WEBVTT 00:08.745 --> 00:16.307 [SPEAKER_02]: Welcome to the Delta Flyers journey through the Watermohol with Quark Dax and their good friends Tom and Harry. 00:16.847 --> 00:24.289 [SPEAKER_02]: Join us as we make our way through episodes of Star Trek Deep Space None. 00:25.130 --> 00:33.812 [SPEAKER_03]: You're a host for today or my fellow Trek actors, Terry Farrell, Robert Duncan McNeill, and myself, Garrett Wong. 00:34.072 --> 00:42.656 [SPEAKER_02]: I'm trying to bring a little extra because poor Terry, our poor Terry is fighting her, her illnesses. 00:43.576 --> 00:50.039 [SPEAKER_03]: So we're judging it up to sort of balance it out to let Terry be more on cruise control fair fair fair. 00:50.099 --> 00:50.979 [SPEAKER_01]: Thank you. 00:51.119 --> 00:52.820 [SPEAKER_01]: But this, I haven't used it yet. 00:52.860 --> 00:54.741 [SPEAKER_01]: This how to write memoirs book. 00:55.001 --> 00:56.361 [SPEAKER_01]: I read like the beginning. 00:56.702 --> 00:57.042 [SPEAKER_01]: Yes. 00:57.062 --> 00:58.902 [SPEAKER_01]: Of course, because we get busy. 00:58.963 --> 00:59.483 [SPEAKER_01]: We forget. 01:00.283 --> 01:04.866 [SPEAKER_01]: but it's said if you don't know where to start, just start writing down stories you remember. 01:05.606 --> 01:08.668 [SPEAKER_02]: That's what I was just talking to Garrett about. 01:08.708 --> 01:09.949 [SPEAKER_03]: That was so crazy. 01:10.109 --> 01:15.352 [SPEAKER_02]: I've mentioned this to on some of our zooms, monthly zooms, to some of our Patreon patrons. 01:15.392 --> 01:18.494 [SPEAKER_02]: Yeah, but I was just showing Garrett this thing that I made. 01:18.554 --> 01:23.037 [SPEAKER_02]: It's a book that I made for my kids called a collection of life stories. 01:23.617 --> 01:26.799 [SPEAKER_02]: And there's this company called Storyworth. 01:27.019 --> 01:28.641 [SPEAKER_02]: I'm not doing an ad for them. 01:28.701 --> 01:30.022 [SPEAKER_02]: I'm just telling you what I did. 01:30.742 --> 01:37.767 [SPEAKER_02]: But I like Storyworth because they ask you questions, and then you just answer the question, kind of like what you were just talking about, Terry. 01:38.007 --> 01:38.207 [SPEAKER_02]: Yeah. 01:38.227 --> 01:41.870 [SPEAKER_02]: They just start telling, remember stories, writing down stories. 01:41.990 --> 01:44.131 [SPEAKER_02]: They're like, yeah, they ask you questions. 01:44.331 --> 01:49.635 [SPEAKER_03]: I thought that's what you had the same program that Robbie has or the same memoir building. 01:50.240 --> 01:50.920 [SPEAKER_01]: No, no, no. 01:50.960 --> 01:53.241 [SPEAKER_01]: It's an actual book, and do not. 01:53.321 --> 01:55.761 [SPEAKER_01]: If I go to look for it, you won't see me for 20 minutes. 01:55.821 --> 02:06.324 [SPEAKER_02]: There's a lot of great books about writing your life story, writing memoirs, and definitely I've been that exercise I did for my kids, and they published that book. 02:06.344 --> 02:08.005 [SPEAKER_02]: I've got 10 of them or so. 02:08.085 --> 02:11.766 [SPEAKER_02]: I handed them out to my sister and my nephew and different people. 02:11.786 --> 02:12.726 [SPEAKER_01]: So nice of you. 02:13.316 --> 02:17.604 [SPEAKER_02]: But I want to write a real book, I'm thinking about that and working out. 02:17.704 --> 02:17.985 [SPEAKER_02]: Yeah. 02:18.005 --> 02:20.449 [SPEAKER_01]: I've been thinking about that, too, honestly. 02:20.589 --> 02:24.456 [SPEAKER_01]: I think what stops me is I feel like I don't have enough education. 02:24.476 --> 02:25.238 [SPEAKER_01]: They do. 02:26.175 --> 02:27.256 [SPEAKER_02]: Right in your voice. 02:27.396 --> 02:28.777 [SPEAKER_02]: Just right in your voice. 02:28.938 --> 02:31.400 [SPEAKER_01]: You're just starting writing it down. 02:31.420 --> 02:34.102 [SPEAKER_01]: If you don't start, you can't get anywhere. 02:35.223 --> 02:38.466 [SPEAKER_01]: Also, it's like, I watched this James Patterson. 02:38.586 --> 02:43.611 [SPEAKER_01]: I mean, now I know this is not to do with us, but it felt like the only thing on master class. 02:43.731 --> 02:49.134 [SPEAKER_01]: It was the only one where it wasn't like, you know, kind of too esoteric or like I don't want to write comedy. 02:49.174 --> 02:51.476 [SPEAKER_01]: I wanted to hear something about the process. 02:51.796 --> 02:52.036 [SPEAKER_00]: Yeah. 02:52.076 --> 02:52.336 [SPEAKER_00]: Yeah. 02:52.556 --> 02:56.259 [SPEAKER_01]: And, you know, like Stephen King says, you just got to set time aside. 02:56.399 --> 02:58.580 [SPEAKER_01]: You've got to read as much as you're writing. 02:59.020 --> 03:00.361 [SPEAKER_01]: You just have to start writing. 03:00.401 --> 03:01.122 [SPEAKER_01]: It doesn't matter. 03:02.002 --> 03:26.598 [SPEAKER_01]: at first just so you get start getting in a get your juices going it doesn't matter what mistakes you make just start writing it down James Patterson those says that he works on an outline and that most people don't They don't they just want to start writing and they don't want to think about the outline but if you're telling that a story that is driven and I would think even if it's about yourself if you have enough. 03:27.198 --> 03:29.999 [SPEAKER_01]: practice or talent writing like you do. 03:30.159 --> 03:33.119 [SPEAKER_01]: He said he works sometimes at the month, but that's super rare. 03:33.159 --> 03:39.640 [SPEAKER_01]: But it usually takes him about three months to get down to an outline that he feels like a solid. 03:39.900 --> 03:40.300 [SPEAKER_02]: Hmm. 03:40.741 --> 03:41.021 [SPEAKER_02]: Wow. 03:41.361 --> 03:42.661 [SPEAKER_02]: And that's a writing every day. 03:42.681 --> 03:43.481 [SPEAKER_01]: Yeah. 03:43.501 --> 03:45.021 [SPEAKER_02]: That's a very slow process. 03:45.321 --> 03:45.501 [SPEAKER_02]: Yeah. 03:45.581 --> 03:46.542 [SPEAKER_01]: It sounded like it. 03:46.582 --> 03:50.502 [SPEAKER_01]: But it also, he said, look, it's one of those don't feel bad. 03:50.582 --> 03:53.023 [SPEAKER_01]: Either the speaks to you and you start writing. 03:53.963 --> 03:55.924 [SPEAKER_01]: or it doesn't, and you never finish the book. 03:56.024 --> 04:01.646 [SPEAKER_01]: And that's what it is, but you have to love the process because it's a lot of work. 04:01.767 --> 04:02.927 [SPEAKER_02]: I'd love to read your book. 04:03.207 --> 04:04.648 [SPEAKER_01]: I'd love to read your book, too. 04:05.068 --> 04:05.548 [SPEAKER_02]: All right. 04:05.868 --> 04:06.289 [SPEAKER_01]: Yeah. 04:06.489 --> 04:07.349 [SPEAKER_01]: How about you, Garrett? 04:07.369 --> 04:08.790 [SPEAKER_01]: You're going to write a book. 04:08.950 --> 04:10.190 [SPEAKER_03]: I will write a book as well. 04:10.430 --> 04:11.071 [SPEAKER_03]: Yeah. 04:11.511 --> 04:12.791 [SPEAKER_01]: You have a lot to say. 04:12.811 --> 04:12.891 [SPEAKER_01]: Yes. 04:14.332 --> 04:14.932 [SPEAKER_01]: You do. 04:15.032 --> 04:18.054 [SPEAKER_01]: You've gone through a lot, especially being first generation here. 04:18.094 --> 04:18.835 [SPEAKER_01]: That's you. 04:18.875 --> 04:20.435 [SPEAKER_03]: Yeah, there's a lot for sure. 04:20.616 --> 04:21.936 [SPEAKER_03]: I'm going to switch gears. 04:22.096 --> 04:28.260 [SPEAKER_03]: I'm going to ask Robbie about Stuart Fails, which is going to be premiering July 23 on HBO. 04:28.580 --> 04:29.680 [SPEAKER_03]: Talk about that, Robbie. 04:29.861 --> 04:31.742 [SPEAKER_01]: Thank you for bringing that up. 04:31.802 --> 04:33.423 [SPEAKER_01]: Stuart is Stuart Fails. 04:33.643 --> 04:34.883 [SPEAKER_01]: I don't know about that. 04:34.903 --> 04:37.245 [SPEAKER_02]: Stuart Fails to save the universe is 04:42.049 --> 04:47.555 [SPEAKER_02]: Premiering on July 23rd, I got to direct the last two episodes of the series. 04:47.595 --> 04:48.777 [SPEAKER_02]: There's 10 episodes. 04:48.977 --> 04:51.920 [SPEAKER_02]: Jonathan Freykes got to direct the middle. 04:51.940 --> 04:54.823 [SPEAKER_02]: He, I think, did five and six, something like that. 04:54.923 --> 05:00.450 [SPEAKER_02]: It's got some of the great characters, a lot of surprise characters popping in. 05:01.290 --> 05:04.391 [SPEAKER_02]: throughout the season, and it's just, it's about a multiverse. 05:04.431 --> 05:15.693 [SPEAKER_02]: It's a single cam, multiverse sci-fi concept, lots and lots of action, lots of jokes, and lots of visual effects, tons of visual effects. 05:15.773 --> 05:17.073 [SPEAKER_02]: It's really, it's fun joke. 05:17.273 --> 05:17.993 [SPEAKER_03]: I'm excited for you. 05:18.093 --> 05:19.013 [SPEAKER_01]: It sounds great. 05:19.093 --> 05:20.674 [SPEAKER_02]: Yeah, let's talk about some birthdays. 05:20.694 --> 05:22.874 [SPEAKER_02]: I want to, I want to mention Jonathan Caps' birthday. 05:22.894 --> 05:23.214 [SPEAKER_02]: Mmm. 05:23.334 --> 05:25.555 [SPEAKER_02]: Jonathan Caps has a birthday on July 8th. 05:25.735 --> 05:26.815 [SPEAKER_02]: We love Jonathan. 05:26.895 --> 05:28.055 [SPEAKER_02]: Happy birthday, Jonathan. 05:28.155 --> 05:29.956 [SPEAKER_01]: Happy birthday, Jonathan. 05:30.076 --> 05:32.918 [SPEAKER_03]: Happy birthday to Jonathan. 05:33.499 --> 05:37.241 [SPEAKER_03]: Offering that we care so much about. 05:37.582 --> 05:41.364 [SPEAKER_03]: Happy birthday to Jonathan. 05:41.424 --> 05:42.825 [SPEAKER_03]: We have a brand new prophet. 05:42.845 --> 05:48.529 [SPEAKER_03]: We want to say welcome and congratulations to our newest prophet, Eusef Francis. 05:48.589 --> 05:49.710 [SPEAKER_03]: Congratulations, Eusef. 05:49.790 --> 05:52.452 [SPEAKER_01]: Well, Eusef, thank you so much for joining us. 05:52.792 --> 05:53.733 [SPEAKER_02]: Welcome, Eusef. 05:57.747 --> 05:59.569 [SPEAKER_03]: There's my high coup for sons and daughters. 05:59.750 --> 06:01.692 [SPEAKER_03]: Surprise, it's Alex. 06:02.673 --> 06:04.856 [SPEAKER_03]: Surprise, Narees, it's Zell. 06:05.777 --> 06:07.159 [SPEAKER_03]: The cut gets no love. 06:08.761 --> 06:09.102 [SPEAKER_03]: That's it. 06:11.557 --> 06:13.259 [SPEAKER_02]: Very funny, very funny. 06:13.319 --> 06:14.079 [SPEAKER_01]: I bowed out. 06:14.360 --> 06:15.241 [SPEAKER_01]: Yes, sorry. 06:15.401 --> 06:16.021 [SPEAKER_01]: I bowed out. 06:16.302 --> 06:18.183 [SPEAKER_02]: Yes, yes, you've been sick. 06:18.263 --> 06:20.586 [SPEAKER_02]: OK, here's my limerick for sons and daughters. 06:20.786 --> 06:24.289 [SPEAKER_02]: I might give it a little extra judge to help Terry feel better. 06:24.429 --> 06:29.654 [SPEAKER_02]: There once was a father named Warf, whose parenting style seemed quite cars. 06:31.399 --> 06:39.644 [SPEAKER_02]: Though his son's clumsy fight was lacking in might, he learned acceptance was fatherly love's true source. 06:40.064 --> 06:41.805 [SPEAKER_02]: I thought that was fantastic. 06:42.085 --> 06:42.605 [SPEAKER_02]: Thank you. 06:42.665 --> 06:44.586 [SPEAKER_02]: How would you like the bad Irish accent? 06:44.887 --> 06:45.647 [SPEAKER_01]: I love it. 06:45.687 --> 06:49.109 [SPEAKER_03]: Peter and submitted poetry winner is submitted by Jason O'Kin. 06:49.169 --> 06:55.913 [SPEAKER_03]: When sons and daughters seek to find their place, reunions stir both longing and disdain. 06:56.833 --> 06:59.135 [SPEAKER_03]: Some truths can be too difficult to face. 07:00.135 --> 07:03.017 [SPEAKER_03]: be that from past abandonment or pain. 07:03.978 --> 07:13.625 [SPEAKER_03]: In dire times, the bonds of blood are tried, as each must reckon with just who they are, yet even love can't always help decide. 07:14.186 --> 07:17.268 [SPEAKER_03]: If closeness heals or opens every scar. 07:17.488 --> 07:18.189 [SPEAKER_01]: Very nice. 07:18.269 --> 07:19.430 [SPEAKER_02]: These are always so deep. 07:19.710 --> 07:21.431 [SPEAKER_02]: They're slightly and heavy. 