 28:48.046 [SPEAKER_01]: I hear both of you kind of saying, oh, it's a soap, it's a soap, it's a soap. 28:48.126 --> 28:51.048 [SPEAKER_01]: I didn't feel that as much, but I think you're right. 28:51.228 --> 28:53.370 [SPEAKER_01]: It could have been a better sci-fi story. 28:54.130 --> 29:00.975 [SPEAKER_01]: If they had found some part of the story engine that was sci-fi based, and it feels like they didn't really. 29:01.175 --> 29:01.435 [SPEAKER_01]: Nope. 29:02.255 --> 29:02.396 [SPEAKER_03]: Nope. 29:03.536 --> 29:09.898 [SPEAKER_01]: Well, anyway, still in the captain's office, Oda thinks that Chicago should cancel the conference. 29:10.519 --> 29:13.079 [SPEAKER_01]: Sarah says, no, we got to join the Federation. 29:13.720 --> 29:17.901 [SPEAKER_01]: Kira says she knows Chicago and he won't negotiate with terrorists. 29:17.921 --> 29:19.882 [SPEAKER_01]: He's not going to back down from a terrorist threat. 29:19.902 --> 29:22.282 [SPEAKER_01]: Because the minute you do that, you've lost. 29:22.462 --> 29:29.905 [SPEAKER_01]: So Oda decides he wants around the clock security and we learn that warf is going to head this up because Eddington's on leave. 29:30.625 --> 29:32.506 [SPEAKER_01]: So Mr. Warf's going to step over to 29:33.802 --> 29:35.404 [SPEAKER_01]: to run the Starfleet side of security. 29:37.485 --> 29:41.469 [SPEAKER_01]: Back in the security office, Otto is meticulous about everything. 29:41.990 --> 29:46.474 [SPEAKER_01]: Warf agrees with him, he's talking with Warf, and they're both sort of connecting on this 29:48.057 --> 29:51.198 [SPEAKER_01]: meticulous kind of point of view of the world. 29:51.218 --> 29:52.759 [SPEAKER_00]: That they're both anorotentive. 29:52.959 --> 29:53.980 [SPEAKER_01]: Yes. 29:54.000 --> 29:56.541 [SPEAKER_01]: I enjoyed this scene actually. 29:56.601 --> 29:59.342 [SPEAKER_01]: I thought that that them bonding over this. 29:59.402 --> 30:00.923 [SPEAKER_01]: I hadn't seen that in the show before. 30:01.263 --> 30:01.643 [SPEAKER_02]: It's fun. 30:01.843 --> 30:02.484 [SPEAKER_02]: It's a good scene. 30:02.824 --> 30:03.184 [SPEAKER_01]: Yeah. 30:03.484 --> 30:03.824 [SPEAKER_01]: Yeah. 30:04.785 --> 30:09.187 [SPEAKER_01]: Odo even tells Worf, you know, let everyone know that they are not welcome to drop by. 30:10.247 --> 30:12.848 [SPEAKER_01]: No guests, more of us all into that. 30:13.269 --> 30:21.393 [SPEAKER_01]: Or if says, yes, uh, perhaps if I am more inhospitable, uh, Chief of Brian will stop coming by. 30:21.493 --> 30:22.694 [SPEAKER_01]: So I thought it was a little bit. 30:22.814 --> 30:25.415 [SPEAKER_02]: You're getting really close to Worf's voice there, Robbie. 30:25.775 --> 30:26.095 [SPEAKER_02]: Was I? 30:26.355 --> 30:27.476 [SPEAKER_02]: Yeah. 30:27.496 --> 30:30.377 [SPEAKER_02]: You, inadvertently, you were hitting the right tones and the right. 30:30.398 --> 30:32.599 [SPEAKER_01]: Michael Dorn is the only one that can do that voice. 30:32.779 --> 30:33.219 [SPEAKER_01]: Oh, no. 30:33.279 --> 30:34.680 [SPEAKER_01]: You're getting his got a magic voice. 30:35.640 --> 30:36.301 [SPEAKER_01]: He does indeed. 30:37.901 --> 30:38.762 [SPEAKER_01]: In a very good heart. 30:39.303 --> 30:39.603 [SPEAKER_01]: Yes. 30:40.704 --> 30:44.305 [SPEAKER_01]: Uh, out in a corridor, Odo has the security set just right. 30:44.325 --> 30:50.168 [SPEAKER_01]: He's talking a warf and the first minister is scheduled to leave for the reception in about a half hour. 30:50.488 --> 31:00.232 [SPEAKER_01]: They've still got to scan the the ward room and it'll be secure by the time he's scheduled to come out when suddenly Chicago comes out early comes out of his room. 31:01.252 --> 31:02.333 [SPEAKER_01]: He wants to go to the temple. 31:04.191 --> 31:05.032 [SPEAKER_01]: Improvising. 31:05.232 --> 31:07.013 [SPEAKER_02]: That's not what that's not on the plan. 31:07.433 --> 31:09.654 [SPEAKER_02]: New list of approved places to go. 31:09.674 --> 31:10.335 [SPEAKER_02]: Okay. 31:10.375 --> 31:13.497 [SPEAKER_01]: And Odo, as we just established, is very meticulous. 31:13.557 --> 31:15.998 [SPEAKER_01]: This is not comfortable for him. 31:16.058 --> 31:17.019 [SPEAKER_01]: He wasn't expecting it. 31:17.039 --> 31:18.039 [SPEAKER_01]: Yeah, that's a monkey wrench. 31:18.499 --> 31:18.780 [SPEAKER_01]: Yes. 31:19.020 --> 31:21.501 [SPEAKER_00]: The agitant should have said, no, you can't do that. 31:21.641 --> 31:22.162 [SPEAKER_02]: Hello. 31:22.182 --> 31:28.045 [SPEAKER_00]: Again, if we, the political side of the story has been forgotten. 31:28.445 --> 31:29.606 [SPEAKER_00]: Completely forgotten. 31:29.846 --> 31:30.647 [SPEAKER_00]: And would have helped. 31:31.487 --> 31:37.950 [SPEAKER_00]: Make Chicago more of a loose cannon as far as not being a politician. 31:38.370 --> 31:38.550 [SPEAKER_01]: Yeah. 31:40.051 --> 31:43.773 [SPEAKER_01]: Yeah, because all Sarah says here was, well, I didn't know myself until a moment ago. 31:44.193 --> 31:44.513 [SPEAKER_02]: Yeah. 31:44.633 --> 31:46.254 [SPEAKER_01]: I can't do anything about it earlier. 31:46.354 --> 31:49.755 [SPEAKER_01]: He was bossing him around, you know, an unseated and do this and do that. 31:49.915 --> 31:51.556 [SPEAKER_01]: And now he's like, yeah, can't do anything. 31:52.637 --> 31:52.817 [SPEAKER_01]: Yeah. 31:52.937 --> 31:53.317 [SPEAKER_01]: All right. 31:54.317 --> 31:58.719 [SPEAKER_01]: Well, change of plans, we go up to the promenade, chicarnado, or walking and talking. 31:58.739 --> 32:05.843 [SPEAKER_01]: I have to say, again, this is an example of less land as elegant, subtle, shot-making. 32:06.564 --> 32:07.924 [SPEAKER_01]: Because this is a very hard shot. 32:07.964 --> 32:13.627 [SPEAKER_01]: It's a walk-and-talk runner of them walking all the way across the upper deck of the promenade. 32:14.328 --> 32:21.212 [SPEAKER_01]: And the way that less shot it was on a tracking shot with a long zoom lens, and as the 32:22.287 --> 32:24.549 [SPEAKER_01]: Actors got closer towards that bridge. 32:24.609 --> 32:29.533 [SPEAKER_01]: The camera was crossing over the bridge and ended up in a tight two shot and then they stepped out. 32:30.333 --> 32:40.041 [SPEAKER_01]: But it managed to start in a longer zoom and track and they buried that what we call like burying the zoom in the camera move. 32:40.481 --> 32:45.685 [SPEAKER_01]: So as the camera's dialing over, it's slowly widening out to hold that two shot size. 32:46.306 --> 32:47.767 [SPEAKER_01]: It's a very hard shot to do. 32:48.328 --> 32:50.910 [SPEAKER_01]: I would credit less for coming up with it and 32:51.803 --> 33:02.626 [SPEAKER_01]: demanding a well executed version and then the camera crew because that's a hard for an assist camera system to to pull the zoom in such a way that it's buried in this move. 33:02.666 --> 33:03.507 [SPEAKER_01]: You can't see it. 33:03.727 --> 33:04.727 [SPEAKER_01]: It was just really well done. 33:04.747 --> 33:05.807 [SPEAKER_01]: I thought it was great. 33:05.887 --> 33:13.830 [SPEAKER_01]: Well, they walk across Chicago says that Kira speaks very highly of Odo basically if she trusts him that Chicago is going to trust him too. 33:14.110 --> 33:17.691 [SPEAKER_01]: Odo's very happy to hear that Kira is saying nice things about him. 33:17.711 --> 33:18.611 [SPEAKER_01]: You can see that land. 33:18.731 --> 33:20.772 [SPEAKER_01]: We go down to the promenade and 33:21.862 --> 33:24.763 [SPEAKER_01]: There's a big group coming out of the replamount to meet Shakar. 33:24.803 --> 33:27.523 [SPEAKER_01]: He's making his way to the temple crowds are gathering everywhere. 33:27.563 --> 33:28.604 [SPEAKER_02]: He can hardly get through. 33:28.624 --> 33:30.744 [SPEAKER_02]: This is where Odo is clocking everybody, right? 33:30.784 --> 33:31.624 [SPEAKER_01]: He's clocking everybody. 33:31.664 --> 33:32.785 [SPEAKER_01]: That's why he's clocking everybody. 33:32.845 --> 33:34.345 [SPEAKER_02]: So I got that wrong earlier. 33:34.405 --> 33:34.745 [SPEAKER_02]: You're right. 33:35.085 --> 33:36.626 [SPEAKER_01]: This is like hand shakes. 33:36.866 --> 33:40.546 [SPEAKER_01]: It's a little bit of a montage of Shakar. 33:41.087 --> 33:42.227 [SPEAKER_01]: Oh, nice to meet you. 33:42.367 --> 33:44.107 [SPEAKER_01]: And then it cuts over to Odo. 33:44.127 --> 33:50.409 [SPEAKER_01]: And another shout out to Les again, he went to a handheld style of shooting this. 33:51.389 --> 34:07.120 [SPEAKER_01]: And my interpretation of that is when I was watching this scene, I thought, Uh-oh, here comes the first assassination attempt because you feel that handheld paranoia and the way that he montaged all of this one shot to the next back and forth. 34:07.160 --> 34:11.142 [SPEAKER_01]: You feel like you're building towards somebody's going to take a shot, but he doesn't. 34:11.603 --> 34:14.345 [SPEAKER_02]: But the use of handheld adds to the tension is what you're saying. 34:15.267 --> 34:19.030 [SPEAKER_01]: Yeah, unconsciously, you kind of go, oh, there's going to be an action scene. 34:19.670 --> 34:22.512 [SPEAKER_02]: And the way this app, the one, why does your brain go there, though? 34:22.712 --> 34:23.053 [SPEAKER_02]: But why? 34:23.113 --> 34:28.637 [SPEAKER_01]: Because we've been trained to, you know, to know that, oh, things are unstable, things are edgy. 34:28.957 --> 34:29.697 [SPEAKER_01]: Okay. 34:30.238 --> 34:30.398 [SPEAKER_01]: Yeah. 34:30.498 --> 34:32.379 [SPEAKER_01]: You know, we sort of unconsciously go there. 34:32.659 --> 34:32.900 [SPEAKER_01]: Right. 34:33.220 --> 34:36.082 [SPEAKER_01]: And it's all a build up to this woman that 34:36.482 --> 34:42.224 [SPEAKER_01]: The Hodo sees this kind of looking suspicious and then she ducks down and comes up with a kid. 34:42.764 --> 34:48.506 [SPEAKER_01]: And then we're back to the dolly shots and not handheld and you kind of go, you breathe. 34:49.286 --> 34:52.747 [SPEAKER_01]: Yes, you do subtle but really smart. 34:52.868 --> 34:57.169 [SPEAKER_01]: That's like that's like a list directing there very well done. 34:57.269 --> 34:57.949 [SPEAKER_01]: Thank you for that. 34:58.069 --> 34:59.230 [SPEAKER_01]: I learned things on this show. 34:59.270 --> 34:59.590 [SPEAKER_01]: Thank you. 35:01.406 --> 35:07.752 [SPEAKER_01]: It's the little stuff, and the big stuff, and I'm not talking about any other particular director. 35:07.772 --> 35:11.877 [SPEAKER_01]: I'm literally saying, sometimes directors can, they get an idea. 35:11.897 --> 35:17.883 [SPEAKER_01]: And they're like, oh, this will really make this scene, it'll land the idea. 35:17.983 --> 35:20.565 [SPEAKER_01]: And then they get in the way of the story and the actors. 35:21.592 --> 35:25.756 [SPEAKER_01]: delivering the story, whereas less just dust, just a little bit. 35:25.976 --> 35:29.460 [SPEAKER_01]: And it actually makes everything so much better in my opinion. 35:29.620 --> 35:32.963 [SPEAKER_01]: Okay, so now we've left the promenade, we're up in the ward room. 35:33.083 --> 35:34.225 [SPEAKER_01]: It's a reception. 35:34.685 --> 35:37.528 [SPEAKER_01]: There's a buffet table, cork is serving drinks. 35:38.289 --> 35:40.210 [SPEAKER_01]: Shukar is very popular here. 35:40.611 --> 35:45.115 [SPEAKER_01]: Sarish sees Vedic Tonsa, who he's heard a lot about. 35:45.976 --> 35:49.399 [SPEAKER_01]: he's talking with Kira Sarah, she's talking with Kira, he's like, is that a Vedic concept? 35:50.260 --> 35:56.945 [SPEAKER_01]: And he's heard that he's a really good springball player, wants to play springball with him, and Kira's like, oh, you must be good. 35:56.965 --> 36:00.828 [SPEAKER_01]: He's like, no, no, I'm average, or what does he say? 36:00.888 --> 36:01.229 [SPEAKER_01]: I don't know. 36:02.410 --> 36:05.412 [SPEAKER_01]: He says, nah, I'm terrible. 36:06.873 --> 36:08.915 [SPEAKER_01]: I'm terrible, but I want to talk to this guy. 36:08.955 --> 36:10.796 [SPEAKER_01]: So you see again, Sarah, she's like, 36:11.677 --> 36:16.418 [SPEAKER_01]: He's networking, he's always thinking politically, whereas Chicago never does that. 36:16.638 --> 36:17.198 [SPEAKER_01]: Which I like. 36:17.258 --> 36:21.079 [SPEAKER_01]: It makes Chicago seem like a more sincere person as a character. 36:21.179 --> 36:23.540 [SPEAKER_01]: You know, I'm on team Chicago here. 36:24.000 --> 36:30.622 [SPEAKER_00]: But isn't he too welcoming, I mean, going back to the criticism I just heard about what the writers thought that I got from Garrett. 36:30.982 --> 36:33.504 [SPEAKER_00]: Yeah, I'm shouldn't he been less gregarious. 36:33.604 --> 36:35.826 [SPEAKER_00]: Shukar shouldn't he have been less gregarious? 36:36.286 --> 36:38.728 [SPEAKER_00]: Should have been high for him to talk to these people. 36:38.968 --> 36:39.169 [SPEAKER_00]: Yeah. 36:39.309 --> 36:46.394 [SPEAKER_00]: If that's what the writers wanted and wouldn't they have said this in the tone meaning to yes, there's would have to less. 36:46.775 --> 36:46.935 [SPEAKER_00]: Yeah. 36:48.379 --> 36:58.143 [SPEAKER_02]: I think they missed that because the whole fact that he has this assistant there that political guy is he's the guy that's helped is to help groom him to be able to speak to everyone. 36:58.423 --> 37:00.044 [SPEAKER_02]: He should have issues with talking, right? 37:00.164 --> 37:00.524 [SPEAKER_02]: That's right. 37:04.546 --> 37:12.372 [SPEAKER_00]: sponsoring Shikar is tangential to the political fact, which is that we're trying to get Bayjora into the Federation. 37:12.613 --> 37:15.995 [SPEAKER_00]: That's a different political arena altogether, this Vedic election. 37:16.436 --> 37:17.757 [SPEAKER_00]: Why insert that here? 37:17.997 --> 37:18.738 [SPEAKER_00]: It goes nowhere. 37:19.118 --> 37:19.858 [SPEAKER_00]: No, it goes nowhere. 37:19.919 --> 37:21.340 [SPEAKER_01]: There's a lot of that in this episode. 37:22.036 --> 37:27.800 [SPEAKER_01]: A lot of kind of broad strokes that don't really focus in on what's happening in this episode. 37:27.900 --> 37:31.743 [SPEAKER_01]: We're still in the ward room, still at this reception, Kira sees Odo here. 37:32.143 --> 37:35.146 [SPEAKER_01]: And this is the scene where she mentions that his belt looked good. 37:35.206 --> 37:36.026 [SPEAKER_01]: She liked his belt. 37:36.667 --> 37:37.908 [SPEAKER_01]: So he morphs about. 37:38.108 --> 37:38.708 [SPEAKER_01]: He feels good. 37:38.768 --> 37:41.170 [SPEAKER_01]: He's very proud that she's noticing how he looks. 37:41.370 --> 37:42.791 [SPEAKER_00]: And it was a strange morph. 37:43.031 --> 37:43.251 [SPEAKER_00]: Was it? 37:43.291 --> 37:47.855 [SPEAKER_00]: Actually, we get a liquid thing before it becomes solid. 37:48.435 --> 37:50.377 [SPEAKER_00]: This just went, he went, his hands, he just went. 37:50.537 --> 37:50.657 [SPEAKER_00]: Boom. 37:50.957 --> 37:52.157 [SPEAKER_00]: And the belt was there. 37:52.897 --> 37:55.458 [SPEAKER_02]: This was very abracadabra. 37:55.878 --> 38:00.999 [SPEAKER_02]: Very, very, very, David Copperfield asked, you know, like, blam, then the belt came out. 38:01.019 --> 38:01.619 [SPEAKER_02]: You're right. 38:01.719 --> 38:03.380 [SPEAKER_00]: I thought they were saving on money there. 38:03.440 --> 38:05.800 [SPEAKER_01]: I thought, yeah, they may have been. 38:06.040 --> 38:09.701 [SPEAKER_01]: He does look practically giddy to me, though, in the scene with Kira. 38:09.941 --> 38:14.582 [SPEAKER_01]: He just loves getting her attention, especially if it's about him looking good. 38:14.722 --> 38:14.902 [SPEAKER_01]: Yeah. 38:15.571 --> 38:18.452 [SPEAKER_01]: And then Kira's tired and she says, you know, I'm out of here. 38:18.512 --> 38:20.953 [SPEAKER_01]: I'm gonna head off to bed, but Chicago stops her. 38:21.174 --> 38:22.014 [SPEAKER_01]: Odo sees all this. 38:22.494 --> 38:23.415 [SPEAKER_01]: Chicago stops her. 38:24.435 --> 38:26.616 [SPEAKER_01]: And says he wants to take a stroll with her. 38:26.676 --> 38:27.517 [SPEAKER_01]: So she agrees. 38:27.637 --> 38:28.697 [SPEAKER_01]: And then Odo approaches. 38:29.457 --> 38:31.819 [SPEAKER_01]: And he says, you know, I'm gonna have to come to. 38:31.839 --> 38:32.899 [SPEAKER_01]: I'm gonna have to protect you. 38:33.779 --> 38:37.061 [SPEAKER_01]: And Chicago says, fine, but don't stay too close. 38:37.881 --> 38:39.682 [SPEAKER_02]: That's the first rub right there, isn't it? 38:39.762 --> 38:41.183 [SPEAKER_02]: Don't stay too close. 38:42.310 --> 38:44.653 [SPEAKER_01]: And cork sees all of this by the way, right? 38:44.693 --> 38:51.222 [SPEAKER_01]: He's all with the scene ends with you can see cork clock it all and he gets it. 38:51.983 --> 38:53.706 [SPEAKER_01]: He knows his friend Odo. 38:53.786 --> 38:56.569 [SPEAKER_01]: He knows he can see what's going on. 38:56.810 --> 38:58.893 [SPEAKER_01]: And I thought that was a nice moment there at the end. 38:59.391 --> 39:05.240 [SPEAKER_00]: If I may, it's not just that he sees his friend Otto, he also knows his, uh, you know, his who care is. 39:06.441 --> 39:12.230 [SPEAKER_00]: And I can, I can bet you that in that moment, I was thinking about both of them, not just about. 39:12.739 --> 39:12.959 [SPEAKER_01]: Yeah. 39:14.020 --> 39:15.321 [SPEAKER_01]: Yeah, you're putting it all together. 39:15.381 --> 39:19.083 [SPEAKER_01]: You're seeing the bigger picture, whereas Kira's oblivious to it. 39:20.184 --> 39:22.305 [SPEAKER_01]: And Odo is too in a way, you know. 39:23.286 --> 39:23.466 [SPEAKER_01]: Yeah. 39:24.086 --> 39:24.227 [SPEAKER_02]: Right. 39:24.267 --> 39:24.607 [SPEAKER_02]: All right. 39:24.647 --> 39:29.390 [SPEAKER_02]: So now we're in the corridor, Kira, Jakar are walking and talking. 39:29.430 --> 39:31.771 [SPEAKER_02]: And clearly, there's some chemistry. 39:31.852 --> 39:32.732 [SPEAKER_02]: They're laughing. 39:32.752 --> 39:36.034 [SPEAKER_02]: Odo is kind of lagging back as told by Jakar. 39:37.495 --> 39:41.438 [SPEAKER_02]: And you can tell he has the jealous vibe. 39:41.518 --> 39:42.298 [SPEAKER_01]: Yes, he does. 39:42.418 --> 39:43.199 [SPEAKER_02]: It's very sad. 39:43.219 --> 39:44.360 [SPEAKER_01]: Oh, no. 39:44.800 --> 39:47.802 [SPEAKER_02]: Yeah, but this isn't where he tries to kiss her, right? 39:47.882 --> 39:48.523 [SPEAKER_02]: Is that later? 39:48.543 --> 39:49.263 [SPEAKER_02]: Okay. 39:49.303 --> 39:50.124 [SPEAKER_00]: That's later. 39:50.144 --> 39:50.664 [SPEAKER_00]: That's later. 39:50.864 --> 39:51.184 [SPEAKER_02]: All right. 39:51.445 --> 39:55.047 [SPEAKER_02]: So then it kicks over to the next shot outside the wardrobe. 39:55.307 --> 39:59.210 [SPEAKER_02]: Sure has just finished this meeting with the Federation. 39:59.830 --> 40:01.251 [SPEAKER_02]: representatives, I'm guessing. 40:02.011 --> 40:06.374 [SPEAKER_02]: It's auto outside and she cars like let's get out of here. 40:06.814 --> 40:08.075 [SPEAKER_02]: I want to go back to my quarters. 40:08.095 --> 40:09.516 [SPEAKER_02]: Auto leads him. 40:09.536 --> 40:14.499 [SPEAKER_02]: Auto picks up on the fact that negotiations did not go well or they're not going well. 40:15.699 --> 40:20.582 [SPEAKER_02]: They're trying to again speed up this timetable for what reason we have no idea. 40:20.602 --> 40:22.924 [SPEAKER_02]: Just donors then. 40:23.344 --> 40:24.265 [SPEAKER_02]: And even auto says, 40:25.085 --> 40:26.746 [SPEAKER_02]: I've been working with the Federation for a number of years. 40:26.786 --> 40:32.148 [SPEAKER_02]: They claim to be open understanding somehow that they're always convinced that their right can be exasperating. 40:33.489 --> 40:36.230 [SPEAKER_02]: And then they're talking about the admitted process. 40:36.990 --> 40:38.571 [SPEAKER_02]: It takes a certain amount of time. 40:38.611 --> 40:42.593 [SPEAKER_02]: And it's just like, OK, again, why are we even having this scene? 