07:21.711 --> 07:22.332 [SPEAKER_02]: They're weighty. 07:23.232 --> 07:24.713 [SPEAKER_02]: They're way too far. 07:24.813 --> 07:25.153 [SPEAKER_02]: Yes. 07:25.333 --> 07:26.453 [SPEAKER_03]: I'm fine. 07:26.753 --> 07:27.093 [SPEAKER_03]: Yes. 07:27.273 --> 07:28.193 [SPEAKER_03]: No dessert for us. 07:28.393 --> 07:31.034 [SPEAKER_03]: This episode is written by Bradley Thompson in David Wuddle. 07:31.734 --> 07:34.295 [SPEAKER_03]: Corrected by Hissu Salvador Trevino. 07:34.435 --> 07:38.836 [SPEAKER_03]: Our guest stars are Mark Warden as Alexander Roginco. 07:39.036 --> 07:42.037 [SPEAKER_03]: Mark Alimmo as go to college, J.J. Hurtslur as Marta. 07:42.688 --> 07:53.863 [SPEAKER_03]: Melanie Smith as y'all, Casey Biggs as Demar and Sam Zeller as Chittalk, and of course Gabrielle Union as Gare, Gabrielle Union. 07:53.883 --> 07:54.764 [SPEAKER_02]: Oh my god. 07:54.784 --> 07:56.407 [SPEAKER_02]: She went on to do big things. 07:56.527 --> 07:57.148 [SPEAKER_02]: This was a 07:57.690 --> 08:00.171 [SPEAKER_02]: an early career situation for her, I think. 08:00.711 --> 08:05.513 [SPEAKER_03]: Yeah, or what she already sort of kind of known at this point, or maybe, I don't know. 08:06.114 --> 08:06.694 [SPEAKER_02]: I don't know. 08:06.714 --> 08:09.235 [SPEAKER_02]: I don't think she had done bring it on yet. 08:09.455 --> 08:09.795 [SPEAKER_02]: Okay. 08:10.196 --> 08:13.757 [SPEAKER_02]: That was kind of a big breakthrough, and she was in bad boys. 08:13.857 --> 08:21.360 [SPEAKER_02]: I was really surprised to see her under all that makeup in a role that is relatively small to be honest. 08:21.641 --> 08:24.322 [SPEAKER_02]: And so this must have been early in her career. 08:25.122 --> 08:25.963 [SPEAKER_03]: I was totally shocked. 08:26.043 --> 08:26.643 [SPEAKER_03]: I had no idea. 08:26.663 --> 08:26.983 [SPEAKER_03]: It was her. 08:27.123 --> 08:28.244 [SPEAKER_03]: All right, a little bit of trivia. 08:28.304 --> 08:33.607 [SPEAKER_03]: This episode was based on the 1950 John Ford film Rio Grande. 08:33.927 --> 08:44.353 [SPEAKER_03]: The film is about a fort commander who discovers that one of his new recruits is his son, whom he hasn't seen since he divorced the boy's mother years ago. 08:44.673 --> 08:47.735 [SPEAKER_03]: The son hates the father, but they must learn to work together. 08:47.795 --> 08:48.816 [SPEAKER_03]: So that is basically 08:52.618 --> 08:53.819 [SPEAKER_02]: I'm going to say full disclosure. 08:54.080 --> 08:57.543 [SPEAKER_02]: I love parent child stories. 08:57.784 --> 09:01.267 [SPEAKER_02]: They tug at my heart in ways I don't even understand. 09:01.468 --> 09:04.571 [SPEAKER_02]: And particularly Father's son stories hit me very hard. 09:04.711 --> 09:05.592 [SPEAKER_02]: This one did not. 09:06.954 --> 09:10.497 [SPEAKER_02]: It didn't really catch me emotionally. 09:10.557 --> 09:12.319 [SPEAKER_02]: And we'll talk about it as we get into it. 09:13.158 --> 09:18.444 [SPEAKER_02]: But I think it was a great opportunity to explore character relationship and these ideas. 09:18.584 --> 09:30.616 [SPEAKER_02]: I did it like I said for me are the most powerful stories that I watched and they move me so much, but this one didn't quite do that for me and I know I agree and then you kind of sad. 09:30.757 --> 09:33.519 [SPEAKER_01]: I wanted this to be more juicy for war. 09:34.960 --> 09:36.841 [SPEAKER_01]: And Alexander. 09:36.861 --> 09:36.941 [SPEAKER_01]: Yes. 09:38.021 --> 09:45.844 [SPEAKER_01]: And I think it would have helped us that story line would have been focused on more and not did the sons and daughters. 09:46.044 --> 09:53.067 [SPEAKER_01]: It was like both of them being super heavy didn't help neither one of them had the juice to make me go. 09:53.807 --> 09:53.867 [SPEAKER_01]: Oh. 09:55.658 --> 09:56.759 [SPEAKER_03]: So, okay. 09:56.799 --> 10:03.085 [SPEAKER_03]: So just to be to play Devils Advocate, I'm going to sort of stick up for the writers a little bit here. 10:03.725 --> 10:08.189 [SPEAKER_03]: This is episode three of season six, okay. 10:08.249 --> 10:14.274 [SPEAKER_03]: So we had Rocks and Sholes, which was episode two, and then we have this one. 10:14.615 --> 10:17.537 [SPEAKER_03]: But in actual filming, 10:22.328 --> 10:36.656 [SPEAKER_03]: And the issue was they had not finished their decision of what they were going to do on the on the station story like there was just a lot of moving parts going on almost like this episode of a sort of a B story line within the art. 10:36.676 --> 10:37.477 [SPEAKER_01]: Yeah, sounds like it. 10:37.557 --> 10:44.661 [SPEAKER_03]: Yeah, but a lot of the story was changing while they were filming and it was just very difficult episode for them to. 10:45.461 --> 10:48.845 [SPEAKER_03]: pull everything together or really focus and make it a better episode. 10:48.885 --> 10:58.934 [SPEAKER_01]: If they're working over this summer, how many episodes do they have solid after having, I mean, summer, what they get two months to write before we start, which is not very long. 10:59.615 --> 10:59.815 [SPEAKER_03]: Right. 11:00.035 --> 11:00.616 [SPEAKER_01]: But shouldn't, 11:02.357 --> 11:05.938 [SPEAKER_01]: It just seems like you should have solid the first five at least. 11:05.958 --> 11:06.518 [SPEAKER_01]: You think so? 11:06.658 --> 11:10.840 [SPEAKER_01]: So that while the first five are filming, you're working on six to ten. 11:10.900 --> 11:14.001 [SPEAKER_02]: Seems early for them to be struggling so much with story. 11:14.181 --> 11:17.922 [SPEAKER_02]: And this is a kind of story that didn't need any of that of those of the decisions. 11:17.982 --> 11:19.942 [SPEAKER_02]: It didn't matter what happened at the station. 11:20.003 --> 11:20.243 [SPEAKER_02]: No. 11:20.323 --> 11:20.923 [SPEAKER_02]: Didn't to me. 11:21.743 --> 11:25.025 [SPEAKER_02]: This is a relationship story on this like a bot could have been a bottle. 11:25.265 --> 11:25.785 [SPEAKER_02]: Oh, yeah. 11:25.825 --> 11:29.628 [SPEAKER_02]: Could have been dove into those relationships now and deeper. 11:30.008 --> 11:30.228 [SPEAKER_01]: Yeah. 11:30.288 --> 11:36.772 [SPEAKER_01]: This could have been just the clings on just about what's in Alexander about them. 11:37.232 --> 11:40.454 [SPEAKER_01]: Because we haven't really seen their part of the war. 11:40.774 --> 11:41.315 [SPEAKER_01]: You too. 11:42.195 --> 11:48.682 [SPEAKER_01]: I mean, they've talked about how they go in and they have to retreat, but they haven't really showed us what's going on. 11:48.762 --> 11:57.150 [SPEAKER_01]: So I think it would have been helpful to have this episode be more retiring and Mar talk and maybe some Mar talk story to backstory. 11:57.370 --> 11:58.311 [SPEAKER_03]: I'll go with that further. 11:58.452 --> 11:59.613 [SPEAKER_03]: This could have been a spin off. 11:59.733 --> 12:00.754 [SPEAKER_03]: It could have been Star Trek. 12:00.954 --> 12:02.715 [SPEAKER_03]: uh... retarine at the i.k.s. 12:02.755 --> 12:22.765 [SPEAKER_02]: retar the cling on and put you know does it clinging on side of it could have been a whole other show really well that would help break away from having to worry about what's going on in station but we're still in war right you well let's get into it in war's quarters on the retar and there's dacks in war if having a little make out time and when i say little i mean a lot 12:22.985 --> 12:25.728 [SPEAKER_03]: I would say get a room, but you're already in his room. 12:25.748 --> 12:41.785 [SPEAKER_02]: They're making out, and then Cisco calls, they're going to be at Starbase 3, 3, 7, 5, and about five minutes, so she says she'll meet him in the, in the transporter room, and she starts packing up in this one, Warfast Dax to basically to join his house. 12:43.006 --> 13:06.657 [SPEAKER_02]: And she sort of teases him for a moment and says no, no way, but then she agrees I did like the momentary when when he says there's one more thing you say as long as it's not about the wedding and he goes, when we exchange vows We're head to the head's like, uh, not again, please isn't a background, but I was just like, oh, that's funny. 13:07.040 --> 13:10.183 [SPEAKER_01]: Yeah, you know, we won't even let me be a girl for a minute and be part of it. 13:10.303 --> 13:13.466 [SPEAKER_02]: Yeah, he is very erotic about this wedding. 13:13.586 --> 13:17.709 [SPEAKER_02]: Well, as she agrees in the end off they go, we cut to the return bridge. 13:18.570 --> 13:20.512 [SPEAKER_02]: It's very smoky this bridge. 13:21.472 --> 13:23.574 [SPEAKER_02]: I just want to mention to bring up. 13:23.634 --> 13:25.236 [SPEAKER_02]: It's like super smoke time. 13:25.316 --> 13:25.876 [SPEAKER_02]: Yeah. 13:25.936 --> 13:26.917 [SPEAKER_02]: Yeah. 13:26.997 --> 13:27.858 [SPEAKER_02]: But they're about to 13:31.947 --> 13:57.478 [SPEAKER_02]: mentioned how they are sick and tired of being on a clean on ship because of all the you know the food is disgusting and all the singing they mentioned so they're thrilled the sheer miles are thrilled to get it to a starfleet dot you know station and have some starfleet food and no more clean up singing anyway Cisco thinks more talk uh... and Cisco bets martaca barrel of bloodline 13:58.360 --> 14:02.103 [SPEAKER_02]: that he sets foot back on DS9 before Mark talked to us. 14:02.844 --> 14:05.406 [SPEAKER_02]: So there's a nice little camaraderie between those two. 14:05.426 --> 14:06.527 [SPEAKER_01]: I like that moment. 14:06.567 --> 14:08.088 [SPEAKER_01]: It seemed really genuine too. 14:08.148 --> 14:08.849 [SPEAKER_02]: Yes, it did. 14:08.869 --> 14:11.291 [SPEAKER_01]: Yeah, they were both really having a good laugh. 14:11.331 --> 14:12.271 [SPEAKER_02]: Did they get along? 14:12.371 --> 14:14.073 [SPEAKER_01]: I don't know I never see that they don't. 14:14.213 --> 14:17.896 [SPEAKER_02]: It seemed to me like they really got along well in this moment. 14:18.176 --> 14:19.797 [SPEAKER_02]: Like it did feel genuine. 14:19.817 --> 14:24.241 [SPEAKER_02]: It felt like actors enjoying being around each other in a good way. 14:24.763 --> 14:25.824 [SPEAKER_01]: Yeah, and I think J.G. 14:25.864 --> 14:29.108 [SPEAKER_01]: always has great things to say about his experience. 14:29.448 --> 14:34.654 [SPEAKER_01]: So I've never heard him say anything about not feeling comfortable or welcome. 14:34.854 --> 14:36.395 [SPEAKER_02]: Yeah, it's a great pairing. 14:36.435 --> 14:42.482 [SPEAKER_02]: I wish we'd see more of them in those kind of moments, you know, because you'll the the authentic sort of 14:43.470 --> 14:44.731 [SPEAKER_02]: enjoyment out of both of them. 14:44.851 --> 14:47.133 [SPEAKER_02]: We go over to the return mess hall now. 14:47.433 --> 14:50.636 [SPEAKER_02]: Worf announces, I've replacedments are here. 14:50.896 --> 14:55.419 [SPEAKER_02]: Martak does mention in this scene he likes battle when he's winning a lot better than he's losing. 14:55.639 --> 14:58.642 [SPEAKER_02]: Yes, and then Martak gives a very inspiring speech. 14:59.960 --> 15:01.241 [SPEAKER_02]: to these recruits. 15:02.022 --> 15:10.752 [SPEAKER_02]: And while he's giving the speech, we get these awkward looks between warmth and one of the new recruits, Alexander, who I didn't. 15:11.333 --> 15:14.136 [SPEAKER_02]: I didn't know the next gen episodes. 15:14.176 --> 15:14.717 [SPEAKER_02]: We did. 15:15.177 --> 15:15.477 [SPEAKER_03]: Yeah. 15:16.539 --> 15:20.163 [SPEAKER_02]: So to me, I was like, well, clearly, there's something here, but I didn't know what it was. 15:20.543 --> 15:29.049 [SPEAKER_03]: So, Warf says, who offers their life for the empire and we see the lineup of all the new recruits and they start listing off who they are. 15:29.389 --> 15:38.116 [SPEAKER_03]: Garan, daughter of Zedek and that is a Gabrielle Union who, again, I didn't realize it was her till later, Katak, son of Jepak. 