40:42.633 --> 40:43.833 [SPEAKER_02]: I don't understand. 40:44.674 --> 40:46.715 [SPEAKER_02]: I guess it's just to bring us over to Chicago's quarters. 40:46.895 --> 40:51.437 [SPEAKER_01]: Yeah, the other thing that happens in this scene that I laughed at, this is clever writing. 40:52.257 --> 40:55.938 [SPEAKER_01]: When Otis says, I can tell it's not going well and she cares like, how do you know? 40:56.099 --> 41:02.201 [SPEAKER_01]: And he says, well, Bajorans are, you know, can't hide their emotions and she cares responses. 41:02.461 --> 41:05.002 [SPEAKER_01]: Oh, so you're saying it's as plain as the nose on my face. 41:06.623 --> 41:07.483 [SPEAKER_01]: But Jorn joke. 41:09.204 --> 41:09.624 [SPEAKER_00]: I laughed. 41:10.025 --> 41:15.828 [SPEAKER_00]: The line about that you just quarter for us, Garrett, they're always claimed that they're open to understanding. 41:16.008 --> 41:16.528 [SPEAKER_00]: Yeah. 41:16.769 --> 41:19.670 [SPEAKER_00]: I love that line because I didn't. 41:19.710 --> 41:19.951 [SPEAKER_00]: Yeah. 41:20.031 --> 41:21.071 [SPEAKER_00]: I want to be angry. 41:21.191 --> 41:21.752 [SPEAKER_00]: I agree. 41:24.633 --> 41:25.994 [SPEAKER_01]: I figured you would agree to that. 41:26.014 --> 41:26.555 [SPEAKER_01]: I would agree. 41:26.575 --> 41:27.455 [SPEAKER_02]: Yes. 41:28.536 --> 41:32.018 [SPEAKER_02]: I would have rather him saying instead of serious saying it's as plain as it knows on my face. 41:32.623 --> 41:39.249 [SPEAKER_02]: If he says so, you're saying it's as plain as the Sydney Opera House on the tip of the bridge of my nose. 41:40.310 --> 41:42.652 [SPEAKER_02]: As the Bajoran ridges on my nose, something like that. 41:42.732 --> 41:46.195 [SPEAKER_02]: Like it just, I wish it was more sci-fi that comment. 41:46.215 --> 41:46.916 [SPEAKER_02]: Does that make sense? 41:47.036 --> 41:50.238 [SPEAKER_02]: It's again, let's say very, more so. 41:52.260 --> 41:52.500 [SPEAKER_02]: Okay. 41:52.781 --> 41:54.342 [SPEAKER_01]: Well, we go to Chicago's quarters. 41:54.462 --> 41:55.763 [SPEAKER_01]: Otos taken him back there. 41:55.843 --> 41:57.184 [SPEAKER_01]: He's walked him back safely. 41:57.244 --> 42:00.026 [SPEAKER_01]: And then we have our awkward man talk here. 42:00.186 --> 42:00.947 [SPEAKER_01]: Oh my God. 42:01.307 --> 42:07.712 [SPEAKER_01]: And Chicago asks Otos if Otos ever heard her say that she wants to be more than friends with him. 42:07.772 --> 42:09.013 [SPEAKER_01]: So Chicago's fishing. 42:09.614 --> 42:10.935 [SPEAKER_01]: This is the CW scene. 42:11.473 --> 42:12.613 [SPEAKER_02]: This is totally CW. 42:12.653 --> 42:14.354 [SPEAKER_02]: This is the, this is the cringe scene. 42:14.414 --> 42:16.475 [SPEAKER_02]: This is the one where I'm like, oh, please. 42:16.855 --> 42:19.015 [SPEAKER_02]: Why do we have to watch Odo suffer? 42:19.035 --> 42:20.136 [SPEAKER_02]: I mean, come on. 42:20.276 --> 42:20.656 [SPEAKER_01]: Yeah. 42:21.196 --> 42:21.696 [SPEAKER_01]: Oh, no. 42:22.236 --> 42:23.677 [SPEAKER_01]: He's, he's in a bad spot. 42:24.057 --> 42:24.277 [SPEAKER_01]: Yeah. 42:24.457 --> 42:26.077 [SPEAKER_01]: Odo says no, she's never said anything. 42:26.137 --> 42:27.238 [SPEAKER_01]: And he does think about it. 42:28.298 --> 42:31.199 [SPEAKER_01]: He's like, and that's what I liked about Renee's performance. 42:31.259 --> 42:40.842 [SPEAKER_01]: And she's, he's being a bit strategic in a lot of these moments where someone's asking for information, whether it's Kira or Shakira or Shakira or whoever he's 42:41.948 --> 42:44.869 [SPEAKER_01]: He takes that moment to kind of go, what should I say here? 42:45.089 --> 42:46.650 [SPEAKER_01]: He's very... Yeah. 42:47.650 --> 42:53.313 [SPEAKER_02]: I honestly felt that Chikar's running commentary really to me. 42:53.713 --> 42:57.254 [SPEAKER_02]: It almost seemed like a stream of consciousness just coming out of his head what he was thinking. 42:57.375 --> 43:03.077 [SPEAKER_02]: But in reality to me, everything Chikar was saying is what Otto was thinking for himself. 43:03.497 --> 43:03.997 [SPEAKER_02]: That's right. 43:04.037 --> 43:04.458 [SPEAKER_00]: That's right. 43:04.758 --> 43:05.098 [SPEAKER_02]: Of course. 43:05.138 --> 43:05.659 [SPEAKER_02]: It's a natural. 43:05.699 --> 43:05.999 [SPEAKER_02]: Maybe it. 43:06.219 --> 43:08.060 [SPEAKER_02]: She car says maybe I should just be patient. 43:08.080 --> 43:09.281 [SPEAKER_02]: Oh, it was thought that too. 43:10.282 --> 43:17.787 [SPEAKER_02]: She car says on the other hand, maybe I should let her know how I feel it might help her get over her loss, which is exactly what Odo has thought before in the past two. 43:17.828 --> 43:21.490 [SPEAKER_02]: So I felt like everything she car was saying was really what Odo wanted to say. 43:21.971 --> 43:22.231 [SPEAKER_01]: Mm-hmm. 43:22.511 --> 43:22.671 [UNKNOWN]: Yeah. 43:22.811 --> 43:23.091 [SPEAKER_01]: Yes. 43:23.311 --> 43:23.872 [SPEAKER_01]: Hundred percent. 43:24.848 --> 43:27.849 [SPEAKER_01]: Yeah, Otos feeling all the same things that your car's talking about. 43:28.130 --> 43:33.892 [SPEAKER_01]: And this is a scene, uh, Armin like you were describing before where Shukars had a focus. 43:34.693 --> 43:40.916 [SPEAKER_01]: And Otos sort of turns in his listening and the camera pushes in on Otos and you see Shukars, you hear him in the background. 43:41.376 --> 43:41.496 [SPEAKER_03]: Yeah. 43:42.465 --> 43:46.108 [SPEAKER_01]: soft in the background, but it's really a moment about Odo taking all this in. 43:46.588 --> 43:47.349 [SPEAKER_01]: I thought it was great. 43:47.689 --> 43:52.052 [SPEAKER_01]: Chicago leaves the shot and sort of hands off to Odo and then Chicago talks and walks. 43:53.032 --> 43:55.394 [SPEAKER_01]: And it's all just one shot focused on Odo. 43:55.414 --> 43:56.054 [SPEAKER_01]: It's really great. 43:56.795 --> 43:57.255 [SPEAKER_01]: Really great. 43:57.670 --> 44:00.632 [SPEAKER_00]: And you couldn't do that with a lesser actor than Renee. 44:00.772 --> 44:01.752 [SPEAKER_00]: It's not about talking. 44:01.812 --> 44:03.073 [SPEAKER_00]: It's just about listening. 44:03.113 --> 44:06.635 [SPEAKER_00]: And Renee was very good at listening and reacting. 44:07.476 --> 44:12.619 [SPEAKER_01]: And amazing that he could be so expressive with a makeup that was so neutral. 44:12.679 --> 44:13.639 [SPEAKER_00]: Well, it's all in the eyes. 44:14.039 --> 44:14.319 [SPEAKER_00]: Yes. 44:14.440 --> 44:15.260 [SPEAKER_00]: It's all in the eyes. 44:15.340 --> 44:16.481 [SPEAKER_00]: And that's what we're seeing. 44:16.721 --> 44:19.863 [SPEAKER_00]: We're seeing the eye and the physicality of the body. 44:20.163 --> 44:20.383 [SPEAKER_01]: Yeah. 44:22.204 --> 44:22.364 [SPEAKER_01]: Yeah. 44:22.404 --> 44:23.845 [SPEAKER_01]: Reminds me of Resident Alien. 44:23.885 --> 44:27.427 [SPEAKER_01]: You know, Alan Tittick wears a big makeup when he's an alien. 44:28.285 --> 44:34.507 [SPEAKER_01]: And we end up going in with visual effects and animating the eyes a little to be white because the eyes don't move. 44:35.048 --> 44:38.449 [SPEAKER_01]: It's a big black lens and the rubber over his face. 44:39.429 --> 44:44.211 [SPEAKER_01]: So we try to give that makeup that doesn't really move. 44:44.251 --> 44:48.853 [SPEAKER_01]: We try to give it some some life and some expression, but it's amazing because 44:50.158 --> 44:54.942 [SPEAKER_01]: Renee is able to pull this off with a makeup that's equally neutral static. 44:55.903 --> 44:56.143 [SPEAKER_01]: Yeah. 44:56.283 --> 44:57.864 [SPEAKER_01]: But Renee, we can't see Renee's eyes. 44:57.884 --> 44:58.805 [SPEAKER_00]: We can't see the eyes. 44:58.845 --> 45:05.850 [SPEAKER_00]: And if I were an actor in an alien on your program and you were to cover up my eyes, I was, do we have to do this? 45:06.030 --> 45:06.891 [SPEAKER_00]: Do we have to do this? 45:06.991 --> 45:11.755 [SPEAKER_00]: Because really, if you're covering everything else, the only thing you're left with are these and your heart. 45:11.955 --> 45:12.896 [SPEAKER_00]: That's the only two things. 45:13.036 --> 45:13.436 [SPEAKER_00]: Yeah. 45:13.596 --> 45:13.856 [SPEAKER_01]: All right. 45:13.876 --> 45:14.777 [SPEAKER_01]: We go to the word room. 45:15.057 --> 45:18.300 [SPEAKER_01]: Quark is topping off a punch bowl, Oto's scanning all the 45:18.941 --> 45:22.285 [SPEAKER_01]: All the food for danger poison. 45:22.786 --> 45:27.432 [SPEAKER_01]: Yes, he does find a for English by device find it. 45:27.933 --> 45:28.934 [SPEAKER_01]: It's right there in front of him. 45:32.018 --> 45:33.279 [SPEAKER_00]: You didn't hide that very well. 45:33.340 --> 45:34.281 [SPEAKER_00]: I didn't do it. 45:34.441 --> 45:35.942 [SPEAKER_00]: And just I'm going, really? 45:37.644 --> 45:39.326 [SPEAKER_00]: Really, how stupid am I? 45:40.307 --> 45:43.251 [SPEAKER_00]: I often went to the writers and said, just tell me what my IQ is. 45:43.431 --> 45:45.193 [SPEAKER_00]: Just tell me what course I'm cute. 45:45.813 --> 45:47.715 [SPEAKER_00]: Just tell me that then I can play this better. 45:48.156 --> 45:52.681 [SPEAKER_00]: I need to know, because that's just where it's placed on top of a banana or something. 45:52.941 --> 45:56.264 [SPEAKER_00]: It should be in the bottom of the bowl, not on top of the bowl. 45:56.344 --> 45:58.466 [SPEAKER_02]: Yeah, or inside of bananas. 45:58.546 --> 46:00.027 [SPEAKER_00]: Oh, inside of banana. 46:00.067 --> 46:00.588 [SPEAKER_02]: Goodness. 46:00.868 --> 46:01.168 [SPEAKER_02]: Yeah. 46:02.029 --> 46:08.735 [SPEAKER_00]: And actually, the way I played it, I can almost believe what Quark was saying. 46:09.703 --> 46:10.243 [SPEAKER_00]: I did too. 46:10.564 --> 46:12.205 [SPEAKER_00]: I could almost believe that. 46:12.385 --> 46:12.906 [SPEAKER_00]: There it is. 46:13.026 --> 46:14.147 [SPEAKER_00]: That's what I need that. 46:14.487 --> 46:14.687 [SPEAKER_00]: Yeah. 46:15.327 --> 46:19.030 [SPEAKER_00]: And I know, I'm seeing you look on your face, Garrett, and I, I, I can misery. 