15:38.676 --> 15:39.737 [SPEAKER_03]: Do you guys remember Jepak? 15:40.377 --> 15:47.642 [SPEAKER_03]: Jepak is the cling-on that was the prosecuting attorney that came to the station that was trying to say 15:48.543 --> 15:53.646 [SPEAKER_03]: Warf was firing upon and this had shipped and yeah, yeah, or that guy. 15:53.666 --> 15:54.406 [SPEAKER_03]: He was trying to get. 15:54.426 --> 15:56.287 [SPEAKER_03]: Yeah, that's Chapak. 15:56.547 --> 15:58.568 [SPEAKER_03]: So Katalk is his son. 15:58.588 --> 16:00.349 [SPEAKER_01]: Literally that character or the same. 16:00.429 --> 16:02.650 [SPEAKER_03]: Yeah, no, it's the same. 16:02.670 --> 16:04.751 [SPEAKER_01]: Wow, I guess he moved up backwards. 16:05.614 --> 16:11.197 [SPEAKER_03]: Yeah, well, no, no, the son of the guy who is the, okay, that makes it different. 16:11.217 --> 16:12.117 [SPEAKER_03]: The pros are killing attorney. 16:13.017 --> 16:30.946 [SPEAKER_03]: We also have cough, cough, son of Larna, and then Durant, daughter of Walmart, and finally, last but not least Alexander Rijenko, which Robbie and I, again, we have no TNG basis of reference, because we haven't seen really much of that if anything. 16:31.146 --> 16:33.467 [SPEAKER_01]: Oh, so he's the same actor that was on next gen. 16:33.667 --> 16:34.688 [SPEAKER_03]: No, I don't think he is. 16:34.948 --> 16:37.209 [SPEAKER_01]: Was Susie Plex and his mom? 16:37.409 --> 16:39.150 [SPEAKER_03]: Susie Plex and his clingon, correct? 16:39.851 --> 16:45.414 [SPEAKER_03]: Disney's mother, I'm guessing because of his name, his mother is human, or my wrong to say that. 16:45.434 --> 16:47.095 [SPEAKER_03]: Where's El Exenda Regenco come from? 16:47.135 --> 16:48.136 [SPEAKER_03]: Yeah, have a clingon name. 16:48.989 --> 17:03.472 [SPEAKER_03]: Is it the family that he went to live with that you may be that could be it that's possible But I'm so confused is when he says Alexander Regenco, I think that is somebody who dances for the Russian ballet Okay, not more son. 17:04.472 --> 17:05.272 [SPEAKER_03]: It's confusing me. 17:05.572 --> 17:06.552 [SPEAKER_03]: Yeah, what do you well? 17:06.692 --> 17:08.213 [SPEAKER_02]: I would love to see a ballet number. 17:08.273 --> 17:14.454 [SPEAKER_03]: He did not do he did not Yeah, that's like I said so that was a big complaint about fans saying that 17:15.372 --> 17:19.233 [SPEAKER_03]: Regenco should only be like 12 years old at this point. 17:19.333 --> 17:26.176 [SPEAKER_03]: You know, he shouldn't be 21, 22 year old, or even an 18, 19 year old kid, he shouldn't be that old. 17:26.656 --> 17:30.077 [SPEAKER_03]: So fans were saying, wait a minute, where's the continuity here? 17:30.097 --> 17:32.978 [SPEAKER_03]: This actor is much older than what we think. 17:33.078 --> 17:43.302 [SPEAKER_03]: People were saying, well, maybe we can validate it by saying that Clingon's age faster, but truly, the only race that we've seen that age is very quick are the Jim Hadar. 17:43.342 --> 17:43.762 [SPEAKER_03]: That's it. 17:43.982 --> 17:45.244 [SPEAKER_03]: in this in this series. 17:45.284 --> 17:52.612 [SPEAKER_01]: We don't see anyone else at Alexander Rijanko's mother in Star Trek universe is half-cling on half-human and it's Susie Plxton. 17:53.133 --> 17:54.074 [SPEAKER_03]: Oh, it is Susie then. 17:54.335 --> 17:55.736 [SPEAKER_01]: So let me say this too. 17:56.537 --> 17:59.140 [SPEAKER_01]: I don't like how short he is. 18:00.341 --> 18:03.682 [SPEAKER_01]: it took me out completely out how tiny he was. 18:04.502 --> 18:10.283 [SPEAKER_01]: Susie and I, well, at one point we were both the same height, but I felt like she was six one. 18:10.704 --> 18:11.384 [SPEAKER_01]: You know what I mean? 18:11.464 --> 18:12.544 [SPEAKER_01]: Six six one. 18:12.564 --> 18:17.325 [SPEAKER_01]: We're at the same height and Dorn is six three or four. 18:17.545 --> 18:18.405 [SPEAKER_02]: She's six two. 18:18.685 --> 18:19.886 [SPEAKER_02]: She's six two. 18:20.086 --> 18:21.566 [SPEAKER_01]: Okay, and I'm just six feet. 18:21.966 --> 18:29.048 [SPEAKER_01]: And I just don't believe that they're child even 18 12 whatever would be that short. 18:30.083 --> 18:32.664 [SPEAKER_01]: So that took me out physicality one interesting. 18:32.704 --> 18:41.147 [SPEAKER_02]: Yeah, they probably went with a short version because that just unconsciously makes you think it's a youthful person or younger person, but yeah, you're right. 18:41.307 --> 18:42.207 [SPEAKER_02]: If that's the mom. 18:42.728 --> 18:45.769 [SPEAKER_01]: But if you could have picked a taller, blankier guy. 18:45.789 --> 18:48.209 [SPEAKER_01]: Yeah, that's not this actor's fault. 18:48.309 --> 18:51.010 [SPEAKER_01]: This just feels like not great casting to me. 18:51.070 --> 18:57.273 [SPEAKER_01]: And it took me out in a kind of also ruin the story for me in that sense in that story line. 18:58.313 --> 18:59.974 [SPEAKER_02]: Well, he does say Alexander Regenko. 18:59.994 --> 19:06.840 [SPEAKER_02]: He doesn't say a house and Marta asks is that is the house Regenko and he goes, no, the honor will be my own. 19:07.280 --> 19:09.942 [SPEAKER_02]: Yeah, it's pretty no, like he's a bit of a lone wolf. 19:09.982 --> 19:10.543 [SPEAKER_02]: He's kind of... 19:10.943 --> 19:13.325 [SPEAKER_01]: Which is not very cling on us, really? 19:13.345 --> 19:14.125 [SPEAKER_01]: Yeah. 19:14.426 --> 19:17.368 [SPEAKER_01]: They're really team players, even though they act really tough. 19:31.597 --> 19:32.077 [SPEAKER_02]: Laya. 19:32.297 --> 19:32.577 [SPEAKER_02]: All right. 19:32.597 --> 19:37.259 [SPEAKER_02]: Well, we go to Quarks next and Otto and Kira are secretly talking up on the second floor there. 19:37.379 --> 19:38.239 [SPEAKER_02]: Jake joins them. 19:38.299 --> 19:41.120 [SPEAKER_02]: He wants to join their resistance cell. 19:41.180 --> 19:42.941 [SPEAKER_02]: Very dramatic intrigue. 19:42.961 --> 19:45.082 [SPEAKER_02]: He's excited and they're like, nope. 19:45.362 --> 19:46.402 [SPEAKER_02]: Like, what are you talking about? 19:46.562 --> 19:47.022 [SPEAKER_02]: What cell? 19:47.423 --> 19:47.843 [SPEAKER_02]: What's cell? 19:47.863 --> 19:48.543 [SPEAKER_02]: What are you talking about? 19:49.083 --> 19:51.204 [SPEAKER_02]: And he goes, I know what you're doing. 19:51.324 --> 19:52.564 [SPEAKER_02]: I hear things. 19:53.745 --> 19:59.887 [SPEAKER_02]: That's when Quark arrives and says Kira needs to leave if she wants to meet do caught when he arrives. 20:00.713 --> 20:01.994 [SPEAKER_02]: and Jake notices this. 20:02.215 --> 20:06.199 [SPEAKER_03]: He's a reporter, you know, undercover reporter. 20:06.259 --> 20:13.146 [SPEAKER_02]: He's clocking everything here and out of leave and court warms Jake not to get to involved in all of this. 20:14.065 --> 20:17.686 [SPEAKER_02]: trouble and offers him a way to shop at the end of the scene. 20:17.846 --> 20:20.306 [SPEAKER_01]: It's one way he could have kept watching him. 20:20.747 --> 20:21.987 [SPEAKER_01]: I exactly. 20:22.067 --> 20:24.647 [SPEAKER_01]: And it would have been a great cover for Jake on us. 20:24.728 --> 20:25.668 [SPEAKER_01]: It's been kind of funny. 20:25.888 --> 20:26.248 [SPEAKER_03]: Yes. 20:26.548 --> 20:27.608 [SPEAKER_01]: So it's kind of too bad. 20:27.868 --> 20:35.370 [SPEAKER_03]: And he would have made money because he's not making any money as a correspondent because guess what, where you're not sending any of his stories through to Starfleet. 20:35.730 --> 20:37.311 [SPEAKER_02]: Well, he does have a space. 20:37.351 --> 20:44.614 [SPEAKER_02]: He notices Kira heading to go meet DuCott and he says something like I see Gold DuCott still having you meet him every time you return. 20:44.794 --> 20:47.315 [SPEAKER_01]: He's trying to hear some blood crumbs. 20:47.415 --> 20:48.595 [SPEAKER_01]: I know what I'm talking about. 20:48.675 --> 20:49.836 [SPEAKER_02]: Trying to get involved. 20:50.613 --> 20:51.855 [SPEAKER_02]: See, part of the intrigue. 20:52.075 --> 20:52.476 [SPEAKER_03]: Oh, yeah. 20:52.516 --> 21:06.156 [SPEAKER_03]: We go to the airlock and, of course, outcomes do cut and tomorrow, who complains as usual that she is not in uniform and Bajoran's need or lesson respect to cut tries to calm down tomorrow. 21:06.546 --> 21:09.627 [SPEAKER_03]: and has a little bit of surprise there for Kira. 21:09.767 --> 21:16.430 [SPEAKER_03]: It's Ziaul who is super excited to see Kira and she's running up to and saying, Narees. 21:17.370 --> 21:19.911 [SPEAKER_03]: So there's a lot that has happened basically. 21:19.931 --> 21:24.953 [SPEAKER_03]: And of course, the last time we saw Ziaul, she was abandoned by her father. 21:25.073 --> 21:26.834 [SPEAKER_03]: So now she's with him. 21:26.894 --> 21:28.074 [SPEAKER_03]: So it's, you know, what gives? 21:28.094 --> 21:29.775 [SPEAKER_03]: We're not sure exactly what's going on. 21:29.795 --> 21:30.355 [SPEAKER_03]: That's very good. 21:30.435 --> 21:33.998 [SPEAKER_03]: confusing literally, he like, he banished her. 21:34.058 --> 21:37.160 [SPEAKER_03]: He's like, he's like, you're dead to me. 21:37.220 --> 21:39.542 [SPEAKER_03]: Like you're not even my daughter anymore, right? 21:39.562 --> 21:41.164 [SPEAKER_03]: So we're completely confused. 21:41.404 --> 21:43.045 [SPEAKER_02]: You also remember how we left her. 21:43.185 --> 21:47.068 [SPEAKER_03]: Didn't Derek give her a kiss on the lips. 21:47.189 --> 21:55.115 [SPEAKER_03]: Goodbye, like, by darling, and never again, does she even talk about Derek when she's on this station in this episode, which I thought was really weird. 21:55.135 --> 21:58.718 [SPEAKER_03]: You have an intimate relationship or your dating. 22:00.239 --> 22:01.239 [SPEAKER_03]: Did everyone find that weird? 22:01.299 --> 22:06.261 [SPEAKER_01]: Or even just to be intimately close in a verbal emotional way. 22:06.642 --> 22:06.902 [SPEAKER_03]: Yeah. 22:07.022 --> 22:10.723 [SPEAKER_01]: It would have been nice if she said at least to Kira when they're alone at some point. 22:10.883 --> 22:11.704 [SPEAKER_01]: How is Garrett? 22:11.784 --> 22:13.284 [SPEAKER_01]: I haven't seen her Garrett. 22:13.384 --> 22:13.584 [SPEAKER_01]: Yeah. 22:13.684 --> 22:14.445 [SPEAKER_01]: How is Garrett? 22:14.545 --> 22:16.366 [SPEAKER_01]: I haven't seen her. 22:16.706 --> 22:17.686 [SPEAKER_01]: I haven't seen her. 22:17.706 --> 22:19.707 [SPEAKER_01]: I don't know why I haven't seen her. 22:19.767 --> 22:20.447 [SPEAKER_03]: I'm right here. 22:20.747 --> 22:21.428 [SPEAKER_03]: I'm right here. 22:21.488 --> 22:22.768 [SPEAKER_03]: You can see me. 22:22.788 --> 22:23.608 [SPEAKER_02]: I can't see him. 22:23.748 --> 22:24.009 [SPEAKER_03]: What? 22:24.509 --> 22:25.229 [SPEAKER_03]: Where is he? 22:26.470 --> 22:27.090 [SPEAKER_02]: Blind. 22:30.372 --> 22:36.474 [SPEAKER_02]: There's so much potential for this zeal character, but they can't be casting her and they keep doing these like weird. 22:36.494 --> 22:39.194 [SPEAKER_01]: She's been the same person for a while now. 22:39.214 --> 22:44.456 [SPEAKER_01]: A couple of two things, but she's also toxically positive, which is really hard to watch. 22:44.476 --> 22:45.176 [SPEAKER_02]: Yes, it is. 22:45.876 --> 22:55.079 [SPEAKER_02]: And if they're going to write that or allow the actress to play it that way, then lean into the trauma this character has experienced. 