46:20.011 --> 46:20.592 [SPEAKER_00]: I know quirk. 46:20.632 --> 46:22.133 [SPEAKER_00]: So obviously he's doing that. 46:22.833 --> 46:28.238 [SPEAKER_00]: But you know, every once in a while, he probably does things that are what we assume. 46:29.018 --> 46:30.239 [SPEAKER_00]: It could be, it could be. 46:31.039 --> 46:32.420 [SPEAKER_00]: And he's defending himself here. 46:32.540 --> 46:35.882 [SPEAKER_00]: It's the ace of tail about the boy who cried. 46:35.942 --> 46:38.764 [SPEAKER_00]: Well, if you tell enough lies, people just assume they're all lies. 46:38.924 --> 46:41.486 [SPEAKER_00]: And in this case, I thought maybe he is telling the truth. 46:41.726 --> 46:42.186 [SPEAKER_00]: I did too. 46:42.506 --> 46:51.652 [SPEAKER_02]: Yeah, I come as a rate with cork because at the end, when Odo deliberately drops your tech into the ball and ruins it, I was very upset. 46:51.772 --> 46:53.373 [SPEAKER_02]: I was, that bugged me. 46:53.453 --> 46:55.514 [SPEAKER_02]: I was like, what the, why are you doing that? 46:55.594 --> 46:56.695 [SPEAKER_02]: That's just rude. 46:57.616 --> 46:58.897 [SPEAKER_02]: I was very upset. 46:59.057 --> 46:59.877 [SPEAKER_01]: Thank you. 47:00.878 --> 47:02.139 [SPEAKER_01]: Well, Quark does say this scene. 47:02.159 --> 47:04.241 [SPEAKER_01]: He comments on how grumpy Odo is. 47:04.861 --> 47:06.283 [SPEAKER_01]: And you call him on it in the scene. 47:06.323 --> 47:07.544 [SPEAKER_01]: You say you're in love with Kira. 47:08.324 --> 47:09.025 [SPEAKER_01]: And you're jealous. 47:09.105 --> 47:11.587 [SPEAKER_01]: Basically, you say you're in love with her and you're jealous. 47:12.027 --> 47:16.031 [SPEAKER_01]: And Odo freaks out gets really angry, really defensive. 47:16.771 --> 47:18.573 [SPEAKER_01]: Tells you, stay out of my business. 47:19.073 --> 47:19.353 [SPEAKER_01]: Yeah. 47:20.094 --> 47:21.575 [SPEAKER_01]: So clearly you were right. 47:21.895 --> 47:24.758 [SPEAKER_01]: I mean, we know you're right, but yeah. 47:24.958 --> 47:25.859 [SPEAKER_01]: Anybody that acts that 47:27.557 --> 47:29.278 [SPEAKER_01]: reactively and defensively. 47:29.298 --> 47:32.739 [SPEAKER_01]: It's really the lady death protests too much. 47:32.919 --> 47:33.400 [SPEAKER_00]: Yes. 47:33.840 --> 47:34.180 [SPEAKER_01]: Yes. 47:36.441 --> 47:46.005 [SPEAKER_01]: Back in the security office, Otas laying out the the the racket genome mug exactly the same way as the as the teaser. 47:46.105 --> 47:49.346 [SPEAKER_01]: So again, simple but elegant from last. 47:49.366 --> 47:53.268 [SPEAKER_01]: He did the same shot repeating the same action shot the same way. 47:54.424 --> 48:09.745 [SPEAKER_01]: but this time here comes in she's kind of distracted she says she had erected you know with shakar already she doesn't want the one that out of prepared and yeah she had it in his quarters which was dagger toodos hard to write there yes yes 48:10.168 --> 48:11.688 [SPEAKER_01]: She's going to give him a tour of the station. 48:11.748 --> 48:18.490 [SPEAKER_01]: She can't even stay for the their normal meeting meeting and then she says thanks he later she leaves. 48:18.670 --> 48:26.472 [SPEAKER_01]: I love this moment on Renee at the end just sitting there eyes were so just it was painful. 48:26.512 --> 48:27.352 [SPEAKER_02]: That's my point. 48:27.492 --> 48:29.393 [SPEAKER_02]: It's so painful watching this episode. 48:29.453 --> 48:32.155 [SPEAKER_00]: Before we see the pain, he smiles. 48:32.255 --> 48:33.797 [SPEAKER_00]: She goes out the door, he smiles. 48:34.517 --> 48:35.919 [SPEAKER_00]: And then we watch the transition. 48:36.119 --> 48:36.960 [SPEAKER_02]: It just falls. 48:37.460 --> 48:39.142 [SPEAKER_00]: It just was really quite good. 48:39.182 --> 48:40.563 [SPEAKER_00]: Good, on less good on Renee. 48:41.083 --> 48:46.728 [SPEAKER_00]: And he gave him the opportunity to be one thing and then melt into something else. 48:46.968 --> 48:47.189 [SPEAKER_00]: Yeah. 48:47.369 --> 48:48.670 [SPEAKER_00]: I thought that was really quite good. 48:48.730 --> 48:54.133 [SPEAKER_02]: We're in the upper pile on now, so they're actually, they're in the midst of the tour of the station. 48:54.173 --> 49:00.877 [SPEAKER_02]: There's some witty, rom-com dialogue that goes back and forth about the wormhole, very CW. 49:02.058 --> 49:06.020 [SPEAKER_02]: And then, of course, Chicago does sort of start leaning in. 49:06.320 --> 49:07.841 [SPEAKER_02]: He does the hill, head tilt. 49:07.881 --> 49:13.444 [SPEAKER_02]: He starts to come in for the kiss, and he notices Odo standing there, looking away. 49:14.245 --> 49:18.087 [SPEAKER_02]: Very obviously, looking away, trying not to be a truceive. 49:18.527 --> 49:21.789 [SPEAKER_02]: but that sort of ends the romance right there and they move on. 49:21.949 --> 49:24.270 [SPEAKER_00]: I don't know how I feel about this, so I want feedback. 49:24.390 --> 49:31.394 [SPEAKER_00]: That seemed like a very dark scene where the two of them is, is that to accent the romance that instead of a moon we have a wormhole? 49:31.554 --> 49:32.174 [SPEAKER_00]: I think so. 49:32.474 --> 49:33.555 [SPEAKER_00]: That was my take on it. 49:33.635 --> 49:33.895 [SPEAKER_01]: Yeah. 49:34.155 --> 49:34.355 [SPEAKER_00]: Yeah. 49:34.895 --> 49:44.180 [SPEAKER_01]: But they go to kind of the part of the ship where it's darker so you can see the stars better and see the, yeah, space and that was my take on it. 49:44.340 --> 49:50.125 [SPEAKER_01]: Yeah, they decide not to kiss each other because Odo's clearly very close. 49:51.446 --> 49:53.988 [SPEAKER_01]: And then they go to a turbo lift. 49:54.008 --> 49:55.309 [SPEAKER_01]: They had to the docking ring. 49:55.329 --> 49:56.850 [SPEAKER_01]: Well, we're in the turbo lift now. 49:56.910 --> 49:58.972 [SPEAKER_01]: They're discussing a date in front of Odo. 49:59.212 --> 50:00.393 [SPEAKER_01]: I'm Neil. 50:00.513 --> 50:02.515 [SPEAKER_01]: They talk about Bolian aged meat. 50:03.433 --> 50:08.115 [SPEAKER_01]: which sounds delicious to me, by the way, drive a little steak. 50:08.215 --> 50:10.335 [SPEAKER_02]: A little bolly and pork belly. 50:11.656 --> 50:13.777 [SPEAKER_00]: I didn't realize we had that many other restaurants. 50:13.957 --> 50:14.377 [SPEAKER_00]: I know. 50:14.497 --> 50:20.319 [SPEAKER_02]: We know there's a cl- we've seen the cl- we've seen the cl- on one but we haven't seen anything else besides the 50:21.659 --> 50:27.224 [SPEAKER_01]: Right, just a little cafe area core replamat core and the clean on spot. 50:27.304 --> 50:28.385 [SPEAKER_01]: That's all we've ever seen. 50:28.405 --> 50:29.987 [SPEAKER_02]: It's a fully in place now. 50:30.267 --> 50:30.567 [SPEAKER_02]: Okay. 50:30.988 --> 50:31.388 [SPEAKER_01]: All right. 50:31.768 --> 50:36.192 [SPEAKER_01]: Well, they're discussing all this one suddenly the turbo turbo lift goes offline. 50:36.212 --> 50:38.194 [SPEAKER_01]: It begins falling. 50:39.435 --> 50:43.619 [SPEAKER_00]: Odo calls Warf actually calls Warf before before they fall. 50:43.979 --> 50:45.379 [SPEAKER_02]: Yeah. 50:45.420 --> 50:45.720 [SPEAKER_00]: Does he? 50:45.960 --> 50:46.220 [SPEAKER_00]: Yeah. 50:46.240 --> 50:46.540 [SPEAKER_00]: You know what? 50:46.580 --> 50:47.760 [SPEAKER_00]: It's really nice. 50:47.800 --> 50:48.360 [SPEAKER_00]: He's very poor. 50:48.380 --> 50:49.201 [SPEAKER_02]: Yeah. 50:49.221 --> 50:51.201 [SPEAKER_02]: So Worf's voice comes in, right? 50:51.221 --> 50:54.422 [SPEAKER_02]: He goes, Worf to Odo, a turbo lift is stuck on level forty one. 50:54.502 --> 50:55.903 [SPEAKER_02]: We're going to have to reroute you. 50:56.283 --> 51:00.885 [SPEAKER_02]: And that actually was the guy with the voice simulator thing. 51:00.985 --> 51:04.306 [SPEAKER_02]: So Odo says verify your security code, I'll release controls to you. 51:04.766 --> 51:07.587 [SPEAKER_02]: And then that's when he's distracted by Kira and Chicago. 51:07.607 --> 51:07.787 [SPEAKER_00]: All right. 51:08.067 --> 51:08.967 [SPEAKER_02]: Setting up the date. 51:09.327 --> 51:11.208 [SPEAKER_02]: He ends up releasing 51:11.740 --> 51:15.182 [SPEAKER_02]: of the control of the turbo lift to who he thinks is worth. 51:15.482 --> 51:17.863 [SPEAKER_02]: That's the assassin, the operative for the true way. 51:18.343 --> 51:19.143 [SPEAKER_01]: Oh, oh, no. 51:19.343 --> 51:20.604 [SPEAKER_01]: Distracted by love. 51:21.004 --> 51:22.044 [SPEAKER_01]: Haven't we all been there? 51:22.064 --> 51:23.185 [SPEAKER_02]: Yeah, we've all been there. 51:23.443 --> 51:25.785 [SPEAKER_01]: Yeah, so the controls aren't responding. 51:25.805 --> 51:29.748 [SPEAKER_01]: Oh, it has got a morph as arm into like a pile driver thing. 51:30.249 --> 51:31.710 [SPEAKER_00]: Which is problematic for me. 51:31.930 --> 51:35.833 [SPEAKER_00]: I know that he can change and I know that it is the cell structure in him can change. 51:36.834 --> 51:43.199 [SPEAKER_00]: But where did he get this super strength to be able to push out the side of that? 51:44.460 --> 51:45.481 [SPEAKER_00]: That's new to me. 51:46.022 --> 51:46.222 [SPEAKER_01]: Yeah. 51:46.462 --> 51:46.642 [SPEAKER_00]: Yeah. 51:48.063 --> 51:48.163 [SPEAKER_01]: Yeah. 51:48.223 --> 51:51.766 [SPEAKER_01]: I thought he was going to do something else, like just completely more from go. 51:52.849 --> 52:04.756 [SPEAKER_01]: up and pull a lever or something that, you know, there could have been a way that without having superhero strength, like you said, that he could have used his change-wing abilities to go do some more from this. 52:04.776 --> 52:06.156 [SPEAKER_02]: Can I read this real quick, guys? 52:06.516 --> 52:11.199 [SPEAKER_02]: Visual effects supervisor, Gary Hutzl was unhappy with the elevator scene in this episode. 52:11.679 --> 52:14.241 [SPEAKER_02]: Not at how it looks, but in how it actually happens. 52:14.301 --> 52:21.685 [SPEAKER_02]: Hutzl argues that I've always been of the mind that Odo is not Superman or a member of the fantastic four. 52:22.505 --> 52:29.214 [SPEAKER_02]: Once you establish that auto can change himself into anything, then why should he ever be afraid of anything ever again? 52:30.476 --> 52:34.501 [SPEAKER_02]: Somebody suggested that he should just push the walls out on the sides of the elevator to stop it. 52:35.898 --> 52:37.058 [SPEAKER_02]: calmed at that. 52:37.198 --> 52:42.400 [SPEAKER_02]: Of course, if he just stands there in his own form and pushes it out, then it's Superman. 52:42.760 --> 52:45.400 [SPEAKER_02]: I wanted him to become some sort of a device. 52:46.141 --> 52:49.682 [SPEAKER_02]: But the director was very adamant about seeing Odo's face in the sequence. 52:49.702 --> 52:51.462 [SPEAKER_02]: So we ended up with this hybrid. 52:51.922 --> 52:54.863 [SPEAKER_02]: So already there's issues in production, regardless of entire scene. 52:55.703 --> 52:56.603 [SPEAKER_01]: Yeah, it's strange. 52:56.683 --> 52:58.644 [SPEAKER_01]: This hybrid version is very strange. 52:58.864 --> 52:59.004 [SPEAKER_01]: Yeah. 52:59.708 --> 53:07.254 [SPEAKER_00]: And I have to criticize the other two actors because they're falling into my worst fears. 53:08.871 --> 53:10.993 [SPEAKER_00]: They were like, oh, yeah, no, here we are, falling. 53:11.294 --> 53:12.856 [SPEAKER_02]: It was like a walk through the park. 53:13.196 --> 53:21.085 [SPEAKER_02]: Our music there was absolutely no terror, no tension and no drama at all between them, right? 53:21.325 --> 53:22.186 [SPEAKER_00]: It was like, exactly. 53:22.226 --> 53:29.554 [SPEAKER_00]: It was like, okay, we're, we're, we're this, you know, series regular and the guest are and we can stand there and wait for the, you know, this to be over. 53:30.081 --> 53:31.342 [SPEAKER_00]: You guys are about to die. 53:31.362 --> 53:32.903 [SPEAKER_00]: You're about to die. 53:33.023 --> 53:34.845 [SPEAKER_02]: Does anyone understand about to die? 53:34.925 --> 53:36.186 [SPEAKER_02]: And that, yes, that bothered me too. 53:36.306 --> 53:37.587 [SPEAKER_02]: I was like, what's going on here? 53:37.607 --> 53:38.468 [SPEAKER_02]: A little strange. 53:39.289 --> 53:39.509 [SPEAKER_01]: Yes. 53:39.669 --> 53:40.810 [SPEAKER_01]: Well, he saves the day. 53:40.870 --> 53:45.574 [SPEAKER_01]: I did like, by the way, the shots in the, in the turbo lift shaft of it. 53:45.614 --> 53:48.256 [SPEAKER_01]: When it comes at the camera, flies away. 53:48.276 --> 53:51.659 [SPEAKER_01]: They kind of use that twice to end the act and also to start the next act. 53:52.339 --> 53:53.660 [SPEAKER_01]: But I thought that was really cool. 53:53.700 --> 53:54.481 [SPEAKER_02]: Very dynamic. 53:54.541 --> 53:55.121 [SPEAKER_02]: Those look great. 53:55.542 --> 53:55.642 [SPEAKER_01]: Yeah. 53:57.048 --> 54:04.054 [SPEAKER_01]: Uh, we go to the captain's office, Cisco's very upset because he realizes, oh, man, a mistake didn't confirm the security codes. 54:04.614 --> 54:05.335 [SPEAKER_01]: So he was tricked. 54:06.076 --> 54:10.459 [SPEAKER_01]: And Cisco said, says, whoever did this is still on the station. 54:11.240 --> 54:13.382 [SPEAKER_01]: And I, not to find them. 54:13.702 --> 54:14.643 [SPEAKER_01]: I went them found. 54:15.443 --> 54:18.306 [SPEAKER_01]: Cisco's kind of recommending it up at here. 54:18.326 --> 54:21.188 [SPEAKER_01]: And we don't see Odo with his tail between his legs very often. 54:21.248 --> 54:21.769 [SPEAKER_01]: This is, uh, 54:22.780 --> 54:25.262 [SPEAKER_01]: This is a big mistake for Odo. 54:25.602 --> 54:27.643 [SPEAKER_00]: That's perhaps where the crossfire comes in. 54:27.783 --> 54:28.243 [SPEAKER_00]: Perhaps. 54:29.044 --> 54:29.264 [SPEAKER_00]: Yeah. 54:29.584 --> 54:36.188 [SPEAKER_00]: Is that this his feelings about Kira are getting the way of his responsibilities as security? 54:37.369 --> 54:37.609 [SPEAKER_01]: Yeah. 54:37.829 --> 54:38.069 [SPEAKER_01]: Yeah. 54:38.229 --> 54:38.770 [SPEAKER_01]: That could work. 54:39.010 --> 54:42.112 [SPEAKER_00]: He's stuck in the middle of doing his job well or 54:43.843 --> 54:51.890 [SPEAKER_00]: And again, the scenario that we didn't see that they thought about about having to choose between responsibility and affection. 54:53.531 --> 54:57.074 [SPEAKER_00]: And so I rather liked this scene for Rene. 54:57.134 --> 55:00.037 [SPEAKER_00]: I liked a lot of scenes with Rene, but that's in particular. 55:00.457 --> 55:01.278 [SPEAKER_01]: Yeah, it was good. 55:01.939 --> 55:02.820 [SPEAKER_02]: All right. 55:02.880 --> 55:05.462 [SPEAKER_02]: Next scene we're in the security office, Warf and Odor. 55:05.502 --> 55:08.745 [SPEAKER_02]: There, Warf is trying to get to the bottom of what happened. 55:09.205 --> 55:12.629 [SPEAKER_02]: He's suggesting different options for them to look into. 55:13.269 --> 55:15.051 [SPEAKER_02]: And Otto is just completely distracted. 55:15.232 --> 55:16.613 [SPEAKER_02]: But, uh, yes. 55:16.633 --> 55:17.174 [SPEAKER_02]: But, uh, yes. 55:17.254 --> 55:17.714 [SPEAKER_02]: But, uh, yes. 55:17.774 --> 55:18.235 [SPEAKER_02]: But, uh, yes. 55:18.315 --> 55:18.615 [SPEAKER_02]: But, uh, yes. 55:18.715 --> 55:18.976 [SPEAKER_02]: But, uh, yes. 55:18.996 --> 55:19.316 [SPEAKER_02]: But, uh, yes. 55:19.336 --> 55:19.997 [SPEAKER_02]: But, uh, yes. 55:20.017 --> 55:21.018 [SPEAKER_02]: But, uh, yes. 55:21.058 --> 55:21.619 [SPEAKER_02]: But, uh, yes. 55:21.639 --> 55:21.839 [SPEAKER_02]: But, uh, yes. 55:21.859 --> 55:22.279 [SPEAKER_02]: But, uh, yes. 55:22.339 --> 55:22.680 [SPEAKER_02]: But, uh, yes. 55:22.720 --> 55:23.040 [SPEAKER_02]: But, uh, yes. 55:23.060 --> 55:23.941 [SPEAKER_02]: But, uh, yes. 55:24.001 --> 55:24.301 [SPEAKER_02]: But, uh, yes. 55:24.321 --> 55:24.642 [SPEAKER_02]: But, uh, yes. 55:24.662 --> 55:25.643 [SPEAKER_02]: But, uh, yes. 55:25.703 --> 55:26.404 [SPEAKER_02]: But, uh, yes. 55:26.484 --> 55:26.824 [SPEAKER_02]: But, uh, yes. 55:26.844 --> 55:27.505 [SPEAKER_02]: But, uh, yes. 55:27.925 --> 55:29.787 [SPEAKER_02]: is definitely not. 55:29.867 --> 55:37.354 [SPEAKER_02]: Yeah, so it's basically worth trying to admonish Odo for his lack of focus, but Odo sort of rebukes him. 55:37.515 --> 55:39.096 [SPEAKER_02]: He's like, you follow your leads commander. 55:39.156 --> 55:39.897 [SPEAKER_02]: I'll follow mine. 55:40.353 --> 55:41.453 [SPEAKER_00]: He's going to go talk to Kira. 55:41.653 --> 55:42.093 [SPEAKER_00]: Yep. 55:42.594 --> 55:48.975 [SPEAKER_00]: And I actually would have wanted to see, I would have liked Warf to have had some lines and response to that. 55:50.195 --> 55:53.416 [SPEAKER_00]: And he did say this is not the way it was done on the enterprise. 55:53.556 --> 55:59.477 [SPEAKER_00]: You know, this is so against what Warf has been through on next generation. 55:59.577 --> 55:59.837 [SPEAKER_00]: Right. 56:00.177 --> 56:02.198 [SPEAKER_00]: I wanted him to have some sort of retort. 56:03.179 --> 56:10.109 [SPEAKER_00]: And to sort of put Odo in his place, because this was a huge mistake on his heart. 56:10.750 --> 56:12.093 [SPEAKER_00]: You could've gotten them all killed. 56:14.841 --> 56:18.144 [SPEAKER_02]: All right, so he goes off to talk to Major Kira. 56:19.405 --> 56:23.789 [SPEAKER_02]: He's in the corridor where Kira's quarters are. 56:23.809 --> 56:29.415 [SPEAKER_02]: He manages there and he's wondering what all these men are there and him and it says, Chicago. 56:29.475 --> 56:32.678 [SPEAKER_02]: First Minister, Chicago is in Major Kira's quarters. 56:33.238 --> 56:33.979 [SPEAKER_02]: Well, how long? 56:34.179 --> 56:37.762 [SPEAKER_02]: Yeah, ever since the end of dinner, they've been there for about three hours. 56:37.862 --> 56:40.624 [SPEAKER_02]: And Odo basically takes over him and it's his post. 56:40.784 --> 56:42.706 [SPEAKER_02]: I mean, this is like, yeah, but I'm here until early. 56:42.906 --> 56:44.567 [SPEAKER_02]: That note, I'm taking it over. 56:44.768 --> 56:45.468 [SPEAKER_01]: You're relieved. 56:45.608 --> 56:46.049 [SPEAKER_01]: Yeah. 56:46.449 --> 56:47.169 [SPEAKER_01]: I've got this. 56:47.250 --> 56:47.830 [SPEAKER_01]: Get out of here. 56:48.250 --> 56:49.031 [SPEAKER_02]: Oh, my God. 56:49.051 --> 56:53.194 [SPEAKER_02]: And again, I'm just dying watching Odo that you're going to stand there. 56:53.375 --> 56:55.016 [SPEAKER_02]: The entire time they're having no key. 56:55.336 --> 56:56.537 [SPEAKER_02]: And you're just going to stand there. 56:56.737 --> 56:58.459 [SPEAKER_02]: And he does until the morning. 56:58.499 --> 56:59.420 [SPEAKER_00]: There's their all night. 56:59.720 --> 57:00.981 [SPEAKER_02]: All night long doesn't move. 57:01.341 --> 57:04.582 [SPEAKER_00]: And that's antithetical to who Odo is. 57:04.662 --> 57:05.802 [SPEAKER_00]: Let me guess why. 57:05.983 --> 57:06.163 [SPEAKER_00]: Go. 57:06.543 --> 57:07.283 [SPEAKER_00]: Just physically. 57:07.923 --> 57:09.264 [SPEAKER_00]: He has to regenerate. 57:09.404 --> 57:10.184 [SPEAKER_02]: Hello. 57:10.744 --> 57:11.264 [SPEAKER_00]: Oh, wow. 57:11.344 --> 57:12.104 [SPEAKER_00]: I didn't think about that. 57:12.124 --> 57:12.785 [SPEAKER_02]: Can't stay there. 57:13.125 --> 57:14.045 [SPEAKER_00]: Can I stay there? 57:14.345 --> 57:14.625 [SPEAKER_02]: No. 57:15.125 --> 57:15.866 [SPEAKER_02]: Can't stay there all more. 57:15.906 --> 57:17.206 [SPEAKER_00]: He has to regenerate. 57:17.566 --> 57:17.786 [SPEAKER_00]: Yeah. 57:18.046 --> 57:20.047 [SPEAKER_00]: That that's a given in his character. 57:20.427 --> 57:25.029 [SPEAKER_00]: He cannot stay there for as long as that is and not regenerate. 57:25.209 --> 57:29.670 [SPEAKER_00]: It violates everything we know about Odo and his physicality. 