22:55.519 --> 22:58.120 [SPEAKER_02]: And that's why she's so toxically positive. 22:58.300 --> 22:58.480 [SPEAKER_01]: It is. 22:58.500 --> 22:59.680 [SPEAKER_01]: That would be a great story. 22:59.780 --> 23:01.742 [SPEAKER_01]: It's so clear watching this, isn't it? 23:01.782 --> 23:08.788 [SPEAKER_03]: But in the scene, we find out that she is taking a little sabbatical from the university at the behest of her father. 23:09.469 --> 23:10.790 [SPEAKER_03]: Here is like, what is happening? 23:10.830 --> 23:12.011 [SPEAKER_03]: And Zia says, you know what? 23:12.331 --> 23:12.832 [SPEAKER_03]: I'll tell you what. 23:13.272 --> 23:14.733 [SPEAKER_03]: Have dinner with me tonight. 23:14.994 --> 23:16.054 [SPEAKER_03]: I will explain it all. 23:16.515 --> 23:20.178 [SPEAKER_03]: Cura agrees and decots sneaks in there. 23:20.458 --> 23:21.339 [SPEAKER_03]: He's exploded. 23:21.379 --> 23:23.161 [SPEAKER_03]: Well, dying in my quarters at 2,200 hours. 23:24.902 --> 23:26.362 [SPEAKER_03]: That's his way of whistling in. 23:26.823 --> 23:33.644 [SPEAKER_03]: He's kind of like Mr. Burns, but you know what, Kira's like, uh, I didn't agree to having dinner with you to cut, but okay, fine, see y'all. 23:33.664 --> 23:42.647 [SPEAKER_02]: Well, we go to the return ready room next and uh, I did like the colors on the, uh, the digital ship out in space. 23:42.707 --> 23:43.567 [SPEAKER_02]: Did you notice it? 23:43.647 --> 23:49.309 [SPEAKER_02]: To something about like the colors, colors of the warp engines or something, it looked very, 23:50.189 --> 23:51.870 [SPEAKER_02]: three-dimensional organic. 23:51.890 --> 23:53.471 [SPEAKER_02]: I just thought the colors looked great. 23:53.751 --> 23:55.072 [SPEAKER_01]: Oh, that's a nice. 23:55.532 --> 23:56.673 [SPEAKER_02]: It's very cool shot. 23:56.753 --> 24:01.256 [SPEAKER_01]: They probably have more options with the texturing and everything that they do digitally. 24:01.316 --> 24:03.277 [SPEAKER_02]: Yeah, yeah, because they've converted now. 24:03.297 --> 24:04.978 [SPEAKER_02]: They're not too models anymore. 24:05.038 --> 24:07.519 [SPEAKER_02]: So they're doing all the to see each other digital. 24:07.759 --> 24:08.040 [SPEAKER_02]: Yeah. 24:08.972 --> 24:11.774 [SPEAKER_02]: But inside the ready room, they've got orders. 24:11.834 --> 24:16.817 [SPEAKER_02]: They're going to escort a convoy all by themselves, not with a group of playing on vessels. 24:16.937 --> 24:17.618 [SPEAKER_02]: It's just them. 24:17.738 --> 24:28.585 [SPEAKER_02]: Warf heads heads off to train the recruits, but Martak stops him and asks about Alexander, and Warf tries to deflect. 24:28.645 --> 24:30.767 [SPEAKER_02]: He's like, you know, it's not easy to talk about. 24:30.907 --> 24:37.551 [SPEAKER_02]: He does say he's not sure why Alexander even joined the defense forces, because he didn't want to be a warrior when Warf knew him. 24:38.932 --> 24:42.355 [SPEAKER_02]: be anything like his father and he certainly didn't want to be a warrior. 24:42.415 --> 24:45.058 [SPEAKER_02]: So Mar talk give some deep advice here. 24:45.178 --> 24:51.384 [SPEAKER_02]: He says, you know, when a father and son do not speak, it means there's trouble. 24:51.684 --> 24:54.907 [SPEAKER_02]: I literally like spit-taked when I was a kid. 25:02.482 --> 25:07.327 [SPEAKER_02]: observation and yet delivered and written as if it is deep thoughts. 25:07.467 --> 25:08.768 [SPEAKER_02]: It is, I don't know why. 25:08.788 --> 25:10.530 [SPEAKER_03]: It's a Canton obvious line. 25:10.590 --> 25:12.932 [SPEAKER_02]: Yes, it is. 25:13.372 --> 25:15.514 [SPEAKER_02]: I went back and rewatched it two or three times. 25:15.614 --> 25:17.816 [SPEAKER_02]: It was like, that is amazing. 25:18.697 --> 25:20.859 [SPEAKER_03]: It's still making you chuckle. 25:20.919 --> 25:22.421 [SPEAKER_00]: Father, and Son, do not speak. 25:22.901 --> 25:24.583 [SPEAKER_02]: It means there's trouble. 25:24.803 --> 25:27.725 [SPEAKER_00]: General, I prefer to handle this on my own. 25:28.619 --> 25:29.620 [SPEAKER_01]: then do so. 25:30.181 --> 25:30.601 [SPEAKER_01]: Warf. 25:30.741 --> 25:32.163 [SPEAKER_01]: Exactly. 25:32.183 --> 25:32.583 [SPEAKER_01]: Warf. 25:32.784 --> 25:33.144 [SPEAKER_01]: Warf. 25:33.184 --> 25:34.446 [SPEAKER_03]: It's time to just Warf. 25:34.746 --> 25:35.006 [SPEAKER_03]: Yeah. 25:35.026 --> 25:35.467 [SPEAKER_03]: Thank you. 25:35.667 --> 25:36.948 [SPEAKER_02]: Warf wants to handle it his way. 25:37.129 --> 25:41.053 [SPEAKER_02]: I'm not getting the impression at this point that Warf is a great dad. 25:41.173 --> 25:42.735 [SPEAKER_02]: I'm just going to go out on a limb. 25:43.255 --> 25:43.616 [SPEAKER_01]: Yeah. 25:43.776 --> 25:45.378 [SPEAKER_01]: That we have not heard about him. 25:45.858 --> 25:58.792 [SPEAKER_03]: he and Chad Zia don't talk about him, but yet in his quarters in the next scene, he's looking at a photo of Alexander, back when he was younger, so evidently he does care about his son. 25:58.992 --> 26:02.155 [SPEAKER_02]: Alexander comes in, says you call for me, he boards. 26:02.938 --> 26:07.360 [SPEAKER_02]: as ordered, and Warf does try in the beginning of this scene. 26:07.440 --> 26:09.001 [SPEAKER_01]: Well, you have to head any practice. 26:09.061 --> 26:09.622 [SPEAKER_01]: So you think. 26:09.942 --> 26:10.882 [SPEAKER_02]: Yeah, that's what it is. 26:11.042 --> 26:11.823 [SPEAKER_02]: You're absolutely right. 26:11.843 --> 26:12.903 [SPEAKER_02]: He hasn't any practice. 26:12.983 --> 26:14.644 [SPEAKER_02]: It's just not instinctual for him. 26:14.664 --> 26:23.149 [SPEAKER_02]: And there's a lot of unspoken resentment or baggage or guilt, or shame, all of those things that they're just not talking about. 26:23.389 --> 26:25.130 [SPEAKER_02]: This is the stuff I wanted them to talk about. 26:25.743 --> 26:27.443 [SPEAKER_01]: Yes, I agree me too. 26:27.603 --> 26:34.145 [SPEAKER_01]: In the semi-find out he hasn't seen him for five years, or spoken to him, or tried to contact him. 26:34.225 --> 26:43.747 [SPEAKER_02]: But he tries a little bit with small talk, and I don't want to give the impression like he tries to have a deep conversation, because he literally just tries with, you know, ask about the grandparents. 26:43.947 --> 26:47.027 [SPEAKER_01]: Alex Andrew distinguishes that they're your parents. 26:47.247 --> 26:47.607 [SPEAKER_02]: Yeah. 26:48.047 --> 26:50.488 [SPEAKER_01]: Not my grandparents, they're your parents. 26:50.728 --> 26:51.571 [SPEAKER_03]: Well, he's very angry. 26:51.692 --> 26:54.481 [SPEAKER_02]: Yeah, he's not interested in really having any small talk. 26:54.521 --> 26:56.849 [SPEAKER_02]: He's not here to do a job to serve the empire 26:57.675 --> 26:59.396 [SPEAKER_02]: And then suddenly, Worf gets tough. 26:59.516 --> 27:06.622 [SPEAKER_02]: And literally, and this one scene goes from some small talk attempt to like, you know what, you're not a warrior. 27:06.842 --> 27:08.343 [SPEAKER_02]: We both know you're not a warrior. 27:08.503 --> 27:11.005 [SPEAKER_02]: Oh, dear you know me. 27:11.165 --> 27:15.489 [SPEAKER_03]: He goes from talk show host to disciplinarian in the turn of a hat. 27:15.709 --> 27:20.693 [SPEAKER_01]: And then a threat tell him Robby, tell him what he says to Alexander. 27:20.773 --> 27:25.576 [SPEAKER_02]: He says that he expects twice as much from Alexander as he does from everybody else. 27:27.367 --> 27:34.460 [SPEAKER_02]: abusive like why emotionally and like the yo-yo of oh hi son and let's catch up to 27:36.183 --> 27:38.384 [SPEAKER_02]: that was just crazy, not very bad. 27:38.664 --> 27:39.725 [SPEAKER_01]: No, no. 27:39.885 --> 27:41.766 [SPEAKER_01]: And like so mean. 27:41.926 --> 27:42.987 [SPEAKER_02]: It's an awkward scene. 27:43.227 --> 27:43.487 [SPEAKER_01]: Yeah. 27:43.547 --> 27:46.409 [SPEAKER_02]: Yes, it's written the structure of the scene. 27:47.789 --> 27:49.830 [SPEAKER_02]: Dialogue wise is awkward. 27:50.131 --> 27:51.912 [SPEAKER_02]: The context, awkward. 27:52.452 --> 27:54.213 [SPEAKER_02]: I don't know that it's performed. 27:55.193 --> 27:57.615 [SPEAKER_02]: The performance doesn't elevate it or fix it. 27:57.655 --> 27:59.996 [SPEAKER_02]: We're helped it and neither directions. 28:00.076 --> 28:01.757 [SPEAKER_02]: So it's a problematic scene for me. 28:01.977 --> 28:03.457 [SPEAKER_01]: I could have missed this scene. 28:03.618 --> 28:06.598 [SPEAKER_01]: How about huge rewrite in red letters? 28:07.339 --> 28:09.859 [SPEAKER_02]: We go to DuCOT's quarters now. 28:10.219 --> 28:13.020 [SPEAKER_02]: We start with an insert, I think, on some China being placed. 28:13.080 --> 28:13.860 [SPEAKER_02]: It's beautiful. 28:14.681 --> 28:16.161 [SPEAKER_02]: Like antique China. 28:16.201 --> 28:23.543 [SPEAKER_02]: Yeah, it almost feels like those moments in like, you know, World War II movies when like the bad guys or the Nazis are setting out. 28:24.368 --> 28:31.280 [SPEAKER_02]: You know, China, they've taken over in France or something, you know, they're making themselves at home. 28:31.300 --> 28:32.322 [SPEAKER_02]: There was something about that. 28:32.342 --> 28:33.103 [SPEAKER_02]: Yeah. 28:33.123 --> 28:34.245 [SPEAKER_02]: World War II to me. 28:34.325 --> 28:37.090 [SPEAKER_02]: Like occupation, time or something. 28:37.170 --> 28:37.591 [SPEAKER_02]: Geera. 28:38.000 --> 28:40.641 [SPEAKER_02]: comes to tell Ziaul that she won't be coming to dinner. 28:40.841 --> 28:43.942 [SPEAKER_02]: She says she can't believe that Ziaul even came back to the station. 28:43.982 --> 28:48.283 [SPEAKER_02]: This is when Ziaul explains how she didn't fit in on Bajor. 28:48.323 --> 28:51.003 [SPEAKER_02]: She goes into that pretty pre-heavily. 28:51.083 --> 28:54.784 [SPEAKER_02]: She didn't really fit in with the Bajorans and her father is all that she's had. 28:54.904 --> 28:55.845 [SPEAKER_02]: That she has now. 28:55.965 --> 29:02.206 [SPEAKER_02]: And she's really bummed out that here is not going to come to dinner because she had something very special that she wanted to share at dinner. 29:02.226 --> 29:04.527 [SPEAKER_02]: And clearly she really 29:05.593 --> 29:07.874 [SPEAKER_02]: cares for Kira and Kira cares for her too. 29:07.974 --> 29:10.775 [SPEAKER_02]: So, yeah, it was very torn here. 29:10.935 --> 29:20.919 [SPEAKER_03]: But in that scene, it, the Kira brings up the point that we brought up earlier, Kira says, but the last time you defied him, he left you here to die, as y'all was like, oh, no, we talked about that. 29:21.280 --> 29:23.280 [SPEAKER_03]: He admits he overreacted. 29:23.480 --> 29:27.142 [SPEAKER_03]: But family loyalty is important to my father, and he felt type of trade him. 29:27.362 --> 29:28.042 [SPEAKER_03]: It was like, what? 29:28.202 --> 29:31.584 [SPEAKER_02]: Yeah, I feel like there's some things that are hot, you can't undo. 29:31.864 --> 29:32.264 [SPEAKER_02]: Yeah. 29:32.384 --> 29:33.805 [SPEAKER_02]: When he said you could die, 29:36.599 --> 29:37.413 [SPEAKER_02]: Oh, yeah, yeah. 29:37.986 --> 29:38.846 [SPEAKER_02]: Yeah. 29:38.926 --> 29:39.306 [SPEAKER_02]: Oh, yeah. 29:39.326 --> 29:40.067 [SPEAKER_02]: It's right. 29:40.687 --> 29:41.487 [SPEAKER_01]: So crazy. 29:41.587 --> 29:46.228 [SPEAKER_01]: This scene was much better written than the one we just had with Warfin, his son. 29:46.508 --> 29:46.748 [SPEAKER_01]: Yes. 29:47.228 --> 29:56.790 [SPEAKER_01]: At least we're getting information, even though it's like Claire Zale has a lot of emotional trauma that she cannot deal with. 29:56.870 --> 29:59.091 [SPEAKER_01]: She's too young to have perspective. 29:59.151 --> 30:03.252 [SPEAKER_01]: Her father's giving her so many mixed signals, which that's crazy too, because even when 30:07.933 --> 30:15.738 [SPEAKER_01]: You can't help but forgive them because there's a little piece of you for a long time that couldn't survive without them. 30:15.758 --> 30:19.320 [SPEAKER_01]: There's this ingrained, I will die without you. 30:19.340 --> 30:22.222 [SPEAKER_01]: Kind of a little in the meggala saying, no, no. 30:23.461 --> 30:24.262 [SPEAKER_01]: They're my family. 30:24.342 --> 30:30.046 [SPEAKER_02]: Well, Kira does agree to come to dinner after Zeal says that was going to have some a big surprise. 30:30.226 --> 30:31.407 [SPEAKER_02]: Very important, please. 30:31.707 --> 30:32.808 [SPEAKER_01]: I'm trying to manipulate you. 30:34.609 --> 30:38.192 [SPEAKER_02]: Kira agrees, but she says she won't promise that it'll be fun. 30:38.832 --> 30:45.097 [SPEAKER_02]: So she's not going to play nice with Ducat just because, but she is playing nice with Ducat basically. 30:45.117 --> 30:46.558 [SPEAKER_01]: Which is a mixed message. 30:46.798 --> 30:48.700 [SPEAKER_02]: Which is very confusing, yes. 30:49.189 --> 30:55.214 [SPEAKER_01]: It's a little Iki, especially after what we've already seen with the Vedic that just took her own life. 30:55.534 --> 30:56.294 [SPEAKER_02]: Yes, you know. 30:56.334 --> 31:07.503 [SPEAKER_01]: Make a huge protest, so there are some inconsistencies to me in about here in this that must have been part of the writing issue that you were talking about Garrett later. 31:07.523 --> 31:13.107 [SPEAKER_01]: They revisit something when she gets a present from him and it's just her reaction is like, 31:15.989 --> 31:16.209 [SPEAKER_03]: Right. 31:16.890 --> 31:18.211 [SPEAKER_01]: She's already passed that. 31:18.431 --> 31:18.691 [SPEAKER_03]: Yeah. 31:18.911 --> 31:21.313 [SPEAKER_03]: And again, the shooting order being out of order. 31:21.373 --> 31:21.953 [SPEAKER_03]: And that's not. 31:22.353 --> 31:23.854 [SPEAKER_01]: Yeah, I'm not as fall. 31:23.914 --> 31:25.135 [SPEAKER_01]: It's just how it's written. 31:25.275 --> 31:28.177 [SPEAKER_02]: Well, we go to the, I think the return mess hall next. 31:28.297 --> 31:31.459 [SPEAKER_02]: The return is arriving with the convoy and space. 31:31.499 --> 31:33.841 [SPEAKER_02]: We see a cloak out there, I think. 31:34.421 --> 31:35.702 [SPEAKER_02]: And we cut into the mess hall. 31:36.822 --> 31:39.724 [SPEAKER_02]: And the Chitarg is there. 31:39.984 --> 31:43.847 [SPEAKER_02]: And he's basically mocking Alexander really hard. 31:44.387 --> 31:56.090 [SPEAKER_02]: making fun of him, about being soft, about being part human, Alexey had her tries to stay calm and cool and collected, but finally throws a bunch of food in his face and they fight a big fight, by the way. 31:56.170 --> 31:58.831 [SPEAKER_01]: Whatever that toss was, they dumped all over his food. 31:59.151 --> 32:00.671 [SPEAKER_01]: I throw it in his face too. 32:00.691 --> 32:01.712 [SPEAKER_02]: I mean, they're bullying. 32:01.732 --> 32:04.693 [SPEAKER_02]: They're ganging up and teasing this kid, this outsider. 32:04.853 --> 32:06.773 [SPEAKER_02]: It's kind of foolish, though. 32:06.793 --> 32:07.353 [SPEAKER_01]: That's the way. 32:07.513 --> 32:08.914 [SPEAKER_01]: Yeah, it's worse, son. 32:09.014 --> 32:10.274 [SPEAKER_01]: And they know this, right? 32:10.354 --> 32:12.415 [SPEAKER_01]: Isn't that part of the reason they're teasing him? 32:14.013 --> 32:15.554 [SPEAKER_02]: I mean, they do eventually for sure. 32:15.594 --> 32:17.096 [SPEAKER_02]: I think they would know it now. 32:17.156 --> 32:17.396 [SPEAKER_02]: Yeah. 32:17.876 --> 32:18.297 [SPEAKER_02]: Yeah. 32:18.317 --> 32:20.698 [SPEAKER_02]: They fight very complex fight. 32:20.738 --> 32:22.480 [SPEAKER_02]: I was very impressed with this fight, actually. 32:22.560 --> 32:23.080 [SPEAKER_02]: Yeah, it was good. 32:23.180 --> 32:28.265 [SPEAKER_02]: Alexander gets up tries to keep up, but he's getting the worst of this fight when warfare arrives. 32:29.045 --> 32:32.288 [SPEAKER_02]: And just as Chetarg has got a knife. 32:32.628 --> 32:44.061 [SPEAKER_02]: pulled back with his left arm, or if grabs his arm and stops him from stabbing an Alexander, orders them both to go to the medical bay to get treated and then they're going to be confined to their quarters. 32:44.878 --> 32:48.541 [SPEAKER_02]: go to your room, no supper, no sauce for you. 32:48.861 --> 32:52.384 [SPEAKER_03]: Warf also punches Chetard in the face, knocks him down too. 32:52.805 --> 32:54.206 [SPEAKER_02]: Oh yeah, yeah, yeah, I think so. 32:54.506 --> 32:56.048 [SPEAKER_01]: Bad move, cling on dad. 32:56.148 --> 32:59.651 [SPEAKER_02]: Well, Warf has no objective perspective about this. 32:59.711 --> 33:04.795 [SPEAKER_02]: He's too close to tied into with Alexander and family. 33:04.875 --> 33:07.978 [SPEAKER_01]: No practice, so he's making up too for lost time. 33:07.998 --> 33:09.939 [SPEAKER_01]: I'm going to protect my son now. 33:11.723 --> 33:19.186 [SPEAKER_03]: And I love how Chetarkt has at one last barb that he throws at Warf before he leaves for the White scene character. 33:19.226 --> 33:20.506 [SPEAKER_01]: I want to hear you sing character. 33:20.546 --> 33:23.968 [SPEAKER_03]: He's like, are you going to fight the Gemma Dough for him as well? 33:24.228 --> 33:28.289 [SPEAKER_02]: So that was kind of like, you sound like the Wicked Witch in the West. 33:28.729 --> 33:31.631 [SPEAKER_02]: I mean, that was like a little bit more wrestling on. 33:31.711 --> 33:31.991 [SPEAKER_02]: All right. 33:32.231 --> 33:35.352 [SPEAKER_03]: Are you going to fight with Gemma Dough for him as well? 33:36.546 --> 33:37.307 [SPEAKER_01]: There you go. 33:37.387 --> 33:38.388 [SPEAKER_01]: Now you sound great on. 33:38.608 --> 33:38.908 [SPEAKER_03]: Wow. 33:38.928 --> 33:39.289 [SPEAKER_03]: Thank you. 33:39.409 --> 33:45.875 [SPEAKER_03]: I feel like you guys are casting directors for like voiceovers, and I'm sitting here auditioning for you so you're doing really well. 33:45.955 --> 33:46.676 [SPEAKER_03]: Thanks guys. 33:46.896 --> 33:47.197 [SPEAKER_03]: Thanks. 33:47.537 --> 33:48.898 [SPEAKER_03]: I can do another way if you like. 33:48.918 --> 33:52.562 [SPEAKER_03]: I can do it happy or cling on if you like or a sadder cling on. 33:52.842 --> 33:53.903 [SPEAKER_01]: I hope you have a nice day. 33:53.943 --> 33:54.264 [SPEAKER_01]: It was great. 33:54.304 --> 33:55.725 [SPEAKER_01]: Yeah, great meeting you. 33:55.765 --> 33:56.606 [SPEAKER_01]: Thanks for coming in. 33:56.826 --> 33:57.587 [SPEAKER_01]: You'll call me guys. 33:57.607 --> 33:58.007 [SPEAKER_01]: All right. 33:58.088 --> 33:58.368 [SPEAKER_01]: Okay. 33:58.408 --> 33:59.709 [SPEAKER_01]: We'll be in touch with your agent. 33:59.829 --> 34:00.390 [SPEAKER_01]: Yeah. 34:00.710 --> 34:01.371 [SPEAKER_02]: I'm so excited. 34:01.771 --> 34:02.211 [SPEAKER_03]: I know. 34:02.271 --> 34:02.952 [SPEAKER_03]: All right. 34:03.092 --> 34:03.712 [SPEAKER_03]: Bye, guys. 34:03.892 --> 34:05.273 [SPEAKER_03]: The fall's going to be great. 34:05.434 --> 34:16.221 [SPEAKER_03]: We're in the cuts quarters and they are looking at this very, you know, simple, elegant drawing of a flower and it's y'all's art that she's showing off. 34:16.381 --> 34:20.885 [SPEAKER_03]: Actually, this is a really interesting scene because they're getting along so well. 34:21.325 --> 34:26.549 [SPEAKER_03]: in terms of Akira and Dakot that it almost looks like there are a couple in a weird way. 34:26.649 --> 34:29.951 [SPEAKER_02]: Is this where they're seated on the couch and they're she's in between them? 34:30.031 --> 34:33.373 [SPEAKER_02]: Yeah it's even staged like a family like mom and dad. 34:33.594 --> 34:41.739 [SPEAKER_01]: No they're doing that purposefully but I again right back to I don't believe Akira I think there should be 34:42.960 --> 34:49.982 [SPEAKER_01]: a vibe where you get that she is not, she has a wall up for him, but she's very available for her. 34:50.482 --> 34:50.762 [SPEAKER_03]: Right. 34:50.982 --> 34:52.122 [SPEAKER_01]: And I did not see that. 34:52.182 --> 34:53.102 [SPEAKER_03]: It wasn't there. 34:53.242 --> 34:56.403 [SPEAKER_01]: Bonnie heard me after how we already know things are going down. 34:56.543 --> 35:02.005 [SPEAKER_03]: Here are the things that this work looks like Vedic Topics early work, and then we have to cut single with a minute. 35:02.365 --> 35:06.566 [SPEAKER_03]: It also reminds me of these Cardass, this very famous Cardassian artist. 35:06.886 --> 35:08.066 [SPEAKER_03]: And then that's when 35:08.746 --> 35:20.936 [SPEAKER_03]: Zia'll comes out with, well, I've already had a conversation with the director of the Cardassian Institute of Art, and he said the same, he said the same thing, he thinks it's wonderful, and the Cots, like, what spoke with the director? 35:21.576 --> 35:25.520 [SPEAKER_03]: I could have arranged that meeting for you, and Zia'll's like, no, I kind of wanted to do it on my own. 35:25.840 --> 35:30.664 [SPEAKER_03]: But the bottom line is they're very, very pleased with Zia'll's work. 35:30.764 --> 35:31.905 [SPEAKER_02]: Well, the thing I like about her, 35:32.405 --> 35:42.438 [SPEAKER_02]: Yeah, her work, she says that she wants to bring both Bajoran and Cardassian influences together and show how they see the universe in similar ways. 35:42.638 --> 35:46.083 [SPEAKER_01]: I would have liked it if her work was a little more complex looking. 35:46.163 --> 35:47.244 [SPEAKER_01]: It didn't wow me. 35:47.264 --> 35:50.468 [SPEAKER_01]: I was like, okay, I'm supposed to be wowed, but 35:51.229 --> 35:52.650 [SPEAKER_03]: Oh, well, I was wild. 35:52.730 --> 35:53.230 [SPEAKER_03]: I liked it. 35:53.371 --> 35:54.531 [SPEAKER_03]: I like the simplicity of it. 35:54.551 --> 35:55.752 [SPEAKER_02]: It was okay with me. 35:55.792 --> 35:57.833 [SPEAKER_01]: So she's sitting directly between the two of them. 35:58.094 --> 36:02.076 [SPEAKER_03]: And it is her artwork is bringing Bajoran and Kardashian together. 36:02.216 --> 36:06.859 [SPEAKER_03]: And in a way, I felt she wanted to bring the Bajoran of her life near it. 36:06.999 --> 36:07.399 [SPEAKER_03]: Oh, yeah. 36:07.680 --> 36:08.740 [SPEAKER_03]: Yes, of course. 36:08.980 --> 36:11.282 [SPEAKER_03]: And she was grabbing her dad's hand and I thought, 36:12.505 --> 36:16.388 [SPEAKER_03]: Hey, Zeus, block it so she grabs Kira's hand as well. 36:16.468 --> 36:20.291 [SPEAKER_03]: And it just kind of holds him at the same time, sort of bonding them together. 36:20.511 --> 36:26.416 [SPEAKER_02]: One comment I have about what Terry brought up is you wished the art had been more sophisticated. 36:26.456 --> 36:28.738 [SPEAKER_01]: Well, bringing two forms together. 36:28.818 --> 36:29.958 [SPEAKER_01]: This is one form. 36:30.119 --> 36:32.520 [SPEAKER_01]: If you're trying to bring Cardassia and but Jordan. 36:33.461 --> 36:35.123 [SPEAKER_03]: I don't need another layer, right? 36:35.243 --> 36:35.864 [SPEAKER_03]: You need another layer. 36:35.884 --> 36:37.265 [SPEAKER_01]: Yeah, it was only one layer. 36:37.385 --> 36:41.369 [SPEAKER_01]: Yeah, it was one type of I don't see two things being brought together. 36:41.529 --> 36:49.017 [SPEAKER_02]: Whenever a TV show or a movie or whatever has a story about an artist being amazing like 36:49.625 --> 37:04.906 [SPEAKER_02]: a visual artist, a musician writing great music, whatever, like, if you're going to say that in your story, you better have great art, or you better have a great song, or they better be a good guitar. 