57:30.150 --> 57:32.153 [SPEAKER_01]: But Armin have you ever heard of the power of love? 57:32.173 --> 57:34.676 [SPEAKER_00]: The power of love. 57:35.156 --> 57:36.718 [SPEAKER_00]: I'm happy that it was many years ago. 57:38.600 --> 57:39.922 [SPEAKER_01]: It's given, Odo. 57:39.942 --> 57:42.385 [SPEAKER_01]: He doesn't need to regenerate. 57:42.405 --> 57:43.066 [SPEAKER_01]: He doesn't need to. 57:43.326 --> 57:44.788 [SPEAKER_01]: Love is regenerating him. 57:46.287 --> 57:46.487 [SPEAKER_01]: OK. 57:46.987 --> 57:47.367 [SPEAKER_02]: OK. 57:47.808 --> 57:48.428 [SPEAKER_02]: Look at that. 57:48.528 --> 57:50.488 [SPEAKER_02]: Robbie just solved everything for us. 57:50.548 --> 57:51.509 [SPEAKER_02]: Thank you, Robbie. 57:51.949 --> 57:53.269 [SPEAKER_01]: No, I didn't think of that. 57:53.369 --> 57:54.710 [SPEAKER_01]: I mean, that's very smart. 57:54.790 --> 57:55.470 [SPEAKER_01]: What you say. 57:55.490 --> 57:59.251 [SPEAKER_01]: Well, I'm a little bit more attached to these characters. 57:59.552 --> 58:00.272 [SPEAKER_01]: Yeah. 58:00.292 --> 58:00.712 [SPEAKER_01]: You're right. 58:00.872 --> 58:01.652 [SPEAKER_01]: You're out. 58:01.752 --> 58:03.993 [SPEAKER_01]: I did not occur to me, but his skills there all night. 58:04.113 --> 58:04.813 [SPEAKER_01]: Oh, God. 58:04.833 --> 58:06.374 [SPEAKER_01]: He's got to go regenerate. 58:06.474 --> 58:07.474 [SPEAKER_01]: So it's got to be love. 58:07.974 --> 58:09.075 [SPEAKER_01]: That's all I can think of. 58:09.115 --> 58:09.495 [SPEAKER_01]: Yeah. 58:10.392 --> 58:13.458 [SPEAKER_01]: Well, in the morning, the door opens. 58:13.919 --> 58:16.764 [SPEAKER_01]: Here is in a night game kind of thing. 58:16.804 --> 58:21.332 [SPEAKER_01]: Chicago comes out, he heads off to his meeting, and Otis has a care, can we talk? 58:23.364 --> 58:24.425 [SPEAKER_01]: So he goes inside. 58:24.485 --> 58:25.727 [SPEAKER_01]: She says, yes, come on in. 58:26.107 --> 58:28.410 [SPEAKER_01]: He goes inside their champagne on the table. 58:28.771 --> 58:30.833 [SPEAKER_01]: Oh, don't notice is it. 58:31.033 --> 58:32.175 [SPEAKER_01]: So she turns the lights on. 58:32.255 --> 58:34.057 [SPEAKER_01]: Yeah, she turns the lights on. 58:35.018 --> 58:35.619 [SPEAKER_01]: Yes. 58:36.100 --> 58:41.947 [SPEAKER_01]: And anyway, she starts going off about how she can't believe this romance is happening with her. 58:42.027 --> 58:42.307 [SPEAKER_01]: Right. 58:42.628 --> 58:42.908 [SPEAKER_01]: Right. 58:43.248 --> 58:44.649 [SPEAKER_01]: And Odo just listens. 58:46.250 --> 58:47.151 [SPEAKER_01]: He's heartbroken. 58:48.392 --> 58:49.853 [SPEAKER_01]: He even turns away at one point. 58:49.893 --> 58:51.174 [SPEAKER_01]: She comes and hugs him. 58:51.474 --> 58:54.436 [SPEAKER_01]: He just will salt on the wounds there. 58:54.456 --> 58:58.039 [SPEAKER_01]: She says, you're the first to know about all this. 58:59.080 --> 59:00.261 [SPEAKER_01]: And he goes, OK, thanks. 59:00.741 --> 59:02.322 [SPEAKER_01]: I think we'll just talk later. 59:03.403 --> 59:06.465 [SPEAKER_01]: And he heads out to the hall and the door shut. 59:06.505 --> 59:08.967 [SPEAKER_01]: And there's a nice moment with him all by himself out there. 59:09.852 --> 59:13.680 [SPEAKER_01]: Again, I put down lessness where to put the camera because you could have just paned them out the door. 59:14.582 --> 59:18.210 [SPEAKER_01]: But here's this moment, this extra moment where auto comes outside. 59:19.042 --> 59:22.823 [SPEAKER_01]: And the door shot new, we kind of get into his heart and his head in that moment. 59:22.883 --> 59:23.764 [SPEAKER_00]: I thought it was really good. 59:23.964 --> 59:26.565 [SPEAKER_00]: As I said earlier, I always wanted to know what my IQ was. 59:26.765 --> 59:28.246 [SPEAKER_00]: I wanted to know what her IQ was. 59:28.586 --> 59:33.467 [SPEAKER_00]: I mean, you don't, you have to, this is a very intuitive character. 59:33.548 --> 59:34.368 [SPEAKER_00]: She knows a lot. 59:34.708 --> 59:35.808 [SPEAKER_00]: She's worked with these people. 59:36.769 --> 59:41.591 [SPEAKER_00]: Even if she doesn't know his feelings for her, she should have least been a little bit sensitive. 59:42.031 --> 59:44.052 [SPEAKER_00]: She's to the fact that he's not himself. 59:44.692 --> 59:45.632 [SPEAKER_00]: He's not himself. 59:45.692 --> 59:47.133 [SPEAKER_00]: Yes, she's completely oblivious. 59:48.133 --> 59:50.555 [SPEAKER_00]: She asked him twice during this episode, is anything wrong. 59:51.035 --> 59:52.797 [SPEAKER_00]: She knows there's something wrong. 59:52.937 --> 59:54.078 [SPEAKER_00]: But it doesn't seem important. 59:54.138 --> 59:55.279 [SPEAKER_00]: It doesn't seem important enough. 59:55.399 --> 01:00:00.423 [SPEAKER_00]: And she just blathers on as though, you know, she was a fifteen-year-old girl. 01:00:00.443 --> 01:00:03.045 [SPEAKER_00]: This is not the cure that we've come to know. 01:00:03.598 --> 01:00:12.105 [SPEAKER_02]: No, I mean at some point I feel like Kira should have said, it maybe had some conversation with herself where she was like, wait a minute, does Odo actually now there's no way? 01:00:12.405 --> 01:00:27.276 [SPEAKER_02]: I mean, she never even does that once, you know, she's oblivious to what Odo is, but the heartbreaking, really, I know Rob, you talk about that at the end of the scene where you kind of have that last shot of Odo thinking and just sort of taking it all in. 01:00:27.336 --> 01:00:31.720 [SPEAKER_02]: But I love the shot of Odo when she was hugging him from behind. 01:00:32.200 --> 01:00:49.281 [SPEAKER_02]: you can see on his face he is just in so much pain he's just like well he's happy that he's getting hugged but the same time he's like oh this should be me and you all the time you know kind of a thing so it's heartbreaking poor guy poor guy all right we go in the security office 01:00:50.443 --> 01:00:53.846 [SPEAKER_01]: And suddenly, an alien's getting arrested in there. 01:00:53.946 --> 01:00:55.667 [SPEAKER_01]: Worf is caught this assassin. 01:00:55.788 --> 01:00:56.888 [SPEAKER_01]: He's wrapped it all up. 01:00:56.949 --> 01:00:58.009 [SPEAKER_01]: The danger's gone. 01:00:58.450 --> 01:00:59.831 [SPEAKER_01]: I wrote down, well, that was easy. 01:01:00.171 --> 01:01:01.312 [SPEAKER_01]: Everything happened off camera. 01:01:01.713 --> 01:01:05.336 [SPEAKER_01]: It was whole threat for the whole episode. 01:01:05.416 --> 01:01:10.680 [SPEAKER_01]: Suddenly, which in a way I could argue, because we're in Odo's point of view. 01:01:11.341 --> 01:01:12.261 [SPEAKER_01]: And Odo has 01:01:13.062 --> 01:01:19.648 [SPEAKER_01]: been so distracted by love, that it's kind of we're experiencing what Odo is experiencing, which right? 01:01:19.708 --> 01:01:21.410 [SPEAKER_01]: What, what, what just happened? 01:01:22.010 --> 01:01:24.352 [SPEAKER_02]: I like that because this is literally what it's going on. 01:01:24.432 --> 01:01:26.194 [SPEAKER_02]: He's so wrapped up in this. 01:01:26.214 --> 01:01:27.555 [SPEAKER_02]: He's not even doing his own job. 01:01:27.595 --> 01:01:29.997 [SPEAKER_02]: He doesn't even know what's going on in the station. 01:01:30.117 --> 01:01:32.399 [SPEAKER_02]: And was that assassin, was that assassin, Lethian? 01:01:33.198 --> 01:01:35.720 [SPEAKER_02]: It's looked like the guy that comes up and does the energy on him. 01:01:35.740 --> 01:01:35.900 [SPEAKER_01]: Maybe. 01:01:35.920 --> 01:01:37.301 [SPEAKER_02]: It reads into who you are. 01:01:37.321 --> 01:01:37.662 [SPEAKER_01]: Maybe. 01:01:37.902 --> 01:01:38.843 [SPEAKER_01]: It was a cool make-up. 01:01:38.923 --> 01:01:39.003 [SPEAKER_01]: Yeah. 01:01:39.023 --> 01:01:40.224 [SPEAKER_01]: You didn't see much of it. 01:01:40.584 --> 01:01:41.405 [SPEAKER_01]: He was at the door. 01:01:41.645 --> 01:01:42.365 [SPEAKER_02]: But he's an operative. 01:01:42.385 --> 01:01:42.786 [SPEAKER_02]: We know that. 01:01:42.846 --> 01:01:43.867 [SPEAKER_02]: He's not an operative. 01:01:43.907 --> 01:01:46.889 [SPEAKER_02]: He's an operative for the true way the Kardashians splinter group. 01:01:47.349 --> 01:01:47.490 [SPEAKER_01]: Yeah. 01:01:48.668 --> 01:01:54.251 [SPEAKER_01]: And Worf does complement Odo in the scene where he says, well, your deputies are very well trained. 01:01:54.271 --> 01:01:55.311 [SPEAKER_01]: You've done a great job. 01:01:56.532 --> 01:01:57.332 [SPEAKER_01]: They assisted me. 01:01:57.773 --> 01:02:00.534 [SPEAKER_01]: So Odo didn't assist him, but the deputies did. 01:02:01.074 --> 01:02:01.534 [SPEAKER_00]: Randy did. 01:02:01.834 --> 01:02:07.617 [SPEAKER_00]: Randy who's in the light of the shots is background performer and the standing for Renee did a great job. 01:02:07.657 --> 01:02:08.378 [SPEAKER_00]: He did a great job. 01:02:09.178 --> 01:02:10.619 [SPEAKER_01]: We got to Odo's quarters next. 01:02:11.120 --> 01:02:12.021 [SPEAKER_01]: Odo is losing it. 01:02:12.401 --> 01:02:14.123 [SPEAKER_01]: He starts breaking things. 01:02:14.763 --> 01:02:15.924 [SPEAKER_01]: I love his moves. 01:02:15.964 --> 01:02:18.947 [SPEAKER_01]: He's like, oh, it's like he's done martial arts training. 01:02:19.107 --> 01:02:23.031 [SPEAKER_02]: Well, yeah, he's losing it, but it's very focused losing it. 01:02:23.091 --> 01:02:24.712 [SPEAKER_02]: Like the way he hits things, he's like, okay. 01:02:25.793 --> 01:02:29.435 [SPEAKER_02]: And this one at bat, like it's not like, uh, all over the place. 01:02:29.495 --> 01:02:30.536 [SPEAKER_02]: It's just one at a time. 01:02:30.656 --> 01:02:31.597 [SPEAKER_02]: Things get knocked over. 01:02:32.477 --> 01:02:41.142 [SPEAKER_02]: Uh, I want to say the plant, which Odo destroys against the wall to begin his rampage was given to him in the episode, The Abandoned by Kira. 01:02:41.803 --> 01:02:47.206 [SPEAKER_02]: Oh, a pot where the plant was in was the original bucket that Odo had previously used to regenerate in 01:02:47.266 --> 01:02:49.389 [SPEAKER_00]: But obviously he doesn't need to regenerate anymore. 