37:05.307 --> 37:10.034 [SPEAKER_02]: like I hate when they say, oh, they're so good. 37:10.755 --> 37:14.580 [SPEAKER_02]: And then you look at it and it looks like the props department just threw it together in five minutes. 37:14.940 --> 37:16.002 [SPEAKER_02]: That's what this look like. 37:16.062 --> 37:19.707 [SPEAKER_01]: If it were just her showing her work to the two of them, but it gets 37:20.908 --> 37:23.510 [SPEAKER_01]: It gets elevated to being like, oh my god. 37:23.550 --> 37:26.351 [SPEAKER_03]: You can fight it into the show and where you exhibit it. 37:26.371 --> 37:27.592 [SPEAKER_01]: Yeah, it does not. 37:27.712 --> 37:30.874 [SPEAKER_01]: It looks like, yeah, if my kid did that, that's great. 37:31.194 --> 37:34.976 [SPEAKER_01]: But what I suddenly think he needs to be, you know, Momma? 37:34.996 --> 37:38.758 [SPEAKER_02]: No, no, no. 37:38.858 --> 37:39.439 [SPEAKER_01]: Sorry. 37:39.499 --> 37:41.540 [SPEAKER_01]: I'm not going to blow that smoke. 37:43.681 --> 37:47.045 [SPEAKER_03]: or Simoma, Kardashian, Museum of Modern Art, is a museum. 37:47.126 --> 38:02.064 [SPEAKER_01]: You see, a really relate to that with doing paper dolls and actually going from being a high-fashion volunteer to them doing a fashion show that was supposed to be happening in New York in LA and it was all swayed and I'm like, oh my god, this stuff looks terrible. 38:03.105 --> 38:06.208 [SPEAKER_01]: This doesn't look like any runway show I've ever done. 38:06.228 --> 38:11.674 [SPEAKER_01]: This is so, it was LA clothes, but we were supposed to be in New York. 38:11.694 --> 38:13.075 [SPEAKER_01]: There was nothing cutting edge. 38:13.095 --> 38:14.977 [SPEAKER_01]: There was nothing high-fashion about it. 38:15.037 --> 38:16.279 [SPEAKER_01]: And they had all this money. 38:16.399 --> 38:18.421 [SPEAKER_01]: You can find a young designer. 38:19.728 --> 38:24.913 [SPEAKER_01]: you can find a young artist who hasn't, you just have to look nowhere to look for them. 38:25.253 --> 38:30.458 [SPEAKER_01]: But they're out there and dying for the experience to not have a prop person put it together. 38:30.558 --> 38:37.284 [SPEAKER_02]: We had an actor once who was an artist and in real life and was playing an artist on the thing. 38:37.304 --> 38:45.372 [SPEAKER_02]: We actually had the actor make the art for the art show, for the piece that they were supposed to be standing by. 38:45.392 --> 38:45.912 [SPEAKER_03]: That's cool. 38:45.992 --> 38:49.475 [SPEAKER_02]: Yeah, that was kind of cool because it didn't feel like the art department made it. 38:49.515 --> 38:50.936 [SPEAKER_02]: It felt like a real artist made it. 38:51.076 --> 38:52.437 [SPEAKER_01]: Yeah, and that's how it should feel. 38:52.577 --> 38:53.798 [SPEAKER_01]: The arts helping the arts. 38:53.998 --> 38:55.660 [SPEAKER_02]: We're on the return again. 38:55.680 --> 38:57.581 [SPEAKER_02]: They're cloaked in the space shot. 38:57.741 --> 39:00.564 [SPEAKER_02]: Mar-Talk heard about this fight in the reddy room. 39:00.744 --> 39:02.025 [SPEAKER_02]: Mar-Talk talks to Warf. 39:02.665 --> 39:04.527 [SPEAKER_02]: He heard about the fight in the mess hall. 39:05.647 --> 39:08.850 [SPEAKER_02]: But he says, you know, my first officer didn't tell me, Warf. 39:09.511 --> 39:09.791 [SPEAKER_02]: So, 39:10.812 --> 39:15.716 [SPEAKER_02]: Mark Talks not really happy that Warf is creating this, you know, he's got this issue with the sun. 39:15.796 --> 39:17.257 [SPEAKER_02]: It's not he's not clearing up. 39:17.497 --> 39:17.998 [SPEAKER_02]: It's messy. 39:18.078 --> 39:19.259 [SPEAKER_01]: And he gets defensive. 39:19.279 --> 39:24.843 [SPEAKER_03]: Yeah, that one line from our talk, Warf says, you heard about the fight in the muscle and Mark Talk is like, yes, but not for my first off. 39:24.863 --> 39:27.225 [SPEAKER_03]: So I lost him the moment his son stepped apart this ship. 39:27.305 --> 39:30.167 [SPEAKER_03]: So that was a very fighting line, I thought. 39:30.698 --> 39:31.679 [SPEAKER_02]: All right, but I agree with them. 39:31.799 --> 39:32.999 [SPEAKER_02]: Like, Warf is going to do. 39:33.019 --> 39:33.940 [SPEAKER_02]: They distracted. 39:34.000 --> 39:40.783 [SPEAKER_02]: He's not going to be a reliable first officer if he's torn between these unresolved issues. 39:40.803 --> 39:42.884 [SPEAKER_02]: That would have been a great story to go down. 39:42.924 --> 39:44.765 [SPEAKER_01]: Yes, I could have filled out the whole thing. 39:44.965 --> 39:47.046 [SPEAKER_01]: Because then you have both sides of it. 39:47.086 --> 39:50.568 [SPEAKER_01]: You need to have Warf side and his struggle. 39:51.309 --> 39:56.891 [SPEAKER_01]: And why not have a phone call or whatever they transmit to my character? 40:00.253 --> 40:00.894 [SPEAKER_02]: and a father. 40:01.095 --> 40:02.417 [SPEAKER_02]: Where else put on Star Trek? 40:02.437 --> 40:05.942 [SPEAKER_02]: Can someone say, my character was a mother and a father? 40:06.062 --> 40:06.944 [SPEAKER_02]: And a lizard? 40:07.464 --> 40:08.185 [SPEAKER_02]: I was a lizard. 40:09.467 --> 40:11.628 [SPEAKER_02]: So, where else can you say these things? 40:11.809 --> 40:13.810 [SPEAKER_02]: Anyway, Mar-Talk is not happy. 40:13.930 --> 40:15.011 [SPEAKER_02]: Warf is embarrassed. 40:15.191 --> 40:16.852 [SPEAKER_02]: He says he stepped in to stop it. 40:17.792 --> 40:22.175 [SPEAKER_02]: And Mar-Talk says that Chetarg would not have killed him. 40:22.596 --> 40:24.637 [SPEAKER_02]: He just would have hurt him pretty bad. 40:25.257 --> 40:26.978 [SPEAKER_02]: And maybe that would teach him a lesson. 40:27.058 --> 40:29.400 [SPEAKER_02]: Warf stepped into protecting instead. 40:29.600 --> 40:34.944 [SPEAKER_02]: And Mar-Talk thinks that, you know, you need to let these recruits and let your son learn. 40:35.822 --> 40:42.127 [SPEAKER_02]: Like don't keep protecting him and preventing him from growing as a war, give him a chance, basically. 40:42.327 --> 40:42.627 [SPEAKER_03]: Yeah. 40:43.228 --> 40:46.050 [SPEAKER_03]: Well, more importantly, he needs to be prepared when they fight the Jemodar. 40:46.170 --> 40:47.731 [SPEAKER_03]: That is the biggest concern. 40:47.751 --> 40:50.593 [SPEAKER_01]: Or did he even get into this? 40:51.094 --> 40:52.234 [SPEAKER_03]: I know they're desperate. 40:52.254 --> 40:53.015 [SPEAKER_03]: They're desperate. 40:53.255 --> 40:55.537 [SPEAKER_01]: Yeah, because no skill at all. 40:56.470 --> 41:11.299 [SPEAKER_02]: It's kind of like a few years back in Vancouver when there was so many TV shows you couldn't fill out your crew with experience crew people that anybody who was willing to push a dolly could be a dolly group. 41:11.379 --> 41:11.820 [SPEAKER_03]: Wow. 41:11.940 --> 41:13.601 [SPEAKER_02]: That was a time where it was so busy. 41:13.621 --> 41:15.522 [SPEAKER_02]: You're like, come on down. 41:15.562 --> 41:16.623 [SPEAKER_02]: Have you seen a dolly? 41:16.723 --> 41:17.143 [SPEAKER_02]: Great. 41:17.323 --> 41:23.647 [SPEAKER_02]: But at the end of the scene, there's an alarm, battle stations, alert status one, captain to the bridge and so off they go. 41:24.405 --> 41:51.810 [SPEAKER_02]: uh... we cut to the bridge of the return Alexander is it ops maybe where's he why why that's the right i'm sorry he's a recruit and and a recruit that doesn't know anything we've already seen clearly that he's he doesn't have the information he has no experience and yet he's on the bridge as of one of the bridge crew this is only written for this gag and the gag is he's giving them the updates the gym at our attacking in seconds nobody else can see it on their 41:52.702 --> 41:53.883 [SPEAKER_02]: panels, their stations. 41:53.923 --> 41:56.484 [SPEAKER_01]: But we're going to rely on the guy who just showed up. 41:56.604 --> 41:59.165 [SPEAKER_02]: He says, no, that torpedoes are about to hit. 41:59.926 --> 42:02.007 [SPEAKER_02]: War realizes it was a simulation. 42:02.027 --> 42:02.967 [SPEAKER_02]: He stops it. 42:03.067 --> 42:09.290 [SPEAKER_02]: He realizes Alexander never removed the training simulation that they've been practicing from the sensor array. 42:10.071 --> 42:12.892 [SPEAKER_02]: And the whole bridge crew is laughing at Alexander here. 42:13.052 --> 42:15.073 [SPEAKER_02]: Martin talking to her roots that they've accepted him. 42:15.113 --> 42:16.274 [SPEAKER_02]: If they're laughing at him, 42:17.246 --> 42:21.769 [SPEAKER_02]: and not wanting to kill him over this, then they've accepted him. 42:21.849 --> 42:23.430 [SPEAKER_02]: That's healthy teasing. 42:24.591 --> 42:29.615 [SPEAKER_02]: But Worse interpretation is, no, they just think he's the ship's fool. 42:29.815 --> 42:32.957 [SPEAKER_01]: No, he's just a young kid who doesn't know what he's doing. 42:33.257 --> 42:41.403 [SPEAKER_02]: Worse had got a young ego to be so insulted so easily and, you know, feeling embarrassed about his son. 42:41.645 --> 42:54.559 [SPEAKER_02]: We cut to the ward room, back in the S9, DuCott is enjoying the sound of his own voice, to be joined in Cardassians in the ward room, he's giving this nice, long speech that we've, we're only hearing the end of the speech. 42:54.599 --> 42:56.821 [SPEAKER_02]: It seems like he's been talking for a while. 42:56.901 --> 43:01.406 [SPEAKER_02]: He mentions that Cardass is going to give him 15 industrial replicators, 43:02.087 --> 43:06.588 [SPEAKER_02]: to help baby or usher in a new age of cooperation and understanding between their people. 43:06.708 --> 43:07.469 [SPEAKER_03]: Do you can notice that? 43:07.589 --> 43:10.109 [SPEAKER_03]: That's the number of recruits that Martak asks for. 43:10.189 --> 43:11.730 [SPEAKER_03]: He wanted 15 and got 5. 43:12.330 --> 43:15.871 [SPEAKER_03]: And then now we've got the same number on their brain. 43:15.891 --> 43:17.671 [SPEAKER_03]: And brain, yeah, they've 15 as well. 43:18.011 --> 43:19.912 [SPEAKER_02]: And I think Alexander is 15 years old. 43:19.992 --> 43:21.392 [SPEAKER_03]: 15 years old, exactly. 43:21.532 --> 43:22.553 [SPEAKER_02]: They're dominion allies. 43:22.693 --> 43:23.973 [SPEAKER_02]: They're all dominion allies. 43:24.053 --> 43:30.215 [SPEAKER_02]: And the meeting's over, Ducaut tells Kira that Ziaul got three drawings in a big exhibit back on 43:31.477 --> 43:42.289 [SPEAKER_01]: So this is to your point, Terry, like, really, yeah, those drawings, yeah, and how are you bringing both together and see I think that's a missed opportunity because if you're going to say it. 43:43.529 --> 43:43.669 [SPEAKER_02]: Yeah. 43:43.769 --> 43:48.332 [SPEAKER_01]: It would help the story if it really looked like it was marrying both of them. 43:48.392 --> 43:51.914 [SPEAKER_02]: Do cotton vites are to a celebration party for this big art exhibit. 43:51.934 --> 44:06.704 [SPEAKER_02]: She's going to be a part of and here it seems to agree at the end to this because she says what time he says 2130 unless I'm unavoidably delayed because he's a busy man, you know, she responds, oh, the busy life of an interstellar despot. 44:06.864 --> 44:08.825 [SPEAKER_02]: So, you know, taking shots, but it's 44:12.267 --> 44:16.932 [SPEAKER_02]: We go to the return training room, Warf is training Alexander very hard. 44:17.092 --> 44:18.893 [SPEAKER_02]: Alexander keeps making mistakes, though. 44:19.494 --> 44:23.618 [SPEAKER_02]: Warf keeps getting angry and angry and then Alexander says that you're happy. 44:23.678 --> 44:29.483 [SPEAKER_02]: This proves I'm a horrible claim on and now you've got an excuse just to send me home and a warf. 44:30.570 --> 44:33.391 [SPEAKER_02]: It's very frustrated, he says, you know, this is war. 44:33.791 --> 44:35.711 [SPEAKER_02]: We're not going to be playing in Hall of Sweets. 44:35.851 --> 44:37.132 [SPEAKER_01]: What is wrong with you? 44:37.192 --> 44:39.192 [SPEAKER_01]: It's like, so like, what? 44:39.372 --> 44:41.132 [SPEAKER_01]: He needs a timeout hard. 44:41.673 --> 44:48.394 [SPEAKER_03]: Well, he needs to call Jed Zia and ask how to talk to his son because he talks to him. 44:48.794 --> 44:50.915 [SPEAKER_01]: I think you should not talk to him for a while. 44:51.035 --> 44:52.495 [SPEAKER_01]: At all, leave him alone. 44:52.575 --> 44:53.035 [SPEAKER_01]: Let him be. 44:53.155 --> 44:59.657 [SPEAKER_02]: I mean, I think that even if this were a stranger, war would be a better teacher than 45:01.099 --> 45:04.188 [SPEAKER_02]: And so if you're going to have Warf be a bad teacher, 45:05.089 --> 45:12.253 [SPEAKER_02]: And really unpack that and deal with like, yes, that he's aware that he's being triggered or I don't know. 45:12.273 --> 45:15.234 [SPEAKER_02]: There could be a million ways to deal with it, but they don't feel like so. 45:15.374 --> 45:32.843 [SPEAKER_01]: But there could be like you're saying there could be so much more information within their jabs at each other that could have made it a more fulfilling scene to us as an audience, it fell apart, but it would be nice if how they fell apart was more informative 45:33.483 --> 45:43.199 [SPEAKER_02]: Well, we go to Kira's quarters where Demar shows up with a wrap gift from DuCott, it's a dress, pulls it out, kind of smiles at it for a second takes a little bit. 45:43.219 --> 45:45.222 [SPEAKER_01]: Yeah, like what, what, what, no. 45:45.931 --> 46:03.319 [SPEAKER_02]: and then she realizes, oh my gosh, I'm being manipulated and why am I even thinking about accepting this and she heads off to DuCott's quarters where she gives the dress back and she basically says to DuCott, I don't want anything to do with you anymore. 46:04.019 --> 46:04.779 [SPEAKER_02]: Nothing to do with you. 46:04.899 --> 46:10.382 [SPEAKER_02]: I liked how she stayed very calm and clear headed in this scene rather than combative. 46:10.822 --> 46:12.943 [SPEAKER_02]: It was a great, I thought, actor choice to 46:13.933 --> 46:16.564 [SPEAKER_02]: Ground this is a clear headed decision and not. 46:17.328 --> 46:19.390 [SPEAKER_02]: And emotional one, I thought it was great. 46:19.510 --> 46:23.933 [SPEAKER_02]: And he was through him because he didn't have to deal with that. 46:23.993 --> 46:24.974 [SPEAKER_01]: That part was good. 46:25.094 --> 46:33.139 [SPEAKER_01]: I think right when you open it, right when she opened it, be like, ah, not, oh, let me see if I'd look good in it. 46:33.940 --> 46:37.462 [SPEAKER_01]: It just, I don't, I think she's already passed that. 46:37.783 --> 46:38.063 [SPEAKER_02]: Right. 46:38.283 --> 46:38.543 [SPEAKER_02]: Yeah. 46:39.064 --> 46:41.625 [SPEAKER_01]: Being wooed by a pretty present. 46:41.826 --> 46:43.587 [SPEAKER_02]: Yeah, it does feel pretty shallow for Kira. 46:47.328 --> 46:47.888 [SPEAKER_02]: Mm-hmm. 46:47.928 --> 46:49.809 [SPEAKER_02]: Distracted by a pretty dress. 46:50.269 --> 46:56.651 [SPEAKER_01]: No, I think that would have been more the camel, the straw and the camel's back, sing the dress. 46:57.491 --> 47:01.393 [SPEAKER_01]: But she needs to see it by herself and deliver it for sure. 47:01.553 --> 47:05.734 [SPEAKER_03]: She storms out and that swims the all comes in and asks her dad who was that. 47:05.914 --> 47:07.895 [SPEAKER_03]: He said, Oh, just delivery. 47:08.715 --> 47:10.596 [SPEAKER_03]: And he repurposes that gift. 47:10.796 --> 47:12.597 [SPEAKER_03]: It's like getting a Christmas fruit cake. 47:12.637 --> 47:13.878 [SPEAKER_03]: You just give it to somebody else. 47:13.918 --> 47:19.821 [SPEAKER_03]: So he just takes that dress and gives it to his daughter, which I started thinking, are they even the same size? 47:19.881 --> 47:22.382 [SPEAKER_03]: Like right away, I was like, there's a way that's 47:22.742 --> 47:26.367 [SPEAKER_01]: doing it like how it's not going to be way too small for her. 47:26.867 --> 47:27.368 [SPEAKER_02]: No. 47:27.929 --> 47:34.737 [SPEAKER_02]: Also, I liked that that he did that because in this in the moment before Kira says to him, you know, there's no bond between us. 47:34.777 --> 47:35.799 [SPEAKER_02]: That's only in your mind. 47:35.839 --> 47:37.020 [SPEAKER_02]: You're an opportunist. 47:38.422 --> 47:43.226 [SPEAKER_02]: And I like that she used the word opportunist because that's exactly what he does in the next beat. 47:43.346 --> 47:44.807 [SPEAKER_02]: Yeah, that's true. 47:44.867 --> 47:45.407 [SPEAKER_03]: Yeah. 47:45.748 --> 47:46.648 [SPEAKER_03]: And let me show you. 47:46.708 --> 47:48.490 [SPEAKER_02]: She was 100% right. 47:48.550 --> 47:51.512 [SPEAKER_02]: We go back to the training room on the return. 47:51.672 --> 47:55.055 [SPEAKER_02]: Alexander's practicing by himself now, dropping his bat lift. 47:55.735 --> 47:57.356 [SPEAKER_02]: Which I just didn't buy. 47:57.436 --> 47:58.497 [SPEAKER_03]: Yeah, just looked forced. 47:58.677 --> 48:01.920 [SPEAKER_01]: But I do like this whole sequence with him with Marta. 48:01.980 --> 48:02.340 [SPEAKER_01]: Yeah. 48:02.400 --> 48:04.061 [SPEAKER_01]: It's a big straight to him. 48:04.342 --> 48:05.302 [SPEAKER_02]: Yeah. 48:05.322 --> 48:07.004 [SPEAKER_02]: Yeah, Marta says why are you on the ship? 48:08.278 --> 48:10.318 [SPEAKER_02]: And he doesn't want to talk in the beginning. 48:10.338 --> 48:11.679 [SPEAKER_02]: He says, it's a private matter. 48:11.799 --> 48:17.360 [SPEAKER_02]: Martaq says, you're not a warrior and tells him that war for quest that you'd be transferred off the ship. 48:18.220 --> 48:19.260 [SPEAKER_02]: So pack your things. 48:19.480 --> 48:25.021 [SPEAKER_02]: Alexander's a little angry about this, but Martaq offered him a chance to explain himself. 48:25.821 --> 48:26.581 [SPEAKER_02]: Why are you here? 48:26.741 --> 48:30.262 [SPEAKER_02]: And Alexander doesn't know, he's a kid. 48:30.322 --> 48:32.983 [SPEAKER_02]: He's not ready to dive into it all. 48:33.063 --> 48:35.063 [SPEAKER_02]: But Martaq says, you didn't answer me. 48:35.598 --> 48:38.599 [SPEAKER_02]: just say what's in your heart, and Alexander can't do it. 48:38.659 --> 48:42.740 [SPEAKER_02]: So Mark talks says, we're trying to hear a good answer now. 48:42.820 --> 48:44.700 [SPEAKER_01]: And Alexander says, he has no right. 48:45.320 --> 48:48.581 [SPEAKER_01]: I like that that Mark talk really backs it all up. 48:48.701 --> 48:51.681 [SPEAKER_03]: He's got a right as your dad and your superior officer. 48:51.742 --> 48:52.822 [SPEAKER_03]: Sorry, you're right. 48:52.862 --> 48:54.002 [SPEAKER_02]: Yeah, every right. 48:54.422 --> 48:54.802 [SPEAKER_02]: Yeah. 48:54.962 --> 48:56.523 [SPEAKER_02]: Yeah, we go into the mess hall. 48:56.723 --> 49:02.584 [SPEAKER_02]: Alexander stabs his knife down on the table by worse plate and 49:03.812 --> 49:09.935 [SPEAKER_02]: whoa, you're fortunate that I'm your dad, because you challenge somebody else like that and you'd be dead. 49:09.955 --> 49:11.596 [SPEAKER_02]: And Worf says you're not a warrior. 49:11.656 --> 49:15.238 [SPEAKER_02]: Again, I feel like we've said this a lot in the storyline. 49:15.258 --> 49:18.680 [SPEAKER_01]: Let's redact that we all got right away that he's not a warrior. 49:18.760 --> 49:21.262 [SPEAKER_02]: Worf says, you know, you're not, I know you're not a warrior. 49:21.302 --> 49:23.623 [SPEAKER_02]: You told me that and I've accepted it now. 49:23.943 --> 49:27.025 [SPEAKER_02]: And Alexander says you've never accepted me, not really. 49:28.026 --> 49:34.972 [SPEAKER_02]: He never accepted me, you abandoned me, which is really at the heart of this whole story at which they talk about abandoned more. 49:35.112 --> 49:35.352 [SPEAKER_02]: Yeah. 49:35.452 --> 49:40.977 [SPEAKER_01]: And if you keep saying this story, how her father abandoned her, I mean, cure does say it. 49:41.798 --> 49:49.344 [SPEAKER_01]: Well, she doesn't say abandoned, but there's no tie to this commonality between the sons and daughters. 49:49.444 --> 49:49.664 [SPEAKER_02]: Yeah. 49:49.904 --> 49:53.107 [SPEAKER_02]: Alex Anderson says you haven't tried to see me or talked to me in five years. 49:53.367 --> 49:55.349 [SPEAKER_02]: I wasn't the son you wanted, so you pretended to 49:57.010 --> 49:58.931 [SPEAKER_02]: So you didn't accept me, you abandoned me. 49:59.052 --> 50:03.034 [SPEAKER_03]: Well, this honest conversation gets interrupted by Mar-Talk. 50:03.254 --> 50:05.776 [SPEAKER_03]: We hear that it's battle time, battle stations. 50:06.136 --> 50:11.640 [SPEAKER_03]: And this for me was just so bizarre because he he worth hands back the dagger to his son. 50:12.480 --> 50:13.701 [SPEAKER_03]: And Alexander does this. 50:14.121 --> 50:17.023 [SPEAKER_03]: We're running, trotting thing out of the scene. 50:17.383 --> 50:18.044 [SPEAKER_03]: The shot. 50:18.144 --> 50:20.966 [SPEAKER_03]: It just, it just looks, I don't know, was so awkward for me. 50:21.006 --> 50:22.066 [SPEAKER_03]: No, if I notice that. 50:22.086 --> 50:22.707 [SPEAKER_03]: Oh, my goodness. 50:22.827 --> 50:25.949 [SPEAKER_01]: A little too jovial and feminine. 50:27.435 --> 50:28.356 [SPEAKER_01]: I'm a warrior now. 50:28.496 --> 50:29.878 [SPEAKER_01]: I'm going to dance to my warrior. 50:29.898 --> 50:35.143 [SPEAKER_03]: Yeah, it was like he was in a commercial for some type of something. 50:35.163 --> 50:36.405 [SPEAKER_03]: You know, yes, right. 50:37.065 --> 50:38.026 [SPEAKER_03]: I've had my sprite. 50:38.146 --> 50:38.927 [SPEAKER_03]: I'm ready to go. 50:39.027 --> 50:40.008 [SPEAKER_03]: And he just runs out. 50:40.129 --> 50:41.590 [SPEAKER_03]: There's caffeine in it now. 50:43.952 --> 50:44.632 [SPEAKER_03]: It's the best. 50:45.112 --> 50:47.693 [SPEAKER_03]: It's really, it's just, you didn't see that though, Robbie. 50:47.733 --> 50:49.074 [SPEAKER_03]: I guess you didn't quite see it. 50:49.114 --> 50:52.995 [SPEAKER_03]: He just, he does this really weird enthusiastic run out of there. 50:53.135 --> 50:59.838 [SPEAKER_03]: It was bizarre because they just gone through this very tense moment, right, between father and son where you abandoned me. 51:00.318 --> 51:02.439 [SPEAKER_03]: And now it's battle station and he's like nothing happened. 51:02.459 --> 51:03.339 [SPEAKER_03]: He's like, okay, here I go. 51:03.579 --> 51:04.919 [SPEAKER_03]: I'm going to prance over. 51:05.000 --> 51:05.520 [SPEAKER_03]: That's what he was doing. 51:05.540 --> 51:06.160 [SPEAKER_03]: He's prancing. 51:06.600 --> 51:07.400 [SPEAKER_03]: He prancing. 51:07.440 --> 51:09.001 [SPEAKER_03]: He's a Russian ballet dancer. 51:09.021 --> 51:09.981 [SPEAKER_03]: He is a Russian ballet dancer. 51:11.722 --> 51:12.082 [SPEAKER_02]: All right. 51:12.102 --> 51:15.325 [SPEAKER_02]: We go to the bridge next the battle is underway. 51:15.865 --> 51:17.226 [SPEAKER_02]: There's a big explosion. 51:17.507 --> 51:20.829 [SPEAKER_02]: The return is getting beaten up pretty badly. 51:21.770 --> 51:22.511 [SPEAKER_02]: Lots of sparks. 51:22.591 --> 51:23.351 [SPEAKER_02]: Lots of smoke. 51:23.972 --> 51:25.753 [SPEAKER_02]: There's always smoke and cling on ships. 51:25.913 --> 51:26.093 [SPEAKER_01]: Yeah. 51:26.194 --> 51:28.936 [SPEAKER_01]: I think they should fan it out somewhere for the hit. 51:29.196 --> 51:29.856 [SPEAKER_01]: They were hit. 51:29.997 --> 51:30.177 [SPEAKER_02]: Yeah. 51:30.197 --> 51:30.537 [SPEAKER_02]: They were. 51:30.817 --> 51:31.158 [SPEAKER_02]: Oh, yeah. 51:31.178 --> 51:31.878 [SPEAKER_02]: Oh, they were hit. 51:31.958 --> 51:32.899 [SPEAKER_02]: Well, they're fighting. 