01:02:49.469 --> 01:02:50.450 [SPEAKER_00]: So what's the point? 01:02:50.470 --> 01:02:51.712 [SPEAKER_02]: He doesn't need it. 01:02:51.812 --> 01:02:54.696 [SPEAKER_02]: Oh, because he's got love regenerating. 01:02:55.677 --> 01:02:59.663 [SPEAKER_02]: So that makes the destruction of the plant and the pot highly symbolic. 01:03:00.574 --> 01:03:04.095 [SPEAKER_00]: But the destruction of the sculpture that gave me pause. 01:03:04.215 --> 01:03:05.356 [SPEAKER_00]: I went again. 01:03:05.376 --> 01:03:08.297 [SPEAKER_00]: He seems a little stronger than I know him to be. 01:03:08.657 --> 01:03:10.918 [SPEAKER_02]: Because that thing was made of metal, wasn't it? 01:03:10.938 --> 01:03:12.238 [SPEAKER_00]: And here he is. 01:03:12.759 --> 01:03:16.520 [SPEAKER_02]: He just again, Man of Steel, he is Superman in this episode for sure. 01:03:16.620 --> 01:03:18.521 [SPEAKER_00]: And didn't you love the the whisp of hair? 01:03:18.681 --> 01:03:21.942 [SPEAKER_00]: Yes, it came down to I who ever thought of that. 01:03:23.909 --> 01:03:25.710 [SPEAKER_02]: I will tell you exactly who thought of that. 01:03:25.870 --> 01:03:34.352 [SPEAKER_02]: So in the scene where cork finds Otto sitting on the ground of his demolish room, a strand of Otto's hair is loose. 01:03:35.093 --> 01:03:38.974 [SPEAKER_02]: This was an improvisation by actor René O'Bajonois. 01:03:39.074 --> 01:03:43.015 [SPEAKER_02]: Some of the producers, I was even bare included, weren't happy with the look. 01:03:43.575 --> 01:03:54.363 [SPEAKER_02]: But they decided to leave it in the episode because it was argued that if Odo's hair is falling out of place, and his hair is part of him, then it symbolizes that Odo is literally falling apart. 01:03:55.104 --> 01:04:06.452 [SPEAKER_02]: According to Aversion Wa, however, I just pulled some strands because I was trying to evoke an image from a Japanese print-eyed scene of a warrior in defeat. 01:04:07.373 --> 01:04:11.978 [SPEAKER_02]: So that's him elevating this episode and making it a little bit of a cool and art form, right? 01:04:11.998 --> 01:04:20.067 [SPEAKER_02]: But yeah, he saw this image years ago of a Japanese warrior, you know, that was defeated sitting on the ground. 01:04:20.488 --> 01:04:22.971 [SPEAKER_02]: So he just did the same thing, but pulling the hair out like that. 01:04:24.122 --> 01:04:24.642 [SPEAKER_00]: Very cool. 01:04:24.742 --> 01:04:25.242 [SPEAKER_02]: Good job. 01:04:25.983 --> 01:04:27.463 [SPEAKER_00]: And you know Renee's grandfather. 01:04:27.483 --> 01:04:29.324 [SPEAKER_00]: It was a great painter. 01:04:29.924 --> 01:04:33.306 [SPEAKER_00]: Impressionist and actually hangs in in the door say in Paris. 01:04:33.566 --> 01:04:34.026 [SPEAKER_00]: Really? 01:04:34.186 --> 01:04:35.066 [SPEAKER_00]: I did not know that. 01:04:35.287 --> 01:04:35.507 [SPEAKER_00]: Yeah. 01:04:35.547 --> 01:04:37.948 [SPEAKER_00]: So he's he was brought up on art. 01:04:38.148 --> 01:04:39.108 [SPEAKER_00]: Well, verse and art. 01:04:39.308 --> 01:04:39.508 [SPEAKER_01]: Yeah. 01:04:39.588 --> 01:04:40.489 [SPEAKER_03]: Yeah. 01:04:40.529 --> 01:04:41.029 [SPEAKER_01]: Wow. 01:04:41.429 --> 01:04:41.969 [SPEAKER_01]: Fascinating. 01:04:42.109 --> 01:04:42.329 [SPEAKER_01]: Yeah. 01:04:42.910 --> 01:04:46.071 [SPEAKER_01]: Well, court comes in and steals the scene in those pajamas for me. 01:04:46.171 --> 01:04:47.111 [SPEAKER_01]: Beautiful pajamas. 01:04:47.271 --> 01:04:48.172 [SPEAKER_01]: Beautiful pajamas. 01:04:49.394 --> 01:04:54.379 [SPEAKER_01]: But he tries to come in and Otis has go away and then he picks the lock. 01:04:54.439 --> 01:04:56.461 [SPEAKER_01]: He puts in a code and he comes in anyway. 01:04:56.621 --> 01:04:58.683 [SPEAKER_01]: He's like this shapeshifting has to stop. 01:04:58.743 --> 01:04:59.884 [SPEAKER_01]: Like all of his noise. 01:05:00.604 --> 01:05:02.826 [SPEAKER_01]: Which was a great call back to that earlier scene. 01:05:03.948 --> 01:05:08.532 [SPEAKER_01]: And Otis says that he was right about all of it and quirk realizes 01:05:10.197 --> 01:05:11.979 [SPEAKER_01]: you know, the pain that he's in. 01:05:12.439 --> 01:05:24.750 [SPEAKER_01]: He sees what's going on here and then he he tells Odo about this betting pool that he's got to get back to who is normal self because it's costing quirk money. 01:05:25.469 --> 01:05:35.798 [SPEAKER_01]: and he's losing these bets and he has to resolve all of this and get back to being himself because he's not good, it's not good for either of them, it's not good for you and it's not good for me. 01:05:36.218 --> 01:05:41.883 [SPEAKER_00]: And the betting, yes, is important to Quark, but my character is smart enough to say 01:05:43.484 --> 01:05:49.527 [SPEAKER_00]: The rest of the people on the station, the reason we can have the betting pool is they all respect you. 01:05:49.607 --> 01:05:51.667 [SPEAKER_00]: They know that you'll always get your man. 01:05:52.728 --> 01:05:57.750 [SPEAKER_00]: And it's building up his ego while he sits there with his ego crushed. 01:05:58.330 --> 01:06:00.831 [SPEAKER_00]: But it's out of, but it's there. 01:06:01.371 --> 01:06:07.412 [SPEAKER_00]: It's, that's why the writers put those words in Quarks mouth is to say, you're a better man than this. 01:06:07.772 --> 01:06:09.073 [SPEAKER_00]: You're a respected man. 01:06:09.113 --> 01:06:10.813 [SPEAKER_00]: You're respected man in the community. 01:06:11.473 --> 01:06:13.494 [SPEAKER_00]: You need to get back to who you are. 01:06:13.674 --> 01:06:16.375 [SPEAKER_02]: Can you speak to the very final two lines of this scene? 01:06:16.475 --> 01:06:22.156 [SPEAKER_02]: Oto says, funny, for a minute there, I thought you were talking to me as a friend and cork big pause. 01:06:22.676 --> 01:06:23.036 [SPEAKER_02]: Yeah. 01:06:23.857 --> 01:06:24.717 [SPEAKER_02]: Just that ending. 01:06:26.837 --> 01:06:28.178 [SPEAKER_00]: Well, I sincerely talked to that. 01:06:28.218 --> 01:06:31.379 [SPEAKER_00]: That was the running game that the two characters had. 01:06:31.639 --> 01:06:31.879 [SPEAKER_02]: Okay. 01:06:32.419 --> 01:06:36.041 [SPEAKER_00]: Uh, which was there was affection, but we would never admit to it. 01:06:36.201 --> 01:06:36.541 [SPEAKER_00]: Got it. 01:06:36.881 --> 01:06:37.881 [SPEAKER_00]: Never admit to it. 01:06:38.221 --> 01:06:38.962 [SPEAKER_00]: He does the same. 01:06:39.142 --> 01:06:39.822 [SPEAKER_00]: You don't know this. 01:06:39.902 --> 01:06:43.643 [SPEAKER_00]: I'm giving you a teaser in the very last episode. 01:06:43.683 --> 01:06:44.764 [SPEAKER_00]: He does the same thing. 01:06:45.044 --> 01:06:45.784 [SPEAKER_02]: Oh, wow. 01:06:46.244 --> 01:06:46.905 [SPEAKER_02]: All right. 01:06:47.465 --> 01:06:47.785 [SPEAKER_02]: Thank you. 01:06:48.785 --> 01:06:49.666 [SPEAKER_01]: Yeah, I think that 01:06:51.271 --> 01:06:58.514 [SPEAKER_01]: I would imagine the quark had an impulse to be more personal, but he used this bedding pool as the vehicle. 01:06:58.735 --> 01:06:59.975 [SPEAKER_00]: Keeps enough distance. 01:07:00.756 --> 01:07:07.619 [SPEAKER_00]: If you spoke hard to hard to someone who was in pain, they'll listen for a little while and then it's their in pain and they don't want to hear about it. 01:07:07.899 --> 01:07:14.762 [SPEAKER_00]: But if you go at it obliquely, I think it's a way of the person in pain hearing more of it. 01:07:16.123 --> 01:07:17.584 [SPEAKER_00]: Quark was very smart. 01:07:17.724 --> 01:07:20.265 [SPEAKER_00]: And that's where my IQ jumped to a hundred points. 01:07:22.184 --> 01:07:25.026 [SPEAKER_01]: But your fashion quotient went down with a PJ's. 01:07:26.267 --> 01:07:27.868 [SPEAKER_00]: Your fashion score and the slippers. 01:07:28.089 --> 01:07:29.650 [SPEAKER_01]: Took a hit without that scene. 01:07:29.990 --> 01:07:30.931 [SPEAKER_00]: Yes, forgive me. 01:07:30.991 --> 01:07:31.692 [SPEAKER_00]: And I'm jealous. 01:07:31.712 --> 01:07:32.532 [SPEAKER_00]: I admit to it. 01:07:32.633 --> 01:07:34.394 [SPEAKER_00]: Curious and a gorgeous sort of 01:07:37.400 --> 01:07:55.613 [SPEAKER_00]: And I mean in what are those, what were those things called the kids wore with the flat footy PJs, but there was a there was a term for long johns or something else where that where the kids were in the flap came down in the back and 01:07:56.553 --> 01:08:05.482 [SPEAKER_00]: Anyway, it looked like it's a really childish immature that immature as a childish Parallel. 01:08:05.542 --> 01:08:10.847 [SPEAKER_00]: And I thought really Bob, that you have to put me in that, especially... One z. Yeah, one z. That's it. 01:08:11.007 --> 01:08:11.287 [SPEAKER_00]: That's it. 01:08:14.542 --> 01:08:30.973 [SPEAKER_02]: Um, when when the scene really is got some on to it, could it have helped upgrade the child like onesie if you had some type of sleep hat with it like a silk, you know, have to be a very big hat to fit on it. 01:08:32.714 --> 01:08:36.316 [SPEAKER_00]: It could have been anything but it just it just I thought 01:08:37.897 --> 01:08:40.519 [SPEAKER_00]: I thought, why do we have to go back to that? 01:08:40.679 --> 01:08:44.923 [SPEAKER_00]: Why do we have to make fun of this character when it's not necessary? 01:08:44.943 --> 01:08:47.145 [SPEAKER_02]: Robin, did you feel that it was... It's not that it's making fun. 01:08:47.165 --> 01:08:48.286 [SPEAKER_02]: It's just not taking you seriously. 01:08:48.306 --> 01:08:49.306 [SPEAKER_00]: It's just not taking you seriously. 01:08:49.326 --> 01:08:50.027 [SPEAKER_00]: It's just not taking you seriously. 01:08:50.047 --> 01:08:50.747 [SPEAKER_00]: It's just not taking you seriously. 01:08:50.768 --> 01:08:51.528 [SPEAKER_00]: It's just not taking you seriously. 01:08:51.548 --> 01:08:52.469 [SPEAKER_00]: It's just not taking you seriously. 01:08:52.489 --> 01:08:53.230 [SPEAKER_02]: It's just not taking you seriously. 01:08:53.250 --> 01:08:53.950 [SPEAKER_01]: It's just not taking you seriously. 01:08:53.970 --> 01:08:54.691 [SPEAKER_01]: It's just not taking you seriously. 01:08:54.711 --> 01:08:55.551 [SPEAKER_01]: It's just not taking you seriously. 01:08:55.571 --> 01:08:56.392 [SPEAKER_01]: It's just not taking you seriously. 01:08:56.432 --> 01:08:57.233 [SPEAKER_00]: It's just not taking you seriously. 01:08:57.253 --> 01:08:58.073 [SPEAKER_00]: It's just not taking you seriously. 01:08:58.093 --> 01:08:59.254 [SPEAKER_00]: It's just not taking you seriously. 01:08:59.274 --> 01:09:00.075 [SPEAKER_00]: It's just not taking you seriously. 01:09:00.115 --> 01:09:00.856 [SPEAKER_00]: It's just not taking you seriously. 01:09:00.876 --> 01:09:01.957 [SPEAKER_00]: It's just not taking you seriously. 01:09:01.997 --> 01:09:02.897 [SPEAKER_00]: It's just not taking you seriously. 01:09:02.917 --> 01:09:03.918 [SPEAKER_00]: It's just not taking you seriously. 01:09:03.938 --> 01:09:04.799 [SPEAKER_00]: It's just not taking you seriously. 01:09:04.819 --> 01:09:06.100 [SPEAKER_00]: It's just not taking you seriously. 01:09:06.120 --> 01:09:07.221 [SPEAKER_00]: It's just not taking you seriously. 01:09:07.241 --> 01:09:07.481 [SPEAKER_00]: It 01:09:08.192 --> 01:09:08.392 [SPEAKER_02]: Yes. 01:09:08.832 --> 01:09:09.052 [SPEAKER_02]: Yeah. 01:09:09.933 --> 01:09:10.133 [SPEAKER_02]: Yeah. 01:09:10.753 --> 01:09:12.014 [SPEAKER_02]: Okay. 01:09:12.054 --> 01:09:13.194 [SPEAKER_02]: So we're in Kira's quarters. 01:09:13.474 --> 01:09:14.995 [SPEAKER_02]: Odo is there to talk to her. 01:09:15.255 --> 01:09:16.576 [SPEAKER_02]: Kira's like what brings you here. 01:09:17.476 --> 01:09:20.537 [SPEAKER_02]: And I thought watching this, I said, he's going to come clean. 01:09:20.677 --> 01:09:21.098 [SPEAKER_02]: Here it is. 01:09:21.198 --> 01:09:22.578 [SPEAKER_02]: This is going to be it. 01:09:23.079 --> 01:09:24.139 [SPEAKER_02]: But he just says, nope. 01:09:24.539 --> 01:09:27.681 [SPEAKER_02]: Our Tuesday morning meetings are never going to happen again. 01:09:27.761 --> 01:09:28.901 [SPEAKER_02]: We don't need to do that. 01:09:29.241 --> 01:09:30.662 [SPEAKER_02]: We're just going to stick to the essentials. 01:09:31.142 --> 01:09:32.643 [SPEAKER_02]: And she even asked him when he's leaving. 01:09:32.723 --> 01:09:34.264 [SPEAKER_02]: She says, well, no more belt. 01:09:34.584 --> 01:09:37.086 [SPEAKER_02]: And he's like, nope, just trying to keep to the essentials major. 01:09:37.566 --> 01:09:39.047 [SPEAKER_02]: And he walks away out out of there. 01:09:39.428 --> 01:09:43.430 [SPEAKER_02]: But this is his way of just, he's shutting, he's shutting down now. 01:09:43.610 --> 01:09:45.432 [SPEAKER_00]: I think he wanted to tell her. 01:09:45.932 --> 01:09:47.473 [SPEAKER_00]: This is what I saw in the performance. 01:09:48.374 --> 01:09:50.235 [SPEAKER_00]: I think he wanted to tell her and couldn't. 01:09:51.736 --> 01:09:52.256 [SPEAKER_01]: I did too. 01:09:52.356 --> 01:09:53.197 [SPEAKER_01]: I thought that way. 01:09:53.237 --> 01:09:54.057 [SPEAKER_01]: I felt like he went in. 01:09:55.280 --> 01:10:00.023 [SPEAKER_01]: more thinking that he was going to be honest and faced suddenly faced with her. 01:10:00.783 --> 01:10:02.224 [SPEAKER_01]: He relied on quirk's advice. 01:10:02.604 --> 01:10:02.924 [SPEAKER_01]: It helps. 01:10:03.184 --> 01:10:04.365 [SPEAKER_01]: I'm just going to go to the essentials. 01:10:04.505 --> 01:10:18.673 [SPEAKER_00]: And as much as what the final scene is about about the floor and everything more than anything it's a credit to their to quirk and odos relationship that he says I'm just going back to the essentials which is the words right as I said before right at a quirk's mouth. 01:10:21.012 --> 01:10:23.414 [SPEAKER_01]: Well, we do go to quirks, odor arrives. 01:10:24.115 --> 01:10:26.917 [SPEAKER_01]: Quirks says, Kirchkar upstairs, they're practicing a speech. 01:10:28.538 --> 01:10:35.024 [SPEAKER_01]: Quirks says he stopped by Otis quarters and learned that they're installing some soundproofing flooring. 01:10:36.004 --> 01:10:40.708 [SPEAKER_01]: So kind of him, he thinks him and Otis denies doing it for him. 01:10:40.788 --> 01:10:43.931 [SPEAKER_01]: So that wouldn't go through three days of construction for you. 01:10:43.951 --> 01:10:44.872 [SPEAKER_01]: I wouldn't do that for you. 01:10:44.952 --> 01:10:45.592 [SPEAKER_01]: Are you kidding me? 01:10:45.833 --> 01:10:46.573 [SPEAKER_01]: But Quirks gets it. 01:10:46.693 --> 01:10:48.214 [SPEAKER_01]: They're back to their normal banter. 01:10:49.195 --> 01:10:54.998 [SPEAKER_01]: things are back to, yeah, as Quarks has got to get back to it to who you are. 01:10:55.818 --> 01:10:55.958 [SPEAKER_01]: Right. 01:10:56.459 --> 01:10:58.700 [SPEAKER_00]: And that's what he does at the end of the scene. 01:10:58.880 --> 01:11:00.921 [SPEAKER_00]: He goes back to guarding the promenade. 01:11:01.361 --> 01:11:01.561 [SPEAKER_02]: Yep. 01:11:01.781 --> 01:11:01.981 [SPEAKER_02]: Right. 01:11:02.361 --> 01:11:05.903 [SPEAKER_02]: And then we see the actor who you mentioned earlier in that one shot. 01:11:05.943 --> 01:11:06.143 [SPEAKER_00]: Yes. 01:11:07.164 --> 01:11:07.884 [SPEAKER_00]: Darren Reakers. 01:11:08.204 --> 01:11:08.424 [SPEAKER_00]: Yeah. 01:11:08.504 --> 01:11:14.967 [SPEAKER_00]: He's he's in white and and and Renee has just walked out the door, but all we see is the back of Darrell. 01:11:15.327 --> 01:11:15.527 [SPEAKER_00]: Yeah. 01:11:16.308 --> 01:11:16.528 [SPEAKER_00]: Okay. 01:11:17.198 --> 01:11:19.200 [SPEAKER_01]: I did like that sort of final shot. 01:11:19.220 --> 01:11:23.124 [SPEAKER_01]: It was like, Otto going off into the sunset back to his normal job. 01:11:23.525 --> 01:11:23.705 [SPEAKER_00]: Right. 01:11:24.225 --> 01:11:28.610 [SPEAKER_00]: It's a patrolling, keeping peace and security on the ship. 01:11:29.851 --> 01:11:30.412 [SPEAKER_00]: It's very good. 01:11:35.605 --> 01:11:42.514 [SPEAKER_01]: I wrote down the heart once with the heart once, but then I wrote down, but out of it doesn't have a heart. 01:11:49.105 --> 01:11:51.728 [SPEAKER_02]: So maybe the liquid once with the liquid wants. 01:11:51.768 --> 01:11:54.150 [SPEAKER_02]: Yeah, that's okay. 01:11:54.330 --> 01:11:56.132 [SPEAKER_02]: Armond, did you have a lesson from this? 01:11:56.352 --> 01:12:00.436 [SPEAKER_00]: I was trying to, this was a hard one to find a lesson in for me. 01:12:00.836 --> 01:12:02.678 [SPEAKER_00]: And I was looking about for quotes. 01:12:02.758 --> 01:12:05.020 [SPEAKER_00]: And I found a quote that I thought, oh, this will work. 01:12:05.821 --> 01:12:06.381 [SPEAKER_00]: The quote was, 01:12:07.282 --> 01:12:09.644 [SPEAKER_00]: Unrequited love does not die. 01:12:09.884 --> 01:12:16.628 [SPEAKER_00]: It's only beaten down to a secret place where it hides, curled and wounded. 01:12:18.169 --> 01:12:19.750 [SPEAKER_00]: And I thought that was the lesson. 01:12:19.790 --> 01:12:27.576 [SPEAKER_00]: I also thought what we've just been discussing might indeed be the theme of the show, which is concentrate on the essentials. 01:12:31.298 --> 01:12:32.579 [SPEAKER_00]: Which is what he didn't do. 01:12:32.959 --> 01:12:37.463 [SPEAKER_00]: That's why the elevator accident happened and you have to concentrate on these essentials. 01:12:37.763 --> 01:12:38.424 [SPEAKER_01]: Yeah, it's interesting. 01:12:38.484 --> 01:12:41.286 [SPEAKER_01]: I think you're right in a way that is a big lesson of this. 01:12:41.446 --> 01:12:47.791 [SPEAKER_01]: It's like, don't let your heart as important as that may feel. 01:12:48.492 --> 01:12:52.715 [SPEAKER_01]: Don't let it throw you off of who you truly are, essentially are. 01:12:53.276 --> 01:12:54.337 [SPEAKER_01]: Don't lose yourself. 01:12:55.390 --> 01:13:02.260 [SPEAKER_00]: You know, in my Shakespeare classes, I always say to people, don't let the plate pay those over come the logos. 01:13:03.342 --> 01:13:07.868 [SPEAKER_00]: Pay those just feelings, logos is argument is unological argument. 01:13:09.167 --> 01:13:09.427 [SPEAKER_02]: love it. 01:13:09.607 --> 01:13:20.769 [SPEAKER_02]: My lesson here is with no risk there is no reward because sometimes you got a risk it if you want to get the biscuit and if he had risked talking to Kira who knows what could have happened? 01:13:21.269 --> 01:13:21.710 [SPEAKER_02]: You don't know. 01:13:22.130 --> 01:13:24.030 [SPEAKER_01]: I have a feeling he's going to talk to Kira. 01:13:24.110 --> 01:13:24.610 [SPEAKER_01]: I hope so. 01:13:25.090 --> 01:13:25.530 [SPEAKER_01]: I hope so. 01:13:25.550 --> 01:13:26.230 [SPEAKER_01]: I hope so. 01:13:26.510 --> 01:13:29.911 [SPEAKER_01]: I don't think this whole Chicago thing is going to work out because he's only one more episode. 01:13:30.011 --> 01:13:30.791 [SPEAKER_02]: That's true. 01:13:31.011 --> 01:13:31.812 [SPEAKER_02]: So there you go. 01:13:32.272 --> 01:13:32.572 [SPEAKER_02]: All right. 01:13:32.972 --> 01:13:38.733 [SPEAKER_02]: Our Patreon poll winner for a theme lesson moral this episode is submitted by Nicole Bretel and that is 01:13:39.793 --> 01:13:45.837 [SPEAKER_02]: Unrequited love can be painful, but one can't let it control one's life. 01:13:47.258 --> 01:13:50.059 [SPEAKER_02]: Alrighty, we're at the end of our episode. 01:13:50.600 --> 01:13:52.381 [SPEAKER_02]: Next time we will be 01:13:53.921 --> 01:14:03.487 [SPEAKER_02]: Recapping, discussing the episode returned to grace with Terry, and also next time returned to grace with Terry will also include special guests to not visit her. 01:14:03.887 --> 01:14:06.629 [SPEAKER_02]: We want to thank Arman for joining us in hosting us on this episode. 01:14:06.649 --> 01:14:07.590 [SPEAKER_02]: Thank you. 01:14:07.990 --> 01:14:12.253 [SPEAKER_02]: And for all of our Patreon patrons, please stay tuned for your bonus material.