51:32.919 --> 51:34.220 [SPEAKER_02]: They're in the middle of this fight. 51:34.260 --> 51:36.202 [SPEAKER_02]: Systems are getting damaged very badly. 51:36.342 --> 51:38.503 [SPEAKER_02]: Plasma is venting from an impulse injector. 51:39.464 --> 51:42.766 [SPEAKER_02]: And that's when Alexander says, look, I can't help you here, you know, we all know that. 51:42.886 --> 51:48.629 [SPEAKER_02]: Let me go fix the impulse injector, and that's when Chittar offers to go with them. 51:48.729 --> 51:49.970 [SPEAKER_02]: So, now they're buddies. 51:50.050 --> 51:53.071 [SPEAKER_03]: There's an Alexander get blown back by an explosion in the scene. 51:53.091 --> 51:54.732 [SPEAKER_02]: Yeah, the special effects in the scene. 51:54.852 --> 51:59.675 [SPEAKER_02]: All of the, you know, sparks and the venting of plasma and the smoke. 51:59.715 --> 52:01.576 [SPEAKER_02]: I thought was really, really good. 52:01.596 --> 52:03.877 [SPEAKER_02]: It looks good on a, on a clingon vessel. 52:04.637 --> 52:05.558 [SPEAKER_02]: Especially good. 52:05.938 --> 52:06.118 [SPEAKER_03]: Yeah. 52:06.258 --> 52:10.060 [SPEAKER_02]: Warfs a little worried for Alexander to go do this because he could die. 52:10.200 --> 52:12.121 [SPEAKER_02]: He says go the battle continues. 52:12.221 --> 52:16.643 [SPEAKER_02]: It's a pretty back and forth rough battle, but they do win. 52:17.587 --> 52:21.630 [SPEAKER_02]: and then Warfones to go find Alexander and Martoxeth go. 52:22.090 --> 52:22.631 [SPEAKER_00]: Go find him. 52:22.891 --> 52:32.358 [SPEAKER_02]: So we cut out to the corridor or around the corner and he doesn't see Alexander, he's trapped inside this damaged corridor. 52:32.518 --> 52:33.378 [SPEAKER_02]: Where is my son? 52:33.498 --> 52:34.319 [SPEAKER_02]: Yeah, where is my son? 52:34.339 --> 52:34.979 [SPEAKER_02]: He doesn't see him. 52:35.380 --> 52:42.525 [SPEAKER_02]: Chuttarq says that they sealed the impulse injector, but then Alexander trapped himself in the corridor. 52:42.645 --> 52:45.867 [SPEAKER_02]: He tripped some kind of emergency lock down and they're trying to open the door. 52:47.248 --> 52:48.389 [SPEAKER_01]: It was a cute moment though. 52:48.429 --> 52:57.074 [SPEAKER_03]: No, but when they comes out and all the things on the lap and then warf turns at them and they just freeze. 52:57.354 --> 52:58.555 [SPEAKER_03]: Like, okay, we stop laughing now. 52:58.750 --> 53:03.131 [SPEAKER_02]: He puts his hand on a shoulder, though, nice fatherly physicality. 53:03.231 --> 53:10.954 [SPEAKER_02]: Now we come back to ESNAR, INZ all sees Kira in a hallway, and she's very hurt. 53:11.374 --> 53:21.157 [SPEAKER_02]: She took it personally, that Kira didn't come to her celebration party, and Kira says, you know why I didn't come, and Z all says, please don't ask me to choose between the two of you. 53:21.257 --> 53:26.659 [SPEAKER_02]: Whereas, she's not that she understands there's no choice because he is your father, even though he wanted your dead. 53:27.359 --> 53:28.600 [SPEAKER_02]: Um, if you up a so it's back. 53:29.000 --> 53:31.402 [SPEAKER_01]: Yeah, not my circus. 53:31.862 --> 53:32.142 [SPEAKER_02]: Yes. 53:32.763 --> 53:34.104 [SPEAKER_01]: Not my monkey. 53:34.304 --> 53:34.544 [SPEAKER_01]: Yes. 53:34.684 --> 53:38.467 [SPEAKER_01]: Oh, I don't know why they have that phrase because I don't remember seeing monkeys in the circus ever. 53:38.527 --> 53:49.554 [SPEAKER_02]: Do you know I had an ant and uncle a great ant and uncle in Raleigh, North Carolina that owned some property near downtown Raleigh back in the 20s, 30s, 40s way back when. 53:56.179 --> 54:04.626 [SPEAKER_02]: you know, um, animals and things on the train and the property my family owned was near the train tracks near downtown Raleigh. 54:05.387 --> 54:07.248 [SPEAKER_02]: So they would host the circus every year. 54:07.268 --> 54:10.071 [SPEAKER_02]: The ringling brother's circus would come in on the train. 54:11.445 --> 54:17.992 [SPEAKER_02]: Bring the animals off, they do a little parade, they sell up their tent, and it was right near my in gladises house. 54:18.792 --> 54:19.854 [SPEAKER_02]: That's so cool. 54:20.054 --> 54:24.959 [SPEAKER_02]: And the circus ended up giving her a couple of chimpanzees, giving what? 54:25.679 --> 54:34.068 [SPEAKER_02]: And in that backyard, they had, it looked like zoo cages for chimpanzees, but the chimpanzees were very, 54:35.482 --> 54:40.286 [SPEAKER_03]: I don't blame them, they can, they're dangerous if they're angry. 54:40.326 --> 54:43.988 [SPEAKER_02]: You couldn't go near the chimpanzee cages It was so sad. 54:44.068 --> 54:44.789 [SPEAKER_02]: Oh, it doesn't know. 54:44.809 --> 54:45.529 [SPEAKER_02]: A little boy. 54:45.629 --> 54:46.730 [SPEAKER_02]: I knew this is not. 54:47.030 --> 54:49.232 [SPEAKER_01]: No No, sad. 54:49.352 --> 54:50.593 [SPEAKER_01]: Well, that's a terrible gift. 54:50.873 --> 54:57.657 [SPEAKER_02]: We go to warf's quarters next and this is a big moment Because warf apologizes for the mistakes he made as a father 54:58.816 --> 55:14.062 [SPEAKER_02]: Any promises Alexander is going to stand by side from this day, forward, so it's a nice heart felt, you know, healing moment, kind of saying, it is we need this scene is the only scene the only like, oh, it's paying off the finally. 55:15.122 --> 55:24.765 [SPEAKER_01]: I just wish Alexander didn't just say, right after he says what you just said, you know, I promise I'll stand by you and Alexander will see if you mean it. 55:24.985 --> 55:28.626 [SPEAKER_01]: It's like, okay, I guess it's truthful. 55:28.766 --> 55:32.087 [SPEAKER_02]: It's just, it doesn't feel like a story resolved. 55:32.623 --> 55:42.610 [SPEAKER_01]: Yeah, it like he's just seen how his father's treated him when he got trapped and all of that and But we're still holding on tough. 55:42.670 --> 55:43.091 [SPEAKER_01]: I'm angry. 55:43.131 --> 55:48.695 [SPEAKER_02]: Yeah, I wish that the whole story had had a mission that was more concrete that 55:49.805 --> 56:10.077 [SPEAKER_02]: Alexander sort of proved himself and worked doubted him and needed him suddenly and there could have been a story It came through and an unexpected way and yes You know there just wasn't a story to support this moment or says in the end I will teach you what you need to know to be a warrior and you 56:10.557 --> 56:13.560 [SPEAKER_02]: will teach me what I need to know to be a father. 56:13.620 --> 56:14.141 [SPEAKER_02]: Great line. 56:14.201 --> 56:17.644 [SPEAKER_01]: Yeah, it's not that that didn't touch that got me for sure. 56:17.664 --> 56:24.350 [SPEAKER_01]: It felt a little like a cheat to pull up my heart string there when you haven't given me the whole story. 56:24.370 --> 56:27.473 [SPEAKER_01]: So it's like, thank you for giving me the cherry on the top of the Sunday. 56:27.513 --> 56:29.215 [SPEAKER_01]: Now can we have this Sunday? 56:29.475 --> 56:31.878 [SPEAKER_02]: Yeah, now we go to the return ready room. 56:32.018 --> 56:33.560 [SPEAKER_02]: There's lots of candles. 56:33.660 --> 56:38.505 [SPEAKER_02]: Martak takes his house in Sydney out of a box, puts it into a bowl. 56:38.545 --> 56:43.150 [SPEAKER_02]: There's a big ceremony here where Alexander is welcomed into a cling on house. 56:43.210 --> 56:44.051 [SPEAKER_02]: He is a warrior. 56:45.223 --> 56:47.906 [SPEAKER_02]: He is now part of the House of Mar talk. 56:48.487 --> 56:49.769 [SPEAKER_02]: He is son of the war. 56:49.909 --> 56:51.230 [SPEAKER_03]: Here's a little bit of trivia. 56:51.371 --> 57:02.304 [SPEAKER_03]: The British board of film classification, the BBFC cut this episode by approximately 25 seconds in this last, because this last scene. 57:03.235 --> 57:08.776 [SPEAKER_03]: Because, and here's the reason, because they cut them, because they, well, they, yeah, they, because they joined their, the blood, right? 57:08.836 --> 57:17.459 [SPEAKER_03]: So, the reason given by the BBFC for the censorship was that, because the show was aimed primarily at teenagers. 57:18.179 --> 57:29.322 [SPEAKER_03]: They felt that a scene in which two characters mixed blood could encourage viewers to do likewise, hence increasing the risk of HIV transfer. 57:29.642 --> 57:31.222 [SPEAKER_03]: And that is why they cut it out. 57:31.262 --> 57:34.444 [SPEAKER_01]: Honestly, when I saw that I thought about the times when you were a kid. 57:34.604 --> 57:39.826 [SPEAKER_02]: Yeah, and you prick your thumb and you put your, oh, I did that as a blood oath as a kid. 57:39.866 --> 57:41.387 [SPEAKER_02]: I did that with friends. 57:41.747 --> 57:42.027 [SPEAKER_01]: Yeah. 57:42.988 --> 57:46.649 [SPEAKER_01]: And my sister, and yeah, there was definitely a time. 57:46.710 --> 57:47.830 [SPEAKER_01]: So I understand there. 57:47.850 --> 57:48.951 [SPEAKER_01]: It's a certain. 57:49.271 --> 57:49.471 [SPEAKER_03]: Yeah. 57:49.871 --> 57:50.992 [SPEAKER_01]: But I did think that. 57:51.152 --> 57:53.373 [SPEAKER_01]: I mean, I obviously know it's fake blood. 57:53.413 --> 57:55.734 [SPEAKER_01]: So I wasn't worried about the actors in the scene. 58:00.813 --> 58:07.238 [SPEAKER_02]: My lesson is that family reconciliation takes acceptance on both sides. 58:07.438 --> 58:14.264 [SPEAKER_01]: Well said, to add to that, you really have to put your patient hat on, acceptance, forgiveness. 58:14.284 --> 58:20.148 [SPEAKER_01]: You've got to forgive yourself and forgive them and give yourself time to process. 58:20.308 --> 58:28.715 [SPEAKER_01]: Because I don't think this all happens in one conversation most of the time, because some things are shocking, like there's a lot to unpack here for the two of them. 58:28.915 --> 58:45.854 [SPEAKER_03]: And to further what Terafer said, I guess a theme that I'm going to say or less and or moral would be patients because that takes patients and in terms of giving it time, you both sides have to be patient and that's very difficult to do sometimes when it's emotional it's all worked up and people just want to jump at it. 58:46.454 --> 58:51.777 [SPEAKER_03]: but patients and my other main theme lesson slash moral is family first. 58:51.957 --> 59:01.982 [SPEAKER_02]: Our Patron poll winner for the theme and moral of this episode is submitted by Alex Ray and that is children and parents have to be a team for both to succeed. 59:02.122 --> 59:06.384 [SPEAKER_03]: Honorable mention for themes slash moral as submitted by Nicole Brattell. 59:06.644 --> 59:11.687 [SPEAKER_03]: If you have never been hated by your child, you have never been a parent, Betty Davis. 59:11.907 --> 59:16.369 [SPEAKER_03]: Well, we've come to the end of our recap and discussion of sons and daughters. 59:16.509 --> 59:18.070 [SPEAKER_03]: Thank you, everyone, for tuning in. 59:18.530 --> 59:21.651 [SPEAKER_03]: Thank you, Ter Fair for joining us, even though you're under the weather. 59:21.731 --> 59:22.531 [SPEAKER_03]: Thank you for being here. 59:22.571 --> 59:23.172 [SPEAKER_01]: Thank you. 59:23.332 --> 59:24.352 [SPEAKER_02]: Thanks, Ter. 59:24.552 --> 59:25.253 [SPEAKER_01]: Yes. 59:25.333 --> 59:28.694 [SPEAKER_01]: Thank you both for being so kind and accommodating for me. 59:28.934 --> 59:39.140 [SPEAKER_03]: Join us next time, and we will be recapping and discussing the episode behind the lines with Missia Shimomo with Arman, so that will be a wonderful episode to talk about. 59:39.680 --> 59:45.003 [SPEAKER_03]: For all of our Patreon patrons, please stay tuned for your bonus material, and a little bit more tear fair.